The impact of the economic downturn on the textile and fashion designermaker in Northern Ireland
Angela Burns
Izmir University of Economics
Faculty of Fine Arts & Design / Department of Fashion Design
Sakarya Cad. 156,
%DOoRYD,]PLU
Turkey
[email protected]
Summary
This research has been conducted to ascertain the effects of the recent economic downturn on the designermaker based in Northern Ireland. It will examine how periods of austerity have impacted on the fashion and textile
industry from a historical perspective, analyse the situation on these sectors nowadays, particularly in relation to
1RUWKHUQ,UHODQGDQGHVWDEOLVKKRZWKLVKDVDIIHFWHGWRGD\¶VGHVLJQHU-maker. It will also examine local initiatives,
new technologies, and changing business models to ascertain how they have helped counteract the problems
faced by designer-makers during a recession.
Introduction
The purpose of this research is to ascertain the effects of the recent economic downturn on
the fashion, textile and craft sector in Northern Ireland, and determine how designer-makers
have adapted their business practices to deal with this climate of austerity. The issues in this
study were explored using a combination of research in the form of literature review,
observations, and a series of open ended interviews with various stakeholders across the
fashion, design, and craft industry in Northern Ireland.
This research will focus on designer-makers, defined as someone designing and producing
small quantities for a limited market (Gale & Kaur, 2002, p.49), working in design disciplines
primarily concerned with fashion, textile and accessory design located in the region of
Northern Ireland. This study will analyse these creative industries in the context of the current
economic climate, and in comparison with recent trends within the wider fashion and textiles
industry in the wake of the recession. It will also explore new initiatives which have been
developed by government bodies, and by the local creative community to address the
difficulties of trading within a period of economic austerity. This research will also seek to
establish the impact of new technology and social media as a tool to enhance business for
the new generation of designer-maker.
A history of austerity in fashion and textiles
Throughout the Twentieth century the world has endured various periods of economic
austerity triggered as a result of war, political upheavals, and market uncertainties. World
War One, the Second World War, the Wall Street Crash, the Oil Crisis, Black Monday, and
the recent financial and European sovereign debt crisis have all had a negative impact on the
lives of millions of people in their respective societies. The effects of these periods of
austerity on all aspects of life are considerable, and consequently an effect on the field of
fashion and textiles in most cases has been perceptible.
During the Second World War shortages were considerable in all facets of society. Rationing,
the controlled distribution of goods, impacted all aspects of daily life with foodstuffs, clothing
and fuel products only available with ration stamps. 7KH FRQFHSW RI ³0DNH GR DQG 0HQG´
emerged to redress this problem of a clothing shortage. There was a move during this era to
train women in ³GUHVVPDNLQJDQGmending classes ... so they could use unwanted cloth for
making new clothes and learn how to extend the life of their existing clothes by mending and
UHPRGHOOLQJ´Reynolds, 1999, p.329).
Many prominent fashion trends develop in response to contemporary global social, political,
and economic events. Perhaps the most celebrated reactionary fashion statement followed
the austerity of World War Two when Christian Dior showcased the celebrated New Look
collection³7KH1HZ/RRNZDVDEVROXWHO\DSSURSULDWHIRU the post-war era. Dior was correct
in assuming that people wanted something new after years of war, brutality and hardship´
(Design Museum, 2011).
In Britain, the 1970s and 1980s brought social upheaval in the form of trade union strikes,
rising inflation and unemployment, and as McRobbie explains these uncertain times also
impacted on the futures of fashion and textile designers.
³,QHYHU\UHVSHFWWKHROGstructure of support which in the past determined many
RIWKHSDWWHUQVRISHRSOH¶VOLYHVKDGIDGHd away and so self-reliance was more of
a survival strategy than a political statement. Most significant in retrospect was
the sheer determination on the part of the young women whom I taught during
this period to make careers for themselves and find ways of being economically
LQGHSHQGHQW´ (Mc Robbie, 1998, p.3)
Similar to the earlier development of the New Look, the Punk ideology and ensuing individual
approach to dress developed as a response to the social, political, and economic upheaval
during this period.
