Summary of the following reading about Redesigning a project:
>> NOT ALL PRODUCTS ARE PERFECT FROM THE DAY THAT THEY'RE LAUNCHED. MANY OF THE PRODUCTS WE USE AND RELY ON, EVEN THE CLOTHES WE WEAR HAVE BEEN CHANGED TIME AND TIME AGAIN TO GET TO THEIR MOST USEFUL STAGE. FOR A DESIGNER, REDESIGNING A PRODUCT IS A WAY OF PERFECTING AN ORIGINAL IDEA OR TRANSFORMING IT TO MEET THE NEW NEEDS OF THE MARKET. THERE ARE A NUMBER OF METHODS, TECHNIQUES, AND STRATEGIES DESIGNERS USE WHEN REDESIGNING A PRODUCT. IN THIS PROGRAM, WE'LL TAKE A LOOK AT SOME OF THEM, DEMONSTRATING HOW DESIGNERS DEFINE A NEED OR A PROBLEM AND MANAGE TO CREATE A SOLUTION THAT WORKS FOR EVERYONE. ALONG THE WAY, WE'LL GET A FEW INSIGHTS FROM SOME PROMINENT AUSTRALIAN DESIGNERS. WE'LL LOOK AT THE ROLE OF THE DESIGNER, THE REDESIGNED PROJECT, THE PROCESS OF DESIGN, INTELLECTUAL PROPERTY, AND THE PRODUCTION PROCESS.
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>> MANY PRODUCTS THAT WE USE OR INTERACT WITH ON A DAILY BASIS HAVE BEEN THROUGH A LENGTHY DESIGN PROCESS AT SOME STAGE. TO GIVE A RIGID DEFINITION OF DESIGN WOULD IMPLY THAT DESIGN IS A RIGID PROCESS AND NOTHING COULD BE FURTHER FROM THE TRUTH. DESIGN IS A PROCESS OF BRINGING AN IDEA TO LIFE, WHATEVER THAT MAY ENTAIL.
>> I SEE DESIGN AS REALLY BEING ABOUT THE FRUITION OF AN IDEA INTO AN ACTUAL OBJECT FORM. SO, I THINK A MILLION PEOPLE WILL GRANT ME THE MILLION CREATIVE IDEAS IN THEIR HEADS, BUT IT'S NOT ACTUALLY A DESIGN OR CREATIVITY UNTIL IT-- THERE'S SOMETHING DONE ABOUT IT.
>> NO TWO DESIGNERS WORK IN THE SAME WAY. THE PROCESS OF DESIGNING IS AS INDIVIDUAL AS THE DESIGNS THEMSELVES. IN FASHION DESIGN, THE DESIGNER'S ROLE IS TO CREATE CLOTHING THAT IS FASHIONABLE, WEARABLE, AND ULTIMATELY SALABLE TO THE CONSUMER MARKET.
>> THE ROLE OF THE DESIGNER AT METALICUS IS TO TAKE AN INITIAL CONCEPT INTO A FINALIZED GARMENT. SO, WE'RE QUITE A HANDS-ON DESIGN DEPARTMENT. WE DO PATTERN MAKING IN-HOUSE, WE DO OUR SAMPLES IN-HOUSE, WE ALSO DO OUR SPEC SHEETS IN-HOUSE. EVERY BIT OF IT ALONG THE WAY. WE CHOOSE TRIMS, WE CHOOSE COLORS, WE CHOOSE FABRICS. SO, THAT'S THE ROLE ESSENTIALLY OF WHAT WE DO AS DESIGNERS. OBVIOUSLY, IT'S A LOT MORE INTRICATE AND EVERY SINGLE STEP OF THE WAY HAS, YOU KNOW, 10 TO 15 DIFFERENT PROCESSES THAT WE NEED TO MAKE SURE WE'VE DONE TO ACHIEVE EACH STEP.
>> I THINK THE ROLE OF THE DESIGNER IS TO CREATE PIECES THAT ARE VERY WEARABLE TO THE PERSON, AND THAT THEY CAN IDENTIFY WITH. I GUESS IN A WAY WE CREATE IDENTITIES AS WELL AS-- IT'S NOT JUST CLOTHES, BUT IT'S ALSO A PIECE THAT PEOPLE FEEL EXCITED ABOUT, THAT THEY-- IT BECOMES LIKE AN OLD FRIEND TO THEM IN THEIR WARDROBE THAT THEY CAN REALLY FEEL STRONGLY ABOUT, AND FEEL THAT IT WORKS WITHIN THEIR IDENTITY.
