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Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

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Managing creativity in luxury fashion houses: raf simons at dior description.

The case investigates the role of creative directors in the luxury fashion industry. When in October 2015 Raf Simons quit Christian Dior, industry observers wondered why anyone would voluntarily walk away from such an esteemed fashion house, and who would replace him. Beneath the glamorous veneer, the luxury and fashion industry puts tremendous stress on creative directors. Some crack up (John Galliano), other commit suicide (Alexander McQueen), and many launch proprietary labels.

Case Description Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

Strategic managment tools used in case study analysis of managing creativity in luxury fashion houses: raf simons at dior, step 1. problem identification in managing creativity in luxury fashion houses: raf simons at dior case study, step 2. external environment analysis - pestel / pest / step analysis of managing creativity in luxury fashion houses: raf simons at dior case study, step 3. industry specific / porter five forces analysis of managing creativity in luxury fashion houses: raf simons at dior case study, step 4. evaluating alternatives / swot analysis of managing creativity in luxury fashion houses: raf simons at dior case study, step 5. porter value chain analysis / vrio / vrin analysis managing creativity in luxury fashion houses: raf simons at dior case study, step 6. recommendations managing creativity in luxury fashion houses: raf simons at dior case study, step 7. basis of recommendations for managing creativity in luxury fashion houses: raf simons at dior case study, quality & on time delivery.

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Case Analysis of Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior is a Harvard Business (HBR) Case Study on Leadership & Managing People , Texas Business School provides HBR case study assignment help for just $9. Texas Business School(TBS) case study solution is based on HBR Case Study Method framework, TBS expertise & global insights. Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior is designed and drafted in a manner to allow the HBR case study reader to analyze a real-world problem by putting reader into the position of the decision maker. Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study will help professionals, MBA, EMBA, and leaders to develop a broad and clear understanding of casecategory challenges. Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior will also provide insight into areas such as – wordlist , strategy, leadership, sales and marketing, and negotiations.

Case Study Solutions Background Work

Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study solution is focused on solving the strategic and operational challenges the protagonist of the case is facing. The challenges involve – evaluation of strategic options, key role of Leadership & Managing People, leadership qualities of the protagonist, and dynamics of the external environment. The challenge in front of the protagonist, of Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior, is to not only build a competitive position of the organization but also to sustain it over a period of time.

Strategic Management Tools Used in Case Study Solution

The Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study solution requires the MBA, EMBA, executive, professional to have a deep understanding of various strategic management tools such as SWOT Analysis, PESTEL Analysis / PEST Analysis / STEP Analysis, Porter Five Forces Analysis, Go To Market Strategy, BCG Matrix Analysis, Porter Value Chain Analysis, Ansoff Matrix Analysis, VRIO / VRIN and Marketing Mix Analysis.

Texas Business School Approach to Leadership & Managing People Solutions

In the Texas Business School, Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study solution – following strategic tools are used - SWOT Analysis, PESTEL Analysis / PEST Analysis / STEP Analysis, Porter Five Forces Analysis, Go To Market Strategy, BCG Matrix Analysis, Porter Value Chain Analysis, Ansoff Matrix Analysis, VRIO / VRIN and Marketing Mix Analysis. We have additionally used the concept of supply chain management and leadership framework to build a comprehensive case study solution for the case – Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

Step 1 – Problem Identification of Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior - Harvard Business School Case Study

The first step to solve HBR Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study solution is to identify the problem present in the case. The problem statement of the case is provided in the beginning of the case where the protagonist is contemplating various options in the face of numerous challenges that Fashion Simons is facing right now. Even though the problem statement is essentially – “Leadership & Managing People” challenge but it has impacted by others factors such as communication in the organization, uncertainty in the external environment, leadership in Fashion Simons, style of leadership and organization structure, marketing and sales, organizational behavior, strategy, internal politics, stakeholders priorities and more.

Step 2 – External Environment Analysis

Texas Business School approach of case study analysis – Conclusion, Reasons, Evidences - provides a framework to analyze every HBR case study. It requires conducting robust external environmental analysis to decipher evidences for the reasons presented in the Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior. The external environment analysis of Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior will ensure that we are keeping a tab on the macro-environment factors that are directly and indirectly impacting the business of the firm.

What is PESTEL Analysis? Briefly Explained

PESTEL stands for political, economic, social, technological, environmental and legal factors that impact the external environment of firm in Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study. PESTEL analysis of " Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior" can help us understand why the organization is performing badly, what are the factors in the external environment that are impacting the performance of the organization, and how the organization can either manage or mitigate the impact of these external factors.

How to do PESTEL / PEST / STEP Analysis? What are the components of PESTEL Analysis?

As mentioned above PESTEL Analysis has six elements – political, economic, social, technological, environmental, and legal. All the six elements are explained in context with Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior macro-environment and how it impacts the businesses of the firm.

How to do PESTEL Analysis for Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

To do comprehensive PESTEL analysis of case study – Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior , we have researched numerous components under the six factors of PESTEL analysis.

Political Factors that Impact Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

Political factors impact seven key decision making areas – economic environment, socio-cultural environment, rate of innovation & investment in research & development, environmental laws, legal requirements, and acceptance of new technologies.

Government policies have significant impact on the business environment of any country. The firm in “ Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior ” needs to navigate these policy decisions to create either an edge for itself or reduce the negative impact of the policy as far as possible.

Data safety laws – The countries in which Fashion Simons is operating, firms are required to store customer data within the premises of the country. Fashion Simons needs to restructure its IT policies to accommodate these changes. In the EU countries, firms are required to make special provision for privacy issues and other laws.

Competition Regulations – Numerous countries have strong competition laws both regarding the monopoly conditions and day to day fair business practices. Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior has numerous instances where the competition regulations aspects can be scrutinized.

Import restrictions on products – Before entering the new market, Fashion Simons in case study Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior" should look into the import restrictions that may be present in the prospective market.

Export restrictions on products – Apart from direct product export restrictions in field of technology and agriculture, a number of countries also have capital controls. Fashion Simons in case study “ Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior ” should look into these export restrictions policies.

Foreign Direct Investment Policies – Government policies favors local companies over international policies, Fashion Simons in case study “ Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior ” should understand in minute details regarding the Foreign Direct Investment policies of the prospective market.

Corporate Taxes – The rate of taxes is often used by governments to lure foreign direct investments or increase domestic investment in a certain sector. Corporate taxation can be divided into two categories – taxes on profits and taxes on operations. Taxes on profits number is important for companies that already have a sustainable business model, while taxes on operations is far more significant for companies that are looking to set up new plants or operations.

Tariffs – Chekout how much tariffs the firm needs to pay in the “ Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior ” case study. The level of tariffs will determine the viability of the business model that the firm is contemplating. If the tariffs are high then it will be extremely difficult to compete with the local competitors. But if the tariffs are between 5-10% then Fashion Simons can compete against other competitors.

