range development and effective measures for sampling

RANGE DEVELOPMENT AND EFFECTIVE MEASURES FOR SAMPLING
COORDINATION IN RETAIL BRAND
A STUDY FOR FABINDIA
PALLAVI SINGH
2013-2015
MASTER OF FASHION MANAGEMENT
DEPARTMENT OF FASHION MANAGEMENT STUDIES
NATIONAL INSTITUTE OF FASHION TECHNOLOGY
MUMBAI
1
DECLARATION
I, _____________ hereby declare that the Project entitled Range development and effective
sampling coordination in retail brand is my original work and no part of the project has
been copied from any other reports or any other were carried by someone else and this have
been submitted for any other degree/award. However, any material taken from any other
published sources has been suitably referred and acknowledged at various places.
Pallavi Singh
MUM13MM29
Master of Fashion Management
2013-2015
NIFT, Mumbai
Date:
Place:
2
Acknowledgment
On the successful completion of my graduation project with Fabindia, I would like to express
my gratitude and respect to all those who have supported and stood beside me throughout.
I am very thankful to National Institute of Fashion Technology Mumbai, for providing me
this opportunity to work with such a prestigious organization and Fabindia for placing faith in
me and giving me an opportunity to work on the project under their guidance and support
I would like to express my gratitude towards Mr Sushil Raturi, Tanmay Khandekar, Faculty
and Mentors for Master of Fashion Management, National Institute of Fashion Technology,
Mumbai, for their support and guidance throughout the Project and my academic career.
I would like to express my gratitude towards Ms Sonali Saldana, and Ms Lipi Chaudhary
faculty at NIFT, Mumbai, for their support and guidance and tremendous motivation
throughout the project.
I would also like to thank Mr Kunal Kumar, Mr Shivam Nathan, Mr Sumit Arora, their
support, guidance, motivation, and invaluable help and for the wonderful work atmosphere.
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CERTIFICATE FROM FACULTY MENTOR REGARDING COMPLETION OF
WORK
This is to certify that Ms. ………………………….. has completed the internship project
entitled
…………………………………………………………………………………………………
…………….. under my guidance. She has been submitting the progress report on time. She is
here by allowed to participate in the internal and external jury for internship project
………………………
Name of the faculty mentor:
Date:
Place:
4
TABLE OF CONTENTS
CHAPTER NUMBER
TITLE
PAGE NUMBER
1
Company Profile
1-8
2
Introduction
9-10
3
Need for the study
11-12
4
Objective
13
5
Methodology
14
6
Review of Literature
17-20
7
Market Study
21-39
8
Range development and
promotions planning
40-47
9
Effective Measures taken for
sampling
48-56
8
Learning Outcomes
57-58
9
Contacts made during Internship
10
Annexures(Questionnaire)
11
Webliography
59
60-63
64
5
EXECUTIVE SUMMARY
The report “Range Planning and effective sampling coordination in Retail Brand” consists of
brand analysis of Fabindia in order to understand target consumers. The analysis of same combined
with sell through analysis report is used to plan the range and promotions for Spring Summer „16.
Also it talks about measures than can be taken for effective sampling coordination and cutting down on
sampling lead time in retail organization.
Fabindia customers are generally repeat customers. Slowly young customers are also adding
themselves to this brand. With this new customers and changing lifestyles of women in India
expectations from the brand has been increasing like never before. To serve to this market there is a
great need to understand the buying behaviour and consumer preference in terms of product attributes
before making any purchase so as to provide them with a balanced range for every occasion.
The first task highlighted in this report is to understand the needs and demands of the target customers.
This was done by analysing data collected through primary research i.e market survey and secondary
research i.e sell through report. Only qualitative analysis was done as for sampling.
The second task was to plan the range and promotions for spring summer 16 collection. This was done
by research work and looking in to style sites for trend analysis, going through all designers work for
key details and techniques explored and browsing celebrities‟ styles and popular trends in the
market.Once the research work is locked designs boards were created which acts as a guide for
Inspiration source, Color board, Silhouette Boards, Theme Board. Forecast combined with market
survey analysis and sell through analysis was used further to plan out range and promotions for the
season.
The third task was to figure out effective ways to cut down on sampling lead time. This was done by
analysing current work process and figuring out effective measures that can be taken while sampling.
Vendor assessment, favourite body muslin dévelopment and sampling under different heads were
carried out for same.
6
COMPANY PROFILE
Fabindia- Fabric of India
“Fabindia was founded with the strong belief that there was a need for a vehicle to market
the vast and diverse craft traditions of India and thereby help fulfil the need to provide and
sustain rural employment.”
“Our endeavour is to provide customers with hand crafted products which help support and
encourage good craftsmanship.”
John Bissell
Today Fabindia is India‟s largest private platform for products that are made from traditional
techniques, and hand-based processes. Fabindia links over 55,000 craft based rural producers
to modern urban markets, thereby creating a base for skilled, sustainable rural employment,
and preserving India‟s traditional handicrafts in the process. Today, with a pan-India
presence, Fabindia is the largest private platform for products that derive from traditional
crafts and knowledge. A large proportion of these are sourced from villages across India
where the company works closely with the artisans, providing various inputs including
design, quality control, access to finance and raw materials.
The company blends indigenous craft techniques with contemporary designs to bring
aesthetic and affordable products to today‟s consumers. Fabindia‟s products are natural, craft
based, contemporary, and affordable. It works closely with artisans by providing various
inputs including design, quality control, access to raw materials and production coordination.
After many years since its inception the vision continues to be to maximize the hand made
element in our products, whether it is hand-woven textiles, hand block printing, hand
embroidery or handcrafting home products. A constant endeavour of the company is to bring
customers a choice of products and lifestyle that offers an alternative to the mass-produced,
while creating sustainable livelihoods in the rural sector. The company has seen constant
growth since it was started in 1960 and the last decade has been one of the most exciting
times as it went through a rapid expansion in terms of the market presence, craft outreach,
employability, sales and profits. One of the most looked up to attribute of the company is its
belief in India‟s craft traditions and its values which the Fabindia truly abides by. This is the
reason why the company which celebrated its 50 years in 2010 has emerged as an
inspirational market leader.
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The Vision
Fabindia celebrate India, and endeavour to bring all that we love about India to customers
around the world.
The Mission
Fabindia harness the transformative power of a well-run business committed to profitable
growth in support of its Vision.FabIndia strengthen and support community of customers,
designers, artisans, farmers, makers and entrepreneurs inspired by India. It gives their
customers products that delight them by interpreting our rich heritage and traditional
knowledge, while protecting the natural environment.
Values & Guiding Principles
To remain true to company‟s history and founder‟s original Vision: "In addition to making
profits, Fabindia aims are constant development of new products, a fair, equitable and helpful
relationship with our producers, and the maintenance of quality on which our reputation
rests."– John Bissell

To ensure that we delight our customers with our products and service, and always
make them feel that they are getting great value for their money.

To design, make and sell products with intrinsic worth that comes from the original
designs, knowledge, care and skill with which these are made.

To be true to our commitment and history as an ethical and trust-worthy brand
promoting a stake-holder based community model of inclusive capitalism.

