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Kilbourne, Helen Margaret

A study of a selected group of
design firms within the Vichigan
ap arel industr .

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A STUDY OF A SELECTED GROUP OF CUSTOM DESIGN FIRMS
WITHIN THE MICHIGAN APPAREL INDUSTRY

_By.-’- ~-

I.
4"

Helen Margaret Kilbourne

A PROBLEM

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Textiles, Clothing and Related Arts

1966

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ABSTRACT

A STUDY OF A SELECTED GROUP OF CUSTOM DESIGN FIRMS
WITHIN THE MICHIGAN APPAREL INDUSTRY

by Helen Margaret Kilbourne

As part of the investigation of the Michigan apparel
industry undertaken by the Textiles, Clothing and Related Arts
Department of Michigan State University, this study concerns
the custom design firms in the state. Owners of'a group of
selected custom design firms were interviewed regarding:
structure and organization of the firms; methods of produc-
tion, distribution, and advertising; training and experience
of designers within the firms; types and prices of apparel
produced; and finally, contributions of these organizations
to the Michigan apparel industry.

The findings of this study indicated custom firms are
small in both yearly money volume and number of employees.

The majority of these designerbowned businesses have been
established in the last ten years, and are in locations avail~‘
able to customers, and with suitable working space. The

designers participate actively in all phases of their organi-

zations, as design creators, production supervisors, and "'“*~

sometimes as fitters, cutters, or sewers. In the custom

'workrooms are highly skilled workers, many of whom have been

   
   

 
   

LIBRARY

. Michigan State
'71.. Universi

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/

.’

Helen Margaret Kilbourne ,/
,/

trained in Europe. Fabrics are generally ' ported and
obtained through New York suppliers. They/1::chigan custom
firms seldom advertise, acquiring ample clientele through
customer recommendations. The custom client selects garments
by viewing the collection or by individual consultation with
the designer. . , '

Only one-half of the designers interviewed had
received professional training, although most had prior .
eXperience in the apparel industry before setting up their
own firms. ,-.~~

Customers' desires and fabrics were stated by the
designers as significant inspirational sources. The selected
group of designers designated the customer's figure, clothing
needs, and personality as the chief influences on made-to-
order garments. The designs are executed from a customer's
individual pattern by sketching, draping, or patternmaking.

The custom firms produce a wide variety of apparel,
priced from twenty-five dollars to several thousand dollars,
depending upon firm, fabric, and design. Garments are pro-
duced in various size categories; some firms supply apparel
for women with particular figure problems, while others deal
more with women whose sizesfl'fifall in an average range but
desire exclusive'clothes. ‘ ‘

The heads of the custom firms all stated their\fi'rms
had grown since establishment but indicated little interest ‘

in becominglmuch larger. Reasons given‘were insufficiently

Helen Margaret Kilbourne

skilled labor and the desire to retain personal control over:
the organizations. The custom designers perceive their con-
tribution to the Michigan apparel industry as: sources of
exclusive clothing, arbitors of good taste, good public
relations agents for Michigan, and artists raising the cul-
tural level of the community and the state.

ACKNOWLEDGMENT S

The writer gratefully acknowledges the following,
without whose kind assistance and encouragement the execu-
tion of this study would not have been possible. Special
appreciation is expressed to “Dr. Elinor Nugent for her advice,
cooperation, and‘m’any hours Spent guiding the preparation of
this study; to Dr. Mary Gephart, department chairman, Rr'\
her continued interest and helpful suggestions; and to Miss ‘
Eleanor Kelley for her aid in the development of the instru-
ment. A '

Gratitude is expressed to Mrs. Stephania Winkler and
Miss Elaine Stauber for their skilled assistance in collecting
the data. The writer is also indebted to the Michigan custom
designers who so patiently and willingly gave their time and
cooperation during the interviews. Acknowledgment is made
to the Michigan State University Experiment Station for
financial support.

Finally, the author remains deeply grateful for the
continued encouragement expressed by the faculty, friends and

especially her family throughout the preparation of this study.

ii

TABLE OF CONTENTS

ACKN OUEEDGT’IENT S O O O O O O O O I O O O O 0

LIST OF

Chapter
I.

II.

Q--A

IV.

TABLES O O O O O O O O O O O O O O 0

INTRODUCTION. . . . . . . . . . . .
Statement of the Problem.

Review of the Literature. I I I :
Definition Of Terms 0 o o o o o 0
Importance of the Study . . . . .

MTHODOLWY O O O O O O O O O O O 0

Selection of the Method . . . . .
Development of the Instrument .
Selection and Description of the

Guatom DeSign Firms 0 o e o o 0
Method of Presentation. . . . . .

CUSTOM DESIGN FIRMS IN MICHIGAN . .

.Structure and Organization. . . .
Methods and Types of Production .
Sources of Materials. . . . . . .
Advertising and Distribution. . .
summaryoooooeeooeooo

THE DESIGNER.WITHIN THE CUSTOM
DESIGN Elm. O O O O O O . O: O O 0

Training and Experience . . . . .
Sources of Design Inspiration

and IdeaSo o o e o e o o o o o o 0
Methods of Design . . . . . . . . .
Summary 0 o .’ e o e o o o o o o o o

111

 

Page
ii--

Chapter
v. CUSTOM DESIGNED APPAREL IN MICHIGAN . . .

Distinctive Characteristics of Custom
133318an Apparel 0 o e o o o o a o o 0
Inclusion of Ready-to#Wear by Custom

D881gnFlrmS.............‘

Summary................

VI. SIGNIFICANCE OF THE CUSTOM DESIGN
FIRM IN MICHIGAN . . . . . . . . . . . .

Growth and Future of the Custom Design
FimlnMichigan...........
'Contributions of the Michigan Custom

DeSlgnFlrmS....“..,.........
Summary..................

VII.’ SUMMARY AND RECOMMENDATIONS . . . . . ; .

-‘
c...
5 K-

Summary . . I“;*. . . . . . . . . . . .
Recommendations . . . . . . . . . . . .
APPENDIX A. Interview Schedule . . . . i . . . .
APPENDIX B. Letter of Introduction . .i. . . . .
APPENDIX C. List of COOperating Firms. . . . . .
BIBLIOGRAPHY. . . .a. . . . . . . .,. . . . . . .

iv

Page
35

35

41
42

F “’9‘ J.

- —~..-‘~

Table
l.

2.

3.

LIST OF TABLES

Years of Establishment of Selected
Custom Design Firms in Michigan . . . . . .

Total Yearly Dollar Volume of Michigan
Custom Firms by Number. . . . . . . . . . .

Number of Full Time and Part Time

Employees by Number Of Rim. 0 o o o o o'""-'oi

Production Methods as Indicated by
NWberOfFimSooooooococo...

Number of Years of Professional Designing
Experience of Designers as Employed
by Other Firms and as Heads of Own

Fims O C O C O O O I O O I O O O O O O O 0

Types and Range of Starting Price of Apparel
Produced by Selected Custom Design Firms
by Number of Firms Producing Apparel. . . .

‘
‘

“ “M‘

Page

15

19

_ .. 20

22

29

37

m

HHWM"“‘N«CHAPTER I
INTRODUCTION
Statement of the Problem

Traditionally, custom design organizations have
played an important role in the development of the f/ hion
apparel industry withinthe United States. Caster design
firms have not only been significant design eriginators, butr
also influential promoters of American-designed garments. I
Contained within the framework of the custom houses
are the "human resources" of the industry, whose Jobs vary
in type and in importanceJL One particularly essential
figure, as described by Arnold and White, is the designer.2
During the early development of the industry in the United
States, the designer played an insignificant role; however,
since World‘War II the American designer'has begun to occupy 3‘
a position of increased importance. According to WarburtonfipfiU

' :1
Iv o'oh‘ V”.
p‘ l’ \

and Maxwell: :\.;v'

Each year the roster of native designers grows
in numbers and prestige...more and more they
are forming a strong nucleus of designing

 

lJeanette Jarnow and Beatrice Judelle, Inside the Fashion
Business (New York: John.Wiley and Sons, Inc., 19555. P. vii.

2Pauline Arnold andPercival White, Clothes and Cloth
(New York: Holiday'House, 1961), p. l#4.

l

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genius as authentic as that of the Paris . ~
couture.3

The demise of the haute couture in Paris during the
second World War challenged the American designer, who rose
to a new level of design maturity. Increased appreciation
and acceptance of the work of native designers by the
American consumer resulted.' Since then, though Paris has
regained its position as a source of inspiration, the
American designer continues to play an increasingly imporb
tant role in the apparel industry in the United States.

The American fashion industry has had an impressive
list of nationally known custom design firms. These in-
clude the houses of Jessie FranklinTurner, Elizabeth Hawes,
Valentina, and Mainbocher; which have been called the
"...American counterpart of the great French dressmaking
houses."A Although the number of such firms has dwindled,
the names Mainbocher, Sophie Gimbel, and Ethel Frankau are
still important in the fashion picture. Numerous small
firms, though seldom achieving more than regional acclaim,
Operate active businesses. These firms dress private cus-
tomers in the manner of the French couture.

As a segment of a larger investigation of the
apparel industry in Michigan, this exploration is focused

on the designers and the custom design.houses within the
state. Such a.direction supports Griffin in her researeh

 

3Gertrude Warburton and Jane Maxwell, Fashion for a
Living (New York: MCGraw-Hill, Inc., 1939). P. 2 .