Research and Development Subsidies and Policies – Governments often provide tax breaks and other incentives for companies to innovate in various sectors of priority. Managers at Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior case study have to assess whether their business can benefit from such government assistance and subsidies.

Consumer protection – Different countries have different consumer protection laws. Managers need to clarify not only the consumer protection laws in advance but also legal implications if the firm fails to meet any of them.

Political System and Its Implications – Different political systems have different approach to free market and entrepreneurship. Managers need to assess these factors even before entering the market.

Freedom of Press is critical for fair trade and transparency. Countries where freedom of press is not prevalent there are high chances of both political and commercial corruption.

Corruption level – Fashion Simons needs to assess the level of corruptions both at the official level and at the market level, even before entering a new market. To tackle the menace of corruption – a firm should have a clear SOP that provides managers at each level what to do when they encounter instances of either systematic corruption or bureaucrats looking to take bribes from the firm.

Independence of judiciary – It is critical for fair business practices. If a country doesn’t have independent judiciary then there is no point entry into such a country for business.

Government attitude towards trade unions – Different political systems and government have different attitude towards trade unions and collective bargaining. The firm needs to assess – its comfort dealing with the unions and regulations regarding unions in a given market or industry. If both are on the same page then it makes sense to enter, otherwise it doesn’t.

Economic Factors that Impact Managing Creativity in Luxury Fashion Houses: Raf Simons at Dior

Social factors that impact managing creativity in luxury fashion houses: raf simons at dior, technological factors that impact managing creativity in luxury fashion houses: raf simons at dior, environmental factors that impact managing creativity in luxury fashion houses: raf simons at dior, legal factors that impact managing creativity in luxury fashion houses: raf simons at dior, step 3 – industry specific analysis, what is porter five forces analysis, step 4 – swot analysis / internal environment analysis, step 5 – porter value chain / vrio / vrin analysis, step 6 – evaluating alternatives & recommendations, step 7 – basis for recommendations, references :: managing creativity in luxury fashion houses: raf simons at dior case study solution.

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Louis Vuitton Case Study

Louis Vuitton is a French luxury fashion house founded in 1854. The brand has experienced significant growth and is now a global leader in the luxury goods industry. Key factors contributing to its growth include expansion into new markets, diversification of product offerings, a strong brand image, a digital presence, and collaborations with celebrities and influencers.

Explanation

Louis Vuitton is a luxury fashion house founded in 1854 in France. Over the years, the brand has experienced significant growth and has become a global leader in the luxury goods industry. Some key factors contributing to the brand's growth include

Expansion into new markets − Louis Vuitton has successfully expanded into new markets, particularly in Asia, where there is a growing demand for luxury goods.

Diversification of product offerings − Louis Vuitton has expanded its product offerings beyond just leather goods to include ready-to-wear clothing, shoes, jewelry, and other luxury products.

Strong brand image − Louis Vuitton has built a strong brand image and reputation, which has helped the company attract new customers and retain its existing ones.

Digital presence − Louis Vuitton has made significant investments in its digital presence, which has helped the brand reach a wider audience and drive sales.

Collaborations with celebrities and influencers − Louis Vuitton has successfully leveraged collaborations with celebrities and influencers to increase brand visibility and awareness.

Overall, Louis Vuitton's focus on expanding into new markets, diversifying its product offerings, building a strong brand image, investing in digital technologies, and leveraging collaborations with celebrities and influencers has been key to the brand's growth and success.

Business Model

The business model of Louis Vuitton is based on selling luxury products, including leather goods, ready-to-wear clothing, shoes, jewelry, and other accessories. The brand has a strong focus on quality and craftsmanship, and its products are marketed as luxury items with premium prices. Louis Vuitton operates its own retail stores as well as e-commerce platforms and department store partnerships to sell its products directly to consumers. The brand also collaborates with other luxury brands and designers to expand its product offerings and reach new audiences. Louis Vuitton also invests in marketing and advertising to build its brand image and reputation and maintain its position as a leader in the luxury goods industry. The business model of Louis Vuitton is built on several key points

Luxury product offerings − Louis Vuitton offers a range of luxury products, including leather goods, ready-to-wear clothing, shoes, jewelry, and other accessories.

Quality and craftsmanship − The brand places a strong emphasis on quality and craftsmanship, and its products are marketed as luxury items with premium prices.

Direct-to-consumer sales − Louis Vuitton operates its own retail stores as well as e-commerce platforms and department store partnerships to sell its products directly to consumers.

Collaborations − The brand collaborates with other luxury brands and designers to expand its product offerings and reach new audiences.

Marketing and advertising − Louis Vuitton invests in marketing and advertising to build its brand image and reputation and maintain its position as a leader in the luxury goods industry.

Innovation − Louis Vuitton consistently strives to innovate and stay ahead of trends in the luxury goods industry, whether it be in product design, manufacturing processes, or distribution channels.

Marketing Strategy

Louis Vuitton's marketing strategy is centered around building and maintaining a strong brand image and reputation as a luxury fashion house. Some key elements of the brand's marketing strategy include

High-end advertising campaigns − Louis Vuitton creates high-end advertising campaigns that feature famous models, celebrities, and influencers to promote its products and increase brand visibility.

Experiential marketing − Louis Vuitton uses experiential marketing techniques to engage customers and create a strong emotional connection with the brand. For example, the brand might host pop-up events, product launches, and other special experiences that allow customers to interact with the brand and its products

Influencer marketing − Louis Vuitton leverages collaborations with influencers to reach a wider audience and drive sales. These collaborations often involve the influencer promoting Louis Vuitton products on social media and other digital platforms.

Premium retail experiences − Louis Vuitton creates premium retail experiences in its own stores and in partnerships with department stores. This helps the brand maintain its luxury image and provide a high-end shopping experience for its customers.

Digital presence − Louis Vuitton has invested in building a strong digital presence, which includes a comprehensive e-commerce platform and active social media accounts. The brand uses these channels to reach a wider audience, promote products, and drive sales.

Overall, Louis Vuitton's marketing strategy is focused on building and maintaining a strong brand image and reputation as a luxury fashion house and engaging customers through high-end advertising campaigns, experiential marketing, influencer marketing, premium retail experiences, and a strong digital presence.

Swot Analysis

A SWOT (Strengths, Weaknesses, Opportunities, and Threats) analysis is a tool used to evaluate a company's internal and external factors that may affect its performance. The SWOT analysis of Louis Vuitton is as follows

Opportunities

Expansion into new markets, particularly in Asia

Expansion into new product categories

Expansion of e-commerce operations

Collaboration with other luxury brand

It includes

Increased competition in the luxury goods industry

Economic and political instability in key markets

counterfeit and knock-off products

Changing consumer preferences and attitudes towards luxury goods

By understanding the strengths, weaknesses, opportunities, and threats facing Louis Vuitton, the company can make informed decisions about how to continue growing and maintaining its position as a leader in the luxury goods industry.

