Julie King: COLOUR FORECASTING; MORE OR LESS CHOICE FOR THE CONSUMER?
De Montfort University
Leicester, UK
HEAD OF DEPARTMENT OF FASHION & TEXTILES
Fashion retailers today work at a faster pace than ever, enabled by quick response technology throughout the supply chain (Burns & Bryant, 2002). Colour has become an important selling point on the UK High Street. The study followed leading UK clothing retail colour teams as they developed colour palettes, assessed how their development of colour information was influenced by their customers and measured adherence to international commercial predicted palettes.
Two major UK clothing retailers participated in a longitudinal study; retailer A, a major supermarket clothing brand developing stand alone clothing stores; retailer B the largest UK high street clothing retailer, with several classic and fashion led sub brands.
A number of ‘core’ or basic colours, typically consisting of black, navy, whites and naturals, were selected each season by both retailers irrespective of forecasters’ predictions, to develop ‘fashion’ or ‘iconic’ colours around. With consumers expecting an ever increasing pace of change from fashion, demanding a new look each time they visit a store, retailers feel pressured to respond. (Solomon, 1994), (Brannon, 2000) (Franck, 2000).
The study aimed to establish patterns in colour trend development and selection processes through a series of regular meetings with senior colourists and colour teams. Were they directed by commercial predictions, or independently generating palettes to suit customer profiles? The study provided an insight into the use of colour prediction packages, their influence and development of palettes, indicating how each organization selected colour specifically for consumers and brands.
Retailer A subscribed to numerous forecasting publications, deriving most colour palettes from them. There was little primary research into colour trends by buying and design teams, other than those purchased and distilled by the colour group. A considerable percentage of merchandise comprised core colours.
Retailer B selected core colours to support its colour palettes, enhanced by seasonal fashion colours. Within brands there was a greater understanding of the need to develop unique product handwriting. Colour was part of the package comprising fabric, styling and marketing. For a high end quality brand, a refined and elegant selection of colours was developed to reflect perceived brand sophistication.
Results and discussion
It appears consumers are not subjected en masse to internationally predicted colours each season. Whilst retailers used such information, much was discarded as being too directional, or unsuitable for target customers, in favour of core colours. Where ‘fashion’ colours were selected, they were used sparingly as ‘iconic’ colours, in highlights or as key statement pieces. Many teams, especially at the higher end of the market, preferred to develop their own colour palettes rather than rely on those proposed by commercial forecasters.
Conclusions
In today’s rapidly changing fashion industry, developing new lines each season is essential satisfy consumer demand (Crane, 2000). Colour helps sell a product, so core colours are retained season after season, ensuring consumers can purchase new styles in familiar colours. The core business of devising and promoting colour trends is one that many believe is essential to survival in the increasingly competitive marketplace (Brannon, 2000) (Porter, 1994). Jackson (2001) suggests that in the recent past a garment would always sell if it were the ‘right’ colour, when colour was rigidly dictated; today the increasingly competitive market place and sophisticated consumer allows a wider range of fashion colours to be presented, stimulating greater consumer choice.
References
Brannon, E. L., (2000), Fashion Forecasting, New York, Fairchild Publications Inc., pp, 20, 335.
Burns, L. D. & Bryant, N. O. (2002), The Business of Fashion, New York, Fairchild Publications Inc, p30.
Crane, D. (2000) Globalisation, Organisational Size, and Innovation in the French Luxury Fashion Industry: Production of Culture Theory Revisited,
Diane, T. & Cassidy, T., (2005), Colour Forecasting, Oxford, Blackwell Publishing, p29.
Franck, E., Fashion Forecasters See it Before You, on www.Fashion information.com , for cns.jrn.columbia.edu , March 6.2000.
Jackson, T. (2001) The Process of Fashion Trend Development Leading to a Season, in Hines, T. and Bruce, M. (Ed.) (2001) Fashion Marketing: Contemporary Issues p122 Oxford, Butterworth-Heinemann.
Linton, H. (1994), Colour Forecasting, New York, Van Nostrand Reinhold, p1
Porter, T.(1994) Colour in The Looking Glass, in Linton, H. (Ed.) (1994) Colour Forecasting, New York, Van Nostrand Reinhold.
Solomon, M. R., (1994) Consumer Behaviour, Boston, Ma., Allyn & Bacon, p. 93
Webb, A. L. (1994), Timing is Everything, in Linton, H. (Ed.) Color Forecasting pp203 – 206, New York, Van Nostrand Reinhold.