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| Question | Answer |
| Knitting | • Knitting is the formation of fabric by the interloping of one or more sets of yarns • Knitting is not as old a technique as weaving • Knitting was a hand process until 1589 • Knitting is faster than weaving but the increased cost of yarn offsets any savings • Knits are comfortable and can have good appearance retention • Knitted fabrics have a higher potential for shrinkage than wovens • Accepted standard is 5% for knits and 2% for wovens • Snagging is a major problem with knit structures |
| Characteristics of Knit Structures | • One or more yarns formed into a series of interlocking loops • Knitting is a faster technique than weaving • Knits are stretchy, elastic fabrics • Knits are porous, resilient and may be bulky • Knits are used in apparel, furnishings, and industrial products • Knits are generally heavier than comparable woven fabrics because use more yarn • Wales are vertical columns of stitches in knit fabric • Courses are horizontal rows of stitches |
| Gauge or Cut | • Gauge or cut indicates the fineness of the stitch • It is often expressed as “needle per inch” (npi), the higher the number, the finer the stitch • Two major categories of knits: • Filing or Weft Knits • Warp Knits |
| Filling Knits | • Filling knits can be created by hand, on a flat-bed knitting machine or on a circular knitting machine |
| • Single-filling knits | Are made on a circular or flatbed machine Can be any pattern or weight Are less stable than double knits Tend to curl at edges Run readily Single or Plain Jersey Simplest and most common knit structure Fastest filling knit to make Hosiery, underwear, T-shirts, dresses, sweaters Currently popular in sheets |
| • Jacquard Jerseys | o Put a jacquard mechanism on a circular machine o This allows the creation of more complicated designs |
| • Pile Jerseys | o These fabrics look like woven pile but are more pliable o The pile surface may be: o Cut or uncut loops of yarn o Fibers (creating fake fur) |
| • Knitted Terrycloth | Is a loop pile fabric used for babies’ clothes, towels and washcloths Softer and more absorbent than woven terrycloth Doesn’t hold shape as well as woven |
| • Velour | A cut-pile fashion fabric Used in men’s and women’s wear and robes |
| • Sliver-pile Knits | Are fur-like high-pile or deep-pile fabrics Remember, sliver is an untwisted rope of fiber Fake fur is much cheaper, lighter and more pliable than real fur Used for coats and linings, design details |
| Double-Filling Knits | • Double knits have two-way stretch and relatively high dimensional stability • Double knits do not run • Double knits can resemble any woven structure • Used in women’s and men’s wear • More fashion dependent than plain jersey |
| o Warp Knitting | • Unique because never a hand process • Tend to be more table than filling knits • Produced only in flat yardage by machine • Do not run • Yarns run vertically |
| Raschel Knit | • Extremely versatile, producing a wide variety of fabrics |
| Tricot | • The face of the fabric has vertical loops • The back of the fabric has horizontal loops • Used in lingerie, sleepwear, shirts, blouses, uniforms and dresses • Stable for a knit structure |
| Brushed or Napped Tricots | • These fabrics have fibers raised from the surface, making it feel more like velour • Used for nightgowns, shoes, upholstery |
| o Filling Knits | • Produced by hand, flat yardage and circular • Run, most ravel • Yarns run horizontally |
| Other Fabrication Methods | • Fabrics made from solutions films |
| o Films | • Made directly from polymer solution by casting solution on hot drum • Films are waterproof, low cost, resistant to soil, non-fibrous • Films generally lack permeability • Films may lack strength • Films can be finished to look like many different types of fabric • Films are used for imitation leather |
| Supported Film- Imitation Vinyl Leather | • Foams o Foams are made by incorporating air into an elastic-like substance o Most commonly from rubber and polyurethane o Foams are used as insulation in lower quality coats |
| • Non woven or Fiberweb Structures | o Technically, a non-woven is a general term for fabrics made directly from fiber o Oldest non-woven is felt o True felt made from wool or wool-mix o Man-made non-wovens used frequently for interfacing and other support structures |
| o The fibers are bonded by: | • Mechanical entanglement • Added resins • Thermal fusion • Chemical complexes |
| Fiberfill | • Is a weak, lofty structure of fibers designed to be incorporated as a middle layer in coats, vests, comforters, etc. • Batting is made from a new fiber • Wadding is made from waste fiber • Fiberfill is a manufactured fiber made especially for used as a filler |
| • Important properties for Fiberfill | o Shifting Resistance- important in maintaining a uniform fabric thickness o Fiber Density- described the weight or mass per unit volume |
| • Braids | o Braids are narrow fabrics in which yarns interlace lengthwise and diagonally o Used for trims, covering, and rugs |