Secret to Its Success

The secret to Louis Vuitton's success can be attributed to a number of factors, including

Focus on quality and craftsmanship − Louis Vuitton places a strong emphasis on quality and craftsmanship, and its products are marketed as luxury items with premium prices. This focus on quality has helped the brand build a strong reputation and maintain its position as a leader in the luxury goods industry.

Consistent innovation − Louis Vuitton consistently strives to innovate and stay ahead of trends in the luxury goods industry, whether it be in product design, manufacturing processes, or distribution channels. This helps the brand remain relevant and attract new customers.

Strong brand image − Louis Vuitton has built a strong brand image and reputation, which has helped the company attract new customers and retain its existing ones. The brand is associated with luxury, quality, and craftsmanship, and these positive associations have been key to its success.

Expansion into new markets − Louis Vuitton has successfully expanded into new markets, particularly in Asia, where there is a growing demand for luxury goods. This has helped the brand reach new audiences and drive growth.

Diversification of product offerings − Louis Vuitton has expanded its product offerings beyond just leather goods to include ready-to-wear clothing, shoes, jewelry, and other luxury products. This diversification has helped the brand reach a wider audience and increase its overall sales.

Marketing and advertising − Louis Vuitton invests heavily in marketing and advertising to build its brand image and reputation and maintain its position as a leader in the luxury goods industry.

Overall, Louis Vuitton's success can be attributed to its focus on quality and craftsmanship, consistent innovation, strong brand image, expansion into new markets, diversification of product offerings, and investment in marketing and advertising.

In conclusion, Louis Vuitton is a luxury fashion house with a strong brand image and reputation. Over the years, the company has built its success on the foundation of quality and craftsmanship, innovation, diversification of product offerings, and investment in marketing and advertising. With a focus on expanding into new markets and product categories, as well as leveraging its strong digital presence, Louis Vuitton is well positioned for continued growth in the future.

However, the company faces significant challenges, including increased competition, changing consumer preferences, and economic and political instability. By carefully navigating these challenges through smart business decisions and a commitment to its core values, Louis Vuitton is poised to maintain its position as a leader in the luxury goods industry for years to come.

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Luxury Fashion House Unifies Global Operations with SAP S/4HANA ® for Fashion

This global luxury fashion company is a leading designer and retailer of fashion accessories. It has three well-known brands which they sell through:

• Retail outlets
• Flagship stores
• Concession shops
• Department stores
• eCommerce websites

Locations include 55 countries on five continents, including Europe, Asia, and North America.

They focus on growth through acquisitions, so a core, central platform was integral.

The company wanted one SAP platform for a global, customer-first, intelligent enterprise experience. The goal was to standardize processes using SAP S/4HANA for fashion and vertical business in manufacturing, supply chain logistics, and finance.

Integrate the entire user experience by using a robust consumer database and analytical tools

Build a strong data infrastructure for faster integration of acquisitions and quicker access to shared information

Gain an omnichannel, customer-centric model to increase profitability, market products, and grow sales

Challenges:

• Lack of scalability: Current systems couldn’t scale in high-growth categories like footwear and outerwear
• Cost and time consumption: High costs and long timelines of mergers and acquisitions, including high-cost control models due to inconsistent configuration globally
• Lack of standardization: Customized solution had limited ability to simplify and reengineer processes
• Inconsistent processes: Employees in different locations were doing the same tasks differently with different tools

SAP S/4HANA Business Case

Powering Global Growth

SAP S/4HANA provided a future-proof platform accommodating the company’s planned growth. With SAP S/4HANA, the company can streamline data, improve customer centricity, and speed up innovation.

Data Transformation

SAP S/4HANA helped transform the company’s data and improve analytics and collaboration.

Omnichannel Experiences

SAP S/4HANA provided a real-time platform to deliver experiences designed to keep current customers, get new customers, and recover past customers.

SAP S/4HANA Fashion Project Strategy

Rizing worked with the client to design, build, and implement SAP S/4HANA for Fashion and Vertical Business in all locations. The implementation was multiphased. The pillars of the project included:

Accelerated the timeline by implementing retail and wholesale processes using default functionality, accelerators, and the attune Fashion Suite™

Single ERP Instance

Single SAP S/4HANA instance standardizes processes for all brands and locations

Develop Internal Talent

Built a center of excellence to manage the process and solution effectively

Faster Delivery of Core Processes

Faster implementation by delivering core capabilities (buy & sell products) at go live, followed by a phased deployment of advanced capabilities

Engage Stakeholders Through the Project Lifecycle

Embedded process engineers, change agents, and end users from design and delivery to adoption

SAP S/4HANA Fashion Solution Highlights

• One solution for core business processes
• Rizing delivered the supply chain capabilities in a multi-partner engagement
• Single SAP S/4HANA instance with POS and SAP CAR integration for greater visibility, productivity, and efficiency
• Adopted global industry standards and a robust foundation for faster integration of acquisitions
• Single tenant private cloud hosting for S/4HANA for compliant data security, greater infrastructure capacity, and cost flexibility

SAP S/4HANA Fashion Benefits

Robust Foundation for Real-time Processes

Inventory checks, in-store pickup for online purchases, and product reservations by sales associates

Cross-Channel Inventory Management

Visibility of channel-specific inventory for cross-channel inventory consumption

Omnichannel Model

Simplified cross-company transactions to support omnichannel and other distribution processes

Reduced Costs

Eliminated excess system and labor costs

Real-time Platform

Replaced seven ERP systems with one global platform to streamline processes and data across the company

Standardized Back-Office Operations

Integrated POS helps maintain common back-office operations

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The rise of India’s biggest fashion house

During Donald Trump’s recent state visit to India, the US president’s daughter Ivanka displayed some fashion diplomacy: she wore a trouser and jacket ‘sherwani’ ensemble made from white handwoven Indian silk sourced in Murshidabad, West Bengal by the Indian designer Anita Dongre.

While the association with Ivanka Trump invites controversy, Anita Dongre has a diverse list of past clients who have worn her designs on official engagements, including former secretary of state and first lady Hillary Clinton as well as the Duchess of Cambridge, Kate Middleton. The only Indian fashion designer to have established a global retail presence, with a flagship store in New York, the House of Anita Dongre (HOAD) has become a homegrown success story for India’s fashion industry. “Anita Dongre was the only designer to understand the need for designer pret [or ready-to-wear] and diffusion wear in India, and really is a case study for other Indian designers,” says Indian designer Rahul Mishra.

Founded 20 years ago, HOAD revenues will pass Rs1000 Crore (about $130 million) in 2020, according to the company. This milestone positions HOAD at the top of India’s league of local fashion businesses, bringing in more revenue than competitors Sabyasachi Mukherjee and Tarun Tahiliani, according to industry analysts. 

