Category: Fashion

Marketing Research in Practice: H&M, It’s Marketing Environment and Product Life Cycle

Marketing research is a crucial management tool for helping businesses to discover whether or not the product or service that they are providing is actually desired by their customer base. It is a critical component when launching a product, trying to improve the existing service or just looking to be a step ahead of competitors. It provides them with all the information they need to make a better business decision. The purpose of this report is to do exactly that: to infer what I, as a marketing manager, can, from the data available and apply it towards making our company offer the best it can with the resources available.

H&M is an apparel and accessory store founded in 1947 in Sweden known for offering the latest fashion trends. H&M specializes in taking advantage of the season’s latest looks inspired by design houses around the world and providing women, men, and children contemporary clothing styles at low prices.

• Product: H&M is a retail brand looking to provide customers with fashionable, high-quality clothing at affordable prices. They offer “fast- fashion” clothing.
• Target audience: The target customers for H&M is the youth. Even though H&M offers clothing and accessories for all ages for both men and women, their target market is women.
• Competitors: ZARA, Uniqlo, GAP, Cotton On, Abercrombie & Fitch, Forever 21, Mango etc.
• Strategies: Segmentation strategy, concentrated targeting strategy, cost leadership strategy, positioning strategy, social media marketing strategy etc. These have resulted in high entry barriers for the competitors.
• Organisational goal: leading change and encouraging innovation, having a circular, sustainable and climate positive approach, promoting inclusion and diversity both within and outside the organisation.

Marketing Environment

Peste Analysis

• Political factors: Since its expansion into different markets, being updated and aware of political changes in different countries has been prioritized. For example, H&M used to get their products made from Bangladesh due to cheap cost of production. After receiving backlash, they signed fire protection treaties and now work with factories who have proper equipment and safety measures implemented.
• Economic factors: H&M tries to keep the best prices by buying material in bulk and from markets which offer the best rates, in-house designing, and effective management system. However, to maintain competitive price strategy, they have to face economic shocks due to their market expansion. This make it hard for H&M to maintain their prices.
• Social-culture factors: H&M is one of the very few companies in the world who have 75% women in managerial roles and 50% women representation on the Board. International female labor has better wages and working conditions than those provided by most retail companies. This strategy of H&M also ensures that the women in undeveloped market are not exploited.
• Technological factors: For H&M, technology plays a big role in marketing and online shopping. To make the most profitable global expansion, H&M advertises through social media to appeal to the youth.
• Environmental factors: H&M is one of the biggest clothing retailers, so they are very careful with each action. They have to ensure that there are no environmental hazards involved in the making their products and the environment law of the country their factories are situated are followed. Since cotton is their main material, they are working towards creating a new sustainable cotton material by the end of the year.
• Legal factors: The laws in different countries can influence the business in various ways. There can be restrictions for advertising and tariffs for export and import. Like other companies, H&M has to change their marketing mix according to different markets.

SWOT Analysis

Strengths

• Leader in Global market (2nd)
• Leader in European market (1st)
• Affordable & high quality clothing
• Fast-fashion
• Throw-away fashion
• Strong presence in multiple markets (Women, Men, Kids…)
• Celebrity endorsements
• Strong social media presence
• Price does not affect quality
• Company website and blog
• E-retailing

Weaknesses

• Brand awareness of individual apparel brands sold in stores
• Brand loyalty
• Quality
• Product exclusivity
• Customer retainment
• Fit is not consistent due to variety of manufacturers and suppliers
• Customer service

Opportunities

• Promote current sustainability practices
• Increase word of mouth in both female & male audiences
• Online market including social media
• Mobile Marketing

Threats

• Strong competitors such as Zara, Mango, Forever 21.