| o Leather | • Leather is processed from skins and hides of animals, reptiles, fish, and birds • In the US, leather is primarily from cows, pigs, or lamb • Grain is the marking that result from skin formation and varies from animal to animal • Fewer than 5% of hides are useable for top-grain leather • Tanning is the process by which skins and hides are treated to make them pliable and water-and-rot resistant • Leather picks up oils and grease readily • The first layer is called top grain or full-grain • Split leather is lower quality |
| o Suede | • Suede is a leather that has been brushed or napped on the flesh side • It has a softer surface finished leather • Suede is subject to crocking (loss of color due to abrasion, wet and dry crocking) • Used in clothing and home furnishings |
| o Fur | • Fur is any animal skin or part of an animal skin to which the hair, fleece, or fur fibers are attached • Used for coats, linings, trimmings, etc. |
| Laws and Regulation Relating to the Textile and Apparel Industries | • Federal Trade Commission—FTC |
| o Wool Products Labeling Act (1939, revised in 1986) | • Wool was being blended with other fibers and sold as pure wool • This act designed to protect consumers, producers, manufacturers, and distributors • Applies to any textile product containing wool with the exceptions or carpets, rugs, mats, and upholstery • Fiber content must be given in terms of percentage and fiber sources • The name od the manufacturer or registered identification number must be on the label • WPL or RN • Act required country where product manufactured • Labels must be sewn into items |
| Types of Wool | Wool: new wool or wool fibers reclaimed form knit scraps, broken thread, and noils Recycled wool: scraps of new woven or felted fabrics that are shredded back to fibrous state and used again—woolens Virgin Wool: wool that has never been processed in any way • Act does not state or imply quality of goods |
| Fur Products Labeling Act (1952, amended 1980) | • Applied to furs—items of animal origin with the hair/fur attached • Requires true English name of animal used • If the fur is dyed • Presence of used, damaged, or scrap fur must be identified • Law does not provide for quality designation |
| Textile Fiber Products Identification Act (1960) | • Covers all fibers except those already covered by the Wool Products Labeling Act • Generic name: is name of a family of fibers with similar chemical composition • Following information is required, in English, on label of most textile items • Percentage of each natural or manufactured fiber present must be listed in order of predominance by weight; tolerance +/- 3% • If fiber or fibers less than 5% by weight, fiber does not have to be named • Name of manufacturer or company’s registered WPL or RN number • First time a trademark appears in required information, must appear in immediate conjunction with generic name in type of equal size • Name of the country where product was processed or manufactured must be stated, Country of Origin |
| Permanent Care labeling Regulation (1972, 1984) | • Requires manufacturers or importers of textile wearing apparel and certain piece goods to provide an accurate, permanent label containing regular-care information and instructions and that label is permanently attached and legible • Instructions must be carefully described in words or in standard symbols • Information for only one care method is required • Procedures to be avoided must be identified • Applied to most apparel excluding leather, suede, fur garments, ties, belts • Piece goods attached at end of bolt |
| Flammable Fabrics Act | • Prohibits marketing of dangerously flammable material including wearing apparel • Regular apparel is covered by CFR 1610 is tested with the 45 degree test |
| o Titles 1615 and 1616 | • Children’s sleepwear, size 0-6X and sizes 7-14 • Covers all items intended to be worn for sleeping • All items must meet requirement as produced and after 50 washings and dryings |
| • Textile World | for textile executives; give current information on trade and policies, while covering technical developments in industry |
| • Daily News Record (DNR)- | published 3 times a week, in newspaper format; features menswear, apparel, fibers, and fabrics |
| • Fiber Organon | monthly statistical journal summarizing confidential producer information on the US manufactured fiber market. Global and natural fiber reports also included |
| • Nonwovens Industry | is directed at industry personnel throughout the world concerned with the global nonwovens |
| • EcoTextile | environmental magazine for the global textile and clothing supply chain |
| History of Haute Couture | • Until Industrial Revolution, people basically fell into two economic groups: o Wealthy aristocrats o Poor, subsistence living • Middle-class almost nonexistent • Only wealthy could even afford to think about fashion • Others used clothing in, primarily, functional way • At turn of 18th century, French court became arbitrators of fashion and taste • Made Paris the fashion capital of the world • Textile industry promoted by the government • All clothing made by hand—no sewing machine (invented in 1846) • Garments handmade and custom-made • Identities of personal dressmakers and tailor closely guarded secrets • Rose Bertin was top dressmaker for Marie Antoinette • Bertin was first dressmaker to actually be known by name • In France, art of dressmaking known as couture • Charles Worth is considered the Father of Couture • Worth was actually an Englishman • Migrated to Paris and opened own business in 1858; House of Worth • Good businessman and managed to attract important, well-known clients • Supervised construction of own gowns and choosing of fabric |