Anita Dongre, Spring/Summer 2020.

HOAD now has five brands under its banner: AND, her first ready-to-wear label; Global Desi, a line of Indo-western boho clothing launched in 2007; her bespoke namesake bridal line launched in 2012; the jewellery brand Anita Dongre Pinkcity launched in 2013; and the sustainable fashion label, Grassroot, launched in 2015. Today, her retail network comprises almost 1,000 stores, including one in New York. The common thread unifying these brands is fuss-free design and details, like pockets added to the wedding lehenga, a hugely popular mix of traditional craft and textiles.

The brand has been bolstered by international support: in 2013, US private equity firm General Atlantic acquired a minority stake in HOAD, with a $20 million investment totalling roughly 23 per cent of the company. The deal marked General Atlantic’s first Indian fashion investment (the company also has an investment in New York brand Tory Burch) and served as a point of differentiation for HOAD, which was founded by Dongre, her brother Mukesh Sawlani and her sister Meena Sehra. Only a handful of Indian brands have attracted institutional capital. 

“These founders were thinking like global people, and this was hard to find among other comparable companies in India,” says Shantanu Rastogi, GA’s managing director.  

The queen of pret

 With a focus on affordable ready-to-wear and Western wear made for young Indian women, Dongre has earned recognition as “the queen of pret”. Her approach differed from other Indian designers, who concentrated instead on the lucrative Indian bridal market and the festive ready-to-wear market at designer multi-brand boutiques. 

“When we invested, we saw that there were more and more working women in India with disposable incomes who wanted to wear Western clothing yet loved their Indian sensibilities,” says Rastogi. 

That market also defined Dongre’s marketing and distribution strategies. In the early 2000s, when contemporaries such as Manish Arora were relying on the fashion week circuit to grow their businesses, Dongre sought out relationships with department stores with a wide retail network such as Westside, becoming the first Indian designer to be retailed under her own brand there. 

“Fashion week is not right for everyone,” says Fern Mallis, creator of New York Fashion Week and a long-time consultant to India’s Lakme Fashion Week. “It has to be the right time for a designer to take the leap to the runway. Anita stayed very focused on working to connect with her customers through her retail strategy.” Dongre’s pret label, AND, was among the first Indian designer labels to open a flagship store in a mall.  

The New York City Anita Dongre store.

“My drive to partner with a department store came from the fact I wanted to sell to the consumer,” says Dongre. “As a designer, my biggest learnings came from the consumer – what appealed to her and how her purchases were evolving. Department stores provide that large audience for me.” 

Acting fast

Fashion is a complicated business in a country of India’s size due to geographical differences and varying customer tastes. In the south of India, sleeveless clothes do not match local conservative mores of dress; in the north, winter wear is a standard in middle-class wardrobes. Dongre was quick to adapt her designs with her learnings. 

“It is very important to listen to the consumer and give them what they want. Being nimble, I think, is hygiene now in any business,” says Dongre. When Kate Middleton wore a tunic dress with a Jaipur-inspired print from Anita Dongre’s label in 2016, her company website overloaded with requests and crashed. Overnight, her operations team set production channels to satisfy the influx of orders without interfering with the regular retail schedule.

Local artisans that work with Anita Dongre.

That agility has helped her find success in markets outside India, too. Having always wanted to take the Indian textile and craft story global, she decided to open a store in New York, the only country HOAD has a bricks-and-mortar store outside of India today. The company initially opened with two New York stores, a bridal shop and Grassroot, HOAD’s sustainable fashion label. But customer response changed the brand’s strategy. “The consumer wanted both concepts under one roof,” says Dongre. The stores merged into one 4,500-square-foot flagship in May 2018.

Globalising Indian fashion

Between HOAD’s commitment to working with female artisans or its green 120,000-square-foot headquarters nestled in the hills of Navi Mumbai, harnessing the power of the earth has always been a key value of Dongre’s “Indian Modern” design philosophy.  

“I come from the Indian subcontinent where we have, for millennia, been extremely conscious of the earth and our community,” she says. These are the traditions of India that she wants to embed in her designs in India, and then take them global. 

This approach is taken across all of the company’s production lines. HOAD runs six village production units in Maharashtra, an area that has seen employment issues for women in some rural areas. As a part of this project, 200 unskilled workers were trained to join the HOAD workforce. 

With India having such a design heritage, GA believed that it was time for an India brand to go global. Rustagi is of the firm belief that HOAD, with a solid social media base (her Instagram account has over 1.4 million followers) and success dressing international dignitaries, is now positioned to take on the world through online retailing methods. 

“The next frontier is clearly bridging the gap between the online and offline experience,” says Dongre.

To receive the Vogue Business newsletter, sign up here .

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Architecture + Fashion: A study of the connection between both worlds

Abstract The social need for expression in this new age especially in the field of architecture has seen some recent development; although architecture and fashion seem to be independent of one other, architecture deals with the constructed environment while fashion is the motivating factor behind the dress making business . It has been discovered that fashion is a robust way of expressing one’s culture and identity. A study of the connection between fashion and architecture would be investigated in this research thereby a number of points would be drawn out linking both fashion and architecture together in this post-modern era. This research will create new ways for this method in design. Through the study on deconstruction of modern architecture it is important to test its dominant effect over modern-day architecture. An argument would be established from the research based onto what extent the relationship between fashion and architecture has affected each other and in what kind of pathways has the effects benefitted the users Studying precedent literatures on topics of modernism, a number of views would be looked into and a case study analysis would be carried out to finalise the methodology. Architecture and fashion developments would be studied and compared with modern day architecture so as to suggest areas for commendation of this proposed method of design.

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Baher Ismail farahat

Baher Ismail Farahat Beirut Arab University – Beirut – Lebanon ABSTRACT This research describes the nature of the relationship between fashion and architectural design. The most logical relationship is that both fashion and architecture provides a shelter for people in different social dimensions. Both fields passed through several era were design transits from the complexity to the modernity and simplicity of design. On the other hand, there are many similarities in materials characteristics although both fields use totally different martial on different scale. In addition, there are many examples that show the effect of one field on the other one. Many architects are inspired by a garment to design a building and it is the same in the other way round. So this study explores if these two fields have any effect on each other. so how these effects are reflected at the end.

Tekstilna industrija

Ruzica Stevkovska Stojanovska

This paper describes and state the relationship between architecture and fashion, as both disciplines respond to the culture and environment of individuals and societies. Very often fashion designers were inspired by architecture, but also architects were inspired from the fashion creations. Very often, designers in their fashion pieces reflect the architectural constructions. The aim of this work is architecture, an art that, like fashion, is the fruit of creativity. More precise, the architecture is used as inspiration for creating two fashion models. The basic construction of a dress is used and then with use of modeling, the pattern pieces are created. With these models women's fashion is bring closer to and shows the connection with architecture. At the end we get the conclusion that both, the fashion and architecture, in the past and in the future, remain two arts that are connected through creativity, inspiration, technology and human imagination.

