Fashion Marketing: Contemporary Issues, Second edition - Pr School

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Innovation management in creating new fashions 209 Design follows a visual thinking pattern (Kato, 1994; Finke, 1997), which comprehends ‘ideas in parallel rather than one after the other: shapes, colours and textures as an integrated whole rather than separately’ (Carr and Pomeroy, 1992). ‘Because apparel is multi-dimensional and experienced through sight, sound, and touch, apparel designers may be particularly sensitive to these sensory modalities as they create apparel’. Design creativity is a multidisciplinary science on several levels, especially now that much of the creative process is done in teams including designers, stylists, merchandisers and sometimes even buyers. Design creativity interacts with fashion and trends of the times, with the style of the designer, design team and/or company, as well as with the target consumer’s needs and wants. Design creativity is personal to the creator’s inner qualities or the creative team’s synergies. In their 1992 publication, Lamb and Kallal asserted that any design project requires market intelligence for analysis of FEA criteria of target consumer needs (Figure 10.14): ‘success is judged by how well these needs are met in the final product’. However, after comparing their 1992 model with industry practice (Kallal and Lamb, 1993), they realized they had neglected a different category of criteria relative to merchandising and retail needs of the retail customer. Based on their field study, they collected the following criteria cited by selected apparel companies: ability to retail, brand image, calendar, company Problem identification Preliminary ideas Design refinement Prototype development Evaluation Implementation Functional Functional Fit Mobility Comfort Protection Donning/Doffing Fit Mobility Comfort Protection Donning/Doffing Culture Target consumer Values Roles Roles Status Self-esteem Self-esteem Expressive Expressive Culture Art elements Design principles Body/garment relationships Aesthetic Figure 10.14 FEA design process framework. Source: Lamb and Kallal (1992).
210 Fashion Marketing Problem identification Preliminary ideas Design refinement Prototype development Evaluation Implementation Quality Costing Calendar Product sell-through Market response Business Retail customer Environment Past product performance Brand image Line plan Competition Company success Functional Fit Mobility Mobility Comfort Protection Protection Donning/Doffing Culture Target consumer Culture Art elements Design principles Body/garment relationships Aesthetic Values Roles Roles Status Status Self-esteem Self-esteem Expressive Figure 10.15 Product development framework. Source: Kallal and Lamb (1993). success, competition’s past performance, costing and availability of resources and skills, line plan, past product performance, product quality, product sell-through and response to market changes. Therefore, they revised their framework, shown in Figure 10.15, to illustrate that the apparel manufacturer actually caters to two customers, the final consumer and the retailer. Lamb and Kallal (1992) contend that their model contributes to evaluating products in the marketplace and can thus be considered ‘as part of the merchandising function, specifically planning, developing and presenting a product line’. The FEA model can be used to define new problem-solving projects for developing seasonal concepts and styles, as well as to evaluate the suitability of existing products and product lines on their target markets and their potential for adaptation to new target market segments. Figure 10.16 illustrates how the textile product design process has been delineated into distinct phases by the various researchers. Designers must pursue free flow of ideas with both short-term and long-term solutions in mind. Each season they must design products that satisfy the target consumer or even maybe attract new market segments, while making sure that these products correspond to, perpetuate and/or rejuvenate the company’s style and brand image. They must also try to develop new and existing products in a way that will optimize their respective life cycles.
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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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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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