Fashion Marketing: Contemporary Issues, Second edition - Pr School

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Innovation management in creating new fashions 207 ‘The target consumer could be an individual or a group of individuals (target market)’. Both the designer and the consumer interact with a greater circle denoting culture. In the outer circle, the FEA design criteria are interrelated in various ways depending on the target consumer and use situation. They may be complementary or contradictory, dominant or negligible. The authors suggest pairing the three types of criteria to assess their relative importance. Functional criteria include fit, mobility, comfort and protection. Expressive criteria refer to values, roles, status and self-esteem. Aesthetic concerns deal with art elements, design principles and body/garment relationship. All these criteria could be determined and evaluated using the contextual model of clothing sign system presented in Figure 10.13. Functional Fit Mobility Mobility Comfort Comfort Protection Protection Donning/Doffing Culture Target consumer Values Roles Roles Status Status Self-esteem Self-esteem Expressive Culture Art elements Design principles Body/garment relationships Aesthetic Figure 10.13 FEA consumer needs model. Source: Lamb and Kallal (1992). According to Kato (1994), Besemer and Treffinger’s (1981) evaluative criteria defined previously as novelty, resolution, and elaboration and synthesis, can be assimilated with the design criteria of the FEA model. Functionality relates to utility features, which are part of the resolution criteria. Expressiveness is one of the elaboration and synthesis criteria, which refer to ‘the particular style the product transpires’. Finally, Kato contends that aesthetics in Western society include such notions as originality and uniqueness, which are classified as novelty criteria. As stated previously, there is no one formula to creativity. ‘Creativity always goes beyond any definition of it’, because ‘creative behaviour always goes beyond any codification of it’ (Young, 1998). It all starts within a person. Tools, models and technology can only support the creative system, but it initially
208 Fashion Marketing depends on a special blend of inner qualities (Ditkoff, 1998). Creativity results from synergistic interaction of intellectual, intuitive and emotional intelligence (Myers, 1998). Therefore, the creative mind combines a complex combination of various abilities, knowledge, skills, traits and needs. By definition, creative output should be a surprise outcome, but according to several authors the process leading to successful creative design is predictable. Based on skill, knowledge, inspiration, motivation, experience and problem-solving techniques, designers seek something new by creating change or finding new solutions to old and new problems. The design process transforms ideas into reality and occurs from conception of an idea until the development of a workable solution (van Praag, 1987). LaBat and Sokolowski (1999) believe that by following a structured process it is possible to develop a project in an orderly fashion so as to ensure maximum product design effectiveness and efficiency. It is also useful in establishing realistic timelines and providing a means of communicating the work process of the design team among its members and anyone who may be interested, such as other department managers (marketing, sales, sourcing, etc.) or even the CEO. Most research done on creative design processes focuses on the cognitive approach. Several models have been developed to capture the sequence and associations of divergent and convergent thinking stages logically used to solve identified problems. ‘Divergent thinking involves thinking in different directions or drawing from a wide range of options, whereas convergent thinking focuses on and synthesises toward one right answer’ (Kato, 1994). Jones (1981), for instance, describes the three stages of industrial design as divergence, transformation and convergence. The first stage requires the designer to actively research the entire problem without many constraints. The following stage of transformation ‘requires that a pattern be imposed on all the information gathered . . . The pattern must be precise enough to lead to a solution, but broad enough to reflect the realities of the situation’. This stage is the most creative, requiring ‘high-level creativity, flashes of insight, changes of set, and inspired guess work’ (Jones, 1981). Convergence then reduces the range of options after application of all the required criteria and constraints. According to LaBat and Sokolowski (1999), industrial design processes are most similar to textile design processes because designers in both cases have to ‘combine in-depth knowledge of the physical nature of materials and processes with keen awareness of the aesthetic sense of the object’. Kato (1994) stresses that little research exists on the implementation stage and that most of the research on evaluation deals with evaluating the finished product. How the designer conducts the evaluation is neglected, even though it is an integral part of this individual’s creative progress. Kato also highlights that incubation is not addressed in the creative process models applied to apparel design. Many authors contend, however, that time is essential to nurture and stimulate idea generation and thus activate the creative process (Kim, 1990; Turner, 1991; De Bono, 1992; Guilford, 1950). In her doctoral thesis, Secor (1992) confirms that designers complain about having ‘too little time to create’.
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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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Store environment of fashion retail
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Store environment of fashion retail
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Page 194 and 195: The process of trend development le
Page 214 and 215: Innovation management in creating n
Page 220 and 221: Marketing plan Phase 1: Line planni
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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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