What is Eco Fashion?

Today I sat contemplating the meaning of the term 'eco fashion'. I thought to myself, "If anyone should really understand the meaning of the above it should be me, as I have dedicated the best part of three years toward the creation of an eco fashion brand." The problem is there is no point in me understanding the meaning if others can't conceptualise the term, and how it may fit into their lifestyle. So here we are, and I am going to attempt to detail the meaning of 'eco fashion'.

'Eco fashion' could quite literally be seen as two entirely different entities. Firstly the idea of ecological and environmentally sustainable ideas being somewhat of a trend, fad, or as it states fashion, something that may be washed away or brushed under the carpet in years to come. Secondly it can be viewed as fashion, as in clothing, accessories, perfumes, aftershaves and footwear, which is made with the environment in mind.

For the purpose of 'eco fashion' as apparel and its derivatives, the point to focus on is the statement that 'eco fashion' is fashion made with the environment in mind. What does this really mean? From my point of view it can mean one of four things;

- Fashion produced and created through the use of organic materials
- Fashion produced and created through the use of recycling of otherwise excess fabrics
- Fashion produced and created through the use of recycled materials not initially directly related to fashion
- Fashion produced and created that gives back directly to the planet.

These are my four categories and I think you will agree they capture the essence of 'eco fashion' fabulously. Under the above headings many designers, brands and labels have designed products that can appeal to the wider public, however currently the proportion of the population that really embraces products made under the 'eco fashion' title remains niche. This is by no means a problem because 'eco fashion' is young and has over 100 years or more of modern styling to compete with.

The more pressing question is to ask, "What will happen over the coming years?" Some might say it has already begun; is 'eco fashion' blending and merging with regular fashion? Has it become apparent that the 'eco fashion' route is not so much more expensive, and creates large benefits in comparison to regular production methods? Currently as a result of smaller scale designers, brands and labels, the law of economy of scale dictate, that anything done on a small scale will ultimately be expensive, but if 'eco fashion' moves mainstream and all processes are inherently eco friendly there will be no definition just a shift in foundation principles.

Some might question why I am writing this as I am one of the small producers of 'eco fashion' that will suffer as a result. Some might say customers, who would have sought out Excentree for its niche appeal, will no longer need Excentree. Well that is where you are wrong, yes we would no longer be niche, but it won't be the customers who need us directly it will be the mainstream department stores, clothing stores and such like who will lend from our experience and expertise.

The proponents of 'eco fashion' have prepared for this period of change and it will be us at the forefront of the eco evolution. I for one will continue to champion the cause of mainstream 'eco fashion' because it can only benefit our people and our planet and unless I am mistaken the point of 'eco fashion' is to benefit both the customer and the planet, not to remain niche. Recently I have been dismayed when reading and listening to so called eco-gurus, eco-reporters, eco-commentators and eco-critics use the term "eco has gone too mainstream", what is that all about? Working together should only be seen as positive. I don't care if it is a multi billion dollar corporation that decides to have eco policies or the small start up, every little count. I sympathise with those who say "how can an oil company be eco-friendly?" The point is not their core business, but the fact that they acknowledge their responsibility and decide to take positive action. No one can expect companies to stop operating because their industry is seen as ecologically damaging, that is complete nonsense.

Sometimes I fear that 'eco fashion' is just that, an idea for people to jump on the bandwagon and when they get bored, and too many people have the same idea as them it won't be fashionable anymore. Eco fashion can be a cause for good for the future, we should move forward together, not fighting, or criticising the efforts of others just because we don't like people crowding our fashion. We need to farsighted in our quest for success, as our chosen niche grows as it should we must not lose sight of our values. In conclusion I would urge all those who believe in, or are concerned for the preservation of our planet to work with those who are new to an eco way of thinking, or being. Don't forget the panoramic picture; the landscape of our existence is the real fashion we need to protect.

Lakme India Fashion Week - A Review

Introduction

India is becoming the latest fashion hub for the fashionistas. Indian designers are no longer confined to the domestic fashion and apparel market, they are gaining recognition and fame from all over the world. The various government policies and a boom in fashion industry have made it possible. One of the major breakthrough provided to Indian designers to showcase their talents are through the medium of fashion shows. Lakme India Fashion Show is the most popular fashion show celebration of India where the talents of already established and upcoming designers are showcased.