To constantly share our Vision with our employees, suppliers, business associates and
customers, so that we collectively ensure that all our actions are in service of our
Vision, Mission and Guiding Principles.
Early Times
John Bissell who founded Fabindia was born in Hartford in Connecticut and was educated at
the Brooks School in North Andover, Massachusetts, and at Yale. He was introduced to India
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by his father, who told him stories of his time in India when he was posted there during the
Second World War. John Bissell worked as a buyer for the American departmental store,
Macy‟s. In 1958, under a programme run by the Ford Foundation, he came to India to advise
the Central Cottage Industries Corporation created by the Indian government, on showcasing
Indian handlooms and handicrafts. His role was to advise on issues relating to marketing
Indian handicrafts. He was new to India and he did not know any Indian language. In spite of
these inconveniences, he travelled extensively over India and met several craftsmen. He came
across a lot of skill, among craftsmen but he also observed that they had no idea about
marketing their products and they were in no position to access distant urban or international
markets. He liked his experiences in India and hence kept coming back. What Bissell
discovered was a village-based industry with a profusion of skills hidden from the world.
However, they lacked the skills to market their products and access the large urban and
foreign markets. Determined to showcase Indian handloom textiles, and providing equitable
employment to traditional artisans, and sensing an entrepreneurial venture, Bissell established
Fabindia in 1960. It was also to fuse the best aspects of East & West collaboration. Initially,
Fabindia started as a wholesale export company, concentrating on the export of upholstery
fabrics, durries and rugs. Initially his goal was to export to the US and to other western
countries. With that aim in mind, he incorporated Fabindia in 1960. The company operated
from Bissell‟s residence in the posh Golf Greens locality in New Delhi. Growth was initially
slow for the company and in 1965 the company moved out of his house into a proper office.
By then, Fabindia had an annual turnover of rupees Rupees 20 lakhs. Most of this turnover
was accounted for by a single buyer and a single supplier. A. S. Khera made durries and other
home furnishings in his workshop in Panipat and most of the output was purchased by the
UK based Habitat, which was founded by a famous interior designer, Sir Terence Conran.
Retail Foray
Bissell‟s Greater Kailash shop was a success. It attracted a distinct category of customers. But
in spite of such success in its direct retail business, Fabindia remained dependent on
exporting and Habitat continued to be their single major buyer. In the early 80‟s, Fabindia
made a significant addition to its product range by adding ready to wear garments too in their
retail offerings. In an interview in 1977, Bissell said, „‟The greatest thing that happened to
our business was the move in Europe and America a few years back to the natural look –
natural textures, natural fibres - and away from things like polyester and nylon‟‟. Similarly,
9
like in Europe and America in India, a distinct group was emerging. Some of India‟s new
young politicians, media stars and other celebrities patronized Fabindia and were able to
provide Fabindia with nationwide exposure for its products. In spite of all that, its domestic
retail business grew slowly. It continued to focus on export business.
However as time passed Fabindia's marketing shifted from exports, to the local Indian retail
market. This was especially so from 1990s.In 1999, on John Bissell‟s death, his son William
aged 32, formally took over as the Managing Director of Fabindia. The Company‟s domestic
expansion had been spectacular after William took over. By 2001, Fabindia had six stores
concentrated in the metro cities. By the end of 2004, these had increased to 20, and the
company was seriously considering expanding its stores into the tier-II and tier-III, cities as
well as overseas. By the end of 2007 Fabindia had 75 retail stores across India and in
addition, stores in Dubai, Rome and Guangzhou in China.
Fabindia across India
What started as an export house has today become a successful retail business presenting
Indian textiles in a variety of natural fibres, and home products including furniture, lights and
lamps, stationery, home accessories, pottery and cutlery. In 2004, food products range was
launched and in 2006, Fabindia Sana, their authentic body care products range, was launched.
Recently, it has also ventured into the jewellery segment. However, the major chunk of
Fabindia‟s product range is textile-based.
The company has continued its focus mainly on the artisans and sources its products from
over 15,000 craftsmen across India. With a strong foundation, the company has been
successful in increasing its presence all over India.
Channels of business
It has created a visibility in the international market either through its own stores or through
other retailers and boutiques and also through institutional sales. The main advantage.
Fabindia has enjoyed is that its products have a distinctive and quintessential style and it can
easily be identified by potential customers.
Retail
The retail channel is already developed within India with almost 180 stores in Tier 1 and Tier
II cities. As of today, internationally Fabindia owns stores in Rome (Italy),
Guangzhou(China), Dubai (UAE), Manama (Bahrain) and Doha (Qatar).
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The product range consists of garments for men, women, children and infants; garment
accessories; home furnishings – bed, bath, table and kitchen linen, upholstery fabric,
curtains,floor coverings and a range of non-textile products like furniture, lights, lamps and
stationery. In addition to handcrafted clothing and home furnishings, Fabindia‟s product line
includes organic foods and body care products.
Wholesale exports
As of today, Fabindia exports to more than 34 countries. The clients are wholesalers as well
as secondary retailers. Products exported include home linens as well as garments. Exports
are done as per the Terms and Conditions agreed by Fabindia and the customer.
The export being a very lucrative market, Fabindia develops a special collection for exports
Markets twice every year. The special collections are showcased at the Indian Handicrafts
and Gifts Fair, New Delhi in spring and autumn. This collection draws on different
techniques to present a range of home furnishings comprising bed and table linen, with a
focus on textures – both visual and tactile. As different wholesalers and retailers flock to
these fairs to address their sourcing needs, Fabindia is able to reach out to potential clients.
Institutional Sales
Fabindia envisages to service high business institutional segment especially the heritage
Hotels and multinational corporate houses. It provides customization and interior designing
consulting for clients like heritage hotels, resorts and corporate houses.
Merchandise Mix
During the early days, merchandising was not a planned activity. Whenever Bissell saw
Something of interest, he procured it for display at the store. Sometimes he would also invite
the craftsmen, to display the products and assist in the sale. This orientation of customer
relationship later became a part of the company culture. The expansion in merchandize mix is
mainly done through customer feedback especially that
of its loyal customers. Fabindia believes: “A delighted Customer is our Best Brand
Ambassador”Fabindia does not follow any customer acquisition strategy. It instead focuses
on customer retention. Fabindia creates its market through its existing customers which is
quite evident from the fact that about 85% of its customers are repeat customers. The Unique
Selling Proposition of Fabindia is the quality of the fabric and the traditional style, which is
always in vogue. It has designed the stores‟ decor and ambience keeping this in mind. It
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constantly attempts to improve the quality of the products in order to retain its customers. The
company concentrates on customer feedback by maintaining a visitors‟ register to record
customer views. The store managers prepare a report on buying pattern among consumers
which is periodically reviewed by the Product Selection Committee at Fabindia. Recently, the
CRM software has been implemented in a select few stores which aims to help in maintaining
a centralized database. This will help Fabindia in retaining customers by building lasting
relationships and improving loyalty. The implementation, however, is still in its nascent
stage, but is soon expected to be spread across all the stores in the country. Fabindia
also has the Mystery Shopper Program to gauge the customer satisfaction level. Mystery
shoppers posing as normal customers perform specific tasks such as purchasing a product,
asking questions, registering complaints or behaving in a certain way and then provide
detailed reports or feedback on their shopping experiences to the management. It serves as an
effective tool to improve the customer experience. Moreover, the brand managers at Fabindia
rely upon a concept of intuition. If a new line of traditional kurtis is launched, the jewellery
which suits the attire also gets launched. It automatically gets sold without any promotion.
Before launching any new product, be it traditional, western, organics, jewellery or furniture,
Fabindia looks into the value which a customer may feel by having the product as a part of
his/her life. Some customers are so
Inclined to Fabindia that they just don‟t believe in going elsewhere else, and don‟t even tell
other people that they have purchased the particular item from Fabindia. This helps them
create an image of exclusiveness . Hence, uniqueness, innovation and intuition are the most
important aspects of Fabindia‟s product planning.
Store layout and location
The store layout in Fabindia depends upon the type of store. Fabindia works on various types
of stores which include concept stores as well as full-fledged store. In a posh locality in a
Metropolitan city, Fabindia works as a full-fledged store which has almost all the product
Lines. On the other hand, in a concept store, the place specific products are retailed. Market
Potential determines store location for Fabindia, which is fast expanding in Tier II cities like
Bhopal where still mall culture is non-existent. The layout usually keeps clothes section at the
back of the store and the entrance area is utilized for home products. The exclusive jewellery
counter is also kept in the fronts.
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Fabindia Products
The major portion of FabIndia product range is textile based. Non- textile introductions to
this range are Home Products (introduced in October 2000), Organic Food Products
(introduced in July 2004) & Fabindia‟s range of authentic Personal care products (introduced
in March 2006).
The textile-based product range includes ready-to-wear garments and accessories for men,
women, teenagers and children; bed, bath, table and kitchen linen; floor coverings, upholstery
fabric and curtains. Cotton, silk, wool, grass, linen and jute are the basic fibres used.
The Home Products range carries furniture, lighting, stationery, tableware, cane baskets and a
selection of handcrafted utility items.
Fabindia Organics carries several types of cereals, grains, pulses, spices, sugar, tea, coffee,
honey, fruit preserves and herbs.
Fabindia's range of authentic Personal care products includes soaps, shampoos, hair oils, pure
oils, moisturisers, body scrubs, face packs, hair conditioners & special skin care products.
Garments
Accessories
Home linen
Home furnishings
Home products
Floor coverings
Personal products
Organics
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Organic Certification
Fabindia's Categories of Food Products
Products displaying our Green logo are 'Fully Certified' Organic. All processes, from
growing to preparing to packing have been done according to National and International
standards, verified by accredited agencies.
Products displaying our Blue logo are 'In Conversion'. This means that the farmer is
using purely organic techniques, and has registered and is complying with set standards.
Farmland must be managed organically for about 3 years before it can be fully certified.
Products displaying our Yellow logo are 'Natural'. This category contains products
produced by small farmers who use purely organic techniques, but who have decided to not
yet register for certification. It also includes some processed foods, which do not contain any
synthetic preservatives, colours, flavours or additives.
National and International Standards
India's organic certification standards are set by the National Programme for Organic
Production (NPOP), which are based on standards set by the International Federation of
Organic Agriculture (IFOAM).
In India, there are a handful of certifying agencies accredited by NPOP. Farmers and
producers must register with one of these agencies, who will in turn verify whether NPOP
standards have been met.
For certified Organic products, look for a certified agency's logo, for example SGS, and
NPOP's India Organic logo.
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INTRODUCTION
2.1) Ethnic wear womens market –
The ethnicwear market of India stood at us$ 13,100 million in 2013 out of which the
contribution of men‟s ethnicwear is only 3 percent, contribution of kid‟s ethnicwear is 9
percent and that of women‟s ethnicwear is 88 Percent. According to Technopak report 2016,
the ethnicwear market is expected to grow at a CAGR of 8 percent To reach us$ 19,600
million in 2018.
The ethnicwear market of India stood at US$ 13,100 million in 2013, out of which the
contribution of men‟s ethnicwear has been a mere three percent; the contribution of kids
ethnicwear has been nine percent; and that of women‟s ethnicwear a whopping 88 percent.
In this segment, the market has largely been driven by women‟s ethnicwear as it comprises
74 percent of the overall women‟s apparel. It is a large part of women‟s wardrobe and will
continue to grow at a promising rate of eight percent. Unlike in the past, when ethnicwear
was restricted to being an apparel of choice, it has transitioned into a fashion essential for the
college going girl as well as for the elite socialite. India‟s fashion legacy lies in its vibrant
colours and traditionally available artworks. Handwork and handprint techniques, Rajasthani
prints, Kashmiri work, Kutch work and mirror work are some popular traditional methods
employed to existing fashion ranges. These style mixes present countless choices of dresses
that reveal the background of a particular place. This explains why, in spite of the growing
popularity of casuals, traditional ethnicwear continues to hold strong ground especially
during festivals and other occasions.
Today, many designers use traditional handwork with fervour to bring exciting fusion to
appeal to the younger masses. These trends are no better showcased than in ethnicwear
offerings from new entrants in the market. Ethnicwear has maintained a strong position in
preferred fashion choices of shoppers mainly because it is attributed with qualities of
convenience, comfort, conformity with Indian values and fashion quotient at the same time.
Salwar-kameez and kurti are the most admired outfitfor women owing to the versatile look
they offer. Hence saree, although forming a major portion of ethnicwear (51 percent), remain
a regional choice. While women in North India prefer Salwar-kameez for everyday wear,
15
they opt for saree for select occasions like festivals and family functions. On the other hand,
women in South India mostly prefer sarees both for regular wear and special occasions.
2.2) Unorganised market: Changing dynamics
The ethnicwear market space is largely populated by unorganised players. Each region of the
country has strong players but at the same time very few brands have presence across India.
Almost a decade ago this was a completely unorganised category with no brand presence. It
was a space mostly driven by local retailers and tailors. The maximum design innovation
used to come from local „colony tailors‟ only, who offered very limited options in terms of
design variation. Even fabric design innovation had become stunted due to lack of
competition and complacency in the market.
However, the entry of brands infused a new life into ethnicwear and we see a lot of activity
happening in this segment. It will not be farfetched to say that ethnicwear is the new in-thing
in the fashion space.
Retailers such as Westside, Shoppers Stop, Lifestyle, Reliance Trends, Max and Big Bazaar
have seen partial success in filling the market gap of value segment. At the same time,
presence of several national and regional brands is presenting the choice across various
fashionable product offerings.
Brands like Biba, Anokhi, Bombay Selection and Meena Bazaar are helping women in
choosing fashionable ethnic options. Because of the arrival of organised players the
ethnicwear market has been transformed from tailor stitched to a ready-to-wear category.
16
NEED FOR THE STUDY
Influenced by the ever-changing consumer demands and preferences, the women ethnic wear
industry in India is highly fragmented and competitive. Factors contributing to these rapid
changes in the markets are
3.1) Disposable income on the rise
The economic empowerment of women has been one of the most remarkable achievements
of India‟s growth story and consequently growth of women in workforce has led to a good
rise in their disposable incomes. It is noteworthy because of the extent of the change: millions
of women who were once dependent have now taken control of their own economic affairs.
Besides contributing to the household, they have much more discretion over where to spend
their own money. Consequently, it is observed that consumers are now spending moderate
amounts on ready-to-wear (RTW) Salwar-kameez with a higher frequency of buying.
3.2) Film industry: Influence of new styles
Indian films undoubtedly have also bolstered ethnicwear. Bollywood is acknowledged as the
biggest trendsetter and whatsoever is happening in movies is very well received by most of
us.
3.3) Soap operas: The daily style checks
One cannot ignore the role played by soap operas in strengthening the essence of ethnicwear
clothing. It is inevitable to fi and any household that does not indulge in these slow moving,
high-pitched television series every evening. This trend has undoubtedly played the role of a
catalyst in bolstering the sale of trendy Salwar-kameez and saree.
3.4) Festivities: The essence of India
Fortunately, India is blessed with a calendar packed with festivals. One can spot bright lights,
beautiful colours, lively decorated markets and womenfolk on shopping spree almost every
other day. Fashion-wise festivals are a wonderful time to dress up. One needs no excuse to go
shop as these festivities call for hordes of compulsive shopping needs as tradition. Most
people prefer going ethnic while celebrating the festivals. They are the perfect choice for
festivals, wedding and any traditional occasions. For instance, Diwali, Eid and Dussehra
automatically translate to shopping for new clothing. The celebration is incomplete without
17
new clothes that go with the contemporary fashion taste as well as the traditional values. Chic
colours in suits, lehengas and sarees all blend along to honour the occasion and to show the
festive yet fashionable spirit.
3.5) Fashion trends: Tradition never out of fashion
Several traditional dresses are always in trend but the ones that are enjoying the most
popularity include Kurtis, Tunics. Women are also widely seen sporting sharara and gharara
for festive seasons. Traditionally available Ikat, block prints and colours have always been
intricately used by designers and are still attractive to all age groups of shoppers. For party
occasions, Salwar-kameez in heavy embroidery, bead work and innovative prints are in.
Anarkali suits are much in vogue and majority of women love to wear them for wedding and
reception ceremonies. Ethnicwear undoubtedly exhibits elegance, beauty, ethnicity and
personal style. These ethnicwear designs not only honour our historically appreciated taste
but also embrace our present heritage and culture.
3.6) Growing demand
Nowadays youngsters in the age group of 18 to 25 are opting for ethnicwear as a preferred
college and office attire. Girls experience the Indo-Western look with trendy kurti. The
combined benefitof comfort, fashion quotient and conformity make ethnicwear a top choice
among women. The versatility of kurta is being widely exploited by mixing and matching.
The growing fashion consciousness has turned women‟s ethnic segment into a lucrative and
highly evolving market. Owing to the strong growth in sales firms are showing healthy
interest in ethnicwear brands. Indian ethnicwear resembles the culture of the country and
additionally makes a person look classy and elegant. Ethnic outfits are being designed with
new cuts, styles and patterns by the experimentation of designers. These fusion fashion
sensibilities are in with the times and are being picked up by women most adoringly. With
more and more women having discretionary income to splurge on them, this segment is
bound to see rapid growth in the years to come.
“The project aims to study and evaluate women’s ethnic wear market (for kurti only) and
consumer’s perception so as to respond to their needs accordingly and provide them a
balanced collection.”
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OBJECTIVE
The objective of the study can be broken down in to primary objective and secondary
objective.
Primary Objective was to develop range and promotions by integrating findings of past sales
data, market survey so as to provide a balanced collection to customersand formulate ways
for effective sampling co-ordinations and cut down on lead time.
Secondary Objective was to understand fabindia target customers in terms of preferences,
demand, by studying and analysing their buying behaviour, consumption and market so as to
plan category and its assortment accordingly.
19
METHODOLOGY
The whole process can be broken down in to number of tasks.

