adminser Fashion is a huge business in the uniform, corporate, or institutional clothing category. The clothing of employees of a company has a profound impact on the customers, and it adds value to their image and branding. Designers are putting their creative stamp on this image styling.
Fashion is a huge business in the uniform, corporate, or institutional clothing category. The clothing of employees of a company has a profound impact on the customers, and it adds value to their image and brand. Hotels, hospitals, offices, and airlines are just a few of the many places where multi-brand shops, beauty salons, spas, and resorts can be found. Also, there are shops, stores, and boutiques in restaurants, coffee shops, health clinics, and shops. Top designers add their creative flair to this image styling.
Lina Tipnis, one of India’s leading fashion designers, turned her creative eye to corporatewear in 2010. She has worked with a variety of companies, including Nissan India’s sales team and Varuna D Jani Fine Jewellery. Tipnis says that each company has a different uniform. Western suits for corporates are made of wool blends with polyester cotton shirting fabric. Detailing, trims, and colors that complement the brand’s essence and feel are emphasized. Fusion, which is a design for smaller high-end retailers, depends on the customer profile. “Designs are made to fit any size employee in order to maintain uniformity.”
Tipnis has a model. “First, we must understand the brand’s philosophy, target audience, and profile. The CEO and marketing team give a brief and then create color illustrations of the looks. They keep in mind important factors such as durability, styles that work for all body types, and fabrics that are low-maintenance. They must look stylish and be a reflection of the brand.
The importance of research cannot be overstated. We study the customer demographics to understand their brand positioning. The image is crucial, and it’s important to convey the message through the clothing. Normally, four sets of uniforms are made per employee. Comfort, durability, and the styles that are specific to each brand should be considered. Fabrics are sourced from different mills. They should be durable, easy to maintain, and readily available, with a sharp and edgy feel. Ruby Mills’ Siyaram Soft Touch fabric is used for the suiting and shirting. Prices range from Rs3,000-Rs8,000 for business suits. The lead time is 30 days.
Tipnis says that when it comes to design changes, “it is not very often. Only minor changes are made to make them more practical. They want a fresh look unless it’s a brand that is 50 years old and wants to reposition itself in order to appeal to a younger audience. The stock is replenished approximately every six to nine months. Due to the higher attrition rate, today, companies prefer giving two sets first, followed by two additional sets in the third months.”
The number of orders makes corporate design lucrative. There are very few cons. The only problem is getting everyone to agree on aesthetics. The next step is to measure each individual after design approval. It can be done either in person or via video call. The individual fittings and tests are the most time-consuming.
Tipnis believes that “every customer-facing company needs uniforms.” Banks, hotels, and fashion and lifestyle retailers all require uniforms today. Uniforms are needed for all departments, including hospitality, travel, security, and sales teams. “Uniforms are big business.”
Ravi Bajaj realized the importance of corporate design in 1989. His list of clients is impressive. Bajaj ensures that employees at Jet Airways, Apollo Hospitals, and DLF are dressed in style. He also works with Volvo Cars and G4S. Ravi Bajaj Employee Fashion was established as a division with the sole aim of bringing aesthetics into uniforms. He believes “appearances are important.”
The way employees dress and groom themselves is important. Bajaj says that he likes to call uniforms “employee style.”
In a studio exclusively for his company, he creates fast, accurate, and efficient prototypes and samples. We can handle any order size, small or large. We have strategic partnerships with Unisources India, a star trading company, and Pure Cotton India Ltd. (a sourcing firm), which give us access to fabric mills around the world.
Bajaj, a specialist in Indian and Western uniforms, explains the four-step process he uses to create designs. The first step is to obtain the brief. Bajaj checks each company thoroughly before presenting the ideas on paper. We understand the type of business, the location and weather conditions, the job profile of employees, and the image the client wishes to project. RBEF has produced uniforms from a minimum of 15 employees to a maximum of 6,000. Bajaj acknowledges that creating a collection is a completely different experience. “When designing a collection, one is given a blank canvas. Uniforms, on the other hand, are designed to fit a specific frame. “All companies have a design brief, but they tend to deviate at times.”
Fabrics are available from multiple sources. Local mills and others make some fabrics that are imported. Fabrics should have durability while also being breathable and stylish.
Pricing varies. We don’t offer very cheap uniforms. A shirt costs Rs900, trousers Rs1,800 and jackets Rs3,500. The lead time is 30 to 120 days, depending on quantity. Bajaj knows the importance of uniforms because he has designed them for many different companies.