| o Paul Poiret (early 20th century) | • Self-designated “king” of fashion from 1904-1924 • Banned the corset but shackled the legs with the hobble skirt • Also, made an impact with extreme Orientalism • Introduced harem pants • Erte would illustrate his designs • Trunk shows, models, turban |
| o Madame Vionnet | • Considered one of the three greatest designers in 20th century • Well-known for innovation of bias cut • Freeing the female body from corsetry • Considered greatest technician of modern couture |
| o Coco Chanel | • Known not just for her design but, also, for her very colorful life • Developed an entire empire including couture house, textiles, perfume labs, and costume jewelry • Made the tan popular; previously, only people who had to work outside had tans, no sun, was a sign of wealth—not working • Had huge success with Chanel No.5 still one of the best selling perfumes • Trademark Chanel suit, multiple gold-chain necklaces, and costume jewelry • Costume jewelry has, before, been considered common or lower-class • “little black dress” “LBD” |
| o Jean Patou | • Big in the 1920’s and 1930’s • Contributed glamour and showmanship to fashion • Specialized in elegant, country-club type clothing • Lengthened skirt to ankle in 1929 • Considered to be the first designer to show “flapper look” in 1925 collection (length of skirt follows stock market) • Perfume: Joy |
| o Elsa Schiaparelli | • One of most creative, unconventional couturiers of 1930’s and 1940’s • Very innovative and clothing was often a conversation piece • Used aggressive colors and rough materials • Defied traditional design |
| o Molyneux | • Opened house in 1919 • Designed for celebrities • One of first designer to use zippers in clothing |
| o Fortuny | • Also designed for carnival (more crazy than marti gras) |
| o Gilbert Adrian | • One of first American designers with international recognition • Designed for MGM studios from 1923-1939 • Exaggerated shoulders, tapered waist, animal prints |
| o Norman Norell | • Attended Parsons School of Design in NYC • Designed for stars of silent movies • Then, worked as costume designer on Broadway • In 1960’s, presented collections and known for his “New York” style |
| o Claire McCardell | • America designer; considered the creator of American sportswear • Considered top All-American designer during the 1940’s and 1950’s • Originator of mix-and0atch separates • Her clothing very practical |
| o Charles James | • Born in England but immigrated to America • James viewed his dresses as works of art • Most famous for his sculpted ball gowns • Also known for his capes and coats and spiral zipped dresses |
| o Pauline Trigere | • Born in Paris but immigrated to the US • Opened a shop in 1942 to support her family • Produced conservative but very flattering garments (Breakfast at Tiffany’s) • Coats were her most recognized garments and most innovative |
| o Jeanne Lanvin | • Lanvin has often been associated with high are and couture • Skillful use of intricate trimmings, virtuoso embroideries and beaded decorations in clear, light, floral colors • Also, did a lot of design work for children |
| o Aleix Gres | • Gres used fine gauge jersey silk to achieve a liquid bias-like effect • Gres used mute classicalism and an interest in Greek and Roman examples of theater, poetry and the visual arts |
| o Jacques Fath | • Considered one of the three dominant influences on post-WWII haute couture • Was known for his flattering dinner dresses that set off head and shoulders • His clients included, Ava Gardner, Greta Garbo, and Rita Hayworth, who wore a Fath dress for her wedding to Prince Aly Khan |
| o Mainbocher | • Stayed in Europe after WWI and worked as a fashion illustrator for Harper’s Bazaar • He merged his name in Mainbocher to be more French • Designed expensive, elegant haute couture dresses and gowns for an exclusive clientele • Probably most famous client was Duchess of Windsor • Wedding gown of the Duchess of Windsor |
| o Christian Dior | • Most famous for the “New Look” introduced in 1947 • Ultra-feminine silhouette after years of war restrictions • Used yards and yards of fabric • Long skirt, tiny waist, sung bodice |