4Ibid., p. 33

3

a...

of selectedregional markets, in which she suggests that
"a study of the, American designers; their biography, .style

and method of design would make a contribution much need-ed\

~

by the industry and college alike."S This study is con-
cerned with presenting a descriptiOn of the custom designer
and his place in the organization of the Michigan apparel
industry. This. description is achieved through an inten-
sive examination of a selected group of custom design houses

within the state.
Review of the Literature

While sufficient literature concerning the apparel
industry exists, the publications are primarily of a general
type rather than documentedStudies. ‘Aside from some early
books of some substance by Chambers,6 Crawford,7 and Nystrom,8
current volumes are designed for a; young audience in search
of career information. Other recent writings, such as those

by Levin9 and Roscho,:Lo are aimed at the general reading

 

STira W. Griffin, "A Survey of Selected Regional Mar-
kets Producing Women's andMisses‘ Apparel" (unpublished
Master's thesis, Department of Textiles, Clothing and Re-
lated Arts, Michigan State University, 1949), p. 240..

5Eernioe e. Chambers, Fashion Fundamentals (New York:
Prentice-Hall, Inc. , 1947) .

7M.D.C. Crawford, The Us 3 of Fashion (New York:
Fairchild Publishing Company. T9fii.

8Paul Nystrom Economics of Fashion (New York: The
Ronald Press 00., 1926).

9Phyllis Lee Devin, Th9 Wheels of gashion (New York:
Doubleday and Company, 1955)-

loBernard Roscho, The Ra Race (New York: Funk and
Wagnells Company, Inc., 19 .

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public. Though these publications make little mention of
the custom designer, they do discuss the role of the designer

I
l

within the apparel industry. Uarburton and Maxwell indicate
their view of how designers function in the industry: /

The whole fashion structure rests fundamentally
on the often fragile shoulders of the designer....
For it is the designer who injects beauty and

wit and elegance into fashion and lifts the 11
whole affair into the realm of art-in-industry.

HA _4

- -“<
s‘

I Studiesrhavebeen made of the apparel industry, but

    
   
  

these have concentrated principally upon the development and
status of regional markets throughout the United States.

Trends in the New York clothing industry were investigated,
by Drake and Glasser.12 More recently, Hall investigated
the factors behinh the present decentralization of the
York market.13 Goodman's study of the California’market
discussed apparel manufacturing and marketing/facilities in
that area.14 The fashion apparel industry in/Alabama'was

 

researched by Bourne,15 and trend deveIOpm7nts in the St.

llWarburton and Maxwell, Op. cit., p. 28.

12Leonard A. Drake and Carrie Glasser, Trends in the
New York Clothin Indust (New York: Institute of Public
Adminis ration, l 2 .

13Max Hall (ed.), Made in New York (Cambridge, Mass.:
Harvard University Press, 1959 . .

14Charles S. Goodman, "The Location of Fashion Industries
with Special Reference to the California Apparel Market," Mich- a

i an Business Studies, Vol. X, No. 2 (Ann Arbor, Michigan:
Universin Press, I959).

15Judith Mayton Bourne, "An Analysis of the DeveIOpment
of the Fashion Industry in Alabama, 1949-1962? (unpublished
Master's thesis, Auburn University, 1962). -

5

Louis dress industry were noted by Gross,l6 Hersker exploredy

t.l- V?“ J.

the Florida industry and formulated general concIuSions about
the existing status and possibilities for further development
in that state.17

I The apparel industry of Texas has been the subject
of several studies. Johnson delved into the rise of regional
production centers, and Specifically the develOpment of the
Dallas market.18 Gano had written an earlier study of Dallas ,19
and recently Golly investigated the present status of that
market center.2O These studies, while informative as back-
ground for an investigation of the apparel industry, contained
little information concerning the designer. Griffin dis-
cussed the possible value of a specialized study of American

‘»

’-

designers in herLgeneral researeh of numerous regional

markets.21 .
l6Blanche Gross, "The Awakening of an Industry.\\Recent
Trends in the Dress Manufacturing Industry in St. Louis"

(unpublished Master's thesis, School of Business, Columbia
University, 1943).

 

l7Barry Jay Hersker, "The Women’s Apparel Manufac-
turing Industry in Florida" (unpublished Doctoral disserta-
tion, The University of Florida, 1962).

18Elton Davis Johnson, "Women's Outerwear Industry in
Texas" (unpublished Doctoral dissertation, The University of
Texas, 195 ). ‘

19Lowell R. Gano, "The Women's and Misses’ Apparel
Industry in Dallas, Texas"-(unpublished Master's thesis,
Southern Methodist University, 1949).

2°Jeanne Marie Golly, "A Study of the Present Status
of the Dallas Women's Apparel Market“ (unpublished Master's
thesis, Department of Textiles, Clothing and Related Arts,
Michigan State University, 1966).

21Crirrin, op. cit., p. 240.

 

 

 

6

‘0.

A study ofdesigners was initiated by Murray.

Leading American and French designers were discussed in

\\
broad biographical terms. In this study, written in 1949:
Murray expressed a belief that the fashion trend was swing-
ing away from the custom designer. However, she stated:

The custom salon has not been completely aban-

doned because of its use as a laboratory, in

which experiments in style can be worked out....

Consequently many fashion designers, while they

may have expressed an active interest in ready-

to-wear, have also congénued to operate their

custom houses as well. .

Currently there is a revival of interest in custom
designed apparel and the designers who create it. Optimism
for'the future of the custom house was shown in recent
interviews of several New York custom designers. One said:

I think custom is the least passé'of any of the

fashion businesses., Made-to-order clothes have

a great future because...women with money are

looking for new excéging clothes....Custom is

no longer snobbism.

The majority of publications concerning the apparel
industry are of a general, descriptive nature. The docu-
mented studies of the apparel industry are those by such
writers as Gross, Goodman, Hall, Griffin,and Golly, which
examine various regional markets within the United States..

An initial study of designers, completed in 1949 by Murray,

 

22Maria Calabrese Murray, "The Development of French
and American Designers Affecting Costume of American Women
of the 20th Century" (unpublished Master's thesis, College
of Home Economics, Syracuse University, 1949), p. 193.

23June Weir, "Where is Custom Going?" Women’s Wear
D8112. April 27. 1966. P0 50 ‘

7

was a broad discussion of the development of the French

and American designers.
Definition of Terms

In the fashion apparel industry many common words ‘“~“~~
require Specific definitions, as they vary in meaning depend-
ing upon their context. The following definitions show the
meaning of these terms as used in this study. Apparel
refers to clothing of all sorts produced for sale either on ..
a wholesale basis, in large quantities to retailers rather
than to consumers,24 or on a retail basis, for sale directly
to a consumer in small or individual quantities.25 Custom I
made apparel refers to clothing which is made to a customer's
special order in a suitable color and texture, and cut and
fitted to individual measurements.25 I
Couture is a general term describing the French (

"dressmakinglhouse,27 while a couturigp or couturiére is one;

who directs these establishments. The custom design house
or firm is an organization which creates designs for the

individual and sells directly to a customer.

24Mary Brooks Picken, The Fashion Dictiona (N
York: Funk and Wagnalls Company, 1957). P. 375.
251bid., p. 274.
251bid., p. 93. .a

I
_/
r

27Mary Brooks Picken and Dora Loues/Miller, Dress-
pggers of Fra ce (New York: Harper and Brothers, PublIshers,
5), p. xIv. .

The designer is an individual who designs a line of'
apparel by means ofsketches, creates in material, or uses
both methods.28 A custom designer is one who designs and
creates for an individual client either through measurements
or’by consultation and fitting, while a dressmaker alters,
fits, cuts, and sews garments for a customer.29

For'this study, the custom design.organization is
distinguished from the dressmaking organization by the follow-
ing definitions: a gustom design establishment is one whose
major emphasis is on the creation of original designs which
are sold individually to customers. A dressmaking establish-
ment is one whose major’emphasis is on restyling, alterationS,

and making garments from patterns for individual customers.

Importance of the Study

 

Few studies exploring the function of the designer
in the apparel industry or the American custom house have
been completed. This researoh, an investigation of a
selected group of custom designers within the apparel induStry
in Michigan, is part of an extensive study of the Michigan
apparel industry undertaken by the Textiles, Clothing and
Related Arts Department of Michigan State University.
This study has a twofold purpose: to obtain informa;“““W‘
tion about the custom designer within the custom design firm,
and to add to the existing knowledge of the Michigan apparel

w

28%., p. 96. any: .'
29;p;g., p. 105.

industry. It is hOped this investigation will increase the'
background information upon which future studies of both the
Michigan industry and the designer’s role in the apparel

/ I.“
industry might be based.
/

,r
r

t\\

CHAPTER II
METHODOLOGY
Selection of the Method

Following the pattern Set by researchers of similar
studies, the direct interview technique was chosen to gain
information for this descriptive research. Undertak n as
part of a larger investigation of the Michigan apparel
industry and in recognition of a lack of available informa-
tion about the production of apparel in the state, this study
was organized initially as exploratory researoh to locate
the custom design firms in Michigan, and finally as des-
criptive research to describe the characteristics of both
the firms and the designer'within the firm.

