Newsletter No.30 26 August 2016
VISCONTI LAUNCHES NEW WEBSITE
Jane Curtis, Visconti Chief Executive Officer
The objective of the website is to highlight the outstanding service and top quality hangers offered by Visconti, focusing on its customers and adhering to ethical business practices.
“Quality is not negotiable,” says Jane Curtis, Visconti Chief Executive Officer. “Our customers are at the heart of everything we do. This focus underpins our approach to business and our aim to add further value to our customer partnerships. The objective is to simplify the hanger selection process.”
The website design is stylish, but clean and simple. It will assist hanger decision makers in the clothing retail fashion industry, and highlights Visconti’s global footprint and technical expertise in the design and manufacture of plastic garment hangers.
The website layout enables fast, easy navigation through Visconti’s extensive hanger range, right down to logistical information and image with zoom functionality.
“We believe that this will be a useful tool in finding the most suitable hanger solution to meet our customers’ needs, and we look forward to becoming more active in the digital space,” concludes Curtis.
Visit the new website www.viscontihangers.com
Scan QR code
DSSA shapes South Africa’s future fashion desingers to sculpt with fabric
Describing fashion design as ‘sculpting with fabric’, Terese Potgieter says that “a design qualification should incorporate a user based approach to solve real-life problems and must consider good aesthetics. A greater focus on entrepreneurial thinking will reposition the way in which we approach fashion degrees”. This will be Potgieter’s focus as the Design School of Southern Africa’s (DSSA) newly appointed programme manager of fashion.
“Fashion is a reflection of identity and culture, and communicates the value system of an era. Furthermore, to be a successful designer requires not only an understanding of the social aspect of fashion but also the creative, the technical and practical components of design. Fortunately, The Independent Institute of Education (The IIE) fashion degree available at DSSA, an educational brand of The IIE, exemplifies these values perfectly. While it’s both challenging and interesting to construct fabrics into a garment, it is also important to consider the entrepreneurial side, such as issues of branding and merchandising,” explains Potgieter.
DSSA believes that Potgieter’s appointment embodies The IIE’s values of moulding forward thinking students. Nicky Stanley, DSSA’s National Marketing Manager says, “Appointing Terese reflects the need for education to instil in students technical and creative fashion design skills while simultaneously fostering entrepreneurial and critical thinking expertise.”
“By doing this we will be providing future fashion designers with the necessary skills to succeed and adapt within the competitive South African economy. Terese is currently sitting a master’s degree in fashion, with her thesis being one of the first studies undertaken to look at the professional practice of well-known South African designers. Her experience will in turn ensure The IIE fashion degree available at DSSA meets the future needs of the industry,” continues Stanley.
Potgieter launched her own clothing line Nooi in 2010 after she was chosen as one of three national graduates to showcase her final-year collection at the Audi Joburg Fashion Week. This has given her valuable trade experience and insight into fashion trends.
“It is an exciting time in the local fashion industry. We are seeing the rise of a strong, uniquely South African aesthetic, together with a growing youth interest in fashion design. There are a lot more opportunities for young designers to start their own labels. The increased competition amongst emerging designers pushes them to stand out by being more innovative and creative. The South African fashion industry is still relatively young in comparison to the European and American markets. However, a lot of our locally-designed luxury garments are more affordable than international luxury brands, opening the door for our fashion entrepreneurs to establish export markets,” adds Potgieter.
She believes that local production techniques of independent designer labels are generally more ethical than other regions such as the Asian market, as most local designers practice slow fashion. This taps into increasing international demand for ethical production practices and affordable pricing. Furthermore, the international fashion market is placing a bigger emphasis on sustainability. Potgieter believes that sustainability speaks to consumers becoming more conscious of the amount of garments they purchase. “Sustainability is becoming more important, so I think in future, garments will start becoming multi-functional, allowing us to buy less.”
Further encouragement of the local industry comes from emerging fashion trends which favour strong aesthetics, fabrics and prints that are uniquely South African. With all these advantages, Potgieter believes the South African fashion industry should in the future; begin moving more into the retail sector. “Local brands have every possibility of becoming preferred to international fashion brands,” continues Potgieter.
Along with her industry experience, Potgieter has strong teaching credentials, having been a full time lecturer at DSSA since 2011. In addition to DSSA she has been lecturing part time at the University of Johannesburg and at the Spero Villioti Design Academy since 2015. She also won the 2014 Charles Freysen award for teaching excellence at DSSA, and describes education as her true passion.
“The knowledge and experience I gained from running a clothing label bettered my teaching methods when I started lecturing. I have always had a love for intellectual and creative problem solving. As an educator it is important to stay up to date with industry trends and continuously expand your knowledge. Therefore, in 2014 I started working towards a master’s degree to gain in-depth understanding of the complex nature of fashion design,” concludes Potgieter.
Intertextile Shanghai Home Textiles – Autumn Edition begins August 24
Intertextile Shanghai Home Textiles – Autumn Edition begins August 24,
featuring 1,150 exhibitors from 30 countries sprawled across 160,000 square metres. Participating brands in home fashion, bedding, upholstery and the like include Armonia di Interni, Boeme, Designers Guild, LaCanTouch, Zimmer + Rohde, Ateja, Culp, Advansa and Brinkhaus among others.
The 6 halls where the exhibitors will showcase their product lines will see over 30 brands such as Armonia di Interni, Boeme, Designers Guild, LaCanTouch and Zimmer + Rohde alongside exhibitors showing products in the Whole-Home concept.
Hall 4.1 will have seven overseas country and region pavilions from Belgium, India, Morocco, Pakistan, Portugal, Taiwan and Turkey.
Hall 4.1 will have upholstery brands such as Ateja, Celesta, Culp and Enzo Degli Angiuon; and bedding and towelling brands such as Advansa, Brinkhaus and Cotton Council International.
There will also be design studios like Antoinette Et Freddy, Atelier Mineeda and Cosmo Kumagaias; as well as companies specialising in digital printing such as Atexco, D.Gen, Digitex and Epson.
Additionally, there will be four Chinese regional pavilions in the domestic halls as well as themed halls to facilitate sourcing by buyers. (AR)
Did you know….
Facts About Clothes Rationing In Britain During The Second World War
The ‘Make Do and Mend’ campaign was launched to encourage people to make their existing supplies of clothes last longer. Clothes care was a key part of the Make Do and Mend message. Posters and leaflets were circulated with advice on subjects including how to prevent moth damage to woollens, how to make shoes last longer or how to care for different fabrics. As the war went on, buying new was severely restricted by coupon limits and no longer an option for many people. The ability to repair, renovate and make one’s own clothes became increasingly important. Although shoppers would have to hand over coupons for dressmaking fabric as well as readymade clothes, making clothes was often cheaper and saved coupons. Make Do and Mend classes took place around the country teaching skills such as pattern cutting. Dress makers and home sewers often had to be imaginative and experimental in their choice of fabrics. Despite disliking much of the official rhetoric to Make Do and Mend, many people demonstrated great creativity and adaptability in dealing with rationing. Individual style flourished. Shortages necessitated imaginative use of materials, recycling and renovating of old clothes and innovative use of home-made accessories, which could alter or smarten up an outfit. Many women used furnishing fabrics for dressmaking until these too went on the ration. Blackout material, which did not need points, was also sometimes used. Parachute silk was highly prized for underwear, nightclothes and wedding dresses.
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