Factory manager interview questions and expert answers

Answer example: First I map the impact clearly: which references are late, which boutiques or regions are affected and what this represents in revenue and visibility for the maison. I speak with the delayed workshop manager and the buyer or supply chain team to understand if the supplier issue is short term or structural and whether there are alternative materials validated by the studio. With this information I present scenarios to the maison: what can still be delivered on time, what could be partially shifted or rebalanced, and what must be delayed. I am transparent about risks but I never promise miracles that would force my teams to compromise quality or safety. Internally I reorganise capacity where possible, for example by moving trained operators from a less critical model to support the bottleneck, and I adjust overtime only when it is sustainable and fairly compensated. I also open a follow up action plan with purchasing and industrialization so that the same supplier fragility does not affect the next season.

Answer example: For me productivity in luxury is the result of good organisation, not of asking artisans to work faster. I start by making sure each workshop has clear responsibilities, standard work instructions and realistic production targets that respect the time needed for quality gestures. I group operations logically to avoid unnecessary handling or movement and I invest in support roles, for example dedicated maintenance, quality engineers and methods technicians, so that artisans can focus on their craft. I track a small number of meaningful indicators at factory level, such as on time delivery, right first time rate and absenteeism, and I review them regularly with workshop managers. When we look for gains, we target material flows, set up times or planning rather than asking seamstresses or artisans to sew or assemble faster. This approach improves performance without damaging the craftsmanship that makes the maison unique.

Answer example: Workshop managers are my key relay between strategic goals and daily work on the floor. I start by aligning them on a clear vision of what success looks like for the factory in terms of quality, lead time, cost and people development. I run regular, short production meetings where each manager presents their indicators, issues and ideas, and I teach them how to use simple problem solving tools rather than jumping straight to symptoms. I invest heavily in their soft skills: how to give feedback, manage conflict and conduct development discussions with artisans. I also encourage cross visits so that a ready to wear manager can learn from a leather goods manager and vice versa. When I promote or hire workshop managers I look as much at their respect for craft and their ability to listen to artisans as at their technical knowledge.

Answer example: On one collection we had a leather goods model with a very complex construction that required many manual operations and expensive materials. The initial costing showed a margin below target, and there was pressure to reduce cost quickly. Rather than simply asking the atelier to work faster, I organised a joint review with design, industrialization and merchandising. We analysed which elements of the bag were visible value for clients and which were invisible complexity. We agreed to simplify an internal pocket construction and standardise certain metal parts across the collection, which reduced time and purchasing cost, while keeping the signature hand stitched handle and edge finishing untouched. Lead time improved slightly thanks to the simplifications, cost moved back within target and, most important, the product still fully expressed the maison identity.

Answer example: I see myself as an interpreter between the factory and the central teams. With merchandising I discuss assortment depth, model complexity and launch calendars, explaining concretely what each decision represents in terms of capacity and risk in the workshops. With supply chain I challenge unrealistic lead times or minimum order quantities using data and examples from past seasons. With hr I share the competencies we need, the length of training paths and the impact of turnover on quality. I never use the factory as an excuse but I am firm about what is or is not possible without harming people or craftsmanship. Over time this honesty builds trust and allows us to be involved earlier in decisions, which is the best way to avoid crises later.

Answer example: I plan daily gemba walks where I spend time in each workshop, not to micro manage but to observe flows, ask questions and listen. I look at simple visual indicators at the entrance of each area: safety alerts, absenteeism, quality issues and plan achievement. I ask artisans what went well and what created friction the previous day, and I note recurrent themes for follow up with the relevant support teams. Once a week I join the short production meeting of at least one workshop to hear the detail behind the numbers. These routines help me detect weak signals early, such as a new model that is systematically late at a certain operation or a tool that creates quality issues, so we can act before it becomes a crisis.

Answer example: I once led a project to regroup two small workshops into a single larger site to improve logistics and resource sharing. From the beginning I treated it as a people project, not just an industrial one. We communicated early about the reasons, the timeline and the support measures, including transport solutions and help for those who did not wish to move. I organised visits to the new site so artisans could see the space and ask questions directly. We mapped individual situations with hr, paid attention to team compositions and ensured that key informal leaders were involved in co designing the layout. On the first weeks in the new site I was physically present on the floor every day to listen and adjust. Productivity gains only came once people felt respected and supported, so this human work was not a parallel task but the core of the project.

Answer example: In luxury houses tradition is a strength, not an obstacle, so I never start by telling artisans that their way is wrong. Instead I ask them to explain their methods and what they are protecting with them, for example a certain hand finish or feel. I then invite them to identify irritants in their daily work, such as searching for tools, waiting for materials or redoing the same correction many times. We test small improvements that remove these irritants without touching the essence of the gesture, for example better fixtures, clearer instructions or smarter sequencing of operations. I celebrate when an idea comes from the floor and I make sure to credit the artisans publicly. Over time they see improvement as a way to support their craft rather than to replace it.

Answer example: In the first month I would listen and observe: understand each workshop, meet managers, union representatives and key artisans, and review basic indicators such as safety, quality and on time delivery. In the second month I would run a simple diagnostic on three axes: people, processes and performance, identifying a small number of priority topics with the leadership team, for example a chronic bottleneck area or a high rework rate on a category. By the third month I would propose a clear action plan with owners, milestones and communication points, making sure quick wins are visible while structural topics such as skills development or layout changes are started. Throughout, I would be transparent with the maison about what I see and realistic about what can be changed quickly versus what requires more time.