Development of the Instrument

On the basis of Golly's recommendation, a structured
type of interview schedule was selected.1 This type, rather
than an open-ended schedule, would more effectively obtain
information about the custom designer*in Michigan. Interb

views were considered preferable to mailed questionnaires,

“—

1Golly, Op. cit., p. 111.

10

11

because of surety of response and the possibility that the
availability of the interviewer would lead to more valid
answers to the questions. In an attempt to increase relia-
bility, the writer conducted all interviews with a fixed

set of questions, maintaining similar circumstances as much
as possible, and attempting to establish some degree of
rapport with the respondents. In the schedule were areas
for free reaponses, though most of the questions were struc-
tured to expedite tabulation and classification.

The interview schedule (see Appendix A) was divided
into three parts: the first part sought to obtain infome-
tion about the structure and organization of the custom ‘‘‘‘‘
design house, the second part was designed to gain insight
into the role of the designer within the firm, and the final
part asked for information concerning the designer's back-
ground, training, and experience, and his opinion ofeuthei"""""
contributions a custom design house makes to the Michigan
apparel industry.

The tentative interview schedule, developed with .5
questions asking for information about the structure of the ;/
custom design organizations, the designer's role and contrié-
butions to the industry, was submitted to the writer’s ’
colleagues. Refinements were made according to suggestions,

until the interview questions requesting the desired info

 
   
 
 

motion were felt to be clearly stated and arranged in a

sequential order.
To further check the validity of the instrument
to gain experience in its administration, the interview

l2

schedule was tested with two local dressmakers and two
out-of—state designers. The instrument received further
modification to ensure greater clarity and understanding on
the part of the interviewee. Some items were rearranged and
some combinedfor ar'more logical flow of information. The
interviewer formulated a standardized procedure to 1% when
administering the instrument and employed this methodwhen
conducting the interviews.

Selection and Description of
the Custom Design F rms

An initial listing of custom design firms was obtained
from persons knowledgeable in the Michigan apparel industry:
the regional director of the Fashion Group, fashion editor
of a Detroit newspaper, university administrators of Home
Economics, city Chambers of Commerce, and fabric houses.
Further names were obtained from Michigan Bell Telephone
books, the Directory of Michigan Manufacturers, and the
Detroit City Directory. \

Using these sources, letters were sent out to all
known dressmakers and custom design houses included in this
list. Each, in turn, was asked to identify itself as either
a dressmaking establishment or a custom design establishment
on the basis of definitions which were provided (see Appendix
B). Follow-up letters were sent to those who did not respond.

On the basis of 152 letters sent out, the responses

of the 37 establishments indicated: ten custom houses,
eight firms dealing with both custom and dressmaking orders,

._ 13 _ ,'

-w-and nineteen dressmakers. Fourteen firms were selected for
study: nineweffthe custom group, and five indicating b th
custom designing and dressmaking. Not included in the
selected group were three custom design firms which we e
located only after the interviews‘had been completed, and
one firm which turned out to be a dressmaking establishment

rather'than a custom design house.
Method of Presentatiop ,.

Since the design of this study was exploratory in
nature, the preliminary preparation Of/the data consisted
of coding from the structured interview schedule, and tabu-
lating the information which had been gained from the thirb
teen firms selected for interviews. The presentation of
the descriptive information concerning the custom design

firms in Michigan was based upon these data.

\\\\\\
h

CHAPTER III
CUSTOM DESIGN FIRMS IN MICHIGAN

The custom design firms of Michigan, although rela-
tively small in number and in Operational SCOpe, are recog-
nized.as important elements within the apparel industry of
the state. In order to determine the contributions of these
firms to the Michigan apparel industry, the selected group
of custom design establishments was examined as to structure
and organization; methods and types of production, including
sources of materials; distribution of products;and the
advertising methods employed by the selected firms. Sub-
sequent chapters will discuss the designer, his background,\
experience,and methods of work. Prices and seasonal quali-
ties of the garments produced by these designers, and a
description of their’custcmers will furnish further informa-
tion. A.final consideration of the study will be the custom
designers perception of his own and his firm's contribution

to the Michigan apparel industry.

Structure and Opganization

An.initial Objective of the study was to define the

M

-~. ‘-

structure and organization of the custom.design firms in

inchigan. ‘Under consideration.were the following factors:.

date of establishment, location.and reasons for locational
‘14

1+} r

15

preference, ownership and financing, and size of firms as

judged by yearly volume and number of employees.

Date of establishment

Background information obtained from the thirteen
custom design firms selected for’this study indicated the
two oldest firms had been established in the early 1920's
and the late 1930's, when dressmaking flourished in the United
States. In the last ten.years, from 1955 to 1965, seven of
the interviewed group began operation. Table l demOnstrates
that the greatest increase in the number of these firms took
place during the'last ten years.

Table 1. Years of establishment of selected custom design
firms in Michigan

\

 

 

 

* Firms

Years _ N
1921-1925 1
1926-1930 ,,
1931'1935 Q c
1936-1940 1
1941-1945 1
1946-1950 1
1951-1955 2 «seal.
1956-1960 4
1961-1965 3

Total 13

 

'vw} r '

Location.and reasons for locational preference
Location of a firm is frequently a factor*in the

success of a business and a consideration of mush.importance.

/

16 ’

Questions 15 through 22 on the interview /chedule were con-
cerned with the locations of this group Of custom design
houses. (see Appendix A). Ten of the firms interviewed
were located in the eastern portion of Michigan, with the
heaviest concentration around Detroit, while the other three
were within a one hundred mile radius of this area. These
locations become significant when pompared with a statement
made by Arnold Scassi, a noted New York custom designer:
"There are 12 cities in the United States where great fortunes
have been made....And in these cities, there are women whoffi
want quality clothes."1 He lists Detroit among these’cities.
As a result of further’inquiries, the reSpondents
specified the factors they felt to be particularly important
in the SeleCtion of a location. Eleven of the firms had been
forced, because of growth, to relocate their’establishments.
Seven of the firms relocated to obtain better physical
facilities, but their'general location remained within the
same area. Reasons for selection of new locations are shown
below:
Reasons for Relocation:

Number of Mentions
More Spacious and suitable

facilities ' 7
More convenient locationvflv’ .* 5
Better clientele -~-2‘
Move from. downtown to suburbs l\\

Eight of the establishments had been in theirnew~

locations three years or less; five firms, from five to

1Weir, Women's‘Wear Dail , April 27. 1966, p. 5.

17

eighteen years. When the heads of the firms were asked the
important factors concerning present location they reSponded

as follows:

Factors Considered for Location:
"'., ' A . ' ‘-. *3 - .- Number of Mentions

Convenient for customers 11

Suitable Space for workroom
and showroom

Active business district

Away from other stores

MMU'IU‘I

Low rent

Two firms considered location of little importance.
In their eyes, the custom shOp was a "world of its own,"
completely divorced from outside environmental conditions.
Three firms actually noted they‘purposely chose more iso-
lated locations away from active business districts ,'to avoid
wasting time with customers who were merely curious. How-
ever, not all of the establishments reacted similarly. Two ‘-
of the firms located in smaller towns remarked that their
situation had a disadvantage because of a lack of customer
traffic past the shop. Most of the respondents agreed that
a location should be convenient for the customer. The
second most important factor concerning location was cited

as suitability of physical facilities for workrooms and show-

I‘OOES.

Ownership and financing
In the apparel industry incorporation. has recently a...“

increased, although individual proprietorship or partnership

18

had been the prevailing practice for many years.2 QuestionS‘\
posed regarding the ownership of the Michigan custom design
firms revealed the majority of firms, nine of the thirteen}
were owned by the designeIIIwThedfour remaining firms were

partnerships. 'Two of these firms were composed of.two de-

signers who were joint owners, while the other two weIeu\\\
organized with one partner as the designer and one partner‘
caring for'the business aSpects of the firm. Twelve of the
thirteen firms within the group were self-financed; the

remaining business was financed by a small business loan

organization.

Size of the firm

Two methods were used for'the measurement of firm
size: yearly sales volume and the number of employees.3
Inquiry concerning dollar volume, question 48 of the interb
view schedule (see Appendix A), yielded the reSponses found
in Table 2, page 19. .

The majority of the firms responding to the question
realized a volume Of 830,000 or’more. According to yearly
sales value, cuStom firms are Smaller in size than the I.
average ready-to-wear'manufacturer, Whose yearly volume

averages around $500,000.4

 

2Kurt Braun, Union-Hana eme t 00- oration (Washing-
ton, D.C.: The Brook s s u e, , p. . ‘

3Arnold and White, op. cit., p. 6.
41evin, op. cit., p. '6. -

19

Table 2. Total yearly dollar volume of Michigan custom firms

 

 

 

 

by number
a ... Firms
Yearly Dollar Volume N
31:000-S4.999 . 1
5.000- 9.999 . ..
15,000-19.999 ..
20.000-29.999 O o
30 . 000-49 . 999 2
Over 50,000 3
Total 73

 

8'31:: firms preferred not to give this information,
two because they had not been in business long enough.