| Growth of Ready-to-Wear in U.S. | • Industrial Revolution marked beginning of growth of middle-class • More people were able to spend money on clothing and higher quality clothing • Fashion became status symbol of the newly rich to show off their wealth • Until about 1800, men’s and women’s dress had about the same amount of decoration • However, with growth of middle-class, businessmen wanted to establish a different look than aristocrats • Adopted a conservative business suit with long trousers, jacket, vest, shirt, and tie • That look has changed a little • Men’s clothing custom-made by tailors early 1840’s on Savile Row London • Still considered the home of finest tailoring in the world • Beginning of selling clothing not customized was in port cities • Sailors would stop and have little time to shop for new clothes • Tailors made clothing they called “slops” unfitted, untailored goods • In 1846, Elias Howe patented the sewing machine (Isaac Singer made the money) • The sewing machine really allowed the mass production of clothing • Because men were the vast majority of the workforce, mass production of their clothing came first • Civil War • Mas production of women’s clothing did not truly being until the 1880’s • The Gibson Girl • By1900, over 5,000,000 women in the workforce • With advent of ready-to-wear clothing, needed a place to sell the product instead of tailors and dressmakers • Fairs and bazaars were the predecessors of retails stores • Traveling merchants brought cloth to these markets • Expensive goods reserved for selected clients • Prices were never marked; people bargained • ***Retailing is the link between the manufacturers and the consumer** • As towns grew, general stores were established • Had a large but shallow merchandise assortment • Artisans sold their handmade goods in their own shops |
| Department Stores | • Harrod’s of London • Only one Harrod’s • Marks and Spencer is a British institution of retailing • Provides a very wide assortment of goods at reasonable prices • Have substantially revamped their image in recent years • Based in the UK, Debenhams has been in business since 1813 • In 1905, it opened in its current department store format • Personal shoppers, on-line shopping, and international franchising • Galaries Lafayette in Paris • Centrally located, huge department store • The store-all ten stories- is designated as a historic monument • You will find high-end labels, as well as, more affordable products |
| o Le Bon Marche | • Founded as a small shop in Paris in 1838 • Sometimes regarded as first department store in the world |
| Fast Fashion Examples | • Fast fashion stores are doing extremely well in today’s economy • These stores bring trendy fashions, at reasonable prices, quickly to the consumer • Rarely re-order the same stock-just move on to the next fashion |
| o H&M (Hennes and Mauritz) | • H&M is a Swedish based store that delivers updates fashions quickly at great price points • Extremely successful • Designers such as Karl Lagerfeld and Stella McCartney have done small collections |
| o Zara | • Is a Spanish based chain with extreme success in U.S. and European market • Geared more toward women and men starting their careers and slightly more sophisticated • In the US, Zara is more expensive than H&M (still reasonable) • Geared more toward women and men starting their careers |
| o Mango(MNG) | • Sells themselves as fashion for the young urban woman • World-wide with limited number of stores in the US • Dedicated to the design, manufacture and marketing of clothing garments and accessories for women |
| o Forever 21 | • Growing quickly • Inexpensive constantly changing fashion |
| o UNIQLO | • Japanese company-quickly expanding • Founder says,” UNIQLO clothes are MADE FOR ALL-highly finished elements of style in clothes that suit your values wherever you live. This unique concept of clothes sets us apart from apparel companies whose sole purpose is the pursuit of fashion trends.” |
| Early Mail-Order Retailing | • In early 20th century, almost 75% of the U.S. population lived in rural areas • Railroad expansion and improved mail service enabled merchants to reach customers with mail-order services • Aaron Montgomery Ward saw this retail opportunity • Opened in 1872 with people being able to pay COD • Did not catch on quickly; but with “satisfaction guaranteed or money back” business boomed • In 1886, watched sipped by mistake to Richard Sears • He offered to resell, starting his own business • Roebuck became partner • In 1893,became Sears, Roebuck and Company • Wishbook |
| Current Retailing in US | • Nearly 1,400,000 retail firms in US alone • About 135,000 specialize in fashion apparel and accessories • Another 70,000 include apparel and accessories in their merchandise • Retail, in US, approximately 3.1 trillion in annual sales • In 1970 and 1980’s, demographics favorable for retail • Growth of women in the workforce • Many retailers over expanded and were bought out • Competition has accelerated |
| • Value-directed retailing | o Reduce expenses to remain competitive o Create competitive advantage(s) o Wal-mart, warehouse clubs, etc. |
| • Service-oriented retailing | o Become more consumer-driven o Anticipate and focus on need of consumer o In fact, exceed customer expectations o Nordstrom, L.L Bean |
| • Unique Merchandising | o Uniqueness has been lost by many retailers o Narrow vender selections o Private labels |
| • Shopping as Entertainment | o Add excitement to retail experience o Live music, personal appearance, games o Mall of the America’s-amusement park |
| Non-store Retailing | • Expansion through web and mail-order • Providing access to the web in the store • “Virtual shopping” • Click’n Mortar stores • “party shopping” |