This event is a fashion celebration laced with lots of glamour and national as well as international media coverage. This time lakme India fashion week was held at Mumbai from 31st Oct- 4th Nov. Many high profile designers as well as audience witnessed this fashion fiesta. Famous bollywood celebrities were part of it.

Eminent designers like Surily Goel, Narendra Kumar, Sabyasachi Mukherjee, Nalandda Bhandari, Nandita Mahtani, Anand Kabra, Abhishek Dutta , Wendrell Rodericks, Anupama Dayal, Vikram Phadnis, Chaitanya Rao, Sanchita, Savio Jon, Payal Singhal, Sanjay Malhotra, James Ferriera, Priyadarshini Rao, etc presented their spring/summer 2007 collection. Also South African designer duo Sun Goddess and Clive Rundle presented their collection.

Brief descriptions of some designer's creative work are as follows :-

Nalandda Bhandari

Nalandda Bhandari designs simple yet attractive and wearable collection under the brand name 'Nasha'. She named her spring/summer 2007 collection 'Free Spirit'. She covered all patterns and styles of contemporary women clothing, dress patterns like- tunics, kaftans, tube dress, skirts, shirts and burnt gold evening gown dominated her show. She played with glamour clad fabrics like chiffon, silk, georgette, voile, cotton and crepe. Her collection was largely ruled by animal prints and embroideries like African embroidery, sequin embroidery, etc. She also presented her men collection. She included her logo of rose embroidery in almost every outfit.

Narendra Kumar

The very famous designer Narendra Kumar presented his spring/summer collection 2007 at Lakme Fashion Week. The collection was named as 'Love Touches You'. He presented a perfect blend of traditional and contemporary designing paired beautifully with each other. The women's line of western collection had smocked & pleated skirts, balloon skirt with shirt dress, half collars, bloomers, chiffon with appliqué sleeves, etc which were created with the designer's unique touch and detailing. The preferred fabrics by the designer were cotton, georgette, net, silk, mull and linen. The collection was unique but wearable in terms of design and pattern.

The men collection was very stylish and appealing in nature. Men models walked the ramp with elaborate embroidered batik styled shirts paired with stylish trousers completed with patch pockets and shiny zippers. Fun element of, feminity to male garments was provided by showcasing sophisticated floral printed baggy tops paired with tight fitting pants and capris. The choice of colors was dull jade, beige, blue, brown, saffron and white. Complicated embroidery, smocking, appliqué work and shadow work were part and parcel of his creative designing. The fun element was when the famous model turned actor John Abraham walked the ramp with white linen suit. Thus he complied every bit of creativity and entertainment aspects to his collection which gained him standing ovation by the audience and showering of red carnations.

Surily Goel

Surily Goel is young and talented designer who even designs for film personalities. Her latest creation on big screen was for actress Preity Zinta for the film 'Jaan-e-Mann'. Her collection presented the carefree and sensual side of women's clothing. This year's collection was marked by knee-length skirts of georgette, crochets, chiffon, light silks and organdy, highlighting pleats and waist gathering with satin belts. Also single piece bubble outfits created in wide range of colors and fabrics. In this time's collection she used more of small colored stones.

The presence of film personalities like Dino Morea, Sonali Bendre, Neelam Kothari, Fardeen Khan, Sameera Reddy and Tara Sharma in the audience during her collection put the star element into the show.

Chaitanya Rao

Chaitanya Rao's collection was like early morning breeze with booming petals of budding roses. The delicate fabrics like georgette and chiffon provided that sexy feminine look to her collection. As her signature, she included moth in the form of embroidery or appliqué in all of her garments. The models took over the ramp with her mesmerizing feminine collection comprising of hem blouses with theme embroideries, pleated mini skirts with batik prints, moth appliqué blouses, long frayed double hem dresses, pale grey chiffon tunic, cream color chiffon bubble dress, dolman sleeved hipster blouses, the list goes on. To accessorize her collection she used thin and broad belts.

Sanchita

Sanchita's collection presented in Lakme Fashion Week was bold yet wearable. She divided her collection into three segments- Punk chic, Copacabana and Swinging deco. The stunning designer pieces of bikinis and pareos, Hawaiian inspired kaftans, small balloon skirts, floaty dresses and minis provided the feeling of the beaches of Copacabana, St. Tropez and Riviera to the audience. Her collection was quite glamorous consisting of outfit like grey T-shirts with silver leggings, lycra T-shirts having sleeve ornamentations, strapless dresses accompanied with necklaces, earrings and brooches.