Throughout the Twentieth century, many trends have adopted various cost-effective
approaches to dress, for reasons of austerity and as a reaction to the times in which they
emerged. The years following the war saw an explosion in home dress-making due to the
growth in user-friendly sewing patterns, readily available, and easy to construct from
companies such as Butterick or Vogue. Both the hippy movement and later the grunge
movement adopted a penchant for hand-made, charity shop and flea-market fashions, in a
move away from corporate excess. By the year 2000, vintage clothing was in fashion, and a
booming market in vintage from the various decades of the Twentieth century offered the
money conscious consumer the opportunity to dress for less if they so desired.
The credit crunch and the fashion industry
³7RGD\µFRQVSLFXRXVFRQVXPSWLRQ¶LVUDPSDQWDVQHYHUEHIRUH± EXWLW¶VQRORQJHU
confined to the higher social orders. Anyone with enough disposable income can
participate......worryingly, in order to fund our conspicuous consumption, we have
become a nation living on credit..´ (Church Gibson, 2006, p.25).
&KXUFK *LEVRQ¶V characterization of a society dominated by unrestrained levels of
consumption, fully dependant on bank credit to maintain lavish lifestyles is very pertinent
when we examine the effect this unsustainable model has had on the fashion industry as a
whole since the full extent of the economic crisis was realised.
The current uncertain economic situation was created by a boom in financial growth which
developed into economic bubbles in various financial assets and commodities (Gamble,
2009, p.19). Speculation in these markets culminated in a series of crashes, with the burst of
the housing bubble in 2008 crashing the financial markets and sending the world into a
global recession (Ibid, 2009, p.19). This insecurity combined with the rise in unemployment
has had a radical effect on the general SXEOLF¶V spending habits. The culture of limitless credit
has been replaced with a need for saving and precaution. Empty premises, closing down
sales and an influx of discount retailers are increasingly common place on the British high
street. ,Q KLV DUWLFOH *HRJKDQ H[SODLQV ³7KH PRVW YLVLEOH HYLGHQFH RI WKH UHFHVVLRQ LV
evident with a walk down any High Street. Vacancy rates trebled in the first six months of the
year, according to some analysts´ (Geoghegan, 2009). The fall in consumer spending
combined with the rising cost of production and materials such as cotton has had a
devastating effect on a multitude of high street brands. In recent times, a host of familiar
names such as Jane Norman, Viyella, Adams, Elvi, USC, Principles, JJB Sports, and High &
Mighty have gone into administration. Some have recovered while others have been bought
over, or restructured, yet many have ceased to exist (Centre for Retail Research, 2011). The
decline in these household names is concurrent with a new UHWDLO SKHQRPHQRQ ³it was
reported that there were 1,423 discount stores in the UK, an increase of 60% since the start
of the downturn.... Discount stores have even moved into more affluent areas like Tunbridge
Wells and Stratford-upon-Avon (Geoghegan, 2009).
The effect of this economic downturn on consumers and retailers in Belfast is evident. One
area which has seen the effects of recession is the Lisburn Road, a location renowned for its
upmarket independent boutiques. This cosmopolitan area offers a wide variety of product
ranges including designer fashions, art and antiques, interior design solutions, gifts, and
accessories. The products on offer are both locally and internationally sourced. Designer
wedding gowns from the catwalks of New York are merchandised next to locally crafted
designer jewellery. Local artists and craftsmen display next to luxury foreign names.
Although renowned for up-market designer products, the retailers in this area have been
adamant supporters of local designer-makers. The relationship between the designer-maker
and the retailer has been developed in a variety of ways including pre-order, sale-or-return
basis, special commissions, or exhibited works in the various galleries and showrooms.
These stores provide essential support, exposure and income for designer-makers who often
cannot afford retail space themselves at such prime locations.