| Motives for Consumer Buying | • In past, people could often only buy when necessary • Now, discretionary income often larger • Women still make over 75% of clothing purchases |
| Be fashionable: | • Buying new clothing to feel we are in style • Discard clothing because not in style, not because it is worn out |
| Be Attractive: | • Want clothes that are flattering • Clothing that makes us look our best • Minimize attributes we do not like |
| Impress Others: | • Project a successful image or establish identity • May want to show our taste or income status through clothing • Status symbol |
| Be Accepted by Friends, Peer Group or Colleagues: | • Most Americans are fairly conservative in tastes • We want to fit in, especially at certain ages or certain points in our lives |
| Fill an Emotional Need: | • New clothing helps make us feel better psychologically • Helps confidence and self-assurance |
| Aesthetic Consideration | o A. Appearance: Overall appearance of product attracts consumer o B. Color: Consumers often base purchase decisions on color of product, look good on consumer, fits in wardrobe o C. Texture: Surface interest in fabric; helps give a clue of fiber content o D. Style: Elements that define style include line, silhouette, and details • What consumers perceive as fashionable |
| Practical Considerations | o A. Price: • Value has become a key in merchandising • Consumers want best product for best price • Know your target customer o B. Fit: • Trying garment on is often crucial in garment selection because sizing does not always indicate fit • Problem for mail-order and web shopping • Also, may look different on person than hanger o C. Comfort • Traditionally, warm clothes in winter and cool clothes in summer • Physically active o D. Appropriateness • Correct for the occasion o E. Brand or Designer Label • Brand names means of product identification • Heavy advertising can influence consumers o F. Fabric performance and care • Wash and wear versus dry cleaning • Formal dress versus blue jeans o G. Quality • Consumers expectations of quality at and all-time high • Construction, stitching, and finishing • Depends on end-use of product |
| • Fashion | is the style or styles most popular at a given time • Term has three major component: o Style o Acceptance o Timeliness |
| • Style | is any particular characteristic or look in apparel or accessories o A style may come and go in fashion but that specific style will remain that style o For example, bell-bottoms, Chanel jacket |
| • Change | is what makes fashion interesting o Fashion changes because: • Reflect changes in people’s lifestyles and current events • People’s needs change • People get bored with what they have • Fashion is a product of success • Timing is the key to success |
| • Acceptance | implies that consumers must buy and wear a style to make it a fashion o Remember, different market segments adopt different styles and fashions o Advertising helps stimulate the public’s desire for new fashions o Acceptance does not imply that a design is necessarily beautiful, only that its timing is right |
| Fashion Cycles | • The way in which fashion changed is usually referred to as a fashion cycle • Fashion applies to many products and services not just clothing • There are fashion cycles in home furnishings, food, travel, entertainment, etc. • Don’t limit yourself • Fashion cycle is usually depicted as a bell-shaped curve |
| • Introduction of style | o Fashion implies style and newness; not accepted by everyone o Increase in popularity o New style purchased, worn, and seen by many people, attracts attention o Popularity can increase copying and adaptation of new styles and range of customers o Peak of popularity o Fashion is at its height of popularity o It is being copied at all price points and modified o Decline in popularity o People begin to tire of style; start looking for something new o Consumers still wear but will not pay full-price for it o Rejection of a style o Obsolescence o Last phase of fashion cycle; people have already turned to new looks o Length of fashion cycles o All fashions flow a cyclical pattern |
| • Classics | Some styles never become completely obsolete, but remain more or less accepted for an extended time period A classic is characterized by simplicity of style, which helps keep it from being dated Ex: chanel jacket, twinsets, polo sets |
| • Fads | Short-lived fashions that come and go in a single-season Generally affect a narrow consumer group and flood the market in a very short time The public tires of fads quickly and they die out |
| • Interrupted cycles | Consumer buying can be halted prematurely This can happen because manufacturers no longer wish to risk producing the product of by an upheaval, be it social, economic, or political |