The men collection was marked by casual wear T-shirts, poplin trousers with detailed embroideries and white tuxedo jackets.

The garments were decorated with semi precious stones or with attractive patch works. Her line of collection was dominated by colors like white, apatite, agate, jade, opal and black onyx. The garments were accessorized with intrinsically crafted jewelry and bags.

Savio Jon

This designer emphasized heavily on the comfort factor of the garments. Savio Jon is well known for his simple yet attractive clothing lines which are high on value and seductive quotient. Unlike other designers he preferred his garments to hang loose around the body instead of body hugging/tight fitting clothes. He used free flowing fabrics like fish net, mul, chiffon, georgette and crepe.

Pinafore silhouette, long lean maxis, oversized blouses, deep shoveled armholes, low back and front necklines, were some types of garments he presented. In evening wear he glamorized the tubular silhouettes with shimmers. The ranges of colors choosed by him for his collection were beige, grey, brown, black, pale yellow and white. Thus the colors were also sober and subtle.

Payal Singhal

Payal Singhal for the first time presented her collection in Lakme Fashion Week. Her designer collection for women were designed keeping in mind today's working women's needs and comfort level. Stylish yet affordable was the key element associated with her collection. She beautifully used cutwork, satin, georgette, jacquard, tulle, cotton, crepe, taffeta, brocade and seersucker in club and partywear for dresses and tunics. Her display of outfits on ramp descended gracefully from daywear to glamorous evening wear. She started her showcasing of designs in oyster white color then, tea rose, yellow, coffee, watermelon to grapefruit color. Display of tunics and blousons were coupled with melon, gold or silver tights. The signature outfit was the oyster white kaftan embellished with golden embroidery.

Sanjay Malhotra

Sanjay Malhotra named his spring/summer 2007 collection -'Dejavu'. The key phrase which inspired him for this collection was -Life through my rose colored glasses. He instead of sticking only to free flowing usual feminine fabrics, even experimented with fabrics like fur, leather, voiles, denim, suede and laces which were highly appealing to today's power packed independent women. The beautiful mix-n-match of these fabrics in sober as well as striking colors presented a collection that was bold enough yet stylish and wearable. Few of the many outfits displayed by him were- ivory colored mirror jacket with chiffon sleeves, colorful corset skirt accompanied with net petticoat, tunic with fur edge, etc. His collection was for the woman who likes to seek attention of the crowd and be different.

Clive Rundle and Sun Goddess

Clive Rundle and Sun Goddess were two international South African designers who presented their collection at Lakme Fashion Week. Fusion was the key style of their outfits. Extravagant layered dresses and skirts, jackets, evening wear, loosely fitted shirts and trousers, long coats and tops were part of their garment showcase. Their choices of colors were mainly creams, cherries, plums, peaches, sapphires, maroons and mauves. The free flowing pleated and layered outfits depicted the south African culture and fashion essence through them.

James Ferriera

James Ferriera made his debut at Lakme Fashion Week. He named his collection 'Bombay Tokyo'. His collections were inspired by Maharashtra's rich textile heritage.

The collections were divided into seven segments which were even named. The sari, an ode to devnagari, the hardy traditional towel, black magic, the sholapur story, warli and diwali were the seven names given to the segments.

Traditional warli paintings and paithani motifs were done on the clothes. Very uniquely he transformed the traditional forms of maharashtrian clothing into contemporary designs, like nine yard saris were intelligently converted into tunics. Marigold and leaf motifs were used on black shirts with cowl necks.

To describe in a nutshell his collection used ethnic fabrics and designs on garments with style and attitude. The outfit presented during finale had black georgette garments with glittering Paithani embroidery designs on them.

Conclusion

This event is marked by presence of celebrities and traders all across the globe. Also it provides a platform for the budding designers to show their talent and establish themselves into the high profile fashion industry, for the already established designers to show their collection and maintain their popularity level. The above mentioned review is for few of the many prominent and talented designers. The nutshell description of the designers suggests that this celebration of fashion and style is a sure shot success for India's designers and promote the export business too. The very presence of film stars on the ramp of their favorite designers and in the audience is the crowd puller factor of this celebration. Lakme Fashion week is extensively covered by media and promoted also.