This location in the heart of cosmopolitan Belfast has seen a decline in business as a result
Figure 1: Derelict shops in Belfast city centre
of the economic downturn. In 2010, approximately 40 premises stood empty with a variety of
liquidation and sale signs prominently displayed in the windows (Canning, 2010). For many
traders, Saturday, traditional the busiest shopping day on the Lisburn Road, saw sales drop
to between 1/3 and 1/4 of prerecession rates (Ibid, 2010). Poor sales figures combined with
the inflated rents and excessive property taxes (Ibid, 2010) associated with such prime retail
location make the viability of independent boutiques in such locations difficult. Annually,
Lisburn Road retailers can pay as much as …12,000 in rates and …21,500 for rent (Ibid,
2010); although the recession has had a detrimental effect on house and building prices,
there has been no significant correlation with the rent and rates. These difficulties are
prevalent throughout this region as according to the British Retail Consortium(BRC) Northern
Ireland had the highest rate of town centre shops vacant in May 2011 at 17.1%, the highest
in the UK (BRC, 2011) (See Fig. 1).
The difficulty of trading in a recession combined with the ready availability of cheaper fast
fashion alternatives from the realms of the mass manufactured high street retailers make
trading conditions for independent boutiques additionally difficult. The dominance of these
fast fashion emporiums during this period is evident when we consider that in 2009 Primark,
the powerhouse of budget fashion saw its profits increase by WR…PLOOLRQ (Jonathon,
2009).
The credit crunch has undoubtedly impacted consumer habits with a knock-on effect for
many retailers but how has this downturn impacted on more specialised market inhabited by
local designer-makers. How has the designer-maker approach to business changed to
remain competitive during an era of austerity? In the words of John Galliano, ³this is a credit
crunch, not a creative crunch´ (Socha, 2009) but have these uncertain economic times had
DQLQIOXHQFHRQWKHFUHDWLYHRXWSXWRIWRGD\¶Vdesigners and designer-makers.
Graduate designers and designer-makers in an age of austerity
Northern Ireland, with a population with just over 1.7 million (NISRA, 2011) offers a relatively
small job market and limited positions in relevant fields for graduates of fashion and textile
design courses. For many graduates, relocation to mainland Britain or further afield is
common to secure a position related to their undergraduate study. In general, regardless of
location, it has always been difficult for graduates to break into the fashion and textiles
industry but the recession has made the transition even more difficult (Cavazza, 2011 a).
According to the Higher Education Careers Service (HECSU), more than 21,000 students
who graduated in 2009 remained unemployed 6 months later, the highest rate in 17 years
(Ibid, 2011 a). It is estimated that for every position announced, an average of 70 applicants
are received (Ibid, 2011a). In this saturated employment market and in a small geographical
location such as Northern Ireland, the statistics are discouraging.
In addition to lack of job opportunities, graduates of British fashion and textiles courses are
often considered to lack the technical and business know-how to secure a position they
desire with-in the industry. This is a point highlighted by Jackson in The Fashion Handbook,
³%ULWDLQ LV JHQHUDOO\ FRQVLGHUHG WR EH WKH WUDLQLQJ JURXQG IRU WDOHQWHG DQG
innovative fashion designers who are free thinking radicals... While there is little
doubt about the creative talent of British fashion designers, concern exists over
an inability to capitalise on their talent and achieve success´2006, p.40)
Although in Northern Ireland the fashion and textiles sector accounts for 10,000 jobs in 1,800
workplaces (Skillset, 2011. p.10) the majority of these jobs are low level positions in sewn
operatives, laundry, dry-cleaning, and alterations. Nonetheless, the Skillfast UK survey
indicates a shortage of designers and pattern cutters (Ibid, 2011, p.38). Lack of suitable
technical and business knowledge is one factor that can be attributed to this disparity,
leading to a shortage of suitably trained individuals. According to the Skillfast-UK employer
survey conducted in 2008, 29% of Northern Irish fashion and textile firms surveyed employed
a designer within the productive sector of fashion and textiles; however 74% of these
exclaimed that recent graduates lacked the necessary technical skills for a job in this sector
while 55% highlighted a lack of business acumen as a problem (Skillset, 2011. P.38).