Iyadunni Dada

PROCEEDINGS OF THE SOCIETY OF ARCHITECTURAL HISTORIANS AUSTRALIA AND NEW ZEALAND (SAHANZ) VOLUME 37

Sanja Rodeš

The paper investigates the collaboration between Office for Metropolitan Architecture (OMA) and fashion brand Prada on a number of projects dating from the beginning of the twenty-first century to the present moment. More precisely, it examines the relationship between one of the most influential architectural firms (and one of the most influential architects – Rem Koolhaas) with fashion industry, consumption, branding and image making. The paper argues that the collaboration between OMA and Prada, evidences the relevance of the growing relationship between architecture, fashion branding and consumption. The collaboration between OMA and Prada can be argued as prolific, as it resulted with lasting collaboration, multiple retail spaces – so called Prada ‘epicentres’– a number of publications, and more. Koolhaas has done an extensive research on shopping at Harvard School of Design, which resulted with publication Project on the City II: The Harvard Design School Guide to Shopping (2001), and this research was further brought into his collaboration with Prada. Considering that AMO (a research and design studio of OMA) was involved with the designs of Prada catwalks, Prada lookbook, website and more, AMO and OMA can also be considered to be the image givers to Prada in the twenty-first century.The paper aims to critically interrogate the intersections of fashion, branding, consumption, image and architecture as evidenced in this particular collaboration, also evoking the historical intersections between architecture, image and fashion. Aiming to also briefly trace the development of relationships between architecture, image and fashion from modernism to present moment, the paper argues that these relationships can be productive for architectural discipline. It sees these relationships as both more complex and more relevant than acknowledged by architectural discourses, and aims to extend the considerations of their relationships.

Civil Engineering Journal (CivileJournal.org)

Throughout history, fashion and architecture have repeated each other in terms of form and appearance. It seems quite natural that they share not only their initial function, which is to provide shelter and protect human; but also show skills in creating space and volume beyond the two-dimensional plates and materials. In recent years, the relationship between clothing design and architecture has become more significant. Computer tools and software have changed the borders of designing each one. Buildings are more fluid and clothes are more architectural. The architectural alphabet in fashion from one hand, and on the other hand the fashion ideas and methods used in architecture as well as experiencing similar themes in both domains are among the features of these arts. The exploitation of such common points among the two areas challenges the conventional ideas and pre-defined concepts of design, putting forward new solutions and experiences for designers. In this research, some of these common ideas have been studied and how these ideas are linked within both of these domains. The method of this research is descriptive and analytical; and data are collected from documents and research materials including books, articles, photos and electronic resources. This research seeks the common ideas in architecture and fashion and their mutual interaction with each other and provides some examples in both arts. The results of this research show that architecture has an effective role in shaping fashion and the attitude to the clothing design.

Giovanni Marini

Italian Style: on Law, Architecture and Design “Made in Italy” Giovanni Marini, Università degli Studi di Perugia Italian design, including interior design, urban design, fashion design and architectural design is recognized as being worldwide trendsetter. Italy today still exerts a vast influence worldwide. There were different trends in the 20s: a classical and a new one (“Rationalist”). After WWII, Italy had a true avant-guard moment. “When intellectuals lost their battle in 1948 and with it any chance to change land law and re-organize society, architects turned their attention to the object, the object conveyed meaning and showed direction.” In the 60s and 70s, Italian interior design reached its pinnacle (“Bel Design and Linea Italiana”). In MoMA New York, Emilio Ambasz organized an exhibit Italy, The New Domestic Landscape Achievements and Problems of Italian Design. In 1968, it developed an interesting trend (“radical design”) which opposed to the product design and mainstream “buon gusto.” The MoMA exhibit was also the end of Italian polycentric design, which focuses mainly on furniture (Italian) design. Modern interior design has changed the meaning of style and elegance, and many interior designers use Italian or Italian-inspired style in their work. The essay will analyze the birth and developments of the Italian style and its relationship to architectural trends in the globalization process, and with the ongoing transformation of capitalism and economic system. Fashion Made in Italy: Tradition, Protection and a Look into a Sustainable Future Barbara Pozzo, Università degli Studi dell’Insubria, Como The essay focuses on fashion and will cover five distinct areas. First, the measures that the Italian government has launched in recent years to protect “traditional Italian brands.” Second, the various initiatives of certification and labeling in order to protect “made in Italy” fashion products. Third, the “made in Italy” label and the enormous problem of counterfeiting. Fourth, the use of Blockchain as a strategy for the protection of “made in Italy” products. Fifth, how sustainability is, or should become, a part of the “made in Italy” paradigm. Culturally Identifiable Fashion: what role for GI’s? Janewa Osei-Tutu, Florida International University College of Law Geographical indications (GI’s) are a specialized form of intellectual property right. A GI is used when some quality, characteristic, or reputation of a good is attributable to its geographic origin. To the extent that geographic location and culture overlap, GI’s could be described as a form of cultural protection. Italy, which is known for both its food and fashion, has GI’s for a range of items, such as extra virgin olive oils, pastas, and wines. But, what is the role of GI’s when it comes to other aspects of culture, such as fashion? For example, the famous Italian designer, Valentino, received both praise and criticism for footwear modeled on royal sandals from Ghana. To what extent can GI’s be used as a form of cultural protection that extends beyond food and wines to protect culturally identifiable fashion items

Athina Koniari

International Journal of Fashion Studies

Agata Zborowska

One of the most important phenomena in fashion, which practically forced the researchers to rethink their former language, is deconstruction. Appearing almost in parallel with deconstruction in architecture it uncovered previously unseen fissure in the discourse used in constructing the object of research. Deconstruction is usually described as one of the many fast-changing trends in fashion, but fashion scholars rarely pay attention to the sources or consequences of this trend. This study constitutes an attempt to develop such a historical and theoretical take on deconstruction in fashion, to analyse its descriptions and conceptualizations. For this purpose, the author reconstructs the sources of this phenomenon in fashion, with particular attention being paid to two fashion houses: Maison Martin Margiela and Comme des Garcons. To situate deconstruction in a broader context, the article refers to this term in the philosophy as well as the architecture and the graphic design. The last part of the article is devoted to alternative theoretical perspectives – the conceptions of Michel de Certeau and John Fiske – which are used to look again at deconstruction in the context of youth subcultures and its importance in the contemporary fashion system.

