Fashion Marketing: Contemporary Issues, Second edition - Pr School

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Innovation management in creating new fashions 203 GEARS OF THE FASHION INDUSTRY TURN IN PERPETUAL MOTION COMMUNICATORS European and Domestic Publication trade and consumers Consultants Research bureaus Forecast services 2 Fabric 3 Texture Fibre 1 4 Advertizing agencies Trade associations Buying offices Fashions (The total look) Colour Textiles Apparel Accessories Shoes Department stores Speciality stores Designer boutiques Mass merchants Pattern companies The malls Variety stores Low margin Operators The outlets The warehouse 7th avenue Showrooms Direct marketing Staging centres Sleuth shopping Primary level Development raw materials Manufacturing Tertiary level Buy–sell–promote Secondary level Design–cut–make finished product Figure 10.9 Gears of the fashion industry. Source: Perna (1987). influence to pass on these ideas in a pure and more personalized format to their own clients, magazines, etc’. According to him, this is what makes Paris the styling centre rather than the individualistic Italy. According to Kurt Salmon Associates’ vision of textiles markets in the new millennium, the consumer who has developed a strong sense of individuality, making him or her loyal to only his or her wants, will play an active role in the apparel design process. The industry activities will be redistributed into a 4-D model: designers, developers, distributors and displayers. The first, second and fourth Ds will become ‘co-designers’ in a virtual network which will ultimately integrate the consumer as well. Consumers will test new designs, colours and sizes via the Internet and in-store direct consumer response. They will actually activate demand when and where they choose. New forms of competition will arise from the potential gain of successfully editing this massive information (Smith, 1995). It appears that both the consumer and the designer are creative. The designer in the styles imagined, the consumer in the selection and combinations applied.
204 Fashion Marketing A plethora of influences Observation posts Old neighbourhoods Developing the eye New uses for products Demographics The tertiary source The secondary source The primary source Networking Forecast services Publications The new technology Related industries Values and lifestyles Fashions of involvement Tracking sales Competition INFORMATION NETWORK – are you plugged into the check points? Figure 10.10 Information network. Source: Perna (1987). Consumers are potential wearers and/or viewers. These three categories of people (designer, wearer and viewer) influence each other in their personal critical evaluation of a certain way to dress (Figure 10.11). All three are individuals who are part of a specific environment interpreting appearance and dress as forms of expression using all their five senses (Kaiser, 1990).Consumer behaviour and design creativity are affected by multiple factors. Fashion is both a consequence and an inspiration to the interaction between consumers and designers, where aesthetic traits are extremely relevant and changes occur at a rapid pace. Companies must therefore be able to mine available data for adequate information on consumer preferences in design, and establish differences in relation to competitors through creative design that incorporates continuously updated market intelligence. The model presented in Figure 10.12 shows the various levels of contexts, embedded within one another and defining the perception of clothes. The model attributes a title at each level along with a few non-exclusive examples of
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Fashion Marketing
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Fashion Marketing Contemporary Issu
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Contents Foreword List of Contribut
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Contents vii Why do fashion retaile
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Contents ix 14 The international fl
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Foreword Fashion is driven by creat
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List of contributors Emma Banister
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List of Contributors xv identity. H
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List of Contributors xvii M. C. Lam
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Acknowledgements Tony would like to
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Introduction In this introduction t
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Introduction xxiii supermarket fash
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1 Globalization: global markets and
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Globalization: global markets and g
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2 Supply chain strategies, structur
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Supply chain strategies, structures
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Challenges of fashion buying and me
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4 Segmenting fashion consumers: rec
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Segmenting fashion consumers 75 req
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Segmenting fashion consumers 77 seg
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Segmenting fashion consumers 79 (19
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Segmenting fashion consumers 81 (20
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Segmenting fashion consumers 83 if
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Segmenting fashion consumers 85 of
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Segmenting fashion consumers 87 Gub
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5 Developing a research agenda for
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Developing a research agenda for th
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6 Retail brand marketing in the fas
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Retail brand marketing in the fashi
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Competitive marketing strategies of
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8 Store environment of fashion reta
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Fashion retailer desired and percei
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13 Fashion e-tailing Ruth Marciniak
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Fashion e-tailing 261 retailers are
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Fashion e-tailing 263 Then and Delo
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Fashion e-tailing 265 STAGE ONE Dev
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Fashion e-tailing 267 and Vijaysara
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Fashion e-tailing 269 Table 13.2 Be
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Table 13.3 Empirical work on fashio
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Lu and Rucker Identification of pre
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Fashion e-tailing 275 Hall, J. (199
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14 The international flagship store
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The international flagship stores o
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15 The making and marketing of a tr
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The making and marketing of a trend
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Approaches to doing research 309 Cr
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Approaches to doing research 311 In
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Approaches to doing research 313 ch
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Index Accessible luxury, 178 Adidas
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Index 317 Couture shows, 183 Creati
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Index 319 free trade, 9-10 impact,
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Index 321 Micro-marketing, 198 Midd
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Index 323 design factor, 156-7 soci
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