>> DESIGNERS NEED TO KEEP IN MIND THEIR OWN VISION FOR A PRODUCT, AND ALSO THE NEEDS OF BOTH THE CLIENT COMMISSIONING THE PRODUCT AND THE END USER. A LOT OF PRODUCTS YOU USE AROUND THE HOME AND OFFICE WILL FALL INTO THIS CATEGORY. EVERYTHING FROM THE CHAIR YOU SIT ON TO THE WATER BOTTLE YOU DRINK FROM WAS DESIGNED WITH YOU, THE END USER IN MIND. FASHION LABELS USUALLY DESIGN FOR THEMSELVES RATHER THAN FOR AN EXTERNAL CLIENT. THE CLOTHES AND TRENDS THEY CREATE ARE BASED ON THEIR OWN AESTHETIC APPEAL. THE WAY THEY DEVELOP THEIR IDEAS ARE QUITE DIFFERENT TO THOSE OF A COMPANY THAT CREATES MORE GENERIC PRODUCTS.
>> AGAIN IT CAN DIFFER ACCORDING TO THE DESIGNER BUT MY OWN DESIGN HISTORY IS NORMALLY-- IS MORE OF A FIT FEELING OR THOUGHT THAT COMES TO MY MIND. AND THEN WITHIN THAT, I'LL THINK OF THEMATIC IDEAS THAT WILL THEN RELATE BACK TO THE RAW MATERIALS. SO THEN, IT'S NOT ONE SPECIFIC KIND OF IDEA, BUT IT'S MORE OF A BOUNCING OF IDEAS BETWEEN THE PRODUCT AND THE MATERIALS THAT YOU USE, AND THEN WHAT YOU'RE TRYING TO SAY, THE MESSAGE YOU'RE TRYING TO CONVEY AS WELL, SO.
>> DESIGNERS ALSO HAVE TO ENSURE THEY DEFINE THE CUSTOMER OR CLIENT'S NEEDS, ESTABLISHING THE PROBLEM AND FIND A SOLUTION THROUGH THEIR DESIGN. A SUCCESSFUL DESIGN WILL BE ONE BACKED WITH RESEARCH AND CRITICAL THINKING, TO ARRIVE AT THE BEST POSSIBLE OUTCOME FOR ALL INVOLVED.
>> SO SOME OF THE CREATIVE AND CRITICAL METHODS THAT I WILL IMPLEMENT INTO EACH DESIGN STYLE IS THE FACT THAT IT NEEDS TO BE A SELLABLE GARMENT. THERE'S ALSO BEEN SOME PIECES THAT DON'T WORK, SO YOU HAVE TO LEARN FROM THOSE PIECES THAT DON'T WORK. AND WHEN YOU'RE DOING YOUR NEXT COLLECTION, YOU DON'T MAKE THE SAME MISTAKE TWICE.
>> DESIGNERS HAVE CREATED MANY PRODUCTS THAT WE USE ON A DAILY BASIS. THEY BRING THEIR IDEAS TO FRUITION THROUGH DESIGN, WHICH IS AN INDIVIDUAL PROCESS. DESIGNERS CREATE WITH THE CLIENT OR END USER IN MIND. THEY ESTABLISH A DESIGN NEED OR PROBLEM AND PROVIDE AN ANSWER THROUGH THE DESIGN PROCESS.
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>> A PRODUCT'S DESIGN IS NOT ALWAYS A STATIC THING, IT CAN CHANGE FOR MANY REASONS. USUALLY A PRODUCT CHANGES TO SUIT THE CHANGING NEEDS AND DEMANDS OF THE END USER. IN FASHION DESIGN, HOWEVER, PRODUCTS CAN BE REDESIGNED TO KEEP UP WITH NEW STYLES AND TRENDS.
>> IN FASHION, DESIGNS ARE CHANGED TO SUIT DIFFERENT STYLES DUE TO TRENDS AND THINGS THAT ARE HAPPENING IN POPULAR CULTURE. SO, I THINK MOST PEOPLE ARE AWARE OF DIFFERENT TRENDS THAT ARE COMING THROUGH LIKE SKINNY JEANS, OR YOU KNOW HIGH-WAISTED PANTS.
>> IN FASHION, NEW MATERIALS CAN OFTEN INSPIRE CHANGES TO OLD DESIGNS. CHANGING SEASONS ALSO INFLUENCE THE KINDS OF FABRICS YOU USE ON ANY GIVEN GARMENT.