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Fashion House Harvard Case Solution & Analysis

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Fashion House Case Study Solution

Significantly, the key methods, technique or level to achieve turnaround is to change the management, thereby developing a problem solving strategy, which can done by revisiting the strategic approach. The company should negotiate with the land orders regarding restructuring contributions. Also, the company should keep focusing on re-employment and employees retention in order to address the emerging issues within the company. By turning efforts to the retention of customers rather than customer acquisition would reap more financial benefits to the company, also it would be cost efficient mean of boosting company’s performance and sales. The reward and compensation would motivate employees to work collaboratively and actively to achieve the common targets of company. If the business operation are backed by the skilled and committed employees, the company would definitely succeed in forthcoming years . The company should disregard weaker links and retains those employees who are crucial for the business. The company should opt for the external funding such as leasing, taking loan from banks.

In addition to this, the company should restructure its finance, because without solving the core issue, all the efforts would have a high possibility to fail miserably. Restructuring under the current ownership and management can be done by incorporating the strategic and operational oriented decisions such as creating the change climate, rewarding and recognizing the positive behaviour, sustaining and implementing change, enabling actions from employees as well as celebrating the short and long term wins. The company should expand and build the truly differentiated capabilities which are handful of the capabilities that would allow the company to drive its value in highly competitive market arena . Also, the company should obtain the relevant personal in numerous professional fields including law firm, asset appraisal firm, accounting firm and agent in order to make investigation on the authenticity, asset ownership and the completeness of the actual operations capacity and statement data, thereby fair evaluation. All in all, the company should modernize marketing efforts, use efficient time strategies, narrow its focus, and reduce cost with outsourcing, which in turn would allow the company to improve the financial performance. (Appendix 2)

In terms of the implementation of the stated option, the company’s first priority will be to replace the CEO as it is one the major hurdle that has restricted the growth of the company. In such state where the profit margins of the company are rapidly declining with each passing year and the morale of the employees are struggling leading to unachievable sales targets. The employment of an experienced CEO who should not only be is skilful but also be possessing the quality of an effective leadership has become a necessity for the success of the turnaround project.

Apart from this, in order to create better relationship with the employees and the parent company, the company will provide a platform through which the communication could easily flow between the two companies. As the lack of communication has limited the process of restructuring. Through effective communication the company will be able to better communicate the necessary steps required to be taken by the company in order to revive its brand in the minds of the consumers. Because as per the survey conducted by FH, it was revealed that brand has lost its identity due to which customers find it difficult to differentiate the brand from other manufacturer brands.

The closing of shops that are not more than a burden and are affecting the profitability of company due to low profit generation, is essential in order to reduce the operational cost of the business as these shops closing will allow the company to focus more on the targeted groups that will eventually enhance the company’s profile and in distinguishing different targets group.

The implementation of the above actions is prioritized by mutual consent of the upper level management and the employees, so that the restructuring process can be effectively implemented without any objections raised by the concerned parties.

Initially the action that will be taken by the company to begin the restructuring process, will be communication of the plan to the concerned parties in order to gain the approval and to make them feel as an important part of the organization. This will gain the trust of the employees as they will be aware of the decisions, the organization is planning to take as a part of the reorganization strategy and in preserving the image of FH. (Appendix 2)

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• Written by Rebecca Ildikó Leete
• Published on February 14, 2022

The term ‘Architect’ can be open to interpretation much like the reverence of an Artist. However, the universally recognized definition of the role is regarded as one who designs and plans buildings, a key member in terms of building construction. Architecture as a profession presents itself as a very diverse occupation. As an Art and Science in every sense, it offers insight into a vast range of subjects that can be applied to a range of different ventures.

Often Architecture students are offered with such a rigid path, constrained with these short-sighted ideas that an Architect must follow a particular direction to flourish in the field. When in fact it is interesting to note the vast opportunities that arise when given opportunity to diversify. Here are the Architects that have branched out and become successful fashion designers …

The fashion and Architecture world is steeped in design parallels. Both concentrate on the idea of construction; upon very different subjects yet prioritize form and occupant comfort. As Coco Chanel once said ‘Fashion is Architecture, it’s a question of proportions’ . As artisans they seek to translate their own visions through texture, color and shape. The ultimate objective being beauty and durability, an output that continues to evolve and challenge the status quo.

The interrelationship between the two fixates on the idea of problem solving . There is an outstanding problem or brief that the designer must respond to. They then depict this design idea through means of drawing and planning, then reflecting upon the work to identify if it meets the requirements of the client. Both provide shelter for the human body, in a large and small-scale sense.

Fashion presents itself as frivolous and dynamic in nature, whereas Architecture is more rigid in its permanence. Fashion can be fleeting, yet often inspires Architectural thought and vice versa . The boundaries between the disciplines begin to blur as we compare them, suggesting how these multidisciplinary figures have materialized

1. Virgil Abloh

Perhaps the most notable Architect turned fashion designer is the late creative director of Louis Vuitton Virgil Abloh , who initially held a Masters degree in Civil Engineering and Architecture from the Illinois Institute of Technology before transitioning into the world of fashion design. Here he was inspired by the work of the Bauhaus movement , converging elements of art, craft and design into one practice.

‘Young Architects can change the world by not building buildings’ – Virgil Abloh

His words speak depth. Throughout his career he explored the ties between the fashion and Architecture world, often referencing architectural discourse in his explorative works. The collection Efflorescence for Galerie Kreo in Paris , 2019 was heavily inspired by Brutalism , presenting heavy concrete blocks wrapped in street art. It was regarded by the gallery as "a landscape where the rigidity of structures and urban planning meets the randomness of organic growth, human appropriation, and mark-making."

2. Pierre Balmain

Prior to his success upon establishing the fashion house Balmain , Pierre Balmain initially began studying Architecture at the É cole des Beaux-Arts in 1933. He later found himself enamored with Haute Couture, abandoning the profession for an alternative path in design.

‘‘Dressmaking is the Architecture of movement’’- Pierre Balmain

Despite renouncing Architectural training he continued to be heavily influenced by architectural form and design thinking , visualizing the creation of the dress as construction. He resembled this to the creation of buildings themselves, offering form, function and beauty. As an immense post-war influence during the rise of Hollywood, he continued to challenge the boundaries of glamorous and classical fashion, proclaiming that dressmaking must offer fluidity for it is kinetic architecture of the body.

 3. Tom Ford

Tom Ford, former creative director of the luxurious fashion house Gucci , is celebrated for reinventing the label into a provocative and popular line. Founding his own label Tom Ford in 2004 and experimenting with film direction it is not surprising to note his background in Architectural education, studying Interior Architecture at the Parsons School of Design in New York. During his last year of study he was awakened to his true calling and entered the world of fashion design upon graduation. Using design skills from his Architectural training he siphoned Gucci from the ashes, saving the label from its downfall during the 1990’s.