Qualifications in textile engineering, garment technolgy and other technical disciplines related
to these industries are not readily available in local further eductaion institutions. The
intensity of design courses allows little time to cover additional areas of expertise in sufficient
detail. Cathy Martin, the director of Belfast Fashion Week also highlighted this need for
experience to enhance graduate employability especially in the wake of the recent period of
austerity. She reiterated the importance of work experience and networking at any kind of
fashion and textile related event (Martin, C., 2011).
Despite a discrepancy in skills of graduates, employers in Northern Ireland are adamant that
the role of designer is a vital link which spans all sectors of their business ensuring
commercially and technically viable products (Skillset, 2011, p.38). Nonetheless, regardless
of a positive approach to the value of designers within this sector, it is disconcerting to
analyse the Northern Ireland fashion and textiles manufacturing sales figures which have
GURSSHG IURP …PLOOLRQ LQ 9 WR …PLOOLRQ LQ (Skillset,2010, p. 17.
Source: DETI (Department of Trade, Enterprise and Investment), a drop of 55% suggesting
an industry in decline and consequently a narrowing job market.
It is difficult to ascertain the exact number of designer-makers working on an individual
capacity in the field of fashion and textiles in Northern Ireland. Craft NI confirms more than
300 businesses employing over 500 people in the province (Craft NI, 2007). They define this
sector as those makers whose practice is linked to lifestyle, fashion, and critiques of
contemporary art practices, and according to their 2006 socio-economic survey 27% of
respondents were actively working in the field of textiles (Craft NI, 2006), one of the most
dominant fields of practice with the majority self-employed. Another source, The Design
Council of the UK in their 2010 report conclude there are 3, 833 designers in Northern
Ireland, an increase of 41% on 2003, suggesting a growth in creative industries, of these
three percent are operating in the fashion and textile sector (The Design Council, 2010).
With a large number of graduates and a lack of employment opportunities, the figures would
suggest that many graduates in the creative industries have developed their own businesses
in recent years. This is a viable option for many but there are numerous intricacies involved
in developing and running such a business. A competency in design, production, sourcing,
public relations, marketing and sales are required to successfully launch the business. Selfemployed designer-makers are increasingly working in an interdisciplinary manner while
dealing with the complexities of managing a micro-business (Gale & Kaur, 2002, p.49), many
have second jobs to support their income, and finding a balance can prove difficult. Added to
this, the additional challenge of starting developing a business in a period of economic
austerity can be particularly discouraging.
Belfast based textile artist Rachel Hutchinson has experience in the complexities of starting
and running a business in Northern Ireland, from both a full-time and part-time perspective,
and has seen the effect that the economic downturn has had on her textile business. From
2006 to 2009, she was full-time self-employed, creating decorative textile artwork (Fig. 2).
Hutchinson, who has a first class honours degree in textiles, explains how her final year at
university offered valuable advice on marketing her work and running a business but also
underlined the reality of employment opportunities. She admits that to cater for her target
market her work has becomH PRUH FRPPHUFLDO VLQFH OHDYLQJ XQLYHUVLW\ ³0\ GHJUHH ZDV
very conceptual and gallery based which was received well on the UK mainland but not in
Northern Ireland´( Hutchinson, R., 2011).
Hutchinson points to several difficulties when establishing a textile business in Northern
,UHODQG6KHH[SODLQVWKDWWKH³DUWV´VFHQHFDQEHTXLWHLQVXODUDQGEHOLHYHVWKHUHDUHODFNRI
opportunities, information, and support for new designer-makers. Nonetheless various
agencies do offer financial and advisory support, Hutchinson herself has previously received
a grant from the business development agency Invest NI and has been successful with
several Arts Council of Northern Ireland grant applications.
