Press and sales kits provide a first and lasting impression of a new label. They introduce the line to the buyers and press, announce that the designer is ready to sell, and continually reinforce the brand. At a minimum, the kit should start with a clean and simple two-pocket folder and include a lookbook or photos of your collection, line sheets for buyers, a biography, a collection summary, and copies of past press. The materials must be intriguing, professional, and at least look as though you made an effort. An unprofessional press kit can damage your image and ruin your chance of sales or press coverage. As senior vice president of the fashion office and public relations at Bergdorf Goodman, Robert Burke received a variety of press kits and said ―the vast majority are really bad.‖2Too often, I‘ve seen
designers show up to open calls with crumpled sketches and line sheets shoved loosely into a manila folder.
If you are a recent fashion school graduate, it‘s important to understand the difference between your student portfolio and what you show as a designer with your own line. A student book is great for getting a job as a designer, but it‘s not appropriate to show to buyers and press. Photos and illustrations can off er an intriguing hint at inspiration but should not look like your school inspiration boards. Also, whether you are new to this or not, if you can‘t sketch well, don‘t show sketches. Amateur drawings will make you look amateur. If you must illustrate a line in development, use a croquis, which is a figure outline used for drawing clothes on a body.
Be creative and edit carefully. Buyers and editors are visual people who receive hundreds of
packages each month. Think about what will make your materials stand out just enough for others to want to pick them up. Designers often get too elaborate and sabotage themselves with over-the-top presentations. It doesn‘t need to be wrapped in taffeta or have glitter pouring out of it. Simple is best. You don‘t need to spend a lot of money on fancy paper, bindings, or customized packaging. In fact, keep the costs down and find inexpensive ways to be creative and make your package stand out. A brightly colored envelope can grab attention.
The buyers and editors really just want to see several well-photographed outfits on a model, with a simple note explaining your history and point of view. Don‘t show everything you‘ve ever done. Stick to your strengths and only include the strong, carefully edited looks that make up your current collection.
Lookbook
The lookbook will work harder for you than anything else. It is your most important sales tool and often the sole reason for landing an appointment or receiving a call from a buyer or editor. The lookbook should consist of strong, clear photos of all the items in the collection. Lookbooks are not cheap to create, and you need to watch your costs carefully because they can quickly climb into the tens of thousands. Fortunately, there are ways to reduce costs, and when first starting out, you should be able to spend as little as $2,000 on your book each season. Start by trying to find photographers, stylists, and hair and makeup artists who are new to the business. They are likely to work in exchange for prints and a photo credit, which could lead to considerable savings. But choose with care, because a good lookbook needs the photographer, models, styling, and set all to work together holistically.
Photographer. Photographing fashion product is a specialized skill. Ideally, you will use an
experienced photographer who can shoot clear, impactful images. the lookbook should include a mix of full-product shots and close-ups that show detail. If you work with an amateur photographer or one who lacks fashion experience, several things can go wrong. For example, the photos might come back blurred, or they may be shot too far away from the product or at the wrong angle. The cost for a photographer varies greatly and can be extremely high. Shop around, meet with several, and review their books to get a sense of the quality and style of their work. Word of mouth is the best way to find a good photographer. Also, modeling agencies can help you find more than just models; call and tell them that you are a new designer and are looking for photographers and stylists who want to test.
these photos give two perspectives on an outfit. One gives a sense of the overall look and the other focuses on an important detail.
These photos give two perspectives on one outfit providing an understanding of the overall look while highlighting the details.
A lookbook from the Tom Scott collection includes photos of full looks along with close-ups to show detail.
Four exquisite close-ups show details of the Doo.Ri collection. Printed courtesy of Doo.Ri.
Models. Clothes should be photographed on a live model. While some designers have created strong
lookbooks using mannequins or other methods of garment display, I don‘t recommend it. A live model gives dimension to each piece and emphasizes detail and fit. Casting the right model, who fits the personality of the line, will communicate the right mood and energy without distracting from the clothes. If you don‘t have personal connections to an appropriate model, you will need to call an agency. Know in advance the type of model you want for your shoot—whether dark and sultry, blond and all-American, Brazilian, or Russian in look. Be up front with the booker if you don‘t have a budget. Many new mod els will work in exchange for prints for their book. You simply need to make the booker and model understand that you are a professional with a serious business and that you are working with a decent photographer. Realize that without a budget, you have less choice in the model you get. Don‘t call IMG Models and ask if Gisele will work for trade. While you don‘t need a live model to shoot accessories, jewelry does look better when photographed on a three-dimensional form.
Set and background. The background for your photographs should be clean and professional and not
overwhelm or distract from the clothes. A good choice is a simple white wall. Many designers who have runway shows create their look-book from the show photos, which generally feature a white backdrop. Of course, you can create a background that lends mood and ambience. A romantic, Victorian-inspired collection could be photographed in front of antique wallpaper or with the model on an antique settee. But be careful to not overwhelm the clothing with the set. A beautiful shoot can still miss the point. Shadows from props and furniture or a model‘s pose can bury the product.
Lookbooks that alternate artistically styled photos with pages of clear, straight product shots work well. The viewer is enticed by the story but still able to see the line clearly. Please don‘t use an amateur set such as a dark apartment hallway or your parent‘s suburban driveway unless that is specifically the inspiration for the collection.
This outdoor backdrop reflects the inspiration of the line in a subtle manner.
This backdrop sets an intriguing tone without overwhelming the clothes.
this background in this photo compliments the shoe fabric and style.
Styling. You want to style each look intriguingly, using shoes, accessories, hair, and makeup to reveal
your inspiration. Be careful: elaborate styling can overshadow the purpose of the shoot and be too creative. As a designer, you may want to drive the overall vision for the shoot, but it can be beneficial to work with a stylist who can give creative input as well as help find your location, accessories, and
other needs. Accessories and shoes can be your own, vintage, borrowed from a showroom, or, in the manner of many stylists, purchased and then returned to the store. Hair and makeup should also be carefully conceived to complement the clothing. Wild hair looks silly with a sophisticated suit collection, and a smoky eye doesn‘t work well with beachwear. An additional concern is that some buyers are better than others at separating the clothing from the styling. If you have cotton prairie skirts rocked out with heavy leather jackets and biker boots, the buyer whose customer loves prairie skirts may not buy because she can‘t get past the rocker image.
the styling for this lookbook balances clear photos of the jewelry while projecting a strong identity for the line.