>> WHEN WE START A NEW COLLECTION, WHAT WE DO IS WE CHOOSE ALL DIFFERENT FABRICATIONS THAT WE FEEL ARE GONNA BE APPROPRIATE FOR THAT SEASON. SO, IN OUR WINTER COLLECTIONS, WE'LL DO FABRICS THAT ARE A LITTLE BIT HEAVIER IN WEIGHT, OBVIOUSLY, GONNA KEEP YOU A LITTLE WARMER IN WINTER. AND IN SUMMER, WE LOOK AT FABRICATIONS THAT WILL BE A BIT MORE FLOATY AND LIGHT AND A BIT MORE SOFTER TO WEAR, AND THAT BREATHE QUITE WELL IN THE HOTTER WEATHER. SO, WE NEED TO ESTABLISH DIFFERENT FABRICS FOR EACH OF THOSE SEASONS. AND SO FIVE TIMES A YEAR, IN OUR CORE COLLECTION, WE WILL DEVELOP DIFFERENT FABRICS.
>> NEW MATERIALS DO HELP THE REDESIGN PROCESS BECAUSE IT THEN INFLUENCES THE END PRODUCT. SO, THE MATERIALS THAT YOU'RE USING REALLY NEED TO SPEAK TO YOU IN TERMS OF WHAT YOU'RE TRYING TO PORTRAY. SINCE GRAY USES MAINLY NATURAL FIBERS, SO-- AND THAT'S A BIG FACTOR IN DECIDING WHICH NEW MATERIALS TO USE. THESE THREE THAT I'VE LAID OUT HERE ARE SOME OF THE NEW ONES THAT I'M WORKING WITH AT THE MOMENT. SO, I FIND IT'S GOOD JUST TO GRAB A BIT OFF THE ROLL, AND REALLY, I'M A VERY VISUAL PERSON, I LIKE TO SEE IT, AND I LIKE TO ACTUALLY GET A FEEL FOR IT. I HAVEN'T REALLY DECIDED WHAT EACH PIECE WILL GO INTO, BUT I CAN SEE THAT THERE'S A BIT OF A STORY HERE WITH COLOR.
>> OUTSIDE THE FASHION WORLD, PRODUCTS ARE ALSO COMMONLY REDESIGNED IN RESPONSE TO CHANGES IN SAFETY REGULATIONS AND STANDARDS. FOR EXAMPLE, CHILDREN'S SLEEPWEAR MAY BE LABELED WITH WARNINGS ABOUT THE FLAMMABLE NATURE OF THE FABRICS. WITH ANY TYPE OF REDESIGN, THE ENVIRONMENTAL IMPACT OF THE PRODUCT AND ITS OVERALL LIFE CYCLE MUST BE KEPT IN MIND. FOR EXAMPLE, THE DESIGNER SHOULD CONSIDER HOW THE PRODUCT SHOULD BE DISPOSED OFF ONCE IT HAS CEASED TO BE USEFUL. OR HOW IT CAN BE MADE USING SUSTAINABLE MATERIALS LIKE ORGANIC COTTONS, BAMBOO, OR RECYCLED FABRICS. MOST PRODUCTS HAVE A LIFE CYCLE THAT NEEDS TO BE CONSIDERED RIGHT FROM THE BEGINNING OF THE DESIGN STAGE. A PRODUCT LIFE CYCLE HAS FOUR STAGES: THE INTRODUCTION OF THE PRODUCT, GROWTH, MATURITY, AND DECLINE. WHEN THE PRODUCT DECLINES, IT BECOMES OBSOLETE. SO, IT'S A CHALLENGE FOR DESIGNERS TO EITHER DESIGN A SUSTAINABLE PRODUCT THAT WILL EITHER LAST LONGER OR BE RECYCLABLE OR REUSABLE AT ITS END STAGE. DESIGNERS CAN THEN REDESIGN THE PRODUCT AND START THE LIFE CYCLE OVER, INTRODUCING IT TO THE MARKETPLACE AS NEW.
>> FASHION DOES HAVE ITS OWN LIFE CYCLE. IT DEPENDS ON WHAT TYPE OF FASHION WE'RE TALKING ABOUT. SO, HIGH STREET FASHION, WHICH IS QUITE FAST AND MORE OF A TREND-BASED WORK, WILL OFTEN LOOK AT WHAT'S HAPPENING ON THE CATWALKS, AND THEN DO IT FOR A SEASON, AND REALLY PUSH IT THROUGH. I MEAN THAT CYCLE IS QUITE SHORT WHEREAS-- FASHION'S PRETTY MUCH ALWAYS SEASONALLY BASED.