Product Life Cycle

Services and products have an idea called the ‘product life cycle’ which is in 4 stages as: Introduction Stage, Growth Stage, Maturity Stage and Decline Stage. Because products don’t last forever, it is important for the company to stay up to date with innovations or developments to keep a consumer interested. Some items might be a sample for marketing managers to test the life cycle or to possibly forecast the products for future references or strategies effectively for the particular product. Because H&M is a clothing company across many places on the globe, they don’t have to focus so much on innovation for a completely new product. Simply, they can take one, change it around and make it better.

H&M has reached a mature point in its growth after over 70 years of being a popular retail destination: it doesn’t have much room for growth as it is already a very established company. However, they continue to offer trendy, relevant and in-style clothing and keep attempting to better their services so as not to lose their spot in the market.

IT Technologies Used on All Production Levels of Zara: Challenges and Opportunities

Introduction

After having a close look at the case and after a thorough research into the company, I learnt that ZARA has been performing exponentially well financially and has created a unique consumer base that is loyal and keeps coming back for more. The company has a very smooth Supply Chain and Production system coupled with unique style of design and manufacturing that makes its customers coming to the stores in every two weeks to check the new designs and stock. The strength of the company is it’s decentralized decision making which serves to increase the efficiency of ZARA because decentralized decisions lead to more timely decisions. These are a few core competencies of ZARA that gives it competitive advantage over its rivals like H&M. The only area where ZARA can work and improve for better efficiency and a more successful business is its current P-O-S terminal. The major problem for the company is that it uses a P-O-S terminal that works on DOS which was discontinued by Microsoft many years ago. The terminal gives amazing solutions without any technological hiccups and solves the purpose of the company but with more and more technology coming in.

I am afraid that the P-O-S terminal will not be able to receive support from the hardware manufacturing vendors. Therefore, based on this, I would suggest in ZARA’s best interest, to move on to a newer technology like Windows operating software for more efficient supply chain management and it will also eradicate the uncertainty that the current P-O-S terminal bears. It should update it’s operating software keeping in mind its compatibility with the current P-O-S terminal and the latest terminals in the market. ZARA has allotted different people who look after their respective departments which makes its structure a bit rigid, but a little flexibility and fluidity to the company and unified communication will only enhance its business IT alignment. It is very important for ZARA to give more emphasis on communication between line and IS personnel. Using the current POS terminal might put ZARA into an uncertain situation where the software DOS might stop working and walk out of the door anytime leaving the operations at halt.

Problems

This major problem leads to many other problems because not just the IT department but all the other departments at ZARA are dependent on that particular POS terminal and software. Regular inter departmental meetings should be conducted in order to understand the needs and strategies of the departments, an IS expert must understand the needs of marketing while a marketing expert should understand the working of IS department.This will help the IS personnel in understanding the needs of the store managers, logistic managers and commercials. The company needs to concatenate its management, creative, operations and IT department so that every department knows what changes are required in the other department and how their changes will affect the working of other department. The strategies of all these departments need to be focused towards one goal in order to take ZARA forward as a brand.

The current POS terminal hampers the normal functioning of the company. The terminal requires the store manager to walk up to the sales people and ask them about the number of garments sold and counting each garment to determine the replenishment quantity.The major setback of using the POS terminals was that the store managers were not able to check inventory balances on their computer and the only way to check the availability of the stock was by consulting a handheld computer that was linked each night, this process might hamper the user experience for the store managers and might make them feel frustrated and overworked. The POS could not share the relevant important information about the stock with PDAs and did not contain useful information about the SKUs (Stock Keeping Unit). When a store manager wanted to know if a nearby store had a particular product in stock, the store manager had to call up the other store manager to ask if it was available at that store. Although the POS system was easy to roll out, the entire process was time consuming since it had small screens and styluses. The POS terminal and its peripheral like small handheld computers do not seem to be user friendly. It does not promote smooth interaction between the user and interface. Also, the company that manufactures the peripheral devices such as the handheld computer with small screens and styluses might discontinue its production since not many companies are not using terminals that support DOS. Therefore, there might not be any service centers for the peripheral and purchasing new ones might also be a problem. If a customer comes to the store manager and asks him/her to check inventory for a particular product and the store manager counts each garment, he/she might not be able to answer the customer and the customer might walk away, this will lead to ZARA loosing its customers. The software is so redundant that it will make all the more difficult for the for the IT department to troubleshoot it which will directly affect the overall functioning of the business.