Indian Fashion Industry

Colourful fashion trends of India

With the end of the 20th century came the end of all hype which has created a more practical and pragmatic environment and has given a more stable picture of the fashion business.
In the 50s, 60s and 70s, the Indian fashion scenario wasn't exactly colorless. It was exciting, stylish and very graceful. There were no designers, models, star or fashion design labels that the country could show off. The value of a garment was judged by its style and fabric and not by who made it.

It was regarded as ever so chic and fashionable to approach any unfamiliar tailor, who could make a garment for a few rupees, providing the perfect fit, finish and style. The high society lady, who wore it, was proud for getting a good bargain and for giving her name to the end result.

In 60s, tight 'kurtas', 'churidars' and high coiffures were a trend among ladies. It was an era full of naughtiness and celebration in arts and music and cinema, manifested by liberation from restriction and acceptance of new types of materials such as plastic film and coated polyester fabric.

The 70s witnessed an increase in the export of traditional materials outside the country as well as within. Hence, international fashion arrived in India much before the MTV culture with the bold colors, flower prints and bell-bottoms. Synthetics turned trendy and the disco culture affected the fashion scenario.

It was in the early 80s when the first fashion store 'Ravissant' opened in Mumbai. At that time garments were retailed for a four-figure price tag. The '80s was the era of self consciousness and American designers like Calvin Klein became popular. In India too, silhouettes became more masculine and the 'salwar kameez' was designed with shoulder pads.

With the evolution of designer stores in Mumbai, the elegant fashion design culture was a trend among Indians along with their heavy price tags. No doubt that a garment with a heavy price tag was at the bottom stage of fashion. But clients immediately transformed into the high fashion fold where they were convinced that that the word 'elegant fashion design culture' means, it had to have a higher price tag.

Garments were sold at unbelievable prices only because the designers had decided to get themselves noticed by making showy outfits and getting associated with the right shows, celebrities and events.

Later, fashion shows shifted to competitive events each attempting to out-do the other in theme, guest list and media coverage. For any newcomer, the fashion business was the number one professional art that time.

In the 90's, the last decade of the millennium, a move towards the drastic pairing down returned with ethnic wears (Today, ethnic wear market in India is accounted to Rs. 9000 crore). This led to the decline and the recession, the push to sell at any cost and keep staying in the limelight. With heavy cut throat competition and sound awareness of the client, the inevitable occurred. The price tags, which had once reached at a peak, began their downside journey.

At those times the downturn was not only being experienced in the price tags of the garments, but also in the business of fashion shows. More models, choreographers, make-up men, hairstylists and designers streamed down into their business.

The fun and party time in the Indian fashion scenario had not ended with this, but continued. It was a point, where it reached at a certain steady level and from there, in the beginning of the 21st centaury, with new designers and models and some sensible designing; the fashion hype accelerated its speed.

Indian fashion industry spreads its wings globally

For the global fashion industry, India is a very big exporter of fabrics and accessories. All over the world, Indian ethnic designs and materials are considered as a significant facet for the fashion houses and garment manufacturers. In fabrics, while sourcing for fashion wear, India also plays a vital role as one of the biggest players in the international fashion arena.
India's strengths not only depend on its tradition, but also on its raw materials. World over, India is the third largest producer of cotton, the second largest producer of silk and the fifth largest producer of man-made fibres.

In the international market, the Indian garment and fabric industries have many fundamental aspects that are compliant, in terms of cost effectiveness to produce, raw material, quick adjustment for selling, and a wide ranges of preference in the designs in the garments like with sequin, beadwork, aari or chikkon embroidery etc, as well as cheaper skilled work force. India provides these fashion garments to the international fashion houses at competitive prices with shorter lead time and an effective monopoly in designs which covers elaborated hand embroidery - accepted world over.

India has always been considered as a default source in the embroidered garment segment, but the changes of rupee against dollar has further decreased the prices, thereby attracting buyers. So the international fashion houses walk away with customized stuff, and in the end crafted works are sold at very cheap rates.

As far as the market of fabrics is concerned, the ranges available in India can attract as well as confuse the buyer. A basic judgmental expectation in the choosing of fabrics is the present trend in the international market. Much of the production tasks take place in parts of the small town of Chapa in the Eastern state of Bihar, a name one would have never even heard of. Here fabric making is a family industry, the ranges and quality of raw silks churned out here belie the crude production methods and equipment used- tussars, matka silks, phaswas, you name it and they can design it. Surat in Gujarat, is the supplier of an amazing set of jacquards, moss crepes and georgette sheers - all fabrics utilized to make dazzling silhouettes demanded world over. Another Indian fabric design that has been specially designed for the fashion history is the "Madras check" originally utilized for the universal "Lungi" a simple lower body wrap worn in Southern India, this product has now traversed its way on to bandannas, blouses, home furnishings and almost any thing one can think of.