For airlines, the average life expectancy is 10-15 years. Hotels usually have a two-year lifespan, while restaurants typically have a three-year lifespan.
Bajaj says, “Uniforms are usually produced only on confirmed orders or with advance payments. They tend to have low margins and high volume.” Normal collections have high margins but low volumes. There is no guarantee the piece will sell. The uniform business is a profitable one, except for the times when an ego gets bruised.
Payal Jain designed the first corporate design for the Leela Hotel in Goa in 1995. Since then, she has never looked back and has created the uniform philosophy of over 100 hotels and corporations.
“This is an important part of our business, one that requires the same passion and energy needed for a high-fashion label. Design philosophy in the corporate world must be universal, practical, versatile, and durable. It should also be cost-effective. Each client also has a unique brand philosophy and identity, which should be reflected in the first impression. This brand image is largely influenced by the people who represent it. Each project we have undertaken with a group or property has been an educational experience. We have worked in India and abroad with prestigious hotel chains such as Four Seasons Hotels and Resorts and the Oberoi Hotels and Resorts. Jain says that he has also created corporate looks for GMR Delhi International Airport and GMR Hyderabad International Airport. He’s also worked with Max Healthcare, Doha Hospital, DLF Aralias, and Maldives International Airport.
There are multiple rounds of briefings with hotel teams, owners, and other stakeholders. Each one shares their expectations and concerns. Site visits are often required to understand better the layout and design aesthetics of the interiors and architecture, as well as the cultural nuances.
Jain’s 25-year experience has taught her that “the decision about the uniforms can be made by hotel owners, the project team, the pre-opening teams, the FF&E teams (fixtures furniture and equipment) from the managing company or the general manager, sometimes even housekeeping teams.”
Jain’s design process is intensive and research-based. Our work often begins at the pre-opening phase, before the hotel has even opened. Our design concept is created in collaboration with interior designers, brand consultants, and the hotel’s pre-opening team. The owners and hotel staff gave us a brief, and we went into detail about the brand, its philosophy, and its ethos. It’s important to research the property and the brand, as well as the culture and heritage of the area, the weather conditions, and the functional aspects of the architecture. Other considerations, such as laundry facilities, distance, and logistics, may also need to be taken into account. The vision of the designers of the interior and architecture must be in line with the uniform philosophy of the brand and the brand’s ethos.
She goes on to say, “I think uniforms are a first point of interaction and the most significant aspect of guest interactions.” The soul of any hotel is its staff, their appearance, motivation, and confidence. Performance depends on how the employees feel about themselves. The staff will be more satisfied and happy if they are well-groomed. They will then convey that feeling to guests. Uniforms play a major role in the “feel-good” factor of any hotel. The uniforms should also get the brand philosophy and hospitality standards as well as the style, aesthetics, and cultural influences of that brand and property.
Corporatewear design involves many aspects. We research architectural ethos, design philosophy, interiors, and aesthetics. Brand positioning, geographic surroundings, climate conditions, logistics, and property footprint, a mix of nationalities in hiring, soft furnishings, and laundry facilities. The location will also affect other factors such as the skin tone and body type of the staff, their comfort and habitat, their preferences and concerns, and practicality. The yarns and fabrics influence the design aesthetic and detailing of shoes, as well as other accessories. “We also define grooming standards including hairstyles, makeup palettes, jewellery, footwear and other accessories.”
Jain creates sketches, and after the designs have been approved, prototypes are made. We prefer to manufacture in-house, and we have modern manufacturing facilities in Noida that meet all international standards for health and safety. It is best to produce under our supervision in order to ensure that the design is perfectly translated into production. We are willing to let the client manage the output if they have any concerns about logistics or anything else. However, we will still be involved throughout the whole process. Imports are restricted in certain countries. We will recommend vendors based on the comfort level of our clients and their desire to manufacture locally. The minimum number of uniforms is 100-200, and the maximum can be unlimited. In the past, we have produced uniforms up to 10,000 for a single project or client.
Her design sensibility characterizes Jain’s collections, but she says that uniforms and fashion are “two completely different forms of expression.” The first is to weave a strong story and create an impact on the runway by presenting a range that would appeal across the globe. “The other is to interpret a destination through textiles and fashion. This involves a large and diverse audience while maintaining a balance between aesthetics and functionality of the design and product.”