Hutchinson is conscious of how the economic GRZQWXUQKDVLPSDFWHGRQKHUEXVLQHVV³DVD
luxury product, there is less demand and people are less likely to have disposable income to
EX\ P\ ZRUN´ ,Q DIWHU DFFHSWLQJ VRPH SDUW-time lecturing and workshops to
supplement her income, Hutchinson became less content with her running own business fulltime. In 2010, she moved to full-time employment but continues to create textiles on a parttime basis. With her most recent
textile work, Hutchinson admits
that she has reduced the amount
of detail and hours spent on each
piece. Although she feels she is
sacrificing her style somewhat,
she believes that in the current
climate it is a necessity,
H[SODLQLQJ ³(YHU\RQH LV ORRNLQJ
for a bargain ± in Belfast people
will pay a lot of money for a
painting but textiles do not have
WKHVDPHSUHVWLJH´,ELG
Getting the product to the
marketplace is one obstacle
which frequently proves difficult
for the self-employed designer-maker especially in the beginning when they have yet to
develop a reputation. Often working from home, or a private studio space, attracting a
customer base can prove challenging. Individual retail space, for most, is unattainable, for
the majority participation in craft fairs and markets is their primary means of generating
business (Craft NI, 2006). Marketing the product correctly is of utmost important to Harriett
Figure 2: Textile artist Rachel Hutchinson. Photograph: Glen Norwod
Moore-Boyd, the designer-maker behind Pink Unicorn, a brand producing wearable textile
designs utilizing knitwear, weave, felt and lace (Pink Unicorns, 2011). Self-taught, she has
gradually built her business over the last ten years to the level it is at today which she
GHVFULEHV DV ³D FRPIRUWDEOH LQFRPH OHYHO´ (Moore-Boyd, H., 2011). After a considerable
investment in both the development of the company, and the production of her crafts, MooreBoyd rightly highlights an issue of concern for many established designer-makers, the
credibility of the growing number of craft shops and fairs. As she H[SODLQV ³)DU too many
HYHQWVSURPRWHGDVµFUDIWIDLUV¶DUHDFWXDOO\JORULILHGcar boot sales. Taking a creative product
to this environment is not good for your profile. Potential customers are looking for a bargain,
they GRQRWDSSUHFLDWHFUHDWLYHLWHPVDQGZLOOQRWSD\RUZLOODWWHPSWWREDUJDLQ´ (Ibid, 2011).
For this reason, Moore-Boyd prefers to participate in more prestige craft events such as
CraftFest at Castle Ward, and to sell in reputable stores such as SpaceCRAFT, targeting
high income visitors and tourists alike. Like many designer-makers, Moore-Boyd
acknowledges that WKH µHFRQRPLF FULVLV¶ KDV impacted on her business, she states that
SHRSOHVWLOOZDQWWREX\EXW³ZDQWJRRGTXDOLW\XQLTXHLWHPVLQORZHUSULFHUDQJHV´(Ibid,2011).
As a result, she produces fewer high value items and prefers to focus on selling lower priced
ranges which have increased in sales.
Working with commercial outlets can likewise prove difficult for designer-makers in the
fashion and textiles sector, and particularly for new start-ups. Many outlets work on a sale-orreturn basis, offering no money up-front and often leaving the designer-maker short of capital
for indefinite periods. Even for designer-makers who work with designated stores on a preorder basis, maintaining a profitable wholesale price which is low enough to remain
affordable for the end customer after the outlet has added their own mark-up proves difficult.
Private commissions direct to the customer or established craft collective initiatives are by far
more lucrative.
Some designer-makers such as Jacki Sleator (Fig. 3), a felt-maker, are equally motivated to
impart their craft skills to others, as to get their product to market. Sleator, who has a City &
Guilds qualification in fashion and design, began her felt-making business five years ago via
self-funded workshops. She was fortunate in 2010 to receive funding from the Arts Council of
Northern Ireland under its Creative Industries
Innovation Fund. This enabled Sleator to
launch her own website, advertise the
business, hire venues, and buy materials.