>> ALTHOUGH FASHION TRENDS CAN REEMERGE YEARS AFTER THEY WERE FIRST POPULAR, DESIGNERS NEED TO BE ABLE TO ACCOMMODATE OLD DESIGNS INTO CONTEMPORARY ONES AND RESTART THE PRODUCT LIFE CYCLE PROCESS. A PRODUCT MAY BE REDESIGNED TO SUIT THE CHANGING NEEDS AND DEMANDS OF USERS. CHANGING FASHIONS OR STYLES, NEW MATERIALS, OR CHANGING SAFETY STANDARDS. A PRODUCT LIFE CYCLE GOES THROUGH THE INTRODUCTION OF PRODUCT, GROWTH, MATURITY, AND DECLINE. IT CAN THEN BE REDESIGNED TO START THE PROCESS AGAIN.
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>> THE DESIGN PROCESS FOR ANY GIVEN PROJECT BEGINS WITH A NEED OR A PROBLEM, FOLLOWED BY A DESIGN BRIEF, WHICH CAN BE DRAWN UP BY THE DESIGNERS TO GUIDE THEM THROUGH THE PROCESS. A SUCCESSFUL DESIGN BRIEF SHOULD ESTABLISH A NEED OR A DESIGN SITUATION TO MEET THE REQUIREMENTS OF THE CLIENTS OR END USER. THE DESIGN BRIEF SHOULD DESCRIBE THE CLIENT OR END USER'S NEEDS, WANTS AND EXPECTATIONS. DESIGNERS CAN DISCOVER THESE NEEDS THROUGH INTERVIEWS AND OBSERVATIONS, MARKET RESEARCH, AND CURRENT TRENDS.
>> WHEN WE FIRST STARTED, WE DID QUITE A LOT OF RESEARCH INTO WHAT THE MARKET GAP WAS FOR OUR PRODUCT.
>> AND I THINK IT'S REALLY IMPORTANT THAT YOU DO ESTABLISH YOUR GAP BECAUSE THERE'S SO MUCH COMPETITION OUT THERE, YOU REALLY NEED TO HAVE A POINT OF DIFFERENCE. SO, WE REALLY FOUND THAT WOMEN WERE-- WE DID A BIT OF SURVEYING, WE HAD THE BENEFIT OF HAVING GOOD STOCKERS ON HAND WHO ACTUALLY TOOK OUR SURVEYS THAT WE'D WRITTEN THAT ASKED LOT OF QUESTIONS AND OUR CUSTOMERS THEN FILLED THEM IN. SO, WE COULD REALLY SEE WHAT CUSTOMERS ARE WANTING AND THINGS LIKE THAT.
>> WHEN DESIGNING OR REDESIGNING A PRODUCT, IT'S NOT ONLY THE END USER'S NEEDS, WANTS, AND EXPECTATIONS THAT MUST BE CONSIDERED. SPECIFICATIONS MUST ALSO BE ESTABLISHED FOR THE PRODUCT TO ADDRESS CERTAIN CONSTRAINTS AND CONSIDERATIONS. IN ANY DESIGN PROJECT, THERE WILL BE LIMITS AND CONSTRAINTS ON THE PROCESS, WITHIN WHICH THE DESIGNERS HAVE TO WORK. THE BIGGEST AND BEST IDEAS MIGHT NOT BE FEASIBLE DUE TO BUDGETARY CONSTRAINTS OR EVEN USABILITY CONSTRAINTS. SO, THE DESIGNER HAS TO ESTABLISH WHAT THESE ARE QUITE EARLY ON.
>> MY GOAL AT THE END OF THE DAY IS TO GIVE THE CUSTOMER SOMETHING BEAUTIFUL TO WEAR, AND FOR IT TO SELL, AND FOR IT TO JUST BE A REALLY NICE PROCESS OF A GREAT DESIGN, SOMEONE FEELS GREAT IN IT, AND THEN THEY PURCHASE IT. SO, IT JUST IN TURN SUPPORTS ME MORE TO GROW IT AND TO GIVE THE CUSTOMERS SOMETHING ELSE DIFFERENT NEXT TIME.
