When it comes to retail, it’s really important to understand its history.
The birth of the modern fashion idea started with Charles Frederick Worth in the late 1800s. The idea of retail started to develop, especially at the turn of the century, by folks like Selfridges and Macy’s.
Here’s why: All the way up until that point, you always went to a tailor or a dressmaker to have something made specific to you. Macy’s and Selfridges had to figure out how to get people into a store to buy mass-produced clothes.
Why on earth would you want to go buy something mass-produced, when even if you were not that wealthy, you could have your mother create something that fits you perfectly?
So, at the very beginning, Macy’s and Selfridges had to figure out how to get people into the store. It had to be about more than the product. It had to be about the service and the experience. Hence, customer experience.
If you’ve ever watched any of the films about Macy’s or Selfridges or read any of the books, you’d know they were the ones that created things like the perfume counters on the bottom floor. Why? Because when you spray smells, people react to them. Consequently, they’re gonna stay longer. It’s also going to get people to come in.
Nowadays, that might look like a DJ or an influencer coming in to talk/meet fans. Back then, it was Charles Lindbergh who showed up at the Selfridges in London after his transatlantic flight.
In short, retail isn’t just about a transaction. It’s so much more than that. Hence, there are a lot of moving pieces in retail.

Historically, trade shows were an enormous vehicle for moving your brand. Smaller brands who were looking to get their brand out there in a larger way or bigger brands who were looking to increase visibility would get a booth at a trade show. They would put their booths together as if it were a store, and buyers would walk the floor. They’d come and check out the brands to see what they had. It was really a huge vehicle, and a lot of people used it all the time. They were typically done in New York and Las Vegas. There were some on the West Coast for apparel as well. You would have a store in South Carolina, like a family-owned shop that’s been in your family and you’re looking for new product, fly to Vegas, walk around, and place all your buys. That’s not going to go away because people will still need a place to shop the market and will still need to see what new things are out there. But, it’s going to change.

Within everything, we have to evolve, so trade shows are evolving. ComplexCon’s something that’s evolving. Everyone wants to experience something, and if you can bring it to the consumer, and you can have that conversation. It’s all about driving conversation because the same brands that are doing the pop-ups, the same brands that you may find at a trade show, you’ll also find at ComplexCon or Sneakercon or any of those things. It’s all to drive conversation. These things won’t cancel out the other, but they will continue to evolve.

In the head space of the consumers and the industry, brands have a front door. The front door that makes the first impression on the world. This is the name. Coming up with a name that’s going to resonate is super important for your brand. It should be something that people can remember. It should be a name that’s going to stick around.

It’s a mystery why some brand names resonate and why some don’t. We can ask, how did this brand become a huge brand and this brand not? Ultimately, determining why some names stick is hard to kind of quantify. How these brands endure has to do with what’s behind the name. Names are certainly important.

When naming a brand, it’s important to consider a number of factors. If you are starting a brand that you want to have a global scale, you have to consider how the name will translate. For example, you have to ask yourself how this name will translate into Mandarin for a business in China, which is a really important market. Ask yourself: How is this name going to project around the globe?

Thinking about a brand and the name for it can be tricky. “There are certain things that I love for my personal aesthetic. For example, I love genericness, but at the same time it has to be searchable, it has to be found in the world. Like for example, there’s a music group called Men or there’s another music group called The Internet. And I think that’s so fun, but at the same time, it is impossible to find, and it’s not really but it is. Then also, I think personal connections again, make the most sense,” says [INSERT SPEAKER HERE].

What’s in a name? The choice of branding is one that’s fraught with potential pitfalls in fashion business. The eponymous brand means naming the brand after yourself. The world is rife with eponymous brands and some of the biggest brands are named after their designers. Even the great fashion houses of Europe are named after their initial designer.