To understand needs and demands of the target customers.

To plan range and promotions as per forecast and data analysis for spring summer
16 collection

To figure out effective ways to cut down on sampling lead time
The data collected for project is both primary and secondary. Primary data was required
for market analysis because most of the information was collected on survey basis or
based on observations and secondary data was used in later part of the project wherein
understanding of company‟s work process is required for sample development and
coordination.
5.1) Understanding the needs and demands of the targeted customers.
A brief outline of methodology

Data collection through primary and secondary research

Qualitative analysis
Data Required

We got 100 questionnaires filled by the respondents.

Respondents were only Fabindia customers who have bought kurta from Fabindia
before.
Data collection
Quantitative data was collected through survey questionnaires. Individual interviews were
carried out to obtain qualitative data.
Sampling Techniques:

Quota Sampling Technique for Personal Interviews
Data Analysis
20

I used Graphical Tools & descriptive analysis to analyse the data. I used Microsoft
Excel and SPSS to analyse and present the data inform of charts and frequency
distribution tables.
5.2) Range and promotions planning as per forecast and data analysis for spring
summer 16 collection
A brief outline of methodology

Desk Research – This involves all the research work and looking in to style sites for
trend analysis, going through all designers work for key details and techniques
explored and browsing celebrities styles and popular trends in the market, Browsing
Fashion Magazines

Design boards Development- Once the research work is done designs boards were
created which guides for Inspiration source, Color board, Silhouette Boards, Theme
Board

Range Development and promotion planning – Based on research analysis, Past sales
data analysis and Fashion forecast.
5.3) To figure out effective ways to cut sampling lead time
A brief outline of methodology

Vendor assessment for work allocation – Assessment done based on their
capacity, performance, and potential

Muslin Body Development–Best sold bodies shortlisted based on their sell
through and design possibilities.

Designing the whole range under fixed heads
21
5.4) Process flow chart
Market survey: To understanding targeted consumers and buying behaviour.
Sell through Analysis: To understand buying behavior of fabindia customer
Planning of range (qualitative) based on findings.
Forecasting trends and colors for ethnic wear market
Vendor assessment for allocation of work based on their past performance and
strengths
Favourite bodies muslin development
To formulate effective ways for sampling to cut down on lead time.
Scope of the project

To study its target customers and Survey findings will help to understand
consumers much better and respond to their demands accordingly.

Samples developed during this project are selected for summer 16 collection and
will be at stores next year.

The analysis and measures undertaken for sampling process will improve the
efficiency of the organisation as lead time will reduce.