Another size determinant is the number of workers
which a firm employs. Solinger calls this "a more accurate
measure {of size} than is dollar value...." because dollar’
value is relative to time.5 Even when compared with the
ready-toawear industry where 40 percent of the firms employ
fewer’than twenty workers, the custom houses are small

6

Operations. As shown in Table 3, four firms employ five or

m“.
—"-"n-‘-

more workers, and the remaining establishments employ fewer

5Jacob Solinger, A arel Manufacturin Anal sis (New
York: Textile Book Publisfiers, Inc., I95I), p. IQ. /

5Arnold and White, op. cit., p. 47. Act,

 

20 .

‘-

than that number. Thus, according to both volume and number

of employees, these firms are small operations.

Table 3. Number of full time and part time employees by
number of firms /

 

 

 

Full Time —\i‘ Part Time !
Employees Employees Firms 3
N N N g
.11. ~ _ _ I
\15\‘. o 1
‘ 10 o 2
5 O 1
2 3% l
l
1 3 4
\ 1 o 1
0 3 l
" .1
motes 11a /

 

/
aOne firm did not hire employs s and one firm did
not respond. , /7 _

Although not related to firm size, some description
of the employees in these custom houses might be noted here.
All of the firms indicated their employees came from local
sources. Five of the group described their workers as being
of EurOpean or South American extraction. These individuals
had received their training and developed their skills for “‘
custom work in areas outside the United States. when asked

,3 Vf'l‘ '*

about hiring additional help in peak seasons,rnine of the
firms replied negatively. Four of these firms stated they

“'Oa‘m

21

would be willing to hire additional workers, but a severe
shortage of skilled labor made this impossible. Although
four other firms did manage to employ extra workers during
busy seasons, all but one custom establishment expressed
difficulties in obtaining labor. Skilled labor*has proved
to be extremely scarce, and firms are reluctant to hire
individuals who are unskilled because of the tremendous time
expenditure necessary to train,them..

None of the interviewed establishments was union
affiliated. Their responses to the question concerning method
of wage payment confirmed Hersker's view that "highly skilled
workers...are almost never paid piecework."7 Night of the
firms paid their employees by the hour, one firm paid straight
salary, and the remaining three paid either'houriy, by piece-
work, or salary depending upon the Jobs.

Methods and Types of Production

In the apparel industry, and most particularly in
women's apparel, production methods are related to the final
cost of'the garment. Hersker‘s statement that the "ability
to mechanize production of women's apparel decreases as the
style element of the garment increases...."eis especially
true in custom-produced apparel. -These garments are char»
acterized not only by variety and individuality in styling
but also by construction techniques requiring extensive hand

_‘

7HBI'81C01‘, OE. Cit..ipo 79. Mm”,
81o1a., p. 51.

22

:anipulation. These factors reduce the possibility of employ-
ing volume methods of production, by which many garments
are made at once. Instead, each garment is made separately,
in some cases by one seamstress. Methods such as these are
costly, not in terms of machinery, but in the need for highly-
skilled labor. Garments are handled individually, so much
of the work is done by hand. Many different types of skilled
workers are needed for the variety of work to be done. These
include assistant designers, drapers, patternmakers, cutters,
fitters, seamstresses, finishers, pressers, wrappers, and
:illiners.

Actual production in these firms is carried out in
an incide shop. This statement implies all work is per~
formed on the premises under the contrel of a supervisor
or-the designer. In some of the smaller organizations the
designer was actively involved in the actual construction
of the garments. Table 4 shows the various production

methods chosen by custom firms.

Table 4. Production methods as indicated by number of firms

 

 

Firms *rra.. ‘
Production Methods N ‘ " "
Garments completed by
several workers 5
Garment completed by j
single worker 3
Initial construction. /
completed by designer' 4

 

” , !

Total ‘- 13

 

23

The design room cf‘a custom salon is sometimes
referred to as an assembly plant, where employees of many
types work together to contribute to the total result.9
Since the firms used in the present study were relatively
small operations, the designer plays an important role not
only as the originator of the design ideas, but also in the
supervision of the follow-through operations. Reaponsible
fcr'designing asdwell as fitting and drafting the patterns,
the designer sometimes handles the initial constructfon.
Later'the garment is turned over to the finishers for cmEDN
pletion. Three firms made the seamstress responsible for
the construction of a complete garment from start to finish.
The other firms divided the steps in construction and allotted
the Jobs according to the workers' skills. Two of the custom
design firms included a line of ready-tc-wear which they
produced themselves during slack periods. Velume production
methods were-applied in the construction of these garments,
which were usually simple, classic daytime dresses. .In the
custom lines, however, each garment was treated individually,
and little attempt was made to systematize construction tech-

niques on these one-cf-a-kind items.

Sources of Materials
Fabrics and materials contribute equally with
skilled labor to the creation of the products executed by
the custom house. This study sought to determine whether

M

9Ohambcrs, op. cit., p. 172.

24 "

the fabric was supplied by these firms and whether th ir
fabric sources were within Michigan or outside the state. /
The firms were first asked to Specify the amount /
of material which they purchased themselves/. Tabulation ,.
of reSponses showed all of the establishments supply from
50 percent to 100 percent of their own 111 terials. Four
firms supplied all of the fabric which they use, and six
supplied over 75 percent of it. Seven firms charged the
customer for the fabric in addition to the labor cost.
Most of the firms utilized imported fabrics which
were ordered through New York suppliers. A few mentioned
using domestic materials; only two indicated Michigan sources-

J“

The following shows responses‘in regard to fabric 3091.953”;

Sources of Fabrics:
Number of Mentions

Foreign sources ' 10 -.-,
New York firms ‘ '- 8
Michigan firms 2

Advertising and Distribution

Advertising and distribution varies with the cost
and type of apparel being produced. Several custom firms
felt advertising neither desirable: nor necessary. The con-
oonsus toward employing advertising media showed the most
Prevalent method was customers' ‘r'ecommendations. Five of the
firms declared-they attracted most of their customers through
such a source. Those firms least interested in advfitising

~

I _ Fashion shows

25 "‘2

stated they had all the customers they could comfortably
handle. Methods used by these firms for advertising are as

follows: [

Advertising and Public Relations Media: _
Number of Mentions

Customer recommendations ‘ 1 f 6 I

Newspapers

\

‘
,_‘

No advertising

Kailers

Radio

Telephone book

Public relations agency

HHNN-PUIUI

Some firms were unique in their choice of otherfiis ributicn
methods, using garments shown in local stores-windows, road
salesmen, and trade center showings. .

Selling methods in the custom sal n vary from shop
to shop. The following, shows how the igzividualfirms' .

handle this procedure:

Methods of Selling Garments:
* Number of Mentions

Verbal discussions ' ' 11

Sample garments in fabric, I 8

Sketches 7

Fabric alone ' 2 ..
Samplesm muslin “1"" ' ‘ “W '
Photographs of designs 1

26

'n many instances the customer and the designer plan the

garment with verbal discussions aloneig sometimes these

‘ I
consultations are implemented with sketches or fabric -
swatches. A few \firms show a complete collection eithe to

individuals or groups of customers, who use this meth d to

select their garments. ff,

Summary /

/

The greatest number of custom des/gn firms inter-
viewed were established during the past ten years. These
firms were located in areas of a high concentration of wealth
and population. According to their statements concerning
factors important to location, representatives of the firms
feel: (1) the location must be convenient for their type
of customer, and (2) must contain suitable facilities for
their operational needs.

These custom design establishments are"'e'ithe'rmm
privately or partnership owned. In the latter case, one
owner was also the designer. The firms are. small in size
according toboth "yearly volume and number of employees.

All but one firm mentioned obtaining skilled labor a problem.
Several firms described their employees as having obtained
their skills in areas other than the United States.

Production is handled under the designer's rigid
control. Often the designer is actively involved in fitting
and in cutting as well. Although several firms set up:.~.

production .methods according to. the skill of the workers,

27

with one worker Specializing in one technique, most of the
firms reported garments are individually made. Some of the
firms are also involved in a line of ready-to-wear. Three
produce their own garments in this category. These gar-
ments are executed with methods more closely allied to those
found in a volume production operation than those in a‘ cue-
tom shop.

Fabrics which these firms use come from several
sources. Much of their. material is imported through fabric
suppliers in New York, from New York firms themselves, or
from suppliers in other large cities. Only two firms men-
tioned Michigan as a source of materials. Four firms provide
all of their own fabrics, while all of the firms supply at
least 50 percent. The materials not furnished by the custom
design firms frequently come from customers who collect
fabrics during their travels.

Though a few of the firms have fashion shows in the _____.
manner of the French couture, most of the selected custom
establishments show their merchandise by means of individual '
discussions, supplemented with sketches and fabric swatches.
Some advertising is employed, but six of the firms: agreed"
that customers' recommendations are sufficient means for ”MK

attracting other customers.

CHAPTER IV
THE DESIGNER WITHIN THE CUSTOM DESIGN FIRM /
,’
A major objective of this study was to gather infor-,

mation regarding the education, training, Job experience, fl

design firm. “is“one'or the most important elements in the
success of the custom design firm, the designer contributes
significantly to the fashion apparel industry.

1

Training and Egerience

The desi\gners with the custom design firms se ected /
for study have achieved their present positions from widely ‘
varying educational and experiential backgrounds. The /
academic educational level of these design is ranged from
some high school to completion of college Five of the group
either attended or graduated from collegZ. Four designers
received no formal professional training. Two of these
designers acquired their skills from apprenticeship experi-
ence, and the two others were raised in families active in
the garment industry. 0f the nine designers with some pro-
fessional training, five were schooled in Europe.

