A lasting impression
As a section of the fashion business that specialises in repetition, corporate apparel does a surprisingly good job of creating unique one-offs, as Tracey McEldowney discovers.
It's not often a designer must consider the potential for his or her clothing to be used to take a human life when creating a new collection.
But that was exactly the challenge facing leading Australian designer Peter Morrissey after his label was selected by Qantas to design its new uniform.
"The whole safety issue was a massive consideration when designing the uniforms. We had to ensure that the scarf, badges and other elements could not be used as weapons against the passengers or cabin crew. The tail on a kangaroo pin [also] had to be widened so it wasn't too sharp but still looked good," Morrissey says.
With more than 56,000 Australians now getting up in the morning and donning a Morrissey-designed uniform - and as yet no confirmed reports of anyone being strangled, stabbed or otherwise maimed as a result - it's fair to conclude Morrissey was successful in nailing his somewhat unusual brief.
His success with Qantas has led Morrissey to have a hand in the design of several other uniforms - NRMA and IAG among them -
and, in doing so, added his name to a growing list of new and established designers attempting to make their mark on the corporate apparel sector.
Included in this illustrious who's who of designers and fashion houses are such names as Marc Keighery who joined King Gee in designing the new Telstra uniforms, Harry Who and George Gross (Morrissey's Qantas predecessors), Paable Nevada (W Hotel's Water Bar), New Zealand label Zambesi and predecessor Barbara Lee (Air New Zealand), Tina Kalivas who was selected from a competition amongst Australia's leading designers to design the new-look Hilton Sydney uniforms and Perth-based label Su Design which was asked to design a new look for staff at local eatery Wagamama.
Morrissey - who designs the uniforms and then licenses the trademark to the corporate client before getting a third party manufacturer to produce the uniforms - believes the increasing opportunity for fashion houses to become involved in uniform design is evidence of a change in attitude by brand owners.
A happy worker is a productive worker and the greatest asset any company has is its staff, he says.
"If employees are getting up in the morning and putting on a uniform that makes them look good and feel good then they are going to have more pride in their work and be happier in their lives."
A designer uniform can also be a great asset to companies involved in a wider re-branding exercise where it can instantly communicate the new brand promise to the community, Morrissey says.
Su designer Sonia Audino agrees it is of great importance that a corporation takes its image seriously.
"Style awareness does play a major part in this. It is important the choice of designer reflects the company's overall vision. Brand alliances also work very well from a marketing perspective."
Like Morrissey, Audino strongly refutes claims that aligning itself with a corporate identity has the potential to devalue the brand.
"The service that we offer is the entire process - design development, fabric sourcing, manufacturing and trimming. Our work would not lend itself to any corporation. It's important to us that a bond exists between a company's corporate image and vision and our own," she says.
Having adopted a similar philosophy, while also sensing a growing opportunity in this area, Pretty Girl Fashion Group (PGFG) - owner of the Rockmans, BeMe and Joi chains - purchased Table Eight Corporate in 2003 as a means of fast-tracking the group's success in the corporate apparel market.
Counting among its clients NAB, OPSM and Hutchison 3G group, CEO Jeffrey Moss says PGFG has enjoyed much success with contracts that have been part of a client's broader rebranding process.
"We believe this is because we understand that the corporate wardrobe is an integral part of what makes up 'the brand' for many of our clients. Increasingly clients are looking for wardrobe solutions that communicate their brand essence and personality."
But while the added prestige of having a high-profile name design your company's uniform is there for all to see, designers and fashion houses spoken to deny they jack up their prices to take advantage of their position.
Morrissey says price is always important but is also relative to quality.
"A designer uniform does not necessarily cost more. What we provide is a very attractive package of a creatively considered and well designed uniform, well manufactured and efficiently distributed."
Companies can also sign on for an extra service that sees Morrissey train staff in the benefits of their new uniform and "motivate" them in their careers.
Moss also claims it is no more expensive for potential clients to get designer uniforms than to obtain one from company specialising in corporate apparel.
Winning new business through tender submission is about pricing and effectively differentiating your business from competitor bids. Moss says his company achieves cost efficiencies by leveraging off the Pretty Girl Fashion Group extensive design, manufacture and distribution capacity. This affords Table Eight Corporate flexibility in product and pricing.
"In competitive bids, where our product offering may not be the lowest priced, we demonstrate a 'best value for money' approach. At present we differentiate ourselves by outlining cost efficiencies and demonstrating fashionability and innovation, as well as superior customer service," Moss says.
While Audino "isn't sure" about price points, she says that if a company is keen on having the label design and manufacture its corporate apparel, it is because they are looking for an edge.
"Usually if this is a priority, price generally is not."
Sydney-based uniform specialist specialist Ziva Corporate owner Ziva Lavecky, who depending on the fabric, style and quantities requested can design and manufacture a uniform for between $600 and $900 per person, says some clients are definitely prepared to spend more on the right uniform.
"The people that are given direction by top management to ensure that staff are happy and that the uniforms are of high quality and project the correct image will often spend more time in consultation, as well as more money ensuring the best outcome is reached."
Because her company's focus is on developing a "complete image" it is able to concentrate on little details from buttons, ties, scarves and appropriate embroidery, she says.
But like all things that sound too good to be true there is still sometimes a price to pay for the privilege of having a high-end fashion designer or fashion house design your uniform.
In both the Qantas and Air New Zealand cases the uniforms were criticised by some staff as being impractical. While all agreed the uniforms looked good aesthetically, media reports suggested staff registered concerns about everything from the fabric used to the colours chosen.
For his part, Morrissey concedes it is hard work getting the right mix between designing a good-looking uniform and ensuring it's is durable.
Getting the right look is one challenge but keeping staff happy is the greater challenge. The new uniforms must be seen as a gift the company gives to its staff, he says.
"It's an art but you don't always have to compromise design aesthetics to satisfy safety guidelines and create a serviceable uniform."
Morrissey notes the greater challenges facing the industry include:
* The logistics of forecasting the stock;
* Servicing the employee as an individual when they make their selections from their company's uniform catalogue;
* Designing a uniform with enough breadth to offer choice to the employees, allowing them to express themselves within the corporate identity and allowing for various climates and environments.
So does Morrissey think there is scope for more designers and fashion houses to enter the corporate apparel market?
"No, not at all, they shouldn't even think about it! Sorry that was a poor attempt at humour. Designing a corporate uniform is a complex task and it isn't enough just to be a fashion designer - you have to understand the logistics of dressing huge numbers of staff and about the very human side of wearing a uniform."
Lavecky agrees.
"Clients are now realising that the staff members are individuals and that they need to feel comfortable while looking presentable as they are projecting the image of the companies they work for. Our clients are realising that staff that feel positively about themselves and about their appearance provide a positive outcome to their work."
Rather than viewing the increasing competition from fashion houses as a threat to her business Lavecky - who counts Hilton Hotels, Holiday Inn, Sebel, Crowne Plaza and Como Melbourne among her clients - sees overseas imports as the biggest challenge facing the sector.
"As we provide such a high level of quality and services which is tailored to suit individual client needs, I do not feel that increasing competition in the market place will have a large impact. This will only encourage us to ensure that our levels of quality are second to none in order to maintain our current clientele and seek out new opportunities.
"The main challenges that face the corporate and apparel industry as a whole include imports from overseas as well as the struggle to continually deliver the highest of quality at the correct price."