The analysis might help in reducing unnecessary costs/time that is incurred in
carrying out the futile steps.
Limitations:

The research is mostly from the point of view of the Retail brand, Fabindia and their
customers and business model is quite different as compared to other ethnic stores.
This can lead to the research being more biased towards the Fabindia.

Survey involves people mostly from metro cities. Difference in the sample size and
place can lead to varied results.
22
23
REVIEW OF LITERATURE
6.1) Range Development
Range development for a particular market or brand has become a difficult task in today‟s
consumer environment. Market competition has increased, consumers want more product
variety, and consumer needs from a product have become complex and various. Range
development for ethnic wear brand is especially complex due to the

Changing lifestyle of Indian customers

Strong effect of fashion

Difference of products between large retail companies and small retail companies.
Buyers for retail brands concentrated all of their efforts on the development or buying of
merchandise items they thought their customers would like and would purchase. These
buyers are product-orientated. It was called subjective approach as development/buying
decision is based on a personal view of the likes and dislikes of customers but now they have
to measure the likes and dislikes of the customers also before a decision can be made. Now,
the buyer has to be consumer-orientated. Buyers select merchandise that the store‟s
customers want or need (i.e., the right styles, size range, color assortment, fabrics) all at
acceptable prices from vendors. The creative side is the ability to understand the customer,
spot trends, and use intuition to choose merchandise with terrific sell through. The analytical
side is the ability to evaluate merchandise and judge whether the selected products and the
quantity of the products are suitable for their target customer.
Retail buyers have had an important role to link between manufacturers and consumers in the
clothing industry complex. To predict and buy what consumers want from their stores for the
next season and reduce the uncertainty of the merchandising decision, merchandisers search
for information from several sources:

Past sales history,

Their own experience,

Trend analysis of market survey

Fashion forecasting.
The information is the essential groundwork for merchandise planning and thus develops
range accordingly. To make a plan it is very necessary to make a checklist of sales history,
24
emerging trends, and competitors, and then balancing product lines. A merchandiser job
includes the following: planning, buying, budgeting, contacting vendors, and planning
promotion
The most important part of a retail buyer‟s role in a retail company is satisfying company
objectives by making accurate and timely decisions of merchandise planning and assortment
planning, because decisions related to the acquisition of merchandise are critical to the profit
potential of a retail company. Therefore, the clothing product retail buyer plays an important
role in the success or failure of a retail store. Retail buyers forecast and select merchandise
that the store‟s customers want or need (i.e., the right styles, size range, color assortment,
fabrics) all at acceptable prices from vendors.
In other words, before developing a range one must first identify their target customers,
understand why they buy, and gain an understanding of trends affecting these markets for
both long-term and short-term retail benefits.
Range development depends on the business model company has. Brands with in-house
sampling develop their own range using designers and their infrastructure. For brands that do
not have sampling goes for manufacturers to get their product developed using the same
concept. A manufacturer design or product development department plans and creates new
styles within the company‟s image or identity. Merchandisers or product managers,
designers, and their assistants are all involved in the development of a line or collection of the
fashion manufacturers „product.
Work of a new line begins approximately one year in advance, before the selling season.
Designers and merchandisers also work on two or more lines at once, designing future
collection while checking samples from the one that is about to be produced.
6.2) Sampling at Retail House
Garment sampling is very crucial process in any apparel industry. The right sampling is quite
difficult but once done effectively it will make the entire process of bringing attractiveness
and newness towards the market much easy.In retail industry buyers usually lock the design
concepts and along with the merchandisers they work with vendors for sample development.
The process of sample department varies continuously, and the development process will
covers a wide range of parameters to create unique
products like new fabrics, prints,
techniques, silhouettes etc. There are different phases of sampling; the first phase covers the
25
development of the initial concept or design idea and getting the approval by the design head.
The second phase covers the modification and colorway development process once samples
are shortlisted. Sometimes samples are developed in fabric options too. The third and final
phase includes a range of activities that are carried out before releasing orders to the vendors.
Details attached to sampling – Fabric, Style, Design details, Techniques, Colors, Size.
6.3) Two models of sampling
In house Sampling – Retails who have in house sampling usually keep designers for their
range development and whole range gets developed in house only. This way it becomes much
more convenient to convert ideas in to execution as you can control the process.
Out sourcing – Retailers who do not have in-house sampling gets their samples developed
from outside vendors who works on the briefs and guidelines given to them. This way they
get variety of samples from different vendors but at the same time its much of the task to get
the exact concepts developed
6.4) How fabindia is a unique Model
What is fascinating about Fabindia‟s growth model is that it has pursued the conflicting goals
of profitability and social mission together. True to its founding mission of creating
sustainable employment for weavers and traditional handicraft artisans in rural India, William
Bissell created a unique Community Owned Companies (COC) business model. It is the
second big revolution in India after Amul. It empowered the suppliers, and enabled their
growth, along with the growth of the company. He formed the Artisans Micro Finance
Private Limited (AMFPL) venture fund, which is a fully owned subsidiary of Fabindia.
Through this fund, he set up Supply Region Companies (SRC) which is owned partly (49
percent) by Fabindia, and also partly, (26 percent) by the rural artisans (These artisans are
the main suppliers of Fabindia). This ownership structure is mutually beneficial for the
artisans as well as the company. Fabindia gets assured supplies, while the artisans get a
steady income. The value of their shares increase and they could earn dividends. Also it
becomes easier for them to get loans due to steady employment.
26
Fabindia has managed to create 17 SRCs .These companies are free to sell their products to
other companies also, although Fabindia is the main buyer. COC model links 80,000 craftbased rural artisans to the modern market. Although these SRCs are not listed on stock
exchange, Fabindia provides an internal mechanism to trade in these shares, thus ensuring
liquidity of shares for the artisans. This model empowers the stakeholders of the company.
Most of the fabrics which are used by fabindia for their products are sourced from local
weavers and artisans only
Fabindia act as a retailer and all the people involved in the range development process are
buyers and designers for vendors but here in the company there is no such profile,
merchandiser is the profile given to people who are working for sample development and
product selection committee.
6.5) Sampling at Fabindia
Fabindia is a product based company. At fabindia we pay lot of value to the product. Right
from fabric to prints, designs, fits, and silhouettes, everything is planned and designed
carefully. USP of the brand lies in its fabric sourcing. Fabindia which, over more than 50
years, has refined the art of sourcing from craftsmen. It sources from across 28 states. It acts
as a link between lucrative markets and artisans preserving traditional crafts.
.Also for its product development fabindia does not have any in-house sampling unit.
For sample developments too they have very interesting model wherein they welcome
designers and other retailers to develop product as per their briefs given to them and buys
directly to sell under their brand name. This type of developments is referred as direct
purchase. Another sampling way is job workers wherein everything right from the fabric to
trims, design details and brief, silhouette is given by Product selection team and vendors just
need to stich the garments as per guidelines given to them.
27
MARKET STUDY
7.1) Survey Analysis
The following questions were asked to understand the buying behaviour, Product preference
and customers perception of fabindia. All the questions were asked from fabindia customers
only and are specific to Women‟s Indian category.

To understand buying pattern of consumers following question was asked and cross
tabulation was done with respect to age and occupation.
Do you buy ethnic wear clothes? * Occupation * Age Group Cross Tabulation
Occupation
Working
Age Group
Professional
18-25 Do you buy ethnic wear Yes
2
22
24
0
5
5
2
27
29
No
Total
26-35 Do you buy ethnic wear Yes
Total
17
18
3
38
17
18
3
38
11
11
22
0
1
1
Total
11
12
23
Do you buy ethnic wear Yes
30
29
25
84
0
1
5
6
30
30
30
90
No
Total
36-45 Do you buy ethnic wear Yes
No
Total
Housewife Student
No
Total
About 93.33% respondents of the sample population marked that they buy ethnic wear
clothes, while only 6.67 % marked no.
28
In the working professional category 100% of the respondents marked yes for their ethnic
wear buying, while in the housewives category 96.67% marked that they buy ethnic wear
clothes and 3.33% marked that they don‟t buy ethnic wear for themselves. In the student
category 86.66% of the respondents marked that they buy ethnic wear while 13.34% marked
that they don‟t. This data helped to realize that customers are very much inclines toward
buying products except for few who walks in to purchase for others or just for browsing.

To understand the buying frequency following question was asked and analysis was
done against occupation.
How often you shop ethnic wear * Occupation Crosstabulation
Count
Occupation
Working
How ofen you shop once a month
ethnic wear
once in three
months
once
in
months
during sales
Total
six
Professional
Housewife Student
Total
17
26
21
64
7
4
5
16
3
1
2
6
4
4
6
14
31
35
34
100
29
Ethnic wear shopping Frequency
It was found that buyers buy fabindia products very frequently. 64% of customers buys once
a month, out of which 24% are housewives, 20% are students and 20% are housewives. 16%
shops once in three months and 6% shops once in six months. There is an only 14% customer
who shops just during sales. This helped us to understand that since customers‟ frequency for
visiting store and shopping is good, then we should be able to provide them newness quickly
by planning frequent promotions.