>> COMPLETED DESIGNS OR REDESIGNS NEED TO BE EVALUATED TO JUDGE THE EFFECTIVENESS OF THE END PRODUCT. THE SUCCESS OF MOST PRODUCTS WILL BE EVALUATED ACCORDING TO HOW WELL IT SELLS AND HOW POPULAR THE PRODUCT IS. SO, THE DESIGN PROCESS ITSELF IS AN IMPORTANT ONE. AND THE DEVELOPING OF DESIGN IDEAS WILL DIRECTLY AFFECT HOW WELL THE END PRODUCT SELLS.
>> SO, HOW I WOULD DEVELOP AN INITIAL DESIGN IDEA CAN BE ANYTHING FROM GOING TO A CAFE AND I JUST PEOPLE-WATCH. AND I JUST SEE A GIRL JUST WHOOSH PAST IN A BEAUTIFUL FLOWING LONG DRESS AND I THINK THAT WOULD BE GREAT. BACK WITH THAT FABRIC IN THAT COLOR, WITH THAT, YOU KNOW I'LL JUST GET AN IDEA AND I'LL QUICKLY SCRIBBLE IT DOWN TO MYSELF. IT'S A VERY QUICK SKETCH, NO ONE ELSE WOULD PROBABLY BE ABLE TO UNDERSTAND IT, BUT THEN I'LL REFERENCE IT LATER ON. THAT'S HOW I WORK AS A DESIGNER, JUST CONSTANTLY DRAWING ON INSPIRATION, MOVIES, MUSIC, PEOPLE ON THE STREET, GRATES ON THE STREET ET CETERA. SO IT'S AN EVER, EVER GROWING PROCESS FOR ME. I'LL PROBABLY NEVER SWITCH OFF THAT CREATIVE EYE.
>> DESIGNERS MIGHT USE A MIXTURE OF TWO AND THREE DIMENSIONAL DRAWINGS, SKETCHES, DIALOGUES, AND ANNOTATIONS TO DEVELOP AND PRESENT NEW IDEAS.
>> WHEN WE'RE STARTING OFF A RANGE, WE WILL DO INITIAL SKETCHES THAT CAN BE QUITE ROUGH AND IT MIGHT JUST START THE FLAVOR OF THE SEASON HAPPENING.
>> IT REALLY DEPENDS ON THE WAY THE FABRIC IS TALKING TO YOU, SO SOMETIMES IT WILL START WITH A SKETCH. SOMETIMES WITH MORE VIGNETTE PLACES, IT'LL START WITH THE DRAPE ON THE MANNEQUIN, OR EVEN JUST DETAIL LIKE THAT, AND THEN YOU'LL START TO WORK AROUND IT. I PREFER TO WORK FROM THE DRAPE FIRST BECAUSE I FEEL LIKE THERE'S MORE ROOM FOR MOVEMENT WITHIN THE DESIGN PROCESS. SO, SOMETIMES THE BEST RESULTS CAN COME FROM THINGS THAT YOU'D NEVER EXPECTED TO WORK.
>> IT'S ALSO IMPORTANT TO TEST AND ANALYZE THE PROPERTIES OF THE MATERIALS TO BE USED IN THE END PRODUCT TO ENSURE THAT THEY WILL SUIT THE DESIGN PROPOSAL.
>> WE'LL SAMPLE GENERALLY EVERYTHING UP IN A WHITE FABRIC, WHICH IS CALLED A GRAYISH FABRIC. AND THEN WE'LL PUT OUR SAMPLES IN A BOX, THESE ARE ALL SAMPLES THAT HAVE COME BACK FROM A DYE BATCH, SO THEY ALL COME BACK IN A SIMILAR COLOR. AND WE'LL HAVE A LOOK AT A PIECE, WE'LL TRY IT ON IN A FIT TEST WHICH I EXPLAINED TO YOU. WE'LL HAVE A LOOK IF IT'S TOO LONG, TOO SHORT, WE'LL AMEND IT.
>> THE DESIGN BRIEF SHOULD ESTABLISH THE DESIGN SITUATION, IDENTIFYING THE CLIENT OR END USER'S NEEDS, WANTS, AND EXPECTATIONS. IT SHOULD ALSO ESTABLISH THE CONSTRAINTS AND CONSIDERATIONS, AND HAVE A SET OF EVALUATION CRITERIA TO JUDGE ITS OVERALL SUCCESS. IN DEVELOPING IDEAS, DESIGNERS DRAW ON INSPIRATION AND RESEARCH, DEVELOPING 2D OR 3D DRAWINGS AND SKETCHES, DIALOGUES AND ANNOTATION, AS WELL AS USING VARIOUS METHODS TO INVESTIGATE, TEST AND ANALYZE THE FINAL PRODUCT.