There’s a precedence for this type of naming, but it also puts the designer in a difficult position once they need investors. Investment comes with degrees of control. If an investor buys into your brand and your brand is Douglas Hand, and you are Douglas Hand, that investor wants 33 percent of the company that holds the trademark Douglas Hand.

Investors will have a lot of input on how the Douglas Hand name is used. You may not agree with those things, but your name is outside of your own control. Now it’s in the control of a constituency that is usually focused on return.

In the 1980s, you had Calvin Klein with his name sewn on really cheap underwear. They made a lot of royalties, but Calvin himself probably wasn’t very happy about it. That is one pitfall of the eponymous brand.

Lawyers and fashion education experts advise clients to come up with something fanciful when deciding on a brand’s name. Why fanciful? You have the benefit of not having to possibly give up the rights to your personal name in the future if you decide to sell your brand.

Another pitfall for names is you can’t choose something that’s purely descriptive. American Apparel, for example, was selling American-made apparel, not the brand. They didn’t have trademark rights until the world recognized American Apparel meant it’s from the Los Angeles-based company run by Dov Charney. It takes a while to build up that name recognition in the mind of the consumer.


Retail has rapidly changed over the years, with some fashion brands opting for alternatives to the traditional brick & mortar, physical store concept. You’ll find brands focusing solely on e-commerce and not having a physical location. Others have a more hybrid approach. Their physical store serves as more of a showroom for potential customers to see their brand in person before later purchasing online.

The innovative use of the showroom concept for fashion retail locations has been adopted by major brands including Bonobos. Potential customers can check out the brand in person, assessing quality, materials, colors, and sizing. Unlike a traditional retail store where you can purchase on site for instant gratification, the showroom concept has customers place their order at the showroom or online for pick up at the showroom.

The showroom model has become a marketing and advertising play for a lot of retailers. Physical retail is also turning into industrial fulfillment, where they’ll do a hybrid model where there’s the showroom and the goods will be at the fulfillment center.

Nordstrom is currently doing this model where half of their stores use this concept called the “bricks to clicks effect.” Through fashion education and trend spotting, a lot of fashion brands are starting to reevaluate their sales channels. Ifthey have a brick and mortar location for consumers to see the styles in person, they’re starting to see in increased online sales in that geographic area – the bricks to clicks effect.

This sales data is being monitored by performance analytics tools like like the Guest platform. Also, point of sale (POS) companies are starting to provide more granular data to their customers and their retailers, so they can use this data to make better qualified buying decisions going forward.

In the fashion business, “collection” basically means articles of clothing or different items in the clothing line that make up a new collection. What’s the difference between “collection” and “line”? A line is simply a specific organized group of garments that has a centralized concept. It’s a little bit similar to collection. For a designer, you many have different lines working under your label, meaning you have a contemporary line, a high-end line, and a low-end, mass-market line. These lines sell to different clients with different price points.

For a contemporary collection, designers may produce anything from 15 pieces to 30 pieces or 30 styles. For a larger designer corporation or designer label, they may produce as many as 70 to 100 styles per season. We dress differently in the four different seasons of the year. Some designers like to combine the seasons together to create a spring/summer and fall/winter collection every year. For larger mass-market stores, such as Gap, they will produce spring 1, spring 2, spring 3, summer 1, summer 2, summer 3, and so on.

Designers use their fashion education and take a look at what is necessary for their customers in each distinct season. A jacket for a cold wintry day, or a blazer for a nice spring afternoon with some breeze. Creating a complete seasonal look is key. Another important aspect of designing a fashion collection is you want to have a centralized theme. If you’re using all earthy tones, then use only warm, natural tones. If you want to do a neon pop color collection, then you might choose hot pinks, hot reds, and hot blues. Therefore, your fabrications and colors should be pretty much uniform and fit the overall theme.

“Every season as a team we collectively go through all of the runway shows from New York, London, Milan, and Paris, and pull through actual looks that we think will work for future stories at Teen Vogue,” Says Sarah Brody. “Once we’ve identified the trend for the season, we go through all of our market images, which are the photos that we’ve taken at all the appointments that we’ve gone to so far, and we pull out the lower end market and the more affordable pieces that we think that our readers want to see on the page that still relates to the bigger trends that we’ve seen this season.”