"I just woke up one morning and thought, 'What am I doing?' Architecture was just way too ... serious. I mean, every architectural project I ever did, I worked a dress into it somehow. So I realized that fashion was the right balance between art and commerce, and that was it." – Tom Ford

4. Gianni Versace 

Specializing in Architectural drafting before moving onto a turbulent and successful career in fashion, the late Gianni Versace is noted for his Architectural influence, drawing heavy inspiration from Ancient Greek and Roman stylisation, immersing his designs in intricate borders and patterns inspired by mosaics and various sources of ancient Art. A reflection of his interest can be seen in the iconic Versace Medusa, prevalent on much of his work and the Versace mansion, ‘Casa Casuarina’, built in keeping with the Mediterranean Revival style.

‘’I think it’s the responsibility of the designer to try to break rules and barriers’ – Gianni Versace

As an innovative icon, his works include metal garments in collaboration with German engineers, creating the infamous mesh ‘Oroton’ material still popular with the brand today. Versace continued to create inventive and cutting-edge techniques, including the bonding of leather to rubber with the use of lasers , before his murder in 1997.

5. Thierry Mugler & Casey Cadwallader

Manfred Thierry Mugler once said ‘ ’ I am an Architect who completely reinvents a woman’s body’’ . Renowned for his architectural approach towards the language of fashion, his defining work is his hyper-feminized haute couture. Studying Architecture briefly before his transition into fashion the House of Mugler continues to adopt an architectural approach in terms of design and inspiration.

Casey Cadwallader the latest creative director of the brand , much like he founder himself studied Architecture before finding himself in fashion, obtaining an Architecture degree from Cornell University, New York. Building upon Mugler’s legacy, Cadwallader continues to seek inspiration via architectural precedence, including Architect Francesco Borromini’s 17 th century works as a catalyst for innovative new ideas.

Perhaps an unorthodox approach to the study of fashion, the study of Architecture continues to inspire and produce many multidisciplinary designers who transition into a range of different disciplines, may this be Furniture design, interior design, product design and a vast number of other factions. These designers continue to inspire each other, Architecture influencing fashion, fashion influencing interior design and so on. There are no longer boundaries between creatives, the creative can be malleable.

This article is part of the ArchDaily Topics: Architecture Without Buildings . Every month we explore a topic in-depth through articles, interviews, news, and projects. Learn more about our ArchDaily topics . As always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us .

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Fashion House (A) Case Solution & Answer

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Fashion House (A) Case Study Solution

One of the leading German fashion brands – Fashion House with the history dating back to the 19 th century is recognized as a market leader with the focus on expanding the distribution network and investing in modernizing the stores to yield the greater financial benefits. On account of the strong financial performance and driving the meaningful experience & benefits to discerning customers is what drives the uniqueness and innovation across the company.

The International Trading Company has purchased the Fashion House in the calendar year 2005. The International Trading Company was the product of the several acquisitions and mergers such as Fashion House. The International Trading Company has purchased the Fashion Company with the objective of expanding the department store as well as entire business specifically in the high price segments. Since, the Fashion House Company has significantly established the strong market position is the optimal fit for expanding the ITC’s fashion portfolio.

After the acquisition of the company, the company concerned about declining sales and the company has become no less than a mess. One of the factor contributed to the declining sales of the company was the significant influence of the parent company over the strategy and decision implemented by the Fashion House due to which the company has lost autonomy. The International Trading Company has effortlessly tries to create the synergies between the department stores of the ITC and the FH. In addition to this, the decision related to the purchasing and marketing were also centralized which in turn not only severely affected the product range offered by the company but also led to the headcount reduction and the internal reorganization………………………….

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• Nudity, drinking, smoking: Winston Churchill’s unusual diplomacy

His time at the White House serves as a case study in getting what you want

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Mr Churchill in the White House: The Untold Story of a Prime Minister and Two Presidents. By Robert Schmuhl. Liveright; 384 pages; $32. W.W. Norton; £25.99

S ome questions of diplomatic protocol are tricky. Others are not. For instance, should one meet a head of state clothed or nude? Winston Churchill , Britain’s former prime minister and the puckish hero of a new history, often chose to grin—and bare it.

He made quite an impression during his time as the guest of two presidents. The chief usher at the White House recalled that “In his room, Mr Churchill wore no clothes at all most of the time during the day.” Churchill’s bodyguard remarked how President Franklin Roosevelt knocked on the door of the prime minister’s suite during Churchill’s first White House visit in December 1941, only to find that “Winston Churchill was stark naked, a drink in one hand, a cigar in the other.” Roosevelt, clearly flustered, offered to leave, but Churchill demurred: “You see, Mr President, I have nothing to hide.” The two leaders then spoke for an hour.

Born to an American mother and possessing lifelong Atlanticist instincts, Churchill stayed at the White House four times during Roosevelt’s three terms in office (along with another four visits to Hyde Park, Roosevelt’s redoubt in upstate New York) and once during Dwight Eisenhower ’s presidency. Even allowing for the time and trouble of a long sea crossing, his visits were often protracted; the first lasted from December 22nd 1941 to January 14th 1942. It is doubtful that any foreign leader since has spent more time as a guest at the White House.

Churchill stayed in what is today known as the Queens’ bedroom. He was not the easiest houseguest, keeping odd hours and working and talking into the early hours of the morning. Eleanor Roosevelt said it “always took” her husband “several days to catch up on sleep after Mr Churchill left”. Padding around the White House halls barefoot in his “siren suit” (a romper that he began wearing during air raids on London), Churchill earned the admiration of the White House staff for his prodigious appetite. A Secret Service officer said that he “consumed brandy and scotch with a grace and enthusiasm that left us all open-mouthed in awe”.

Roosevelt and Churchill worked differently: the president was circumspect, restrained and cagey, while the prime minister was effusive, commanding and far more experienced in military affairs. Nonetheless, their meetings were productive: Churchill’s first visit laid the groundwork for a unified Allied command; his second, after the crushing defeat at Tobruk, for future operations in Europe; and the third for the landings at Normandy .

The fourth visit to Roosevelt was brief, lasting just 32 hours. Roosevelt had been sidelining—and at least once openly mocked—Churchill in an effort to get closer to Josef Stalin . Churchill’s last visit,   to Eisenhower, had a funereal cast. He was starting to show his age, and both the British Empire and Britain’s place in the world were much diminished. Churchill tried but failed to arrange a summit between himself, the president and Stalin. Despite Eisenhower’s respect for Churchill, he was yesterday’s man.

Yet Churchill still had his personal magnetism, and in essence this book is a case study in the savvy deployment of political “soft skills”. Churchill knew when to push and when to flatter, when to lead and when to follow (or at least give the impression of following), how to charm and how to inspire. He also knew the value of good publicity: whatever he actually felt about Roosevelt and Eisenhower, it suited him to have the world believe they were great friends, so that was the story he promulgated to the press and in public.