Sleator sells her product primarily through craft
shops and through commission, timeconstraints inhibit craft-fair participation. She
conducts workshops which provide an
additional income especially during slow sales
periods such as after Christmas; these also
help to promote her name and raise awareness
of craft.
Sleator recognizes that the economic downturn
has impacted on the sector with customers
being more cautious; however she insists that
there are still wealthy customers with disposable income. She maintains that although
Figure 3: Jacki Sleator Scarf Design
Northern Ireland does not seem to have a tradition of supporting craft enterprises, she
EHOLHYHV ³DUW DV FROOHFWLEOHV´ VXFK DV ZDOO-hangings, sell very well and can still command
high prices.
For many designer-makers the recent growth in new technology such as the internet and
social media has proved significant, and has helped enormously with the sales process. For
many, it is indispensable and the foundation on which to grow the business, a point
underlined by Black in Eco-Chic: 7KH)DVKLRQ3DUDGR[³6PDll designer companies are able
to have a presence in the international fashion market in the virtual world, competing with
companies who have vast commercLDOLQIUDVWUXFWXUHVEHKLQGWKHP´ (Black, 2008, p.83). For
the designer-maker, an online sales facility, eradicates the need for high retail rents, and
uncooperative and unproductive relationships with commercial outlets, instead allowing an
easier and more lucrative relationship direct with the end consumer.
For accessory designer Catherine-B Designs, the internet has proved indispensable to the
growth
of
her
business (Fig. 4).
Supplying a variety
of stores in Northern
Ireland
and
the
Republic of Ireland,
Catherine B Designs
offers
various
standard collections
for retailers as well
as a custom-made
service. The website
facilitates ordering
for commercial and
private customers alike,
Figure 4: A well organised website is vital for all designer-makers
showcasing
the
full
collection alongside colour variations and prices. Working with a website not only provides a
more direct route to the final customer, but also helps to gain exposure and portray a more
professional brand. To maximise customer growth and satisfaction, Catherine B Designs also
offer a bespoke service, particularly popular with the wedding market as brides-to-be search
for one-of-a-kind pieces. Private consultations with the designer-maker offer a unique
shopping experience, and a participatory role in the design process as the consumer
becomes a co-designer in the final product. Social networking, such as Facebook, also play
an important role in this type of business model; prospective customers are able to interact
with established customers, initiate debates, view collections, follow promotions, and identify
up-coming events (Burns, C., 2011).
In addition to the aforementioned difficulties of establishing a business in any climate,
designer-makers in the field of fashion and textiles are also competing for customers with
every other retailer in the market from high street to designer level. In a period of economic
austerity, this competition becomes all the more apparent as consumers become more
prudent. In recent years, the growth of fast fashion has made clothes much cheaper relative
to income in comparison to a few decades ago (Black, 2008, p.14). The consumer has
become accustomed to low price tags. It is therefore unfeasible for the designer-maker to
compete with these price scales and for that reason essential that their product ranges have
the added value worth that merit their higher prices.
Support networks and local initiatives to counteract the economic downturn
As the number of graduates embarking on their own businesses has risen over recent years,
so too have local initiatives to support, and promote these entrepreneurs. Contrary to
expectation, during the economic downturn, there has been a considerable rise in
programmes and events related to the creative industries in Northern Ireland, and within the
spectrum of fashion and textiles, a plethora of projects have been launched.
The Craft & Design Collective is an independent organisation established to support artists
and designer-makers. Founded in 1997, it facilitates the development and promotion of craft,
applied arts, and design in Northern Ireland through a variety of initiatives and events (Craft
& Design Collective, 2011). A comprehensive website offers the designer-maker an online
presence on a gallery web-page; monthly newsletters keep members updated on current
happenings, and offer indispensable networking and promotion opportunities. With many
designer-makers working alone and in remote locations the collective is an indispensable
life-line to others in the craft community, as well as a direct route to the end consumer. One
key initiative of the collective is SpaceCRAFT, a shop, gallery, and exhibition area located in
Belfast city centre which opened in 2007 (Ibid, 2011). It provides members with a prominent
location to exhibit, promote, and sell work while also offering a permanent focal point for
those interested in commissioning work. The Craft & Design Collective has currently 143
members from all fields of craft, applied art and design, with 36 actively involved in the field
of textiles (Ibid, 2011). Textile and fibre artists, accessory, apparel and interior designs are all
featured in a variety of media and techniques, including silk screen printing, knit, weave
HPEURLGHU\ EDWLN TXLOWLQJ DSSOLTXp DQG IHOWLQJ. Designer makers are listed with contact
details including email and websites, offering the possibility of easy and direct contact with
the individual members.