To understand what are the most important factors for customers before making any
purchase following questions was asked
The attributes given were Silhouette, design, neckline/sleeves, price, fabric and fit and
customers were asked to rank from 1 to 6. The weighted average calculations are as follows:
Design: (46x6)+(30x5)+(4x4)+(6x3)+(2x2)+(2x1)/90 = 5.18
Price: (5x6)+(17x5)+(21x4)+(19x3)+(12x2)+(16x1)/90 = 3.29
Fabric: (8x6)+(16x5)+(15x4)+(20x3)+(17x2)+(4x1) = 3.31
Silhouette: (18x6)+(16x5)+(15x4)+(20x3)+(17x2)+(4x1)/90 = 3.84
30
Fit: (10x6)+(8x5)+(9x4)+(15x3)+(19x2)+(29x1)/90 = 2.75
Color: (3x6)+(4x5)+(13x4)+(21x3)+(16x2)+(33x1)/90 = 2.42
The respondents have given maximum ranking to „Design‟ i.e. 5.18 followed by fit which has
got 3.84 and Fabric which has got 3.31. This shows that the main concern amongst customers
is of design, Silhouette and Fabric. Fit and color have been rated comparatively lower.
Buying behaviour analysis
There are various forces that affect buying behaviour of Ethnic wear customers. Consumer
confidence is the most important; which comes when they feel good about themselves. For
fabindia customer if design sinks well with fabric then product can instantly enhance the
appearance; therefore it is very essential to pay more attention towards the design, silhouette
and fabric of the product.
So it becomes very essential to provide them good combination. Also as brand we need to
surprise the customers every time they walk in. Since customers are frequently buying it is
very important to provide then newness quickly, and so as to fit the demand promotions
should be planned at short intervals.

In order to better understand the requirements of our customer base and develop
products according to their demand we asked them the categories they prefer for
buying.
Although all the products are launched under promotion heads but that‟s how customers
segregates them, basic kurti, which is solid and can be combined well with Maheshwari/
Chanderi/ Silk dupattas, traditional range with hand block prints, embroideries and craft rich
products and the premium/formal range wherein styles are perennial but fabrics are luxury
ones.
What category of product do you usually buy? * Occupation Crosstabulation
Count
Occupation
31
Total
Working
What
category
Professional
Housewife Student
8
3
2
13
Basic range
9
15
11
35
Traditional
10
4
13
27
All three
4
13
8
25
31
35
34
100
of Formal
product do you usually Wear
buy?
Total
Product Range
This question was asked to understand preference in product categories by different group of
people. It was found out that that there is a great demand for basic wear range of fabindia
which is 35% , of which 15% are housewives, 11% are students and 9% are working women.
Second preferred category after this one is traditional which is majorly hand block prints
category and secured 27% with 13% student buyers and 10% working women. It is
interesting to know that there are customers who buy all the range from fabindia and accounts
for 25% of total customer.
For formal wear range; most of the buyers are working
32
professionals, followed by housewives. This is the category which has huge potential as
working women numbers as well as disposable incomes is increasing which presents perfect
opportunity for this line.

To understand fabric preference following question was asked that what fabric do you
preferred the most while purchasing kurti.
Fabindia Fabrics
This question was asked to understand fabric preference of customers. It was found out that
42.65% of customers prefer to buy cotton products from fabindia, which is followed by
cotton silk, which constitutes 26.47% of total percentage. Silk is also a popular category
among fabindia customers with its 23.53% share. This gave us quick analysis that major
products should be cotton based only. We can have good percentage of cotton silk category
too as its second most preferred fabric. Khadi is much of a concern as according to the survey
it is not so popular category with just 7.35% share and to promote this one we need to have
extensive efforts in designing khadi wear to increase its market acceptance and value.
33

To understand what kind of sleeves are preferred in kurti by fabindia customer
following question was asked.
Sleeve Preference
Sleeve is one of the important product attribute in kurti. According to the survey it was found
that most of the 575 of the customer prefers 3q sleeves. 21 % customer goes for half sleeves.
Whereas only 12% looks for sleeveless and 10% looks for full sleeves. It is interesting to
observe that 3q sleeves are most preferred sleeves.
Length is one of the important product attribute which is much of concern for customers
before they make any purchase. Customer buys product for specific use or occasion and
prefers different lengths at different places. Following question was asked and
Crosstabulation was done against city.
What length do you prefer at office? * City Crosstabulation
City
Bangalor
What lengths do you mini
prefer at office
length
Delhi
Mumbai e
Total
11
7
4
22
16
23
58
mid length 19
34
long length 8
Total
38
7
5
20
30
32
100
Fabindia Kurti Length
It was found that for office wear 58% people prefer mid length. It‟s most popular length
among all cities. Mini length is second preferred length with percentage share of 22%. Long
length is least preferred for office wear. If we look at length preference from city point of
view then among Bangalore has highest percentage of share in preference for mid length
followed by Delhi and Mumbai post that.
What length do you prefer at occasion? * City Crosstabulation
City
Delhi
Mumbai Bangalore
Total
0
3
1
4
mid length 14
6
5
25
long length 24
21
26
71
What lengths do you mini
prefer at occasions
length
35
Total
38
30
32
100
Fabindia Kurti Length
For festivals and other occasions most preferred length is long length with percentage share
of 71% followed by mid length with very less share of 25%. If we look at according to the
city then in Bangalore has highest share of 26% in long length preference followed by Delhi
with 24%.This gave us brief insight that whenever any product is designed for festive
purpose then we can always keep good ratio for long lengths, as per customer preference.
What length do you prefer for day to day wear? * City Crosstabulation
City
Delhi
Mumbai Bangalore
Total
13
13
22
48
mid length 10
8
7
25
long length 15
9
3
27
30
32
100
What length do you mini
prefer for day to day length
wear?
Total
38
36
Fabindia Kurti Length
For day to day wear mini length is most popular category with percentage share of 48%
followed by long length with 27% share. Among mid length preference most of the
customers are Bangalore people followed by Mumbai and Delhi. It is interesting to know that
in long length preference Delhi has highest share followed by Mumbai and very less share of
Bangalore people. This helped to realize that there is a huge potential for long length kurti in
Delhi as this trend is picking up but when it comes to south, Bangalore than customers still
prefers to stick to mini length and mid length for day to day wear.

Price question was asked to understand disposable income of different age group
people and establishing the potential in different price brackets ofFabindia Products.
How much do you generally spend on kurti * Age Group Crosstabulation
Count
Age Group
18-25
37
26-35
35+
Total
How much do
generally
spend
you 800-1200
8
8
6
22
10
3
26
1800-2500 8
13
9
30
+2500
4
8
10
22
33
39
28
100
on 1200-1800 13
kurti
Total
Price range brackets
It was found that most preferred price bracket for fabindia customers is 1800-2500 with 30%
share, followed by 1200-1800 price brackets with percentage share of 26%. 800-1200 and
+2500 is also a popular and upcoming price bracket with percentage share of 22%. If we look
according to age then among 18-25 years target customers most popular category is 12001800 followed by 800-1200 category and 1800-2500.For 26-35 age group most popular
category is 1800-2500, followed by 1200-1800. For 35+ age group most popular category is
+2500, followed by 1800-2500.
This helped to understand that there is a good share in 1200-1800 bracket and 1800-2500
price bracket as customers buys frequently at this price points but also other two brackets has
huge potential which are lying at opposite ends. So there is a good need to provide a range
that fits well not in just wardrobe but pockets too.
38

Following questions were asked to understand customer perception about the brand in
terms of the quality, product range price range and aesthetics provided by the
company.
According to you fabindia products are of highest quality
Valid
Cumulative
Frequency Percent
Percent
Percent
65
65.0
65.0
65.0
Agree
22
22.0
22.0
87.0
Neutral
10
10.0
10.0
97.0
Disagree
3
3.0
3.0
100.0
Total
100
100.0
100.0
Valid strongly
agree
Customer opinion on Quality
This question was asked to understand quality aspect of fabindia products among its
customers, and it was found that 65% of its customers strongly agree while 22% agree to the
39
fact that fabindia products are of highest quality. Only 10% people have neutral reaction and
3% disagree with this. This helped to analyse as far as quality of products is concerned
fabindia has strong image in its target customers mind and so as to maintain this quality
should always be primary concern.
According to you fabindia products are value for money
Valid
Cumulative
Frequency Percent
Percent
Percent
4
4.0
4.0
4.0
Agree
28
28.0
28.0
32.0
Neutral
46
46.0
46.0
78.0
Disagree
22
22.0
22.0
100.0
Total
100
100.0
100.0
Valid strongly
agree
Customer opinion on Pricing of fabindia
This question was asked to understand consumer perception for the price quoted for its
products. 46% customer had neutral reaction and 32% agreed with it while 22%
40
disagreed.This result is much of concern as major percentage has neutral reaction which
demands attention. Measures should be taken to increase the perceived value of the product
According to you fabindia has good range of products
Valid
Cumulative
Frequency Percent
Percent
Percent
71
71.0
71.0
71.0
Agree
21
21.0
21.0
92.0
Neutral
8
8.0
8.0
100.0
Total
100
100.0
100.0
Valid strongly
agree
Customer opinion on range of products
This question was asked to understand consumer satisfaction for the available range of
products and it was found that 71% of its customers strongly believe that fabindia has good
range of products while 21% agrees to this. This again gave us brief insight that adding to
product lines turned out well as customers are quite satisfied with the options available.
41
According to you fabindia design/ aesthetics stands apart
Valid
Cumulative
Frequency Percent
Percent
Percent
75
75.0
75.0
75.0
Agree
19
19.0
19.0
94.0
Neutral
6
6.0
6.0
100.0
Total
100
100.0
100.0
Valid strongly
agree
Customer opinion on design aesthetics
75% of fabindia customers strongly believe that fabindia products in its design/aesthetics
stand apart. 19% of total customers agree to this fact. Only 6% of its customers are neutral for
this view. Analysis helped to realize that aesthetics provided to the customers are satisfactory.