That not only kept the presidents onside and ensured he was kept in the loop, but it also made “the chubby little man with the fat black cigar”, as one newspaper described him, deeply popular across America. Such popularity has endured: American historians are still writing books about him nearly 80 years after his last White House visit. ■

For more on the latest books, films, TV shows, albums and controversies, sign up to Plot Twist , our weekly subscriber-only newsletter

This article appeared in the Culture section of the print edition under the headline “Guest who?”

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What to expect at Porchfest, from a longtime host of the Deering Center event

Bob Carroll recommends biking to the event, being open to meeting new people and maybe packing a snack.

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Bob Carroll hosts a band or two in his driveway on Bedell Street during Deering Center’s annual Porchfest. Photo courtesy of Bob Carroll

Every September, Bob Carroll turns his driveway on Bedell Street in Deering Center into a stage for Porchfest, when bands play in front of homes throughout the neighborhood. He’s been a host for nearly all of the festival’s 10 years and credited the organizers for the hard work they’ve put in over a decade to realize their vision. This year’s festival is 12:15-5 p.m. Sunday, and more than 65 bands will play throughout the afternoon. (Carroll, 53, will host 3rd Shelf Cava.)

Porchfest is free and open to all. For more information, including a map and parking details, check the Deering Center Neighborhood Association Facebook page . This interview has been edited for length.

What is involved in being a host for Porchfest?

The date has always been ingrained. It’s always been the Sunday after Labor Day when people are mostly around, so having that in your schedule.

The actual day-of is pretty easy. Unless you’re doing acoustics. I just put out power and make it nice. People set up in my driveway. People might do that or set up on their actual porch. It’s mostly a willingness to have them use that space for an hour, maybe 45 minutes, for them to set up, and the hour that they’re playing. The bands do the brunt of the work. I put out power and some chairs. The committee does a lot of the work. They put signs out.

There’s not that much labor involved, and you have to have a willingness to have them use your space.

Let’s say someone is coming to Porchfest for the first time. What advice would you give them about enjoying the day?

If you’re coming for a longer period of time or with your kids – it’s very kid-friendly – be prepared to meet some new people. It might be good to bring a snack because that stuff’s not really provided. Advertisement

Get a map. The maps are posted, but also there’s hard copies. They’ll put it online so you can have a map on your phone. A lot of people might know two or three bands that are playing, so you can map it out.

But you don’t have to plan it out. You’re going to be surrounded by music in a six-by-six-block radius and you can just go with the flow and just have a fun day of hearing different cool music and just being around people that want to be outside and listen to music.

We try to free up the street, so there is parking at Deering High School or places that they don’t barricade off. It’s good to be prepared. You might be doing some walking. A bike is a great way too to utilize the space.

Do you usually stay at your own place?

With two bands, it was a little harder, but I don’t usually have to go far. But if you’re a host, you still get to walk around and enjoy the music and see some of the crowds. You don’t have to stay the whole time. Most people might want to do that, but a half hour in or whatever, you can go see your friend’s band too and come back. People are really respectful about people’s property, about their space. That hasn’t been an issue for us. That’s another reason we continue to host.

Do you have a favorite Porchfest memory?

One got canceled over COVID, but the one the year after, in 2021, people just really wanted to be outside and see people and experience this. It was busy that year, and it ended up being a great day. I think people just wanted to be outside and doing stuff and seeing one another and supporting one another. I could go around and see a variety of different bands but also see a lot of people I hadn’t seen in a while due to being more around the house. That was probably my best memory, but there’s been a lot.

A crowd listens to Ideal Maine Social Aid and Sanctuary Band on Brentwood Street during Deering Center Porchfest 2023. Derek Davis/Staff Photographer

What do you think Porchfest has brought to the Deering Center neighborhood? How has it impacted the neighborhood identity?

It’s a strong sense of community that we look out for one another. It’s good to laugh and be social and listen to music. The music brings people together and has that sense of community. You look around, and you’re smiling and laughing, and people might be dancing, and you’re seeing kids that are now grown. If I had to sum it up, it would be a strong sense of community.

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Skowhegan Craft Brew Festival set for Saturday

The celebration of local beer and other products is expected to draw people from around the country to sample beverages from 24 Maine producers.

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A crowd gathers Sept. 2, 2023, along the Kennebec River, behind Water Street businesses, for the Skowhegan Craft Brew Festival in downtown Skowhegan. Morning Sentinel file

SKOWHEGAN — Beer lovers from around the country are expected to head to Skowhegan on Saturday for the town’s annual Labor Day weekend brew festival.

The Skowhegan Craft Brew Festival is set to feature more than 100 Maine-made craft beers, wines, ciders and spirits from 24 beverage producers, along with local food vendors and four musical acts, according to an announcement from the event’s organizer, the nonprofit organization Main Street Skowhegan.

The festival, which began in 2016, is expected to draw people from Maine, 13 other states and Canada, according to the announcement. So far, people from as far away from Texas, Arizona and Nevada have bought tickets, the organization said.

“We’re thrilled to draw people from near and far to Skowhegan for our annual brew festival,” Kristina Cannon, president and CEO of Main Street Skowhegan, said in the statement. “Not only do events showcase our growing community and all that we have to offer visitors, but they also bring people to town who spend money at our locally owned businesses. Brew fest, in particular, brings people back again and again to our community.”

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Tickets are required to attend the brew festival, and can be purchased online at skowhegancraftbrewfest.com . A $50 general admission ticket includes unlimited beverage samples from 3 to 7 p.m. and a souvenir tasting glass. “Designated driver” tickets for those who do not wish to drink alcohol are $10.

Ticket prices increase by $5 the day of the festival, so organizers suggest buying tickets by 6 p.m. Friday. Advertisement

A “VIP hour” at 2 p.m., featuring free food samples, other goodies and live entertainment, is sold out.

The brew festival is to be held along the Kennebec River in downtown Skowhegan, where the event moved last year from its previous location on Water Street .

Skowhegan Craft Brew Festival draws hundreds of beer drinkers to new location

Organizers said last year that the move was intended to help promote ongoing economic revitalization efforts along the town’s waterfront, including the planned River Park. Other events, such as the annual River Fest in August , are intended to achieve that goal, too.

With a contractor on board and the permitting process in its final stages, construction of the in-river whitewater park portion of the overall development is expected to begin in spring 2025 , Cannon said recently.

Construction of Skowhegan whitewater River Park delayed until 2025

Main Street Skowhegan uses proceeds from the brew festival to support its ongoing economic development efforts, according to organizers. The event is sponsored by more than a dozen local businesses and organizations.

The festival is expected to take place no matter the weather. As of Thursday, the National Weather Service was predicting mostly cloudy skies in Skowhegan on Saturday, with high temperatures in the mid-70s, and a 50% chance of rain showers after 2 p.m.

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