“After that, we compile a book that we present to Amy, our editor in chief and our creative director at Marie. We go over every single trend, what styles we think might like that trend, what photographer would work well with it, and we send them out to all the stylists and photographers that we work with regularly. They send back their feedback and some inspiration images that they would want to incorporate for a future shoot for the magazine.”

“As shoots are confirmed, we work with stylists to call in the best pieces that we think will work for the story that they’re doing. Whether that’s a sweater from Guess or a pair of jeans from AG, we’re always looking for the best pieces in the market because it’s our job as editors to not have everything here.”

“Once everything is here and laid out, it’s organized on racks and tables. We then, as a team, edit through to what we think are the best of the best pieces that we want to show the stylists and show Amy in the run through. For those of you that don’t know what a run through is, it’s like a dress rehearsal before a show,” Explains Brody.

“We go through everything. Amy picks out her favorite pieces as the stylists goes through the looks that they’ve created. We talk over the shoot before it actually happens.”

“My favorite part of my job is meeting with new designers and figuring out how I can incorporate them into the book. After all, the Teen Vogue tagline is ‘fashion starts here’. A special experience for me was our main cover story with Kylie Jenner where our sales brand and Maxwell asked the fashion team if we knew of any designers that sent a muslin dress down the runway, and no one really did.”

“I thought of a friend that was just starting out on his own, and I asked him if he would make a dress. Brandon, myself, and my friend Max designed the entire thing from scratch. I was super excited when it ended up being shot. Here’s the image of Kylie and her friends wearing it. That was just one of the many, many memories I have of working here at Teen Vogue.”

Sample creation is essential to making fashion products that sell. According to Angela Gao, no design process is complete without time spent creating and refining these mockups.

“When I’m designing, I like to have a mood board right where I work. If I find appealing images for a new collection, I pin them up along with fabrics I’d like to use.”

Next, Gao refines the creative inspirations she’s collected. “I sort the fabric I’ve gathered. Then, I develop sketches representing flat joins of what I’d like to produce.”

Sample making comes next. Many designers produce samples in factories or designated sample rooms, but smaller designers may prefer in-house production.

“I usually produce the initial mockups and send them directly to my factories,” continues Gao. “Then the factories send me the completed samples.”

Sample-making ensures that everything fits before it goes into production or gets sold to stores. Gao says the extra effort helps her create quality products for her target consumers through a “fit modeling” process.

“Working with fit models is important, but it differs from runway shows,” Gao explains. “Runways are glamorous, so everything is slim, skinny, and tall. When you’re selling to a customer or buyer, however, your work must fit real people. Fit models have the perfect sizing that matches typical clientele. The fitting process lets the designer fix aspects that they dislike and adjust poorly fitting elements. For example, if an armhole looked too big, the designer would pin it up and resize it at this stage.”

Gao also says that fit modeling is just the first step – It’s important to recheck the work afterward. “After you finish fitting a garment, you can send the sample back to the factory. When the factory returns an adjusted prototype sample, you’ll check it against a fit model again.”

Sample making also facilitates business opportunities known as sample sales. “A sample sale is a retail channel for designers to sell samples,” says Gao. “Companies can generate some extra profit by selling samples that would go unused. The only downside of this practice is that samples aren’t perfect. Sometimes, they might lack buttons, closures, zippers, or other features. They also can have fit issues. Nonetheless, sample sales offer great deals.”

“Claire McCardell is one of those names that’s synonymous with American sportswear. She is somebody who redefined the sportswear market by adding things such as play suits and swimwear,” Patrick Michael Hughes explains. “She followed her customers from the late 1930s, to war bride, to movement to the suburbs, and into the early to mid-1950s.”