Job experiences of these designers were quite diverseax“
mriding from selling to teaching. It seems significantathat

the varied Jobs held by the selected individuals were in some
28

29
‘\,\

my related to the apparel industry and few designers'entered
the field with no experience. Four of the group began

their careers as professional designers in their own firms, '
317, had similar positions in other organizations, and three
had some previous experience related to the apparel industry
but in non-designing capacities. A compilation of the de-
signers' years of experience designing in the industry and

the number of years they have headed their own firms is shown

in Table 50

Table 5. Number of years of professional designing experience
of designers as employed by other firms and as heads
of own firms. ‘

 

Desigper' 8 Experience

Professional Designers Professional Designers

 

 

Years For Otlner Firms Heading Ogn Firms
1- I: 3
5- 9 3

10-14 1

15-19 ’ , , 4

20-24 . . . .

25-29 , , 1

30-34 . . . .

35-39 , , . .

360-44 . . 1

 

Total 63 13

mFour of the group had no experience when they opened
their own firms: three had experience, but not as designers.

30 /
H The""years~-of-‘designing experience these selected I
custom designers had priorto heading their own firms ranged
from two to twelve years. Three had been in the industry
for over twenty-five years and three had been professiona 1y
involved for fewer than ten years. 1

Seven designers indicated no membership in pro-’-

fcssional organizations, while five Specified membe, hip in /
one of the following: Fashion Originators, .lThe’Fashion Group,
Italian Business Women‘ s Club, The Negro erican Fashion

Association for Designers, and the Handknitters Association.

Sgurces of Design Inspiration an Ideas

 

A designer?s position in the fashion industry is
unique. Designers produce the commodity which, above all
other factors, determines the success er failure of the
business. In a custom operation the whole structure of the
organization is contingent upon the ability of the designer.
Failure to please a customer in'design quality could result-«V
in lost sales, regardless of the expenditureupon'skilled
labor and fabric. Questions concerning sources of design
ideas were asked in order to gain insight into the factors
which the custom designer considered most helpful in deter-
mining his designs. The sources which the designers felt

to be both significant and inspirational are:

i 8 of ins iration:
source p Number of Mentions __

Customer’S'wishes 4
Fabric

Designer's environment

Customer's figure

Customer's personality ' |
Fashion trends

Design books

Architecture

Historical costume

People

Dmpine mail}??? . .

HHNMMMNYOUU’Q

Art works

Using these inspirational sources to stimulate
designs, the designers produce styles for both their indi-
vidual customers and for women of general physical types.
Seven designers of the group stated they designed for indi-
vidual women, and created garments exclusive in both fabrio~
and design for one customer. Although the five other
designers worked in a similar manner, upon occasion they
produced more flexible designsosuitable for more than one

person. ,These"'gaments became their seasonal collections

and ready-to-wear lines. \
Although inspirational sources of designs were‘varied,

the designers stated the customer was the primary influence

on the design of made-tc-crder garments. The client's figure,

32

t
9

clothing needs as regulated by her mode of living, and her
personality or 'how she expressed herself through clothes
were mentioned, in that order, as determining factors in
creating designs for the customer. Other influencing
factors mentioned were: the need for comfort in clothing,
the suitability of the design to the occasion for which it
was planned, and the restrictions fabrics impose upon a design.
When the designers were questioned about the impor-
tance of adaptation as an inspiratinal device, all but one
indicated employment of this method in working out designs.
Trade papers and fashion magazines were verified as principal
sources from which designs wereadapted. All sources of

adaptation mentioned were:

Sources of Adaptation:
Number of Mentions

. - --O.
M”

Fashion magazines/x- ~“" .‘ g 12

Trade paper.“ " I ll ‘
Designer?s own previous designs 4 \\
Other designers 2 ‘
Fashion leaders ' 1

Methods of Desigp

Methods employed by the selected custom design firms
for the execution of designs do not appear to be different
from those used by ready-to-wear firms. The custom designer

uses the following techniques:

A,‘“.~ '.,9..
1

33

Design M ethods: ‘
Number of Mentions

Sketching 8
Draping in muslin

6
Flat pattern techniques 5
Draping in fabric 1

Techniques used by custom designers to achieve the
basic pattern did differ from the preparation of patterns
for ready-to-wear apparel. Four of the designers declared
they used abasic, standardized pattern which was adjusted to
the customer. The remaining nine designers drafted a basic
pattern for each customer by means of measurements. The
final designs were then developed from this block or sloper.
In addition, one designer employed dress forms made according
to the customer’s measurements, and two other designers

adjusted commercial forms to fit their customers.

This selected group of Michigan custom designers
was composed of persons with academic training ranging from
some high school to the completion of advfianced college
degrees. More than half of the group had received some
professional training, five having attended European scho ls.
Those with no professional training came from families active
in the dressmaking business or had learned the required skills
in apprenticeship situations.

Eight of the respondents had professional experience
as designers before they began their own businesses. The

34

remaining five initiated their designing careers as heads ,/
of their own firms; however, all but one had worked in the I
apparel industry in some capacity before assuming the position
' as head of a ”firm; Less than one half of the group specified
membership in any professional organizations.

The customer's desires and fabric choices were the
chief factors modifying design ideas. ' The designers con-
sidered the customer’s figure, needs, ‘and personality the
most important influences upon their designs. Designers
who created more for individuals than for general type
declared their products were exclusive in style as well as
fabric. Some styles suitable for a wider range of women
were executed for the ready-to-wear and seasonal collections.
All but one designer cited design adaptat on as one of their
inspirational devices, and named newspapers and fashion
magazines as the richest sources of design ideas.

Actual design methods included many techniques, with
sketching and draping as the primary choices. The designers
also affirmed flat patternmaking as a ranking design method.
Some designers use basic patterns, but the rest develop
slopers from measurements or drape on a dress form which is ,x’

V.
1'5“

the same size as the customer. ‘l,,_,.......-.»~"""’”

CHAPTER.V
CUSTOM DESIGNED APPAREL IN MICHIGAN

The custom design firm, using methods differing from
those of the ready-toawear'manufacturer, creates fashion-
able clothing for its customer-{which is distinctive in type,
price, size, and seasonal character. In this chapter“t e
characteristics of custom designed apparel will be pre- 4“\\~
sented, as described by the selected designers and heads
of firms. Also included is a description of the ready-to-
‘wear offered by these firms. The future of the Michiganr
custom design houses, as viewed by the owners of such firms,
and their contribution to the Michigan apparel industry are

final considerations discussed in the next chapter.

Distinctive Characteristics of
Custom Designed Apparel

The operation of custom design firms is unlike that
of companies which produce ready-to-wear apparel in volume.
In the custom firms the emphasis is on a greater variety of
apparel, while the volume manufacturer tends to specialize
in garments of a particular type and in a particular price
range. According to the group under study, Michigan custom
design establishments produce a wide variety of apparel
rather’than specializing in the creation of one type of

35

36

garment. Because many customers purchase complete wardrobes,

...u.
«“

the custom firms produce a wide diversity of garments to

fulfill the demands of their clientele.

Types of apparel

The products of the group of custom,houseé“Selectedw‘

‘" I ‘—

for study were divided into three major categories: daytime
apparel, evening apparel, and special occasion dresses. The
custom firms in Michigan produce a wide range of apparel 1
types from daytime separates to wedding gowns. The largest
proportion fangwithin.the daytime and evening wear categories.
Responses to questions indicated more firms produced daytime !

garments than evening apparel. ‘Suits, ensembles, and casual /
/

-~dresses_were mentioned most often as the specific garments
made for daytimefweari““0ne of the reSpondents confined her
production to custom knitwear. Within the evening category,
eight firms mentioned producing gowns. Evening ensembles
~and cocktail dresses were mentioned byEfour and five firms
reapectively. Of\the four firms producing special occasi n.
garments, two explained that wedding dresses and atten‘ ts' * '
gowns were made only for special customers, not as a general

/.‘

practice. . /' .
The variety of types of apparel and/firms indicating

production of the different garments are s’bwn in Table 6.

Included are the starting prices of garmenZs, as designated

by respondents.

37

’

duced by selected custom design firms by number of

Table 6. Types and range of starting prices of appare pro-
mentions of firms producing apparel « ,///

__..

Range of Starting Prices

{:31 - L1, 0002 Firm
I '101'201'301. 401 501 001 70 50 901 "

 

 

Types 100:200;300:400:500:500:700:§QO1900:1000 . Menfiions
Daytime

Suits ** *o o o ' p 6
Ensembles **0' o o 5 .
Dresses- .

casual wet-o w o . l . 5
Dresses-

business as o o 4
Coats * 0 2,9:
Separates o H.Af'ffl,vmgasev
Evening
Gowns **0.*** . o o f .8
Dresses- , n no it.” -

cocktail ** as o . ; 5
Ensembles *0 00
Dresses- .

dinner *0 o 3

Spec. Occas.