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>> FOR DESIGNERS, ANOTHER MAJOR CONCERN WHEN DESIGNING AND MODIFYING AN EXISTING DESIGN IS INTELLECTUAL PROPERTY. INTELLECTUAL PROPERTY GIVES PROTECTION OVER ARTISTIC AND COMMERCIAL CREATIONS AND DESIGNS. OWNERS, CREATORS, OR DESIGNERS ARE GRANTED CERTAIN RIGHTS TO THE TANGIBLE EXPRESSION OF THEIR CREATIVE IDEAS. WHICH INCLUDE MUSICAL, LITERARY, AND ARTISTIC WORKS, DISCOVERIES AND INVENTIONS, WORDS, PHRASES, COMPANY NAMES, SYMBOLS AND DESIGNS.
>> IT'S DEFINITELY IMPORTANT TO BE QUITE CAREFUL WHEN YOU ARE-- IF YOU WERE STARTING YOUR OWN LABEL AND YOU WERE CHOOSING A NAME. IT NEEDS TO BE SOMETHING THAT'S VERY UNIQUE AND NOT COMPETITIVE TO ANYTHING ELSE IN THE MARKETPLACE THAT MIGHT SOUND SIMILAR OR MIGHT BE SIMILAR.
>> COMMON TYPES OF INTELLECTUAL PROPERTY INCLUDE COPYRIGHTS, TRADEMARKS, PATENTS, AND INDUSTRIAL DESIGN RIGHTS. THE PROTECTION IS IMPORTANT FOR ANY AND ALL DESIGN WORK, ESPECIALLY IN THE FASHION INDUSTRY.
>> INTELLECTUAL PROPERTY DOES IMPACT FASHION DESIGN BECAUSE THERE'S A LOT OF RIPPING OFF IN THE INDUSTRY. SO, IN THAT WAY, IT HELPS TO REWARD AND PROTECT THE DESIGNERS AND THEIR WORK. SO, JUST BECAUSE SOMETHING IS REGISTERED IN AUSTRALIA DOESN'T NECESSARILY MEAN THAT IT'S REGISTERED IN OTHER COUNTRIES OR SO. BECAUSE NOW IF WE WERE TO DO A SHOWCASE IN ITALY, IT WOULDN'T STOP PEOPLE IN ITALY FROM COPYING OUR WORK, WE'VE THEN HAVE TO REGISTER OUR PIECES OVERSEAS AS WELL. SO, I GUESS IT DEPENDS ON THE COMMERCIAL VIABILITY OF HOW WELL YOU THINK THE DESIGN WOULD GO, IF IT'S WORTH INVESTING IN IT.
>> THERE ARE MANY INS AND OUTS OF REGISTERING DESIGNS WHICH DIFFER DEPENDING ON WHICH COUNTRY YOU REGISTER A DESIGN IN. SOMETIMES THE PROTECTION OFFERED DOESN'T COVER ALL BASES. AND A LOT OF COPIED DESIGNS HAVE BEEN CHANGED JUST ENOUGH TO GET AROUND ANY LAWS. IN SUCH CASES, IT CAN BE DIFFICULT TO PROVE ANY WRONGDOING.
>> THERE WAS A STAGE THAT WE WERE REGISTERING OUR DESIGNS, BUT IT DIDN'T REALLY STAND FOR MUCH AT THE END OF THE DAY, SO WE STOPPED DOING IT. IT'S IMPORTANT ALMOST TO LOOK AT IT THAT IF YOU ARE BEING COPIED, IT MEANS YOU ARE DOING SOMETHING RIGHT.
>> REGARDLESS, PROTECTING YOURSELF FROM EXPERIENCING INFRINGEMENTS ON, OR THEFT OF YOUR OWN DESIGNS AND IDEAS IS ALWAYS A WORTHWHILE STEP.