Another high profile and much publicised event on the calendar is Belfast Fashion Week, the
first consumer fashion week in the British Isles, organised by Cathy Martin PR and supported
by Belfast City Council and a variety of city bodies. Martin explains the inspiration behind
Belfast Fashion Week which was started in 2004 as ³DYLHZWRFUHDWLQJDFROOHFWLYHYRLFHIRU
retailers, designers and wider creative industry in Northern Ireland, all of whom were facing
limited media access and exposure due to low marketing budgets and/or personnel
resources. The creation of a group event ensured momentum, networking and a strong
SRVLWLYH VKRSSLQJ PHVVDJH´ (Martin, C., 2011) Developed in conjunction with the FLW\¶V
main fashion retailers; this now established event has been staged at various prestigious
venues across the city. Independent boutiques and local designers take advantage of the
opportunity to display their designs alongside big name brands in a fashion extravaganza
aimed at all ages and incomes. The week is comprised of numerous events, including
catwalk shows, gourmet lunches, workshops, and a spectacular finale. For the graduate
designer and new start-ups, events such as Belfast Fashion Week offer an invaluable
opportunity to maximise exposure at limited cost. Martin explains the benefits for young
designers trying to break into the business, ³,W DOORZV WKHP WR VKRZ WKHLU ZRUN WR D ZLGH
audience at one time ± plus being part of such a large event allows for PR which most of
them cannot afford´ (Martin, C., 2011).
2011 saw the first collaboration between Belfast Fashion Week and another growing event,
The Fashion Souk. The Fashion Souk is marketed as a fair fashion event aimed at designermakers, and fair fashion and accessory companies (The Fashion Souk, 2011). It is a biweekly happening featuring stalls selling locally designed, ethically sourced, up-cycled,
vintage and second-hand fashions. Exhibitors are charged a minimal fee for the stall rental
which includes the comprehensive marketing of the event, the use of flyers for promotion,
and features on the website and monthly newsletter.
In recent years, numerous
events
have
emerged,
offering
local
designermakers valuable exposure
and a regular place to sell
their creations. The Sunday
St Georges Market (Belfast
City Council, 2011a) was
developed by Belfast City
Council as an extension to
the traditional fesh produce
market. Local crafts people
offer a variety of products in
a
convivial
atmosphere
supported by local musicians
Figure 5: Trade fairs offer the opportunity to attract commercial outlets, and
and a plethora of speciality
often to sell directly to the public
food
purveyors.
Other
regular events within the
Belfast area include, The Black Market alternative craft market, and the Wedding Journal
Show trade show event (Fig. 5).
Several prominent initiatives put together and supported by local sector-lead and government
bodies are also aimed at the growing sector of newly developed designer-makers as a
business support mechanism.
Craft NI's making it programme was established in 2005 to support designer-makers in the
establishment of their craft businesses (Craft NI, 2011a). This 2 year support programme
offers practical help in the form of a business support programme, work placements, studio
space, and funding opportunities. In addition, a network of expertise, links to the creative
industries, access to audiences and contemporary craft events offers valuable exposure for
the participants. To date, the programme has supported 26 participants working with 15 host
organisations in the development of their individual businesses (Ibid, 2011a). Designermaker 5DFKHO2¶1HLOOMRLQHGWKHmaking it programme in 2005. She commends the benefits
of the programme, explaining the challenge for her was to understand the complexities of the
non-creative side of her business such as finance, accounts, bookkeeping, and marketing
(Creative Choices, 2008). Like many recent graduates, she was confident of her ability as a
designer but feared the technicalities of running a business. Working with heavy duty textiles
to create sculptural interior designs and installatioQV2¶1HLOOKDVJDLQHGLQWHUQDWLRQDODFFODLP
with her designs which are now exhibited and sold worldwide including London, Paris, and
New York (Craft NI, 2011b).