Gowns-
bridal *o * o. 4

Dresses-
attendants * *o 3

Dresses-
Bride's
mother * *c .v'* ‘“ 3

 

:Price is for’labcr alone. "” s
Price includes labor and fabric. .\

38

Price of apparel

As shown in Table 6, the Kichigan custom design firms
produce apparel ranging in starting price from less than
$100 to over $1,000. Prices for all garments above $300
represent the complete cost of the garment, including labor
and fabric. In two-thirds of the cases, lower prices repre-
sent labor cost alone. Price quotations for daytime apparel
over $200 include fabric and labor; whereas prices below $200
usually represent only labor costs. Starting prices for
evening apparel extend over a wide range, from less than
$100 to the category of $901-$l,000. The highest prices
are quoted for evening gowns and ensembles, which include
labor and fabric. The lowest quoted price, for cocktail
dresses, represents only labor costs. These quoted prices

rise according to complexity of design and expense of materials.

Sizes of apparel
Since the custom design firm sizes apparel specifically

for its customers, the products of these firms reflect the
sizes and figure types of their clientele. One question (see!
question 45,Appendix A) sought to discover'whether the custom
house supplied apparel in particular sizes. Perhaps figure
proportions of the women who found it difficult to purchase
ready-to-wear which fit them properly influenced the sizes -~~~.
of the custom designed products.

.A tabulation of responses to questions regarding sizes
produced by this select grtup of custom firms indicates a
handling of a wide variety of sizes. Four heads offlfims. . ..

39

felt it impossible to classify customers into any Specific /
size group. Four other firms stated 50 percent of their .
customers wore Misses sizes loeto l8, and the rest wore ;
either smaller or larger sizes. Three firms mentioned that ‘1
while 50 percentwpfwtheir customers were in the Misses rangerl
the other half ,of the clientele was composed of women with
distinct figure problems. The most common problem mentioned
was the long-waisted or short-waisted figure. Five of. the
heads of firms who were interviewed mentioned that most of
their customers were women with particular figure problys.

But the remaining eight firms stated that their custom rs

wore a wide range of sizes; their clientele in/clud’ed some /
women difficult to fit and others who could easily wear

regular Misses sizes.

Customers

Aside from customer size, information was also sought
concerning customers? age and residence. Clients, it appears,
are drawn primarily from the city and the. regions which sur-
round the custom shop. Five of the designers stated that
some of their customers came from out-of—state as well as

from within Michigan. The customers' general age level was

”J
..,(v

mentioned as being more mature than young. As one cus,tgmm.._,r
(1331811919 stated, ."Young girls don't have the money to spend

on custom clothes."

Seasonal characteri,
Seasonal changes remain an important factor in cloth-

ing production and selection. Though several of the inter-

40

viewed firms produced a collection at the start of their two
major seasons, fall and spring, others felt their businesses
were not of a seasonal nature. Custom production methods
tend to be complex and time-consuming. The resulting garments
take longer to produce,"eSpecially in firms of small size.
Because of this time expenditure, seasonal productionsYoxllow
more closely upon one another than is true in the larger \-
apparel manufacturing firms. Custom designers do far more
pre-planning in advance of a season because of individual
customer needs. This tendency to plan in advance leads to

a general mixing of seasons. Seven heads of firms denied
the existence of any peak season, since constant customer
demand kept them busy all year. Many designers felt they
were generally forced to overlook seasons as a result of
their individual work with a wide variety of customers engaged
in different activities and modes of living. Designers at
some firms mentioned working simultaneously on garments for
different seasonal requirements. While some customers plan
a trip to cold climates, at the same time others travel to
warm areas. The clothing needs of both groups are vastly
different in seasonal character.

Six firms considered fall as their most important
season. One firm suggested summer as its busiest time of the
year. Those who sold more garments in one season than in
another stated these reasons: seasonal and temperature .change,
social and cultural events, and Sports needs. Three firms
specified fall as their predominate period because women have

41

more need of clothes for this season. Patrons of custom houses-
are more inclined to Spend money on garments which they will

wear during Michigan's long fall and winter.
inclusion of Ready-to-Wear bLCustom Design Firms

Some of the'interviewed firms stated they carried
ready-to-wear, principally in the form of a boutique operation.
Half of the firms did not handle any ready-to-wear lines,
but the remaining seven did report carrying some to varying
degrees. The importance of ready-to-wear to the operations
of the custom firms is shown in the following chart, which is ____g_‘
a tabulation of the percentage of yearly volume realized
through these items by the seven firmsincluding this type

of garment in their operations:

Percentage of Yearly Volume: a Wm- V
Number of Firms .

Under 10 1
10-19 2
20-29 . ‘ 1
30-39 .. /
40-49 « ' , fpp .. ,
50-59 ~ 0 0 {1
_g60-69 .. I
70-7stmm “‘““‘““-~~ 1
80-89 ‘ ..
90-99 -?

a'One respndent declined to give} a total, while anot er
had Just added the line.

\

42

The ready-to-wear lines which. custom firms handled
included such items as knitwear, moderately priced sportswear,
fabric, casual. dresses and suits, silk scarves, and other
accessories. This apparel was obtained from three sourcesiv‘ifi
outside volume ready-to-wear manufacturers, thewcustom house
itself, which produced ready-to-wear during slack seasons, or
outside contractors who made garments according to designs“ -
supplied by the custom designer. Those custom firms which
produced their own ready-to-wear also sold ready-to-wear
items made by other manufacturers.

Why did these firms become involved in ready-to-wear?
One of the heads of firm stated she hoped to "groom customers
from this up to her custom line," while all firms involved
considered ready-to-wear a method of attracting customers.
Ready-to-wear items also represented an additional source

of profit. For the firm which handled more ready-to-wear

.-
a..-

than custom workbfit—represented 75 Percent of the volume.
This high percentage was a fairly recent, development a?
according to the designer of the firm, was caused by diffk
culty in obtaining labor. ‘

Summary

The garments produced by the custom design firms in
Michigan have special characteristics in regard to type,
price, and size which appeal to particular customers. “Heads
of four of the firms reported they created clothes of no
particular specialized type, but a wide range of types. Two

43 ‘

others mentioned their garments were divided between da time
and evening dresses. The rest of the group, while tending
to Specialize to some degree, related they didamore daytime
than evening and Special occasion dresses. These garments 4
ranged from a $25 starting price in the day} eacategory, to
a 3100 starting price in the evening dress/:jlup. The final
prices ranged upward, depending upon fabric and design. The
quoted prices of more SXpensive garments included fabric,
while prices in the lower categories were based upon labor
cost alone. . , ’

Several firms indicated they had no peak season;
because of the great variety of their customers' needs they )
found themselves.busy all year. Those who felt one 56§§93merJf
'was more important decided it was fall.g Women”bought more

garments at this time, the designers felt, because of the

type of apparel worn and the longer wearing period in Michigan.-~e.

While four firms indicated their clients ranged so widely in
size they could not be categorized into any size type, most
of the customers appeared to wear Misses sizes. It was noted
from the reSponses that only five of the firms indicated
dealing predominately with women having problem figures. The
eight remaining firms said their typical customer'was the
‘woman who wanted individual clothes made exclusively for her,
rather’than the woman who had difficulty buying ready-toawear.
Some of the custom firms sold ready-todwear. The importance

."

of this line varied from under 10 percent to 75 percent of the

r’"

firm's yearly-volume. The purpose was to attract customers and

to serve as an extra source of income. ‘ fr‘\\\

5

CHAPTER VI
SIGNIFICANCE OF THE CUSTOM DESIGN FIRM IN MICHIGAN

The custom design firms represent a small but in-
fluential segment of the Michigan apparel industry. Along
with the more extensive Operations of the manufacturing firms
in the state, the custom houses and their designers are making
a unique effort to supply the wearing apparel needs of an

expanding customer market.

Growth and Future of the Custom

To gain some information about the future of the cus-
tom firms in Michigan, designers were asked about the growth
of their market. On an optimistic note, three designers
responded that their market had tripled and two reported that ‘
it had doubled. Six reSponded that although their market
had not doubled, it had increased somewhat. One firm declined
to respond and another had been in business too short a time
to determine growth. ~

Although all but two firms indicated some growth,
only four of the selected group indicated any future plans
for expansion. Nine of the thirteen heads of firms stated
they had no definite plans for the future. Reasons for not
expanding were of two types: difficulty in obtaining suf-

l
I

44

45

ficiently skilled labor, and difficulty in controlling all
aSpectS Of the Operation by the designer if the firm grew /
too large. N 7“ I
Although they were Optimistic about the future of I
--their firms and seemed to find attracting customers no prob- /
lem, most Of‘thefihsadslof the custom firms see their estab-
lishments as having a very personal character which would
suffer if expanded. Designers also SXpressed fears about
their abilities to extend careful supervision of workers /
under expanded cO ditions. These factors, combined with he
difficulty in Obtaining Skilled labor, limit future a sion

of the individual Michigan custom design firms. *—

. 7/3.
‘/

Contributions of the Michigan
Custom Desigg Firms

At the conclusion of the interview/the custom designers
'were asked a series of questions concerning their contri-
butions to the apparel industry in Michigan. Upon being
asked if they designed particularly for the Michigan market,
four of the designers expressed the feeling that their designs
were so directed. They described their customers as con-
servative women who desired classic garments of simple lines

and color. Four'other designers reported that they did notflfiw’
design particularly for the Michigan client, stating, inJflfl
effect, that good design knows no location. The remaining

six explained they did not design for’the Michigan.market
because their customers traveled extensively and needed clothes

more universal than.regional in.design and fabric requirements.