The fabric selection is very important. We believe in using sustainable fabrics. However, this is not always feasible as certain areas require heavy wear. We will then suggest fabrics that are suitable for the area. Fabrics are chosen and recommended based on the client’s brief and weather conditions. We also consider roles and responsibilities, comfort, and ease of care. All our fabrics are designed and created by us. They are always made in India. This is a conscious ethical decision we make as a business to support Indian textile heritage, crafts, businesses, and facilities. The cost varies depending on whether you choose yarns, fabric, prints, or embroidery. It is hard to generalize costs because we create our fabrics and textiles ourselves.
A project’s duration can range from four to twelve months. Some projects begin at the pre-opening phase and last up to 24 months – from start to finish. Every 18-24 months, uniforms are replaced, and designs may be tweaked or refreshed to reflect the latest fashion trends.
Jain’s revenue streams are both the uniform and collection design for buyers and retailers. The biggest learning is that there’s always something to be learned from each project. Managing projects with multiple stakeholders can be difficult. Getting approval from everyone is not always easy. To complete a project and work with the same client year after year, you need to maintain a high level of discipline and professionalism. “It’s a very different experience from designing an haute couture outfit for a client, or presenting a new collection during a fashion show.”
In 1990, Bhamini Subramanian introduced her beautiful handpainted creations to the Indian fashion world. Subramaniam’s colorful floral motifs, abstract designs, and other patterns attracted many companies who asked her to design their uniforms. From Jazz By the Bay in Mumbai to GATI, BPL, Max Touch, and Godrej Sara Lee Consumer Products Limited, the list goes on. The corporate firms being global, there was a demand for Western or Indowestern creations as well as saris. Subramaniam follows a system. The first step is to meet with the client and find out what they want.
“We evaluate if there is a possibility of a working relationship and then proceed with the order to avoid any pitfalls or interferences that may occur in the middle or end of production. It is best to check the progress of each step so that there are no rejections or losses. We research the company’s background, size, place in the market, age of the staff, type of work (e.g., sales and marketing), and the factory, technical, or laboratory. Different levels of look are made according to hierarchies.
The minimum order was 50 sets of upperwear and lowerwear, including accessories such as scarves and ties. Repeat orders are also made from time to time. This is a small company. The maximum quantity was 1,500 sets, with many custom-made saris for executives and directors.
Subramaniam says, “The market in India for institutional clothing could easily range from Rs10,000 crores to Rs12,000 billion considering the growth of IT centers and pubs. The demand is there because we have a majority of young workers.
Subramaniam chooses fabrics that are easy to wash and wear, have no crinkles, and look great all year round. For shirts, tops, and trousers, the fabric is usually 70% cotton and 30% polyester, while gabardine twill is used for jackets, coats, and jackets. “I’ve even made 60g handpainted crepe silk shirts for Jazz By The Bay with an art deco logo. Max Touch requested that silk saris be printed with a custom design for female sales executives. A company with budgetary restrictions wanted scarves made of synthetic fabric. A pesticide company wanted thicker fabric for jumpsuits for men.
The lead time for small orders is 30 days. For larger orders, it’s at least 2 to 3 months. Prices per piece are Rs2,500 for shirts and tops and Rs5,000 if they’re silk.
Subramaniam says, “A concept that is approved and large orders are executed are certainly welcome and a matter of pride for a designer. When purchasing fabrics, it is important to ensure that the same quality is delivered every time without any slight variations in color, yarn, or shrinkage. Fabric delivery must not be delayed once an order has been placed to avoid production problems. Trims and embellishments must be available at all times and of high quality.
She adds that “small companies prefer to take individual measurements of every member of staff.” Even in large companies, shirts can be sized by averaging the sizes to determine small, medium, and large. It is hard to standardize Indian body shapes, particularly for women, as they are not uniform. Corporate uniforms require a sleek, smart appearance; therefore, specifics are better. For coats and jackets, it is important to take individual measurements. After the concept has been decided, it is repeated for 2-5 years until they are ready to make a change. “Replenishments or repeat orders continue to come every six months.”
The CEO, director, or corporate relations/publicity head of the firm makes the final decision. The approval must be in the form of a written order to the designer’s firm, who will then start to implement it according to mutually agreed upon terms.
Subramaniam believes that uniform design may only be profitable if orders or volumes are frequent. Each piece in the designer collection has a higher markup than the uniforms, but there are fewer of them. A small but exclusive uniform line that pays well may be similar to a pre-collection, which is not as expensive.
“Here, I do not include value-added work such as hand embroidery in zari or gold, even though digitally embroidered/printed fabric can be done at a lower rate in large quantities.” Payments for uniforms are made faster than collection given to buyers or stores depending on the terms of the transaction.”