>> I DON'T HAVE TO TAKE IN ACCOUNT PATENTS OR COPYRIGHT TO A LARGE DEGREE IN TERMS OF ALL OF OUR WORK IS ORIGINAL. SO, WE'RE NOT REALLY HAVING TO WORRY ABOUT IT FROM OTHER DESIGNERS BECAUSE WE DON'T COPY OTHER DESIGNERS. WE ONLY REDESIGN OUR OWN WORK, SO IN THAT WAY, I DON'T HAVE TO THINK ABOUT, YOU KNOW, IF I CHANGE IT BY 30 PERCENT THEN I'M STILL WITHIN MY RIGHTS, BECAUSE WE'RE NOT REALLY INTERESTED IN DOING THAT, SO THAT'S OKAY. BUT IN TERMS OF OTHER PEOPLE COPYING OUR OWN WORK, THEN YES IT'S SOMETHING WE DEFINITELY NEED TO CONSIDER.
>> INTELLECTUAL PROPERTY LAWS PROTECT ARTISTIC AND COMMERCIAL CREATIONS AND DESIGNS WHERE OWNERS, CREATORS, OR DESIGNERS CAN ASSERT THEIR RIGHTS TO BE KNOWN AS THE ORIGINATORS OF UNIQUE CREATIVE WORKS INCLUDING MUSICAL, LITERARY, AND ARTISTIC WORKS, DISCOVERIES AND INVENTIONS, WORDS, PHRASES, SYMBOLS AND DESIGNS. COMMON TYPES OF INTELLECTUAL PROPERTY INCLUDE COPYRIGHTS, TRADEMARKS, PATENTS, AND INDUSTRIAL DESIGN RIGHTS.
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>> THE PRODUCTION PROCESS IS WHERE A DESIGN OR REDESIGN PROJECT ALL COMES TOGETHER. THE DESIGN ITSELF IS JUST THE FIRST STEP OF A LONG PROCESS THAT WILL CULMINATE IN A FINISHED PRODUCT. DESIGN AND PRODUCTION ARE TWO OF THE MOST IMPORTANT STAGES IN A PRODUCT'S DEVELOPMENT.
>> SO, THIS IS OUR DESIGNER ROOM HERE, EVERYONE'S VERY BUSY WORKING.
>> SO, IT'S IMPORTANT THAT DESIGNERS WORK CLOSELY WITH THE PRODUCTION TEAM TO PRODUCE AN ITEM THAT SATISFIES THE DESIGN REQUIREMENTS.
>> AT METALICUS, DESIGN AND PRODUCTION WORK VERY, VERY CLOSELY TOGETHER. IT'S QUITE IMPORTANT TO HAVE GREAT COMMUNICATION WITH PRODUCTION SO THEY UNDERSTAND EXACTLY WHAT YOU WANT TO PRODUCE THAT SEASON, WHAT COLORS ARE HAPPENING, WHAT TRIMS ARE HAPPENING, WHAT THE AMOUNT OF UNITS AS WELL THAT THEY HAVE TO PRODUCE WITHIN THAT SEASON, THEY NEED ALL OF THAT INFORMATION FROM US. AS I EXPLAINED TO YOU BEFORE, WE NEED TO PROVIDE A KIT TO GIVE OVER TO THE PRODUCTION. SO THIS IS A SPECIFICATION SHEET, THIS IS OUR FINISHED SAMPLE, AND HERE IS OUR PATTERN PIECES. SO, EVERY SINGLE GARMENT IN THE COLLECTION HAS TO HAVE A KIT OF THIS NATURE.
>> DESIGNERS USE WORKING DRAWINGS TO EXPLAIN TO THE PRODUCTION HOUSE EXACTLY WHAT THEY'RE AFTER. THESE ARE DETAILED ANNOTATED DRAWINGS THAT EXPLAIN ALL ASPECTS OF THE PRODUCT, LIKE A BLUEPRINT OR SET OF INSTRUCTIONS THAT GUIDE THE PRODUCTION TEAM ON HOW TO FULFILL THE DESIGNERS ORDERS. THESE MIGHT BE ELECTRONIC, PERHAPS IN THE FORM OF A CAD FILE, WRITTEN NOTES, OR EVEN PRODUCT SAMPLES AND PROTOTYPES. IT'S IMPORTANT THAT THE DESIGNERS AND THE PRODUCTION TEAM SEE THE PRODUCT IN THE SAME WAY. THERE ARE MANY STEPS IN THE DESIGN AND PRODUCTION PROCESS, EACH WITH THEIR OWN CONSIDERATIONS AND DEADLINES.