When we take a look at our Claire McCardell shirtwaist dress, we find a number of historical elements. The first of which is the shirtwaist. The shirtwaist is something that is synonymous with American fashion. It’s something that American women at the end of the 19th century into the 20th century are absolutely going to fall in love with. It’s the look of the Gibson Girl, which is really an exciting moment in history and for women. The Gibson Girl is a woman who is going to ride bicycles, operate typewriters, and have dreams of voting.

By the time we take a look at this shirtwaist dress from around 1942-1943, we have a simple cotton dress in war-time kind of proportions. It’s very paired down and very clean with just a tiny little bit of something to keep it fresh and new. The collar is able to be tied into a bow tie.

What’s also fun about this are the prints. This is a whimsical shamrock. Morality prints during World War II are very exciting to take a look at. Who are they fighting for? Why are we fighting? Keeping your morale going and looking pretty while the men are fighting abroad. This is also part of the World War II message and something that McCardell will plug into.

“If you take a closer look at the McCardell shirtwaist dress, you’ll find an interesting enclosure. McCardell was known for interesting enclosures like brass hooks, brass studs, and all kinds of things that are different than just plain buttons. When we started styling and having fun with our timeless shirtwaist dress, we put a Beastie Boys t-shirt underneath it. We tied it with a Double RL Ralph Lauren flannel shirt. We’re mixing an American message, and she’s ready for grunge. Grunge is making a comeback. Grunge never really went away,” Says Hughes.

It’s something that is also tremendously romantic. When we think about grunge, and we think about grunge dressing and the story or the narratives of a songwriter or a poet, and tragic endings. We have a really fun sort of look here.

“We find the white dress at the beginning and end of every century emblematic of the rise of democracy, going back to a classical theme. I love the white dress, in the sense that it’s fresh, it’s new, and it can say a great deal about revival,” Patrick Michael Hugues states.
“Our particular white dress is made of two components—one from the late 1970s and the other from the early 1980s. It’s the stretch lace bodysuit made by American designer Giorgio Di Sant’Angelo. Di Sant’ Angelo began his career as a Lucite jewelry designer until 1968 when the legendary Diana Vreeland discovered his talent. From there, it took off,” Hugues explains.
Hugues continues, “We have a skirt in white cotton muslin made by Geoffrey Beene from his designer clothing line Beene Bag. The white muslin skirt takes us to the beginnings of the white dress and white clothing at the beginning and end of every century. It has a classical mix. It has purity.”
“There are a couple of wonderful details when taking a closer look at our Beene skirt. One of them is a cartridge pleating, which we can trace its origin to the 18th century,” Hugues claims and continues, “the hem has a wonderful trapunto stitch hemline which gives a sense of wadded weight to our muslin skirt.”
Hugues explains further. “The wadded hemline is another fashion we can trace back to the early 19th century, something that we can trace back to the early 19th century. It has a sense of romance. It’s almost the end of the white dress, taking us into the age of romance. The age of romance, of course, referring to the time of Jane Austen’s Sense and Sensibility, Emma, all of those things.”
“While I was making up a story for our white dress, which has a bit of a Gibson Girl look to it, I realized the collar is a high neck with a sense of romance,” Hugues explains. “We place on it, Tibetan beads, glass beads, ceramic beads, a wonderful sort of silver brooch with turquoise stones. and of course, a huge sort of dramatic Marc Jacobs collection sort of raccoon or fox hood to complete the look.”
Hugues claims, “Mixed with this, of course, is also a piece of surplus clothing, or Army and Navy clothing. We find a tremendous amount of Army and Navy clothing after World War II. I believe this is something that the troops will leave behind in Europe, and something that America will export to Europe.”
“This is a time where we’ll see a strong presence of American clothing in Europe. So, this green Army jacket has another level to this wonderful sort of American narrative. When we think about sorts of the white dress, about new dressing—we have a number of narratives to refer to,” Hugues concludes.