Following question was asked to understand what drives customers for shopping. This
was seen against occupation.
42
What are the factor that drive you towards buying * Occupation
Crosstabulation
Occupation
Working
What are the factor that Festival
drive
you
Professional
Housewife Student
Total
16
16
11
43
6
10
22
16
7
12
35
38
29
33
100
towards Discounts 6
buying
Total
Seasons
Driving factors for buying
This question was asked to understand the factor that drives customers for buying and it was
found that for working professionals it‟s both festivals and different seasons. For housewives
its evenly distributed. For housewives its much of festival which prompts them to buy then
season change or discounts.
43
7.2) Research Findings

The frequency to shop for ethnic from the survey shows that a good number of people
shop frequently, say, once in a month‟ period and reveal that shopping for ethnic is
showing increasing trend

One more interesting aspect of the survey is that all the category like basic, formal
and traditional equally popular among all groups

Fabindia can focus on Premium Segment as with growing disposable income for
premium segment is likely to witness good increase in sale numbers.

Large chunk of buyers are repeat purchasers. People who come to purchase clothing
are supporters of craft. They perceive Fabindia to be good on quality and have a fixed
price which is generally on a higher side as compared to the local market but
affordable for the upper middle class since they crave for quality, design, and
durability.

A length of the products is emerging as new parameter and customers prefers
different lengths at different occasions. Long length is upcoming trend especially in
Delhi. Also for formal wear range customers prefers mid length kurtis.

Price is something to be checked upon as quite a percentage of customers were neutral
to this aspect which suggests that we can expand our lower price range products too
and they can be number fetchers as they are popular among all occupation and are low
priced too.

Cotton is still the most popular category but cotton silk and silk are catching up with
trend. Cotton – silk category can be beautifully explored for premium range. Also for
khadi products to provide sustainability to articans and promote khadi, one need to
look after design aesthetics of the khadi products and needs to promote these products
extensively.

Promotions needs to be at short intervals as customers like to purchase frequently and
are not much bound to discounts.
44
7.3) Observation at fabindia stores
Fabindia is a well-established brand with branches all over India and even abroad. We visited
Fabindia Select city store, Delhi. A few personal observations regarding the store were that
the ambience was very enriching. Gave an ethnic feel and also the sales people were warm
and friendly.
7.3.1) Target Market
Demographics:
Age: 18-45
Occupation: Working professionals, housewives and students. Most of the consumers could
be could be categorized into middle class and upper middle class, middle aged who have
advanced in their career hence being highly earning women or students with very
contemporary taste and meager income but with aspirational purpose to visit the store.
Psychographics:

The target customer is subtle in her taste, design conscious, and demands comfort as
well as good fit. with fashionable yet contemporary look.

She is classic, trendy, active, and looking for fashionable yet contemporary look.

She looks for Fabrics, Hand crafts, Indianess, silhouettes.

She is a confident woman who, celebrate who she is.
7.3.2) Consumer behaviour
The footfall during that span between 11am-4 pm was less but continuous in the store. There
was an eclectic mix of people. In my observation, majority of the people who came to the
store just glanced through all the aforementioned sections and went straight to the garments
and apparels section. There was a group of foreigners as well who seemed quite at ease with
Fabindia and looked like repeat customers as they were dressed in Fabindia products. There
were a few experimentive visitors who seemed to be students. The products offered at
Fabindia are intrinsically Indian in nature and their strongest advantage is probably playing
the culture card. Aligning themselves in terms of textile, design and colors to appeal to the
Indian sensibilities, they have positioned themselves as the premium one-stop shop for people
looking for good quality „Indian‟ products. Another point of interest was that the store is
45
quite popular with tourists who view it as a brand to get Indian products with the quality
assurance of an internationally renowned brand name.
7.4) Sell through Analysis
Sell through calculation, commonly represented as a percentage, comparing the amount of
inventory a retailer receives from a manufacturer or supplier against what is actually sold to
the consumer.
Sell through analysis gives performance of styles in terms of sales and thus helps to give
better understanding of consumers‟ preference of the product in terms of product features.
This also helps to constitute parameters for new developments. This is company data and is
not shared internally too.
Findings of Sales analysis as discussed by design teams are
-
Preference for long length kurtis is increasing, especially in metro cities and north.
South still prefers to stick to mid or short length.
-
Most preferred sleeves, even for summer is 3q sleeves, followed by half sleeves and
no sleeves
-
Solid wear range is coming up with good number of sales in this price bracket
-
Formal wear is also picking up and huge potential as per sales data
Sales data analysis according to length and sleeves
Collection
Length ratio(Short: Long)
Sleeves
Ratio
sleeves:30:half:sleeveless)
Lucknawi
55:45
20:40:20:20
Spring summer 15
58:42
15:45:15:25
46
(full
RANGE DEVELOPMENT AND PROMOTIONS PLANNING
A creative direction act as guideline for entire range development and promotions Based on
the survey and the past sales data analysis, forecast research and trend analysis Design brief is
secured twice a year. It talks about collection as a whole with key focus on inspiration source,
key looks, design directions, silhouettes, colors and details.
8.1) ) Range Planning
The purpose of this study was to develop range of women‟s Indian category by integrating a
conceptual planning.
Assortment-Planning is a process of determining quantity and quality of goods that a retail
company offers for sale at any time. Product classification factors that can differentiate
product in an assortment plan are price, color, size, and materials. These characteristics help
to evaluate and plan product depth in any category. Assortment planning begins once gap is
identified between the merchandise available at the stores for sale and new demand in the
market generated due to change in trends and lifestyles of the customers.
Decisions involving purchase of new goods are inherently risky and challenging, to reduce
the uncertainty associated with such decisions. Various internal and external information
sources are available to help forecasting consumer demand and selecting product line in
assortment plan The internal source are store records, past experience, sales people opinions.
The external source includes customer opinion, Consumer magazines, and fashion forecast
magazines. Information was searched using market survey, experience, past sales data, trend
analysis and fashion forecasting.
Product evaluation in assortment planning is defined as having two phases: qualitative
evaluation and quantitative evaluation of the product In a product oriented company for
initial sampling for range development is majorly based on Qualitative information sources
than quantitative information sources. Quantitative evaluation is more relevant once range is
finalised.
Post range finalisation buyers determine following factors - initial mark up for period,
planned net sales, planned beginning inventory, planned ending inventory, planned
47
reductions and planned purchase at retail. This planning is essential for unit control in
assortment planning.
The qualitative product evaluation criteria for assortment planning are

Aesthetic Criteria – Color, styling, silhouette, fabric detail

Usage Criteria – Versatility, Fashion sensitivity, Predicted demand

Performance criteria – Care, Durability, Quality vs Cost
Style selection – In selecting a product style it is crucial to determine combinations which can
satisfy target. Identified a product line as a group of items that has, Similarity in satisfying
certain needs, Matching ability with other items, and Similar price ranges.
Color selection - “Choice of colors is a major decision for apparel industry. The selection of
colors, within the product line, is based on trend colors and later combines with options
manufacturers provide for individual garments.
Silhouette Selection – Silhouette selection is again a major decision as lot of people are not
open to experiment with exaggerated volumes, and at the same time we have young customer
who prefers different styles. So as to fit all the wardrobes we need a good combination of
fashion bodies and basic bodies.
This year range planning according to length, sleeves and styling.
Collection
Length
Sleeves Ratio
Style
Price Bracket Ratio
Ratio(Short:
(Full:3Q:H.Sleeves ratio(Basic Low:Mid:Premium
Long)
:Sleeveless)
:Tradition
al:Formal)
Lucknawi
40:60
10:50:25:15
55:35:10
20:40:30:10
Spring
50:50
10:50:25:15
30:40:30
25:30:30:15
Summer
2015
8.2) Basic Guidelines for Spring Summer 16 collection
Color direction – Fuchsia to deep plum; yellows lead to a more orange hue; Intense reds;
minerals greens to brilliant lime and a softer apple green; Corals; Peacock blue leads to
48
turquoise and finally Indigo blue finds its place in the Summer palette with accents of ultramarine blue & violet hues. 2016 also sees a lot of neutrals in the form of Nude & Pearly hues;
browns & pink copper and clay greys.
Design direction – 2016 is largely inspired by Vernacular Cultures – we take inspiration
from central India, Rajasthan & Gujarat .and the varied canvas of Indian Artists; Romantic
Botanic & soft floral- we interpret these as floral with painterly quality & Colonial gardens;
Evolving 2015 concepts – we take forward the Wet Canvas story re-working the tie dye &
dip-dye effects, soft brush marks & drippy reflections; geometrics; checks & plaids; contrast
trims and bold borders; metallic block prints –pin effects
Silhouette & Style direction – The trend for 2016 seems to support the exaggerated volume
made feminine with cinched silhouette, Layering, Asymmetric shapes, Shoulder emphasis –
halters, boat-neck, in-cuts & spaghetti; Cowls & soft gathers; Shift dresses; Shirt-tunics.
Hemlines vary from knee to calf length. We continue to recommend developments inspired
by traditional costumes capturing influences from various Indian regions & cultures.
49
8.3) Promotion Planning
January
January will be a silent month with basic focus on solids classic range and timeless products.
Basic focus will be on end of season sale and buy limited number of styles for store.
Colors – Solid colors like lime green and fuchsia will be key highlights for the month.
February-March
The inspiration is taken from culture forms made and organised by indigenous people.This
look will induce more vibrant colors in the season with lots of texture and details.
Concept/ Inspiration Directions

People and material culture – Inspired by north culture

Focus on bright colors and textures, tie and dye prints, tone on tone highlights.