,
46 /

The final questions were asked in order to detect
the designer's perception of the role his organization, the
custom design firm, plays in the Michigan apparel industry.
Eleven designers felt they did make a contribution; two felt
they did not. Four firms felt their csntribution'was made
on an individual level, to supply clothes which were para a
ticularly suitable, exclusive,and distinctive to special ”Hy”;
women who could afford them. Dhree firms saw their”c&ntri:m
bution to have a broader consequence. They considered them-
selves arbiters of good taste, with reSponsibility to intro-
duce customers”to“a higher taste and fashion level. Three
firms felt their Operations performed good public relations
for the state of Michigan, as so few custom design firms
exist in the United States. Two of the firms in the interb
viewed group expressed their contribution by comparing the
role of the custom designer'to the creative role of the artist
or‘the musician, thus making a cultural contribution to the
community, and to the state. This was related by one designer

to the "renaissance of the arts in the Detroit area."

f,/”“" Summary

Although the designers were Optimistic about thSir
businesses and about the future of their firms, the majcrity‘
indicated no definite plans for growth.. Their'major reason
for'nonpexpansion was the short supply of skilled labor. .As
a secondary reason, the need to keep these establishments
small and personal so they could be controlled to the satis-
faction and standards of the designers was expressed.

.\‘
47 - \

S

The heads Of the custom design houses in Michigan
saw their contributions to the apparel industry as falling
into four categories: an individual service providing unique
garments to the financially-able customer, a fashion source
adding to the taste and fashion acceptance level within
Michigan, a unique type of apparel producer providing good
public relations for the state, owing to the lack of such
firms within the United States, and finally, as artists
making a creative contribution toward raising the cultural
level of the community and the state.

CHAPTER.VII

SUMMARY AND RECOMMENDATIONS

Summagy

Custom design organizations resembling those tradi-
tionally operating in the French apparel industry have been
found to exist in the United States. This study involved
investigation of the custom houses within the state Of
Michigan. Prompted by a larger ongoing study of the apparel
industry in Michigan, this endeavor sought additional knowledge
about the production of apparel and the function of the cus-
tom designer and his organization within this industry. .m-pupfi

Direct interviews wthlownerbdesigners of firms which
produce custom clothes were the methOds used for the gather-
ing of information. {A structured interview schedule was

administered to thirteen firms. Nine of these werercustom;

a
p...
'6 *—

houses, and four were involved in some dressmaking as well as
being custom design firms. The interview was divided into
three parts: the first part referred to the structure and
organization of the firm; the second dealt with background
information about the designer and his function in the estab- /
lishment; and finally, the characteristics of custom apparel I
and the designer's perception of his contribution to the /’

vfashion industry were sought. ;

\\48

49

Although some of the firms had been established in

the 1930's, most had developed during the past ten years.

The firms which took part in the study were located in the

areas of Michigan high in both population and wealth. Firm
representatives explained they had chosen these locations iii
because they were convenient to their type Of customer and
presented attractive and Spacious physical facilities.

These firms, most of which were small by measure of
yearly volume and number of employees, were eithef‘bwned bywh_§
one designer or by partners. Methods and techniques Of garb
ment construction were closely controlled by the designer.

Most of the firms employed individual construction methods, I
with each garment being made by one seamstress. Besides .
supervision, the designers were deeply involved in the pro- 1
duction of the garments. Often the designer*functioned as !
fitter and cutter and in some firms, completed the first
“stages of garment construction, as well. /

‘All but‘one‘firm reported difficulty in obtaining
workers. Present labor forces are composed primarily of
mature women, some of whom have been trained in Europe. Al
reSpondents commented on the difficultres encountered when
training beginniniemployees. It is capecially difficult to
obtain seamstresses who are skilled enough to work on/pustom
garments. A . v

Most of the materials which the custom“firms use are

/
imported fabrics purchased through New York suppliers.
Some firms furnish all fabrics, and all firms supply so per-

cent or'more of the materials used for app rel.

50 I

I
Distribution in the custom design firms is implemented
"“by means Of.individual customer consultations, which are some;

times supplemented with sketches and fabrics. Some firms als ~

    
 
 
 

produce collections which are shown to groups or to individu
customers. The custom design firms use various advertising
media, but most firms reported receivimg sufficient work
through recommendations passed from client to client.

Interviews brought out the fact that over one-
of the Michigan custom designers had been professiOnally
trained, some of them in European schools. All reported
at least a high school education, and some had had experience
in the apparel industry previous to establishing their'Own
firms.

The designers cited the customer's desires and the
fabric with which the design was to be executed as their
major design inspiration. Influential“ factors determining
the designs were said to be the customer's figure, her cloth-
ing needs, and her’personality. Designers also mentioned
adaptation of designs from fashion magazines and nSWSpapers “pfj
as sources of inSpiration. Their’methods Ofcreation"ranged
from sketching and draping to patternmaking. Basic patterns
for customers were developed either by alteration Of a firm's#
own pattern, or~by a series Of measurements. Some firms used
dress forms made to duplicate the customer's figure, in addi-
tion to the basic pattern.

Differing from ready-toawear’manufacturers, who tend

to Specialize in one kind of garment, the custom firm pro-

w...

51

duces made-to-order garments of all sorts, according to cus-
tomers' needs. Prices begin at twenty-five dollars for labor
alone and go to' several thousand dollars, depending upon the
firm, the fabric, and the design. Most firms reported having
no peak season, but being busy all year. Fall was the peak
season indicated by a few custom design houses, because of

the higher costs of winter garments and the long wearing
periods Of these clothes in the area in which these firms

work and Serve.

Customer sizes covered a wide range. Only five of
the firms indicated they dealt predominately with problem
figures. The eight remaining firms said their customers
'were not those who had figure problems, but rather“women of
all sizes Who desired individual clothes made especially for
them.

According to the reSponses to interviews, the custom
firms in Michigan indicated’nofidefinite plans for further
growth. They seemed content to remain at their present
Operational level. Citing reasons for this attitude, headS\
affirms mentioned the difficulty in obtaining skilled labor ~
and the desire to stay relatively small so that the estab-
lishments could be controlled to their satisfaction.

Michigan custom design firms see their contributions
to the apparel industry as follows: servicing the financially-
able customer with individual and exclusive clothing, raising
the taste level and acceptance of high fashion garments among

their customers, fostering public relations because they are

52

a relatively unique type of establishment in the United
States,‘and making an artistic contribution to the community
and to the state of Michigan.

Recommendations

This investigation of the custom design firms as part
of the apparel industry insMichigan probed an area which has
been relatively unexplored. The American designer and the
production of wearing apparel in the state of Michiganfihave
been bypassed by recent research, yet both offer richground
for future scrutiny. As a result of this study, suggestions
for continuing and expanding these areas may be made.

Replication of this study utilizing the instrument
develOped for interviewing might yield valuable information
about other segments of the apparel industry in Michigan.

An investigation of dressmakers, designers of ready-to-wear
apparel, or custom tailors would extend the knowledge of
those creative individuals who produce apparel in Michigan.
A.more detailed study of production methods and techniques
would be obtained by augmenting this interview schedule with
observations in the workrooms. ‘

The interview schedule developed for the study ob-
tained the desired information. Some reSpondents, however,
had difficulty understanding the last questions in the instru-
ment, particularly those dealing with the contributions of

the custom house to the Michigan apparel industry. Lack
of understanding indicates a need to restate these questions

if the instrument was to be reused.

53

A study devised to include the custom designer in
other areas of the United States would be significant in
establishing the national position of the custom designer
and his firm in our country today.

According to the findings of this study, an analysis
of skilled labor is severely in need of further research in
this state. A survey of the labor'needs of the custom design
firms, as well as the methods and techniques in which workers
should be trained, could be made. ‘

Such an investigation would be beneficial, not only.
to increase knowledge of labor'needs of the apparel industry.
in Michigan, but also might lead to some suggestions for .
improving a problem which presents a.handicap to the custom
design firms within the state.

More information about the apparel industry, its
operation and significance in Michigan, would offer assistance.
and stimulation to firms presently operating within the state\‘
and suggestions to those contemplating establishment. ‘ :

~ m...~_._‘

APPENDIJS A

1+; r' ~‘
' M..'.'

.-.-u- k
_ fipn.
~—

2.

5.

6.

Date

 

Apparel Industry Study
Custom Design Organizations in Michigan

 

 

 

 

Firm Name ' ’ NUmber
Address Phone
Respondent Position

 

 

Through this interview we hope to obtain information about the
position of the designer in the custom design establishment within_ '
Michigan. I should like to begin by asking questions about your background:

How many years have you worked as a professional designer?

 

What preliminary jobs did you hold before your present position?
yrs 0 1

yrs 0 3
jrB e

 

How many years have you been in this firm?

 

Do you hold membership in any professional organizations? ;

yes, which x

no I

 

 

At what level did you complete your academic training?
- rade.'school

\J
. high school

____Junior college
college

Your professional training?
none, where did you pick up skills?

\

 

design school; where
____art school, where
other,

 

 

\KL
’ 7

Have your ever had any formal courses in:
_draping
( “patternmaking , ,
sketching ,
sewing ./fi” //
history of customs // . _

 

 

design
other, i_

r- -..—7-. ,.
. a a
I
.