Solution And Conclusion

To tackle this problem, the company could use Windows and use the same applications that it used with DOS with minor changes that integrates all the other software such as accounting software, order fulfillment, manufacturing, marketing, etc. Using Windows will allow the store managers to use new hardware like larger keyboards, monitors, headphones and microphones for better communication among stores and warehouses. The replenishment orders can be communicated easily and inventory can be checked with one click. A wireless broadband network can also be connected to the new operating software which will enable the store managers to access the inventory or stock information from anywhere in the store. It will also enable the store managers to connect to design teams, commercials and other authorities via mail and messages.

One technology that the company could adopt is RFID (Radio Frequency Identification). The software is easy to use and needs no formal training. Person with no computing knowledge can use it. Developing and installing the necessary software instruments means a massive investment and in-house effort but the cost of installation of Windows is not much as its one time license costs 140 Euros and annual maintenance fee is 30 Euros and the total cost of installation per day is 2000 Euros. Using RFID tags will enable faster scanning of the garments, the store manager will be able to keep a track of the inventory, thus, store replenishment will be faster. The RFID machines increase labor productivity. The store manager will not be required to call other store managers to check if they had a particular piece at their store, he/she will have all the information at his/her disposal with the help of RFID tags. RFID also improves the supply chain by tracking the movement of goods after manufacturing and assembly. As per my opinion, the only solution to the problem that ZARA is facing currently regarding to its P-O-S terminal is upgrading to a new operating software,Windows and the company could also consider adding RFID technology to stores . It serves all the departments of the company, i.e, marketing, supply chain and enhances customer experience. Relationship among various departments and coordination of tasks will help ZARA in aligning its Business and IT goals.

References

1. CB Insights Technology Market Intelligence. (2019, May 21). The Future of Fashion: From Design to Merchandising. How tech is reshaping the industry? https://www.cbinsights.com/research/fashion-tech-future-trends/
2. Essay Shark. (2013, May 14). Case Study Sample: Business report on ZARA. https://essayshark.com/blog/case-study-sample-business-report-on-zara/
3. ERPLY (N.D). In the Success Stories of H&M, ZARA, Ikea, and Walmart, Luck is not a key factor. https://erply.com/in-the-success-stories-of-hm-zara-ikea-and-walmart-luck-is-not-a-key-factor/
4. Rahman, N. (2019, Aug 16) How-technology-is-shaping-the-future-of-the-fashion-industry? https://medium.com/fadedmix-magazine/how-technology-is-shaping-the-future-of-the-fashion-industry-3f9465a7fd37
5. Mcafee, A., Dessain ,V., Sjoman, A. (2004). Zara: IT for Fast Fashion. Harvard Business School.

Fashion Essay

Introduction

Fashion, a dynamic and ever-evolving art form, transcends beyond mere clothing and accessories, leaving an indelible mark on society. Its importance lies not just in aesthetics but also in its ability to reflect and shape the values, ideologies, and identities of individuals and communities. Fashion has been a potent means of self-expression, cultural representation, and an instrument of social change throughout history, inspiring revolutions in style and thought. The fusion of creativity and functionality within fashion has allowed it to adapt to the ever-changing landscapes of culture, technology, and environmental consciousness. This essay delves into the multifaceted importance of fashion, its historical evolution, and the profound influence of the fashion industry and trends on our lives.

Why is Fashion Important?

