Branding Harris Tweed: Presentation by Mark Hogarth
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Harris Tweed is a fabric handwoven in the Outer Hebrides of Scotland. The unique colors of Harris Tweed are inspired by the local landscape and traditionally came from dyeing the wool with lichen, seaweed, and flora. The weaving process is complex and involves skilled artisans who dye the wool rather than the yarn and ensure quality through hand inspection rather than machines. The designers are inspired by the one-of-a-kind colors, intricate patterns, and craftsmanship of Harris Tweed, which has a near symbiotic relationship with the landscape.
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Branding Harris Tweed: Presentation by Mark Hogarth
- 1. The Craft of Heritage
- 2. Contents From the land comes the cloth The luxury is in the process The Craft of perfection Design is key
- 3. From the land comes the cloth The unique colours of Harris Tweed are inspired and informed from the landscape of The Hebrides. Traditionally the dyeing process used the lichen, seaweed and summer flora and it is this colour spectrum rather than pantone that continues to direct Harris Tweed today.
- 4. A Unique Culture & Landscape
- 6. The luxury is in the process Dyeing the wool rather than the yarn sets the tone for a complex process. The quest for the perfect product is aided by artisan skills passed through generations. The quality control ensured by the hand and the eye rather than the bleep of a computer.
- 8. The Process
- 9. The Weaver
- 10. The desire for perfectionThe business of perfection Dyeing the wool rather than the yarn sets the tone for a complex process. The quest for the perfect product is aided by artisan skills passed through generations. The quality control ensured by the hand and the eye rather than the bleep of a computer. Harris Tweed is not silk or cashmere but there is a near symbiotic relationship between the weavers and the landscape. Our designers are inspired by the unique colour, intricate design and soulful creation of the fabric. The perfect product is the basis of a sound business model.
- 11. From Land to Cloth
- 12. Not Just for Miss Marple
- 13. Nature’s Craft
- 14. Design is key Nothing happens by accident. Kaizen (continuous improvement) is the foundation for our constant appeal. The Orb only given to the cloth that holds a perfect finish. A heritage and future driven and maintained by the essence of craft and design.
- 15. 1 x 1 = 3
Editor's Notes
- There is no more iconic Scottish brand than Harris Tweed. Yet only five years ago, the world was in danger of forgetting about it. Decades of under-investment and poor marketing had led to a spiral of decline. The world needed to be reminded of ‘The Champagne of Fabrics’.
- The Phoenix wears Harris Tweed On a wet and windy late November morning of 2007, Ian Angus Mackenzie unlocked the rusty doors of the mothballed Shawbost Mill on the west side of Lewis. The formation of Harris Tweed Hebrides was a hastily assembled response to an imminent crisis in the industry, which threatened to remove Harris Tweed from world markets. The newly appointed Chief Executive, who had spent his entire career in the industry, could scarcely have dreamed that his beloved Harris Tweed would soon leap from its sick bed to re-establish its place as one of the world’s premier fabrics. The Phoenix had risen and it came in the form of Harris Tweed Hebrides.
- From the land comes the cloth Harris Tweed is no normal fabric. The Clo Mor (Gaelic for great cloth) is born of the land. The colours are inspired by the islands’ flora and fauna, there is a near mystical relationship between the cloth and weavers who soulfully add their artisan skills. From wool to yarn to tweed the complex process has a refined luxury as well as a great narrative but the ‘story’ needs to be continually told. ‘Not just for Miss Marple’ as an early marketing campaign insisted. Evolution rather than revolution. The luxury is in the process.
- The Business Plan (2008) Shore up core markets in Germany and Japan Work closely with Western Isles governance and set up The Harris Tweed Investment Fund to redress seasonality Build on first year turnover of £300,000 Double turnover in 2010 Work with young designers and high end eclectic press DO NOT advertise; editorial more valuable and cheaper Exponential growth turnover reaches £5,000,000 in 2011 Invest heavily in Mill and supply side hardware Widen appeal through diversification; accessories/interiors Focus on wide array of markets clientele (i)Harris Tweed Hebrides 2014; circa 80% of market share (ii) circa10,000,000 turnover (iii) 73 people employed (per capita pro rata 2,500 in Glasgow) SCDI & SDI/UKTI provide venues and logistical aide with the addition of ‘strength in numbers’.