| • Fashion innovators/leaders | People who look for fashion and wear it before it generally becomes accepted Confident in their own taste and not need the approval of others “Avant garde”—French for ahead of the pack Fashion leaders can be found in every market segment Consumers become fashion followers for many reasons They lack the time, money, or interest to devote to fashion leadership Too busy or feel fashion is unimportant Need to see styles for a period of time before acceptance Insecure about their tastes or want to wear what is seen as more of a sure thing Imitate people they admire Want to fit in with their friends or peer group Fashion laggard Have no interest in fashion Oblivious |
| • Traditional Fashion Adoption Theory | o Trickle-Down Theory o Oldest theory of fashion adoption o States that style trickles down from the elite or upper classes to the lower strata in society o Supposedly, primary factor in this process was the lower class’s motivation to imitate the upper class |
| • Reverse Adoption | o Trickle-Up Theory o Designers, manufacturers, etc. pay attention to consumer innovation o Watch people on the streets to find ideas o The “Grunge” look of the early 1990s is a good example of as street look that made it to the runway |
| • Mass Dissemination | o Trickle-Across Theory o Mass dissemination is easy to see when manufacturers copy new styles almost immediately after they are seen/worn o No longer one channel of distribution |
| • Women’s Wear Daily (WWD) | o Is considered “the” absolute must publication in the fashion industry o Each day features a different topic o CAN GET ONLINE AS STUDENT |
| W | o Is a monthly magazine, very glossy o Not as trade oriented |
| • Daily News Record (DNR) | o Report on men’s wear and textiles |
| • Footwear News | o Leading publication in the international footwear industry • All so far…. All published by Fairchild Publications |
| • Apparel Magazine | o Formerly Bobbin o Published monthly o Considered the news and information source for the global sewn products industry |
| • Accessories Magazine | o The voice of the Accessories industry |
| • SmartBrief | o Put out by the NRF (National Retail Foundation) o Daily release on what is happening in the retail industry o Not limited to the apparel industry |
| • Sportswear International | o Denim and blue jeans |
| • http://apparelstrategist.com | o The Apparel Strategist is a leading monthly US business journal related to the apparel and textile industry |
| • MAGIC | o Men’s Apparel Guild of California has grown from a regional market to a national one o MAGIC produces the largest men’s apparel market in the world o It is now held in Las Vegas in August and February o It includes more than just men’s wear |
| • Prime Source | o Is a high-level forum and trade show o New because of the ending of the quota system o Held in Hong Kong |
| • Material World | o New York’s premier global sourcing, fabric, trim, and trend trade event o Also, features a comprehensive roster of education program and networking events |
| • Jean Show | o International Streetwear and Denim Fair o Exhibitors include jeanswear, jeans fabric, streetwear, teenage wear products, etc. |
| • Swim Show | o A market where retailer go for top swimwear manufacturers and trends in swimwear, beachwear, and resortwear designs o Largest swimwear tradeshow in the world |
| • B.A.T.M.A.N. | o Big and Tall Men’s Apparel Needs Show o World’s largest gathering of buyers and vendors of apparel and accessories for tall and plus-sized men |
| • Accessories The Show | o Longest running accessories trade event in US o Covers every category of accessories o Sponsored by Accessories Magazine o New York and Las Vegas |
| • Salon du pret-a-porter a Paris | o The ready-to-wear lines of designers and couturiers |
| • Paris haute Couture Women’s Collection | o By invitation only! o Presentation of Design’s Haute Couture Collections |
| • Chambre Syndicale | o Organizes and collections arranges the calendar for showings, organizes accreditation for the press and buyers attending the shows |
| • Council of Fashion Designers of America | o A not-for-profit organization of 250+ of America’s top fashion and accessory o It serves a number of functions including a code of ethical practices (World Responsible Apparel Production, WRAP) and promote appreciation of fashion arts |
| • NRF- National Retail Federation | o World’s largest retail trade association o Membership comprises all retail formats and channels of distribution o Represents an industry with more than 1.4 million Us retail establishments |
| • AAFA | - American Apparel and Footwear Association o Is the national trade association representing apparel, footwear, and other sewn products o Advances the industry’s legislative, international trade and issues o Auburn University is one of only 13 programs endorsed by AAFA (RESUME!!) |
| • The Fashion Jewelry and Accessories Trade Association | o Represents the interests of manufacturers, suppliers and retailers of jewelry and accessories |
| • MICAM | o Presents collections of world market leaders in products quality. AN assembly of 1,150 exhibitors, ready to offer a 360 degree panorama of the footwear market, where innovation and creativity o Milan |
| • Fur and Fashion Frankfurt Market | o The leading international trade fair for fur, leather and combinations of materials, IN brief: it is the gateway to the markets of the world |
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