The Thimble Programme is another initiative created as a development programme to assist
existing fashion designers improve and grow their own businesses. It was developed as a
joint venture between Belfast City Council and Skillfast-UK, the Sector Skills Council for
Fashion and Textiles, and is supported by the European Union Development Fund. Focused
primarily on essential business skills required in the fashion design sector including business
plans, funding possibilities, financing solutions, marketing, and exporting, this course aims to
provide invaluable skills for the successful launch of a small business in the fashion sector
(Belfast City Council, 2011b).
Throughout Belfast and Northern Ireland, many courses, development funds, craft fairs,
markets, and fashion events have been developed in recent years. Whether they have
increased as a direct result of the economic downturn or are simply to facilitate a growing
creative sector remains unclear but for many designer-makers, these initiatives have played
an important role in the development and continued success of their business.
Conclusion
Despite the climate of austerity, it is apparent that the community of designer-makers in
Northern Ireland are mobilizing themselves and taking advantage of the various initiatives at
their disposal to grow their businesses. The growing number of craft and fashion events
indicates a market for these products, although a definite change in consumer attitudes is
perceptible, with less money available for non-essential luxuries. The majority of designerPDNHUV KLJKOLJKWHG D QHZ ³EDUJDLQ-KXQW´ PHQWDOLW\ Dmongst consumers making high priced
products difficult to sell, and seeing new strategies develop in terms of sourcing materials
and production practices to maintain lower price levels.
The designer-makers also highlighted the difficulties of developing their business. For most it
was a self-funded venture, grown slowly over several years. Many criticized a lack of support
but nonetheless had been successful in securing one of numerous grants or awards which
are available from a variety of government and development bodies.
For some designer-makers a crucial strategy for recessionary times is to distinguish the
value added worth in the product, whether that is luxury components, high quality
workmanship, or a professional approach to business. In addition, a greater level of
customer service establishes a strong reputation and ensures that customers will return or
recommend the brand to others. Identifying and understanding the needs of the consumer is
critical, finding an appropriate sales location, or targeting the correct craft fair is essential.
In addition, the ability to quickly embrace new technologies to advance their business allows
WRGD\¶V GHVLJQHU-maker to compete in the market place against stiff competition from all
sectors of the global fashion and textile industry. Even with less consumer spending, the
designer-maker has been able to use these technologies to their advantage, to secure a
niche market while offering a new superior customer service which allows for the careful
nurture of a devoted customer base. More importantly for many designer-makers, this new
media has become instrumental as a way of moving their product to the market place, cutting
out the middle man, and providing an easier and more profitable alternative to supplying
retailers. Even from a remote location, it is an excellent tool for networking with customers,
retailers and fellow craftspeople alike.
A positive inadvertent repercussion of the credit crisis from which the designer-maker could
ultimately benefit is the consumers more ethical stance. For many, these new found
principles have been born out of necessity, for others it has been a more conscious decision,
a criticism of our era of over-consumption and the ramifications with which we have been left.
These new consumer trends are apparent in many instances from a new make-do-and-mend
culture, to the increase in second-hand or remodelled designs, to fair-trade products, and
organic lines. The Fashion Souk is one initiative which is challenging the normal principles
and processes of garment production, designing, sourcing and marketing.
Equally,
consumers are beginning to question the origin of their purchases, and are keen to avoid
brands seen to be supporting unethical production in developing countries. Concurrent with
this new trend, the designer-maker has the distinct advantage of being able to guarantee the
customer a locally fairly produced product, and should utilize this positively as a philosophy
on which to move their business forward.
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