>> THERE ARE MANY DEADLINES IN PLACE TO KEEP UP WITH CHANGING STYLES AND DELIVERY TIMES. FASHION, THE FASHION INDUSTRY IS VERY CYCLIC, SO IT ALL-- IT'S A TRAIN REACTION. SO, I NEED TO MAKE SURE THAT I CAN DELIVER TO MY BOUTIQUES AT THE TIME SPECIFIED.
>> SO THEREFORE, THE MANUFACTURERS HAVE TO MAKE SURE THAT THEY MAKE IT WITHIN THE TIME SPECIFIED. AND THERE'S ENOUGH TIME IN BETWEEN FOR THE QUALITY CHECKING AND TO MAKE SURE IT'S ALL OKAY. THINGS SOMETIMES DO GO WRONG, PERHAPS SOMETHING, ONE THING HAS COME THROUGH THAT HAS STAIN ON IT FROM THE MACHINE OIL SO, WHEN THEY'VE BE MAKING IT, SO THEN THAT WILL HAVE TO GO BACK AND EITHER BE CLEANED OR REMADE. SO, IT'S GOOD TO TRY TO WORK EARLY AND TO DEFINITE DEADLINES.
>> PRODUCTION PLANS USUALLY FOLLOW A STRICT TIMELINE. AND THE PRODUCT OFTEN HAS TO PROGRESS THROUGH A FEW STAGES BEFORE IT CAN BE DELIVERED TO THE END USER.
>> THE PROCESS STARTS OBVIOUSLY WITH DESIGN. THE NEXT PERSON WHO TOUCHES THE PRODUCT WOULD BE THE PRODUCTION TEAM. THEN THE NEXT PERSON WOULD BE THE MARKETING TEAM, AND THE NEXT PERSON WOULD BE THE SALES TEAM.
>> EVERY LINK IN THE CHAIN OF THIS PROCESS IS AS IMPORTANT AS THE LAST, AS ONE DEADLINE AFFECTS THE NEXT. WHEN THINGS GO WRONG WITH THE SUPPLIER, RETAILER, CLIENT, OR END USER, THEY ALL FEEL THE EFFECTS. AND IN THE END, THE QUALITY OF THE PRODUCT ITSELF WILL SUFFER.
>> YOU HAVE TO MAKE SURE THAT WITHIN YOUR CHAIN REACTION, EVERY LINK IS VERY STRONG. I NEED TO KNOW THAT MY PATTERN MAKER IS ON TIME AND MY MAKERS ARE ON TIME, AND THEIR QUALITY IS GOOD AND ALL OF THAT TO MAKE SURE THE WHOLE THING WORKS. SO THAT TAKES A LONG TIME TO ESTABLISH REALLY GOOD CONNECTIONS WITH PEOPLE AND THEM MAKING TO A STANDARD THAT YOU'RE HAPPY WITH. AND ONCE YOU'VE ESTABLISHED THAT RELATIONSHIP, IT'S SO-- IT BECOMES SUCH A VALUABLE THING.
>> FOR DESIGNERS, EVEN THE PROCESS OF REDESIGNING AN EXISTING PRODUCT CAN TAKE A LOT OF TIME AND LOT OF WORK. SO, BEING ABLE TO RELY ON OTHER TEAMS OF PEOPLE TO REALIZE YOUR VISION IS PARAMOUNT. DURING THE PRODUCTION PROCESS, WORKING DESIGNS ARE USED TO A SET OF DETAILED INSTRUCTIONS FROM THE DESIGNER TO THE PRODUCTION TEAM. SEQUENCE PRODUCTION PLANS ARE NEEDED TO HELP WITH PLANNING TIMEFRAMES AND MEETING DEADLINES DURING THEIR PRODUCTION PROCESS.
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>> A PRODUCT MIGHT BE REDESIGNED FOR MANY DIFFERENT REASONS INCLUDING THE NEED TO KEEP UP WITH CHANGING FASHIONS, TECHNOLOGIES, AND STANDARDS. REDESIGNING AN EXISTING PRODUCT CAN BE AS LONG AND AS DIFFICULT TO PROCESS AS THE ORIGINAL DESIGN WAS TO CONCEIVE. BUT IN THE END, KEEPING UP TO DATE KEEPS US AT FOREFRONT OF AN EVER CHANGING WORLD, MEETING THE NEEDS OF A DEMANDING POPULATION. AND IF A DESIGNER CAN MANAGE TO KEEP UP, THEY'LL BE SUCCESSFUL IN WHATEVER THEY CHOOSE TO REDESIGN AND EVERYONE WILL SEE THE BENEFITS.