Recently many designers have started using traditional Indian fabrics, designs and cuts to enhance their fashion collections. Ethnic Indian designs with batik cravat, tie-and-dye or vegetable block print is 'in' not just in India but all across the world.

In India, folk embroidery is always associated with women. It is a way of their self expression, and they make designs that depict their native culture, their religion and their desires. Women embroider clothes for their personal use, and the people linked with the pastoral profession prepare embroidered animal decorations, decorative covers for horns and foreheads and the Rabaris of Kutch in Gujarat do some of the finest embroidery. Embroidered pieces are made during the festivals and marriages, which are appliqué work called 'Dharaniya'. One of the significant styles of Saurashtra is 'Heer' embroidery, which has bold geometric designs, woven on silks. The Mutwa women of the Banni area of Kutch have a fascinating embroidery where they make fine embroidery works with designed motifs and mirrors in the size of pinheads, the Gracia jats use geometric designs on the yoke of long dresses. Moreover, the finest of quilts with appliqué work are also made in Kutch.

Garments embellishment with bead work is another area where it in demand in the international market. Beads are used to prepare garlands and other accessory items like belts and bags and these patterns now available for haute couture evening wear too.
According to a survey, in recent times Indian women have given up their traditional sari for western wears like t-shirts and shorts, as they feel more comfortable in skirts and trousers instead of saris and salwar kameez. It's been noted that women spend just $165 million on trousers and skirts against 1.74 billion dollars spent by men on trousers. With more women coming out to work, the (combined) branded trouser and skirts market has been increasing at a whopping 27 per cent in sales terms. Women feel that Western clothing is more suitable, particularly when working or using public transportation. Many corporate offices are also in favor of their employees wearing Western wear.

In India, Western inspiration is increasing due to the influence of TV and films. Besides, shopping malls selling branded clothes have also mushroomed in India and are fascinating the youngsters. Recently, designer wear is being promoted through store chains such as Shopper's Stop, Pantaloons, Westside, etc. Companies such as Raymond and TCNS have also set up their exclusive stores for designer wear such as Be: and W.
The market of India fashion industry

Recently, a report stated that the Indian fashion industry can increase from its net worth of Rs 200 crore to Rs 1,000 crore in the next five to ten years. Currently, the worldwide designer wear market is amounted at $35 billion, with a 9 per cent growth rate, with the Indian fashion industry creating hardly 0.1 per cent of the international industry's net worth.

According to approximations, the total apparel market in India is calculated to be about Rs 20,000 crore. The branded apparel market's size is nearly one fourth of this or Rs 5,000 crore. Designer wear, in turn, covers nearly about 0.2 per cent of the branded apparel market.

At present, the largest sales turnover within the designer wear segment is about Rs25 crore, with other well-known names having less turnovers of Rs10-15 crore. In view of the prospects of the Indian fashion industry for growth, the figures are not very hopeful.

The figure of fashion industry

o The organized market for designer apparel is about Rs 250 crore

o Designer wear calculates to less than 1 per cent of the apparel market

o The global market for designer wear is 5 per cent of total apparel market

o The global market for designer wear industry is largely dependent on the small-scale sector

o Consumers for designer wear have a yearly household income of Rs 10 lakh-plus. There are 3 lakh such households developing at 40-45 per cent

o Designer wear industry is projected to increase to Rs 1,000 crore by 2015.

o More than 81 per cent of the population below 45 years of the age is fashion conscious.

Many fashion designers and management experts foresee an average growth of about 10-12 per cent for the Indian fashion industry in the coming years. Though, the growth rate could be more than 15 per cent, if infrastructural and other logistical bottlenecks and drawbacks are over come.

India needs more effort to overcome

However, despite the benefits available in India there are also some disadvantages. India is not a remarkable player in the global market with reference to brands because of its inability to add value to products. This is observed by the fact that nearly 50 per cent of its exports are apparel and made-ups where value addition is essential. Likewise, 75 per cent of domestic apparel market is commoditized and unbranded and very few Indian brands do survive in the foreign markets. Evidently, the Indian market has not made a strong stand and hence it is difficult to make Indian brands that can compete with global brands in India.