 

 

7.

9.

10.

ll.

12.

13.

14.
15.

-2-

Now, about your designing.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Where do you get your inspiration, your design ideas?
'-~.-:- - customers wishes
fabric
historic costume
films
nature
art
archictecture
other,
Do you design:................... for the individual customer, or
for a generalized type?
Do you ever adapt designs from any source?
yes
no
What source?..................... your own previous designs
present‘fashion trends
__ -”" _fashion leaders
,»’”’ *trade papers and magazines
_other, ~-
‘\t
\
What do you consider the greatest influence on your designs? “\\‘.
* customer's figure
customer's taste and way of life
Michigan influences, ie. climate, sports
other,
What methods do you use to design?
sketches

draping in muslin
draping in fabric
flat pattern

other,

 

 

Do you use a standarized basic pattern , or do you draft patterns for
each customer? ,

 

The following section of the questionnaire deals with the
structure of the custom design house and its place in the‘Michigan apparel
industry.

How long ago was your firm established?

 

Where “‘8 it lout‘d then?.............

 

56

-3-

16. (If not the same) How long have you been located here?

 

17. Why did you relocate?

 

18. Do you have any other locations?.. .yes, where,

 

no

 

19. Do you plan to stay at your present location(s) in the future?

yes
no

20. (If yes) Why does this location suit you?
in or near active business district
...—conVenient for customers
materials easily available
labor easily obtainable
materials easily obtainable
available financing
real estate available
space suitable
other,

 

 

 

 

 

21. (If no, on no. 20) Where do you plan to relocate?

 

22. Why?

 

 

23. What is the present ownership of the firm?hL* " ‘ _ .
individual, who is designer
individual, other than designer
partnership, owner and designer
other,

 

24. How is your firm financed?...... self-financed
commercial banks
factoring companies
~~u A mm“ textile manufacturers
' ‘“‘~--li\g‘ other,

 

 

 

 

 

 

‘.
*a

25. How many people do you employ?.. women___full time, part-time
men ___full time, part-time

26. Could you give me a run-down of their jobs; who does what?

 

 

\ A/

 

 

27. Do you hire additional help during peak seasons? ///
, ; yes , how many r-
no

57 /

-4-

28. Where do your employees come from? "‘“
local
____out of state, where

 

29. What is your method‘of~wage\payment?

___piece
hourly

salary

30s Are you ““10“ Affiliated? e e e e e e e yes ’ date

 

no 2
i

31. Approximately what percentage of the materials which you use do yousupply?

 

 

32. Where do these material§\come.from? a
Michigan
outside, where a

l

33. Which is your peak sales season? no peak season '/
Falldwinter

Holiday

Resort

Spring

Summer

Transitional

other,

 

 

 

 

 

34. What factors make this your biggest season?
, seasonal demand, climate changes

cultural events

social events, sports

other,

 

 

 

 

 

 

 

'35. Are all your designs produced on an exclusive basis?
as
no,

| L

 

v

I'
. " J-
- ‘va|
r‘ ‘. st
..

36. How is your merchandise shown and distribtuted? k
showings to individual customers
fashion shows in your own shop
fashion shows under other auspices,
trunk showings

road salesmen, where

 

 

 

 

 

retail outlets,

 

 

marketing at trade centers,

 

 

other;

 

 

37. Do you sell from............... sketches
verbal discussions with customers
samples in muslin
____samples in fabric
other,

 

58

38.

39.

40.

41.

42.
43.

44.

45.

-5-

What forms of advertising do you use? ,w
newspapers /
mailers

agencies or public relations counselor

radio, T. V., or fylms
other,

 

 

Do you produce any garments which are sold and manufactured on a wholesale

basis? yes, what

 

no

Do you sell any ready-to-wear items?
yes

no 9

What?

 

 

What Z of your yearly money volume is realized through your ready- -to-wear? :P

would you describe the type of garments you produce, their price range, and

their importance in your overall line.
Daytime..2.;..participant sportswear..... _,$
separates(pants/skirts).... :,$

0881.18]. dresses eeeeeeeeeeee:$

business dresses...........___,$
r”-8‘11t8eesseeeeeeeeeeeeeeeeee__._m,$

afternoon dresses..........___,$

afternoon snitBOOOOOOCOOOOOds

 

 

Evening.......dinner outfits............”___,$
formal gomseeeeeeeeseeesesds
at-home entertaining.......___,$
alt-home, loungewearuou...___,$
sleepwear..................___,$

 

 

 

 

 

 

Special occasions..debutante gowns....... ,$ .
bridal gownseeeesseeeeeseee p$ ’

wedding party.............. ,$ .

Other. p$ s
___.$ .

 

 

If the customer supplies her own fabric, how much does the price differ

....

N

Z

Z

Z

Z

Z

Z

Z

J

N N 'fllNl

Z

“'7.

lfllN

7

 

Can you tell me the general size category into which your customers fit
‘Approximately'what Z of your garments are produced for:
unior and teen figures, 5-15 ‘\\\
_misses figures, 10- 18 '
:women 's figures, 20-50

59

7

\

h

 

46.

47.

49.

50.

51.

52.

'53.

54.

-5-

Where do most of your customers come from?
r from this city
from this region
from out of state,

 

 

Do you feel that you design especially for the Michigan market?* //

I
A 1

 

 

Would you indicate your approximate yearly volume?

» under $1,000
$1,000-$4,999
$5,000-$9,999
$10, 000- $14, 000
:$15, 000- $29, 000
:$30. 000- $49, 000
_over $50, 000

How much has your market grown in the past three years?
not at all
small amount9
doubled
tripled
more than tripled, indicate amount

 

 

(If not obtained before) Do you have any plans to expand your production ._
facilities? yes ‘Pn,uawd'
How, ..L* “””"

no

 

The last two questions do not require a factual answer; just your opinions.
Do you feel that your establishment has contributed to the Michigan apparel

industry? ’_ yes "”“
a .-_ g.,_. no

 

In what ways?

 

 

..to the national apparel industry? Is Michigan making a unique contribution

in this area? yes
no”

 

In.what ways?

 

 

'7 .
'.:

Thankfiyou very much for your contribution to our study.

‘0

APPENDIX B

62

-~‘-_

To obtain a description of the apparel industry in our aunts, the
College of Home Economics at Michigan State University is conducting
a survey of clothing producers. We are interested in classifying the
various firms according‘to the type of apparel made and the manner 0
production. Would you be willing to classify your firm as:

a custom design egtablishmegg, whose major emphasis is creating
original designs which are sold individually to/customers.

/
a dressmakin establishment, whose major emphasis is restyling,

alterations, and making garments from patterns for individuals.

If your firm does custom designing or dressmaking, bu//does not quite
fulfill these two descriptions, would you specify an other designation
which you feel appropriately describes your method of operation.

Please check the category which best describes your establishment on
the enclosed postcard and return it at your earliest convenience.

Thank you for your contribution to our study. Your response will be
most helpful in the development of a description of the Michigan
apparel industry. ‘With the emphasis and interest in new industries

in Michigan, it is important that recognition be given to those firms
already in operation.

Sincerely,

Belen.Kilbourne
Enclosure

 

 

.II. I II Illlnfns

APPENDIX C

6i-

List of Cooperating Firms

~s~_-..."

Ann Moore, Inc.

C.R. Originals

DeAnn Designers

Elizabeth's

Ethel Beres Boutique

Julia Grimes

Julo of Vassar"“
,wMaria'Dinon

Pollak's Custom Dressmaking

 

Rulaine Couture Fashions.
Ruth Joyce Salon
Tina Trottier - Couture

Walton Pierce

BIBLImRAPHY

A‘flfvnr ‘-

BIBLIOGRAPHY

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Chambers, Bernice G. Fashion Fundamentals. New York:
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Crawford, M.D.C. The Ways of Fashion. New York: Fairchild

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..

Hillhouse, Marion 8. Dresstelection and Desi n. New York:
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~

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66

67 ' /“' ‘////

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Articles and Periodicals

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Newsgaper

‘Weir, June. "Where Is Custom Going?" Women's Wear Daily,

‘-—- -..

'.Re20rts

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c

nistration, 1942. - “v .

PB- 5923-979-P. PAMS
7S~1+5T

 

 

68

’D.. an.

Unpublished Material

Bourne, Judith Mayton. "An Analysis of the Development of
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Gano, Lowell R. "The Women's and Misses'Apparel Industry
in Dallas, Texas)’ Unpublished Master’s thesis,

. Southern Methodist University, 1949.

Golly, Jeanne Marie. "A Study of the Present Status of the
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thesis, Michigan State University, 1966.

Griffin, Tira'W. "A Survey of Selected Regional Markets
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Master's thesis, Michigan State University, 1949.

Gross, Blanche.' "The Awakening of an Industry. Recen Trends
in the Dress Manufacturing Industry in St. Louis.Q.
Unpublished Master's thesis, Columbia University,-1943.

Hersker, Barry Jay. "The Women's Apparel Manufacturing
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tation, University of Florida, 1962.

Murray, Maria Calabrese. "The Development of French and
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L

 

 

 

 

 

 

 

. HICHIGRN STRTE WIV. L MISS 1‘

E
v *1

I
312931033 8155

 

 

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1
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9
i s
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2.
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3.
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