Fashion plays a pivotal role in our lives, far beyond its perceived superficiality. It enables us to communicate our identity and individuality, empowering us to express our personality, culture, and beliefs. The clothes we wear reflect our self-confidence, mood, and attitude, influencing our interactions with the world. Moreover, fashion fosters creativity, encouraging designers and consumers alike to envision innovative styles that challenge societal norms and push boundaries.

Fashion’s cultural significance is undeniable. Different regions and communities have their unique sartorial traditions, which serve as symbols of their heritage and history. By embracing cultural garments and adopting fashion elements from various cultures, we promote intercultural exchange and appreciation for diversity, creating a more inclusive society.

Furthermore, fashion has been instrumental in shaping societal perceptions and ideologies. Throughout history, clothing styles have represented social status, political affiliations, and even rebellions. From the corsets of the Victorian era to the flapper dresses of the Roaring Twenties, fashion has been a reflection of the changing roles and aspirations of women. It has also been used as a means of protest, with countercultural movements using fashion to challenge mainstream norms and advocate for social change.

History of Fashion

Fashion has an illustrious history, dating back to ancient civilizations like Egypt, Mesopotamia, and Greece. Clothing was initially designed for practicality, protection, and modesty. Over time, garments began to symbolize social status and hierarchy, with sumptuary laws regulating what people could wear based on their class and position in society.

The Renaissance era witnessed a surge in elaborate fabrics and intricate designs among the aristocracy, while more practical clothing was worn by the working classes. The industrial revolution accelerated the mass production of clothing, making fashion more accessible to the general populace. The 20th century witnessed radical changes, with fashion reflecting political and social movements such as feminism, bohemianism, and punk. The freedom of expression during this period shaped modern fashion into an ever-evolving art form that embraces a wide array of styles, from vintage revivals to futuristic designs.

Evolution of Fashion

The evolution of fashion has been marked by dynamic shifts in styles, fabrics, and aesthetics, each era reflecting its unique zeitgeist. Fashion has been heavily influenced by art, music, film, and even technological advancements. Fashion designers like Coco Chanel, Christian Dior, and Yves Saint Laurent revolutionized the industry by introducing groundbreaking silhouettes and innovative fabrics, setting new trends that continue to inspire designers to this day.

Fashion also experienced waves of minimalism, maximalism, and eclectic trends, reflecting societal values and the desire for change. The rise of sustainable and ethical fashion in recent years showcases a growing consciousness for environmental impact and social responsibility, making fashion a driver for positive change. With an increasing focus on recycling, upcycling, and slow fashion, the industry is redefining its practices to become more environmentally friendly and socially conscious.

Fashion Industry

The fashion industry is a multi-billion-dollar global phenomenon, comprising design, manufacturing, retail, and marketing. It employs millions of people and has significant economic implications worldwide. While it drives creativity and artistic expression, it is also criticized for its environmental impact, exploitative labor practices, and emphasis on consumerism.

However, the fashion industry is witnessing positive changes, with more brands and consumers embracing sustainable practices, promoting diversity and inclusivity, and prioritizing ethical supply chains. Sustainable fashion initiatives involve using eco-friendly materials, reducing waste through circular design, and supporting fair labor practices. Furthermore, the shift towards digital technology and e-commerce has opened new avenues for small designers and sustainable brands to reach a wider audience, challenging the dominance of fast fashion giants.

Fashion Trends

Fashion trends, often fleeting yet influential, reflect the collective mood and desires of society at a particular time. They are shaped by designers, celebrities, influencers, and street style, disseminating rapidly through social media and fashion publications. Trends range from specific color palettes and patterns to broader themes like gender-neutral fashion, athleisure, and sustainable style.

While trends can be exhilarating and fun, they can also perpetuate a culture of fast fashion and excessive consumerism, leading to environmental degradation and ethical issues. However, they also signify society’s evolving attitudes towards diversity, body positivity, and self-expression, highlighting fashion’s potential to challenge societal norms and celebrate individuality.