Another reason for the fashion industry's inadequate growth is the limited experience of the designers and the platform they are offered. The insignificance stalks from the reality that most of the young talent is hired by the bigger names to work in their studios, thus imprinting their work with the label of the big designers.
Though performing individual presentation is not an alternative choice for most of the young talent, because of the limitation of finance, a beginner designer's name fails to come to the forefront.
Another thing, with regards to the ramp, is what the designers offer is barely appropriate to be worn ordinarily. You'll see there's dissimilarity between what is there on the ramp and what the Page Three crowd wears. Some believe at present the fashion is in, but the tendency hasn't changed much as it is the old ones coming back. We have had short kurtas, long kurtas, flowing skirts, etc. coming back into fashion with only a new variety of designs.

Many management consultants and professionals believe that the Indian fashion industry will be boosted if the new comers are paid proper attention. What they require is more support so that their work gets due recognition. According to the consultants and professionals there should be a panel of people who choose designers for showcasing according to their work and not their name or who they've worked for earlier, and hence selection would be purely based on quality. Besides this, the panel of judges should comprise of people from the fashion schools rather than designers.
It has been observed that the media-hype around the big designers and blatant commercialism has hindered business in the Indian fashion industry. No clear cut picture is provided about the feasibility of the products. Basically it is only the famous names that are being talked of. What they offer is not quite daily-wear. The entire focal point of the industry is on commercialism. The discussion is only regarding how much is sold and for what price and nothing about the designs or styles.

Efforts to develop global fashion brands

It needs innovative designers, a seamless supply chain, control over retail and distribution and concentration of quality while dealing with some image. While a few have accomplished something in the west covering Tommy Hilfiger, Gucci, Zara, Armani, Versace, Ralph Lauren, etc, India has not been capable to track on.
A serious reason for India not being successful has been its isolation in the fashion system. Each stakeholder including designers, exporters, textile players and retail chains need to come together along with the government to make sure that the position of Indian fashion is strong in the coming years.

There are various agencies and industry associations that can support in brand-building practice. Many of these agencies require attractive resources and making a global image of Indian fashion rather than independently trying to promote particular brands or textile segments.

Efforts to create strong global image

Large textiles players require more and more to target on the market facing activities while developing an association with small medium enterprise (SME) clusters. Such kind of networks would be a benefit to that which can focus on demand making and branding as well as for clusters that can focus on quality production.

Efforts to create value networks

After the entry of large retail chains like Wal-Mart, Gap etc in India, Small scale manufacturers in India will find it very difficult to satisfy the demands of these international buyers if they continue to promote their products individually. Therefore, it is very important that value networks are created between large textile and apparel companies in India and small scale manufacturers, so that the marketing muscle of the leading players can be utilized for receiving large orders while the bigger players then assign the orders to the small-medium enterprises according to their past record of quality and service. For this to be put into practice, it will be vital to well-organize the information on small-medium enterprise clusters in a perfect manner so that supplier selection decisions are made according to the information in the long run, only the more efficient small-medium enterprise players survive and develop.
Efforts to concentrate on designers and designs

Designers have a fundamental role to play in the future of Indian fashion scenario. There should hence be an effective process for preparing these designers. This can be done by sponsoring exchange programs with international schools, increasing participations in the fashion capitals of the world, motivating and offering business incubation to new designers and rewarding efforts through proper design awards.
Even in India, well-known designers are incapable to tap finances from well-organized resources, since a vital part of their assets are brands and design talent which are not measured in terms of money and hence it becomes difficult to judge the value. This has severely inhibited their development and capability to raise retail existence across the country and abroad. Likewise, there is no systematic approach of existence in the fashion capitals of the world like Paris, Milan and New York. Due to this, designers have to depend on their personal contacts and relationships for organizing fashion shows and making retail alliances. The French government as well as the British government helps designers of their particular countries appreciably in these areas as they understand that value creation through design is the only way to carry on in the competitive landscape of the global fashion industry. The Indian government and related agencies should also accept this aspect of textile, apparel and fashion industry sincerely if they need to see India on the global fashion map.
Work in collaboration: designers-corporate efforts

Designers and many organizations can work globally through various models and with many working relationships. The Indian fashion industry has many views but only one such model, wherein a designer creates a retail venture with his/her own brand through organized retail chains. There are many other models according to brand ownership and division of operational activities.