Silhouette direction - Silhouettes are highly inspired by the local traditional culture
with lots of volume below empire lines, layers, chinese collars, v necks, and more
straighter fits.

Print Language – Conversational prints inspired by local craft of north will dominate
the collection. Also embroideries will embrace colorfull look of the season.
Geometrical prints inspired by architecture will also be key highlights for details.
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
Fabric - Cambric; mull; slub cotton; dobby; missing yarn bases; Chambray; Cotton
satin; Mangalgiri; Khadi and Chanderi

Embroideries, weaves and surface textures – surface textures through pintucks, top
stitch details, highlights around cuffs and plackets, zari borders, missing yarn
highlights, see through details, bold prints.
April
The inspiration is taken from varied canvas of artists. Soft strokes of artists are beautifully
interpreted in floral language with more pastels combinations and silent details.

Inspiration – Canvas of various artists.

Focus on soft pastels and subdued colors

Silhouette Direction – Free flawy silhouettes with gathers and high slits and layers
will compliment well with overall look of the collection.

Prints Language – This collection will revives impressionism artistic movement with
beautiful floral prints in both traditional and contemporary language and merging
details
51

Embroideries, weaves and surface textures – Floral and soof embroideries, Jamdani,
Combine prints with woven bases or with embroideries
May
May collection will ride on indigo theme with focus on block printed fabrics, tie and dye look
and dip dye look.

Inspiration – Indigo color and its color depth

Focus on pure color and techniques for variation with ochre yellow as accent color to
highlight key detail.

Silhouette direction – Asymmetrical cuts, Angrakha, and empire line fitted cuts.

Print Language – Geomertical prints, Stripes and checks, traditional block motifs.

Embroideries, weaves and surface textures –Chamrays, engineered stripes, checks,
contrat in trims, ikats, kalamkaris, dabbu, Ajrak, Shibori, Batik.
52
8.4) Summer 16 ranges planning as per fabric, techniques and colors.
Month
Fabric
Technique/Key Colors
Review
Looks
Dates
NA
NA
Remarks
January
NA
NA
February-
Mull,
Chikankari, pin White , off End
March
Cambric,
tucks
Dobby,
machine
Textures,
textures, white beiges offset be scheduled
working
Mangalgiri,
on
march
Khadi, Kota
accent
color colors
details,
silver Holi.
& white
and
April, Chikankari is
& vendor wise largely
natural,
white, by
Sale
meeting can closed
vibrant
for
and
on
forecast
gold
highlights
April
Mull,
floral
prints soft pastels
Cambric,
inspired
Dobby,
canvas
Mangalgiri,
classic
Kota
traditional
by
art
end May -
Print project
mid June
already
,
process.
prints,
exaggerated
details,
see
through
look,
merging details,
Classic solids
May
Mull,
Indigo
dabbu Blue, green, end May -
Cambric,
prints, tie dye coral
60's, Dobby, &Shibori.
Textures,
Mangalgiri,
Linen,
Chambrays
June
Tbd
Tbd
53
mid June
in
Plan of action – As soon as the fabric comes at PSC it will be put under promotion and
accordingly working will be done. Let‟s say according to the design brief it‟s for February
promotion then quickly the complete lot will be divided in to

Number of style to be developed and style in each head

Silhouette will be decided from the shortlisted muslin bodies.

Styling will be decided as brief and fabric and promotion.

Length, Neckline, and Sleeves will be decided as per head its going in

Style allocation to vendor according to the assessment.
54
EFFECTIVE MEASURES TAKEN FOR SAMPLING
9.1) Sampling at Fabindia
Fabindia is a product based company. At fabindia we pay lot of value to the product. Right
from fabric to prints, designs, fits, and silhouettes, everything is planned and designed
carefully. USP of the brand lies in its fabric sourcing. Fabindia which, over more than 50
years, has refined the art of sourcing from craftsmen. It sources from across 28 states. It acts
as a link between lucrative markets and artisans preserving traditional crafts.
Also for its product development fabindia does not have any in-house sampling unit.
For sample developments too they have very interesting model wherein they welcome
designers and other retailers to develop product as per their briefs given to them and buys
directly to sell under their brand name. This type of developments is referred as direct
purchase. Another sampling way is job workers wherein everything right from the fabric to
trims, design details and brief, silhouette is given by Product selection team and vendors just
need to stich the garments as per guidelines given to them.
9.1.1) Earlier Process
Sampling process starts once design brief is secured by design head in fabindia. Vendors are
called for design brief discussion and sample development. Vendors are key source for
sampling. Category heads along with their teams discuss design guidelines and concepts
development starts from vendor end. For job workers designing happened in house and
design sheets along with fabric is given to vendor for sample development. Since common
brief was shared with all the vendors‟ lot of overlapping of looks used to happened, also
number of samples being developed by vendors increased because of further conversions and
modifications. Once more problem with this model of sampling was just to create the desired
look lot of vendors pushed their limits, but ultimately it doesn‟t work out as that‟s not their
strength. Also when samples were given to vendors to copy silhouettes, master sample
movement increases and leads to loss of the samples at times.
55
9.2) Measures taken for effective sampling
Considering all the problems various effective measures were taken to cut down on sampling
rate, lead time and modifications.

Vendor assessment for limited and selective sampling allocation

Favourite bodies‟ developments in muslin to cut down on lead time and control
original sample movement.

Range development under different heads to save further conversions.
9.2.1) Vendor Assessment
Vendor assessment is the process wherein each vendor is assessed based on their design
competence, Price Negotiable and quality of work given by them. This helps to identify the
strengths and weakness of the vendors and further working with them becomes much easier.
This was done for both DP and job work vendors. Since all the vendors are unique with their
USP value and skills it becomes very necessary to evaluate them on different parameters and
accordingly discuss brief for further working process. Also this helps to fair distribution of
styles among vendors, so as best of work can be taken without overburdening one and a right
balance of styles can be achieved in lead time. Also this will lead to wide variety of work
without overlapping of looks.
Parameters involved for vendor assessment
Quality Assessment

No of shipment reviewed with acceptable quality

No of shipment sent for rectification/re working

Rejected Shipment
Order fulfilment ratio

No of shipment received on time (as per PO delivery)

No of shipment accepted with delays.

Delayed shipment with discount.

Any shipment rejected due to delivery delays
56
Product Integrity

Does the vendor work with other Indian Retailers

What is the % of production allocated to Fabindia
Innovation and Design

Is the vendor capable of developing new designs as per brief?