She continues, “We can’t really compare (uniforms and collections). The collection is unique and exclusive because each piece is one-of-a-kind. Uniforms are replicas of prototyping produced in large numbers. While designing a collection, there is subjectivity, as it depends on the designer and their customers. Designing uniforms, on the other hand, is based on client requirements.
Jay Ramrakhiani, a Tata company, graduated in 1998 from pret, cocktail dresses, and formalwear into corporate wear. He prefers to refer to it as identity apparel (ID). He has designed for IHM Aurangabad as well as a culinary institute, Khazana Lifestyle Stores of the Taj Group, and ultra-luxury palaces in Rajasthan. The list also includes service apartments called the Wellington Mews. Exim Bank in Mumbai, Dr Batra’s Positive Health Clinic, Tata Medical Hospital Kolkata, and Lodha World One.
When designing ID apparel, I prepare for the end-user and not the client. It is for this reason that I consult with the employees who are going to wear it. They may have specific requirements that I am unaware of, or their responses could be unexpected. I never compromise on quality. “My clothing should be approved by me.”
Ramrakhiani considers several factors when designing ID clothing. ID apparel includes formal jackets and pants, shirts, cravats and ties, tops, camisoles, scarves, Nehru jackets, waistcoats, housekeeping sets, bellhops wear, fine dining restaurant wear, chefs coats, class wear, cummerbunds embellished sun umbrellas of royalty, long tunics of doorkeepers with brocades emblems or emblem buttons, handwoven saris of Varanasi by Varanasi weavers, blouses.
“The type industry also has a major influence on the final product,” he explains. The design of ID apparel is different for a fine dining restaurant and a spa within the same property. Dressing (process) must be elegant and smart. Fabrics are blended with cotton, polyester, or viscose for comfort in tropical climates.”
Ramrakhiani believes that brand guidelines, as well as the atmosphere, are important in ensuring uniforms are designed with care for service personnel. Ramrakhiani has a set process that he follows. Once I have the brief, I play around with my ideas in a playful way. I let my imagination go wild. Next, I run my ideas with swatches of colors that have been tested for colorfastness, shrinkage, and durability in the laundry. If everything goes smoothly, I will present a sample made to measure for the final production call unless any changes are needed. All production, whether six sets or two hundred, is done in-house. Each set can have 2-5 pieces and last for a minimum of two years.
Ramrakhiani says that while he has designed collections and fashion shows for beauty pageants and fashion weeks, there are differences in uniform design. “ID apparel design requires a great deal of discussion and critique before it’s approved. Most designs receive a lot of negative feedback from either the designer or the client. It’s easy to create something that looks great on a model, but it’s harder to create something practical, comfortable, and that staff can wear 365 days a year. I’m proud to say that my uniforms make staff look confident and smart. This makes the design of ID apparel less profitable than a collection, especially for stores and buyers who purchase them outright and not consignment.
Ramrakhiani, who has been in the corporate clothing business for almost 25 years, observes how the industry is changing: “Institutional apparel is a market that is growing at 18-20% by 2025 using 2018 as a base year. More people will want low-cost clothing with a lifespan of 8-10 months. The global market is changing, with new technologies producing lighter apparel that have Internet of Things features and asset tracking systems.
Jattinn Kohar began designing uniforms for companies in 1999. The list is a veritable Who’s Who. The list includes the Air Hostess Training Centre, the Austrian Embassy, TV Today Network, and Viraj Profiles Ltd.
Kochhar, a specialist in Western corporate wear, with some fusion creations depending on the needs, says, “The numbers are vital in designing uniforms. The nature of the job/designation, functionality, and a sharp design that depicts the slogan of the company. We can provide sketches, prototypes, or both (if needed).
The design is phased. The projects are divided into two phases. In phase one, I offer the design with sketches and a test, for which I charge an agreed-upon design fee. Phase two involves the production facility at cost. “The client can choose to get the design and do the production themselves or I can take care of both.”
Quantity varies between 50 and 500 uniforms at a cost per uniform of Rs1,000. The lead time varies depending on the number of uniforms, from 30 days to multiple months after the approval of the design. The companies provide uniforms for 3-5 employees and change them every 10 to 15 years.
Kochhar says that “most companies don’t have design aesthetics – but it doesn’t stop them from providing their design briefs.” It is interesting to note that the bosses are often involved in the process directly, with their procurement manager following up. The business of designing uniforms differs from that of designing a collection. Collections may not be a numbers-based game. It is important to create a uniform the wearer is happy to wear and comfortable in. The uniform should also convey the company’s ethos. India’s market for institutional apparel is huge. We haven’t even scratched the surface in this direction.”