Globally, many models of collaboration between designers and corporates are available. For example Ralph Lauren has made an agreement with Jones Apparel for producing and retailing various Polo brands. Likewise, Armani had an agreement with Zegna for production, even while it was competing with them in the marketplace. There are many cases of designer brands being co-owned by the designers and corporates, Gucci-Alexander McQueen and Gucci-Stella McCartney being some of them.

In the end, many designer businesses have been obtained by corporates where designers play a major role in the design elements of the business, but the brand and the organization is owned completely by the corporate.

The current possession of Calvin Klein by Philips Van Heusen and earlier holdings of Hugo Boss and Valentino by Marzotto are some related examples in this segment. These examples strongly point out that not only designers find such relationships important for development, but also corporates find these attractive for rising their profitability and growth. Likewise deals in India could go a long way in developing the brand values of corporates and designers.

Developing clusters

Making common infrastructure for functioning such as design and sampling, affluent treatment, product testing, etc can help in increasing the capability of the clusters since noteworthy investments could be made by the cluster itself rather than any single player.

Well-managed databases can help in decreasing search costs and through data mining, rating of players can be done so as to make the procurement process easier for buyers. Cooperative marketing programs at different clusters can also support players to grow up in the value chain by mixing their strengths within the cluster.

Cluster based battle in the fashion industry is characterized by the Italian industry. The National Chamber for Italian Fashion for example, supports the development of the fashion clusters at Milan and Florence in a well organized manner. Indian industry can learn a lot from Italy because India has a similar cluster based scattered production base, but has been incapable to link it with design and branding capability.

If the above activities are successfully considered, India could have an extraordinary development in the fashion industry, which could increase from a negligible size to Rs 8,000 crore in the coming decade.

Conclusion

In the 50s, 60s and 70s, the Indian fashion scenario was colorful and stylish, in the end of 20th century it was quite subdued and with the beginning of the 21st century it has geared up and is still experiencing the growth with many spectrums of colours. Though this industry is growing at a very good pace, besides achieving a negligible share in the global market, still it needs to make severe efforts to stand amongst international fashion market in various aspects.

Fashion Show Events

A fashion show is an event put on by a fashion designer to showcase his or her upcoming line of clothing. The first American fashion show likely took place in 1903 in the New York City store Ehrlich Brothers. American retailers imported the concept of the fashion show in the early 1900s.

Fashion

Featuring runway garments from the spring and fall/winter collections of ten influential couturiers and designers, the exhibition explores the ideas and inspirations motivating Paris fashion today, and why, in an age of globalization and instantaneous communication, this venerable city remains the fashion capital. The city has been a magnet for stylish men and women since the seventeenth century, but the French fashion industry has evolved considerably over the centuries and never more than in the last few years.

Recent assessments of the current state of Paris fashion have varied widely, with some pundits announcing its death, and others claiming that it is closer to fine art than ever before. By using fashion, a medium which has always been associated with self-expression and personal identity, these designers seek to demonstrate how the use (or misuse) of technology and its modes of production have the power to stimulate, delight, and inspire in ways as yet untapped in the fashion world. In the 1800s, "fashion parades" periodically took place in Paris couture salons.

The first American fashion show likely took place in 1903 in the New York City store Ehrlich Brothers. By 1910, large department stores such as Wanamaker's in New York City and Philadelphia were also staging fashion shows. By the 1920s, retailers across the United States held fashion shows. In the 1970s and 1980s, American designers began to hold their own fashion shows in private spaces apart from such retailers.

Models

Models in a fashion show have to change their clothes all the time to present new items to the public. Models are supposed to influence us in a positive way. Models strutting catwalks at London Fashion Week should provide a certificate attesting their good health, but there should be no outright ban on wafer-thin women, the British Fashion Council said on Friday. Spain and Italy have recommended banning models with a body mass index (BMI) of less than 18. "We favor the alternative approach of promoting good health based on medical assessments of models participating in London Fashion Week," it said.

The report acknowledged there was a problem with eating disorders among models and recommended a health education and awareness programme should be set up urgently. "During the investigation, evidence of the vulnerability of women in the modeling progression was startling and models are at high risk of eating disorders," said Denise Kingsmill, chair of the inquiry.

In a typical fashion show, models walk the runway dressed in the clothing created by the designer. Because the topic of fashion shows remains to find its historian, the earliest history of fashion shows remains obscure. Too many adolescent girls decide early on that they need to be "thin" like the models in order to be "pretty" when really they just need to keep themselves healthy.