Has the vendor offered new designs in the assessed period
Facilities
Name
Expertise of the vendor
Type of Vendor
Available
Plan of action
stitching/finishi
Can give them
Mostly DP stylesembroidered and
complicated styles.
Mostly works on
Handloom fabrics for DP
A
B
styles. Designs are very
DP & AT TIMES
ng/hand
premium range and
good.
JW
embroidery
fashion silhouettes
Can do all complicated
stitching/finishi
styles/Chanderi block
ng/hand
Can give them fashion
prints/little
embroidery/blo
bodies, traditional
embellishment also.
DP & AT TIMES
ck printing for
prints, and premium
Designs are good.
JW
ltd qty.
styles.
stitching/finishi
ng/hand
Garments with their own
C
prints and embroideries
DP
embroidery/blo
Ideal for styles with
ck printing for
embroideries can also
ltd qty.
get prints developed.
Can do all types of
styles, complicated ones
D
Give them fashion
and can get
JW-only working
stitching and
bodies, and solids and
tassels/embellishment
for WI category.
finishing
prints categories only.
57
one by out sourcing.
Can do all style of styles
and can get
tassels/embellishment
E
done by out sourcing.
stitching and
JW-majorly
finishing
Ideal for basic style.
stitching/finishi
F
They create their own
ng/hand
Ideal for premium
designs with all kind of
embroidery/blo
styles can look for
embellishment--Special
ck printing for
interesting styles from
Range. Designs are good. DP
ltd qty.
their end.
Stitching/finishi
G
Can do regular
ng/pin tucking
Can work on contract
styles/finishing lucknawi
and stitch line
basis for lucknawi
styles/Special for stitch
facility
styles and good for
available.
stich details styles
stitching and
Ideal for only basic
finishing
bodies and styles.
stitching and
Ideal for only basic
finishing
bodies and styles.
lines and pintuck styles
DP and JW
Can do regular stitching.
In case stitch lines are
H
required they outsource.
JW
Can do regular stitching.
Job worker for regular
styles not complicated
I
ones.
JW
Can do all complicated
styles/Chanderi block
J
K
prints/little
Good for premium
embellishment also.
range and fashion
Designs are good.
Can do regular stitching.
DP
styles.
JW
58
stitching and
Basic range of solids
finishing
and prints.
Added him last year. Can
do stitch lines pin
tucking yokes and all and
Can be taken forward
embellishment and is
for DP styles too,
good with styles too.
ideal for complicated
Potential for dp designs
L
too
JW
stitching and
details and surface
finishing
work.
Can do all complicated
styles/ block prints,
outsourced /hand
M
stitching and
embroidery and
DP mainly but
finishing but
Ideal for premium
embellishment also.
sometimes JW
can outsource
styles and surface
Designing is good too.
also
everything
embellishments.
Can do regular stitching.
He is connected to other
vendors for production
N
O
contract. production.
stitching and
JW
finishing
Only for basic range.
Can give good styles in
Stitching/finishi
Mangalgiri/silks/Chander
ng/pin tucking
Good for stitch texture
i, with stitch lines and
and stitch line
details. Can give basic
pintuck detailing. Good
facility
as well as mid-priced
available.
range
with the techniques.
DP
Stitching and
finishing is
done from
We get machine
P
JW can do DP
outside as the
also in TC.
machine
embroideries done from
embroidery
Selected styles only.
her. Delivers finished
marks have to
Premium styles with
garments.
be removed.
basic bodies.
59
Stitching of the styles
which are not too tough.
Can get lucknavi
Q
embroidery
Can give basic as well
done/Kashmiri
as prints styles. Can
embroidery. Recently did
very well highlight
embellishment for one
and add details in
style.
JW
printed styles.
Selected styles only.
Premium styles with
R
S
Only hand embroidery
JW
basic bodies.
Lucknavi embroidery
Only
only. Gets her stitching
embroidery.
done on contract Basis
JW
Can do regular stitching
and little bit stitch line
T
detailing on garments.
JW
Only ISQ simple kurta
are being done as they
cannot handle
complicated styles.
Mainly making lowers
U
and doriloops.
Reserved of ISQ
JW
styles
Only ISQ simple kurta
are being done as they
cannot handle
V
W
complicated DL styles.
Reserved of ISQ
JW
styles
Lucknavi embroidery
Only
only. Tailoring for this is
embroidery.
done by Close stitch.
JW
Lucknavi embroidery
only. Tailoring for this is
X
done by Afrin.
DP
Lucknavi only
60
Y
Lucknavi Emb garments
DP
Lucknavi only
Benefits

Samples allocation according to the skills only.

Further working for the shortlisted samples becomes much easier

Saves lot of unnecessary sampling and helps to achieve desire look in much less time.
9.2.2) Favourite body developments in muslin
Every year there are few styles that run remarkably. As these bodies have already run and
done well in the market, they are proven success. This time these bodies were taken forward
with new fabrics and little modifications. Popular styles were shortlisted from range room,
both fashion bodies and regular bodies, so as to develop their patterns which were used as
template bodies for new developments
61
Benefits –

Just by playing with new fabrics and little modifications, helps to create a complete
different style with higher potential for better sales.

Also since these bodies are developed by vendors only, they become much more
comfortable with the pattern and it‟s easier for them to develop its variations and thus
cut down on time taken for sample development.

Also helps to control original sample movement.
62
9.2.3) Range development under different heads – At the time of sampling usually
collection heads in direction of themes and this leads to unbalanced range for different
occasions. This time to save time being wasted in later conversions each promotion was
developed under three heads.
Basic Range– This range is number fetcher of women‟s Indian category and carries authentic
look of fabindia. This category has huge potential. All staple products for every occasion will
be part of this line. Fabrics used will be cotton, Mull, Mangalgiri, Khadi. These products will
fit all customers wardrobe with very basics look for all season. Also this will be low priced
range and will have classic looks that will be number fetchers in terms of sales for the
category.
Traditional Range – This range will ride on spring mood with all prints and colors. Print
line will also be further divided in two heads, one with floral language and other with
traditional prints like dabbu, kalamkari, Ajrak, blocks prints taken from craft clusters. This
range will be mid-priced range with little exaggerated volumes and details.
Formal Range/Premium Range- This range will luxury fabrics like Chanderi, Maheshwari,
silks, cotton silks designed for formal attire to suit office look. This range will be premium
range and perceived value of the product should be much higher. Basic bodies will be
dominating this section with little subtle exaggeration in volumes.
*Length ratio and silhouettes in different heads is based on past sales data analysis, market
research and store performance.
Benefits

This helped in balancing the entire range with wide variety of options.

Saved times wasted on later conversions.
63
LEARNING OUTCOMES
While interning at Fabindia I worked as product Developer for women‟s Indian Category.
Work done 
To establish detailed / accurate design & material specifications for all products

To prepare and maintain design sheets for every product in line

To develop and maintain seasonally tracker with accurate style details and costing
information

To eliminate errors and delays by proactively communicating with Fabric
department, and vendors for stitching as well as direct purchase vendors during the
entire development process.

To complete the development of product specifications against the agreed design and
development process and timelines on time, in full and accurate.
Learning outcomes
Working with fabindia facilitated me to understand retail sampling and the work flow there.
It has given me insight of all the departments, their key responsibilities, teams with in them
and the overall work process. Also I learned Costing negotiations and vendor management
for sampling. It helped me to understands how a product oriented company works towards
new developments considering all the research work, past data, facts and figures to create a
new look every time to achieve better sales targets. It also helped me to understand why
consumers buying behaviour is most important and how qualitative planning and assortments
are done accordingly.
Suggestions
While working I realised that there is lack of basic all over process flow knowledge among
employees. Everyone is well versed with their department work area and key responsibility
but all together misses on information related to fabindia working as whole. There should be
64
induction plan to bridge this gap and impart basic knowledge of the company structure and
work flow in every department.
There is lack of coordination among team members which leads to various working
problems. There should be employee engagement programs in departments for healthy
working among team members.
Key responsibilities areas for team are same, which shouldn‟t be the case as each person is
involved in limited set of tasks only, and figure out issues in this scenario becomes much
more complex. Key responsibilities should be clearly defined to avoid such issues.
65
CONTACTS MADE DURING PROJECT

Mrs Shaila tyagi, PH Head

Miss. Anuradha Kumra, Design Head, Fabindia

Mr Shivam Nathan, Category Manager, Fabindia

Mr Sumit Arora, Category Manager, Fabindia

Mrs Manisha Khanna, Category Manager

Mr Kunal Kumar, Sr. Merchandiser, Fabindia
66
APPENDIX
QUESTIONNAIRE
1) Do you shop ethnic wear?
a) Yes
b) NO
2) How often you shop ethnic wear?
a) Once a month
b) Once in three months
c) Once in six months
d) During sales
3) What are the main factors you consider while shopping. (Please rank in order of preference
)
a) Silhouette
b) Aesthetics/ Design
c) Necklines
d) Sleeves
e) Fabric
f) Fit
4) What type of ethnic clothes do you usually prefer to buy? (1 being the high priority)
a) Formal range( silks/ Chanderi)
b) Basics (solids/ Khadi/ Cotton )
c) Traditional ( Indian prints)
5) What kind of fabric do you prefer?
a) Cotton
b) Silk
c) Cotton-Silk
67
d) Khadi
e) All________________
6) What necklines do you prefer? (In order of preference)
a) Broad neck
b) Round neck0
c) Scoop neck
d) V- Neck
e) Choga style neck
7) What sleeves do you prefer the most?
a) Sleeveless
b) Half sleeves
c) 3Q
d) Full sleeves
8) What lengths do you prefer?
e) a) At office -
Mini Length
Mid length
Long length
f) b) At Home -
Mini Length
Mid length
Long length
g) c) At occasions –
Mini Length
Mid length
9) How much do you spend generally clothes in Fabindia?
a) 800-1200
b) 1200- 1800
c) 1800- 3000
d) 3000 and above
68
Long length
10). According to you
Strongly
Agree
Neutral
Disagree
Agree
Strongly
Disagree
Fabindia products are of
highest quality
Fabindia products are value
for money
Good Range of Products are
available
Fabindia designs/aesthetics
stands apart
11) Which is the first brand that comes in your mind when you think of buying ethnic
wear...................................
12) What ethnic wear brands do you buy the most? (1 being highest)
a) Fabindia
b) Kilol
c) W
d) Anokhi
e) Biba
f) Good earth
10) What are the factors that drive you towards buying?
a) Festivals
b) Discount seasons.
c) Seasons
d) Based on need
14) Name 15)Age
69
a) 18-25
b) 26-35
c) 35+
16) Place: _____________________
17) Occupation: _________________
18) Income
a) Less than 2.5 lakhs per annum
b) Between 2.5 lakhs and 4 lakhs.
c) Between 4 lakhs and 6 lakhs.
d) More than 6 lakhs
70
WEBLIOGRAPHY
Reference
http://www.indiaretailing.com/Fashion/7/1/83/12183/Indian-Tailoring-IndustryGoing-Bespoke
http://www.salwarkameezsale.com/wholesale-salwar-kameez.php
http://articles.economictimes.indiatimes.com/2010-12-06/news/27603851_1_tailorsreadymade-value-retailers
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