- A Ripping Yarn Orders came in from traditional customers at a steady rate but as 2008 drew to a close it was the phone calls from Parisian fashion houses that gave a hint that something big might just be happening. Chanel and Galliano made small orders but the impact was huge. Paris Match came to ‘les Islands du Tweed’ and uber cool Monocle magazine did a four page spread on the ‘Ripping yarn’ that is Harris Tweed, commenting that if ‘The Scandinavians can convince models and designers to use fur then surely the world can be convinced to use this unique and ethical cloth’. The come back was underway.
- Back in Fashion In 2009 Harris Tweed Hebrides was named Best Textile Company at the prestigious Scottish Fashion Awards. This recognition had the dual effect of securing widespread media exposure and sending a reassuring message to the islanders that after decades of decline and seemingly being caught in the time warp of an antiquated image, their proud fabric was once again appreciated for its style as well as its quality. Quite suddenly, it had become apparent that an industry with such a prestigious past could also have a golden future.
- Long life the monolith The average age of the 120 remaining Harris Tweed weavers was 57; there was a great need of an injection of youth into the industry. This led to new weaving courses being set up by the Harris Tweed Authority. The revival of the industry had to be managed carefully. There were voices calling for lighter weaves and cashmere blends but Ian Angus Mackenzie was having none of this, commenting that it would be ‘a shallow short term gain at the expense of 150 years of heritage’. Other textile ‘experts’ had criticised the brand as being monolithic but they had failed to see that there had been a critical change in consumer behaviour. People appreciated the authenticity of the fabric and the integrity of the finished products; no gimmicks just provenance and quality underpinned by the Orb trademark which guaranteed the fabric as true Harris Tweed – made from pure virgin wool, hand-woven at the home of the weaver in the Outer Hebrides of Scotland. The skilful promotional campaign, undertaken in-house was having an effect. People were buying more than just a jacket or bag; they were buying into the soul of the fabric.
- Tipping our hat to Topman With demand from Japanese street wear companies increasing and the traditional German gents market robust, the focus fell on the domestic market. Topman was the game-changer needed to transform the image of Harris Tweed and give it a universal appeal. The 2010/11 collection was a hipster’s dream, all tight short fits with nice trims. Waistcoats and bow-ties just like that worn by Dr Who. At the same time Paul Smith and Katherine Hooker were doing beautifully clean-cut ladies’ hacking jackets which demonstrated the feminine - some might say sexy – side of the fabric.
- Collaboration; 1x1 = 3 The last few years have been defined by high-end collaborations. Well-established brands creating stunning garments and accessories. From The classic Schott Perfecto biker jacket, The uber fashionable Canada Goose and Moncler down jackets to the iconic Converse Chuck Taylor Basketball boot all in vintage patterns of Harris Tweed, all limited edition and all sold out. Chanel came to Scotland in 2012 with Kaiser Karl at the helm. Drawing inspiration from the Highland adventures of Coco Chanel, the Harris Tweed jackets played a starring role in Le Métier D’arts show.
- Going mainstream, staying premium Over the past five years, Harris Tweed has experienced a significant renaissance and now sails in the vanguard of the heritage movement in fashion/style. Several pop-culture moments including an article in a Japanese in-flight magazine, a BBC4 documentary, a hipster friendly fashion collection and a certain fictional time traveller with a blue Police box all of who have helped ignite the rediscovery of this ancient fabric with a unique heritage. Once a staple in the wardrobe of the Edwardian gentleman, Harris Tweed can again be found on the High Street yet it still retains its first principles of craftsmanship and ethical production values. Through imaginative designer collaborations, Harris Tweed Hebrides has also maintained its position as a premium fabric, and is cultivating lucrative markets in Europe the US and Japan. Perhaps the most rewarding element is the broad foundation for employment that the industry has provided. Rarebird in The Hebrides, Bulloch Cowell in the central belt or even Tertrad furniture in Preston all doing great business with Harris Tweed (the later now employing over 200 people).
- Long live the Phoenix The perception of Harris Tweed has changed through a careful repackaging of its image and the simple marketing philosophy of: “Tell the story and tell it well”. The success of Harris Tweed Hebrides was partly down to not using words like “re-brand” and “overhaul” and not countenancing any interference with the product, which would only have diluted the strength of that message. Luxury is no longer just about aesthetics and touch but also embraces respect for the artisan skills involved in the complex process of production. Harris Tweed ticks all these boxes - woven by the skilled few, consumed by the stylish masses. - The luxury is in the process -