| A | B |
|---|
| licensing | Business arrangement in which a manufacturer is given the exclusive right to produce and market goods that bear the famous name of someone who, in return, receives a percentage of wholesale sales. |
| bridge lines | Secondary lines of well-known designers, priced between the designers and better categories |
| logo | Symbol that represents a person, firm, or organization |
| collection | total number of garments in a designer’s or apparel manufacturer’s seasonal presentation, especially for high-priced garments |
| ready-to-wear (RTW) | Garments, especially women’s apparel, produced in factories according to standard sizes |
| couture | The custom-made designer segment of the fashion industry for the highest priced “class” market |
| perceived difference | The idea in customers’ minds that items stand out from others, usually because of image and quality |
| franchising | Business arrangement in which a firm grants a retailer the right to use a famous or established name and trademarked merchandise in return for a certain amount of money. |
| prêt-á-porter | The French designer ready-to-wear (“prêt”) industry |
| knock-off | Copy of another, usually higher-priced, garment |
| Custom-made | garments that are made-to-order for individual clients of designers |
| couture | shown three months before retail selling to consumers takes place |
| Electronic graphics interchange | allows garment parts, colors, and prints to be changed with computer commands |
| Designers | they get free publicity in newspapers and magazines with press releases using photos and video footage of their showings |
| CAD systems | work best for designing things with FLAT patterns not draped material |
| line | group of styles/designs that are produced and sold as a set of new selections for a given season,like a “collection,” but usually of moderate and lower-priced garments, might contain from 60 to 200 garments |
| Designer ready-to-wear garments | referred to as secondary lines |
| House boutiques | small retail shops owned by the designers |
| fashion piracy | stealing of design ideas without the permission of the originator |
| Prophetic fashions | styles that are identified early as future best-sellers in many price ranges |
| Chambre Syndicale de la Couture | trade association for Paris couture designers |
| Japanese fashion designers | often design, manufacture, and sell their clothing lines themselves all over the world, can produce goods quickly and often provide merchandise ahead of other fashion centers, are known for strikingly unusual shapes and fabrics that do not adapt well to volume production |
| Hong Kong | used to do cheap production of other country’s designs and now produces its own fashions |
| fashion awards | the most important of these TODAY are the Council of Fashion Designers of America (CFDA) |
| franchisees | these can get their business off the ground quickly with instant name recognition |
| price | this is determined by:quality of materials and type and amount of labor used, complexity of the style and construction, reputation of the designer or manufacturer |
| earlier | RTW collections are shown _______ than couture collections so factory production can satisfy the multiple orders in time to ship the goods to stores |
| profits and prestige | these almost always increase When well-known designers produce special goods for low-priced mass merchants |
| CFDA | Council of Fashion Designers of America |
| caution | fee that trade buyers must sometimes pay to attend French designer showings, because of the possible copying of designs |