Conclusion

Fashion’s evolution from a mere necessity to an influential art form mirrors humanity’s progress through time. As we move forward, embracing sustainable and ethical practices will enable the fashion industry to thrive while contributing positively to society and the environment. By celebrating individuality, promoting inclusivity, and acknowledging the historical and cultural significance of fashion, we can harness its potential to inspire and transform, making it an enduring legacy for generations to come.

Embracing conscious fashion choices will not only elevate our personal styles but also contribute to a more compassionate and sustainable world where creativity, culture, and compassion coexist harmoniously. Let us continue to explore the boundless possibilities of fashion, using it as a force for positive change, self-expression, and collective transformation. Together, we can shape a fashion-forward future that embodies beauty, diversity, and responsible stewardship of our planet.

Social Status and Fashion: Critical Essay

Throughout human history, one’s dressing style has been used for more than just covering up. People use fashion to send a message about who they are, where they come from, and what they stand for. Diana Crane (2000) holds that one of the indicators of people’s clothing is their social position in a societal structure. In the past centuries, fashion was a significant way for one to express their social status in a public setting. Depending on the era, various aspects of social identity were expressed through a certain way of dressing. Such aspects include religion, socioeconomic class, one’s occupation, as well as regional identity. The difference in clothing sends a message of the experience of being part of a certain society or holding a particular social position. Despite belonging to the same society, different social classes in a class society held different cultures.

Theories of Fashion and Social Status

American sociologist Torstein Veblen, in 1899 came up with the theory of conspicuous consumption to explain the expression of social status through fashion. The sociologist does so by highlighting three properties of fashion. The first one he says is the ability of fashion to tell the economic status of an individual. What people wear can be used to tell how wealthy they are. For example, in the contemporary world, some cloth lines such as Gucci and Versace are associated with lots of wealth due to their high pricing. Rich people tend to possess highly-priced clothes, and that way express their economic success. Secondly, Veblen points out that the functionality of one’s way of dressing also tells about their social status. For example, someone wearing an overall can easily be identified as a mechanic or someone with a handy job. On the other hand, a person dressed in a sophisticated manner to work expresses the fact that they do not do physical work to earn their living. Therefore, the less practical and functional one’s sense of style is, the higher in the social ranking they belong – the clothes of the rich as sometimes so complex that they require help putting them on. A good example of this point of view is portrayed in red-carpet events, for example, the Grammy Awards. Celebrities such as Rihanna and Cardi B appear in clothing so sophisticated that one can hardly sit or stand comfortably in it. The dressing, however, much depends on the individual’s line of work. Artists are mostly the ones who wear sophisticated clothes not just to show they can afford them, but rather to represent their art. Other professionals stick to regular clothing, despite being high in the social ranking. Thirdly, Veblen holds that the more up-to-date one’s fashion is, the higher their social status. The new fashion is likely to come highly-priced. As it becomes outdated, the style pricing lowers as the world moves to the next fashion. A person who keeps up with the fashion trend changes and never tends to wear the clothes of an already outdated trend comes out as wealthy. Fashion designs are leisure goods. A society that pays significant attention to that is most definitely the first world, with a large number of the population consisting of the elites and the wealthy who come up with the trends. Third world societies have problems more pressing than keeping up with fashion and are less likely to pay attention to it. Fashion trends, therefore, speak about the wealth of the people.

George Simmel, a German sociologist, also came up with a theory on fashion and social status. Simmel argues that fashion is a form of imitation and an attempt at social equalization, but due to its constant changes ends up differentiating the social strata. The elite and the rich come up with fashion designs and the rest of the people try to imitate them in an attempt of erasing social distinction. By the time the masses keep up, the people at the top of the social hierarchy have already discovered new styles and moved on. The distinction, therefore, remains anyway, despite the imitation efforts of the masses. The economic differences make it difficult for some people to change from one style to another as fast as the updates keep coming. Simmel also holds that people have the desire of climbing up the social ladder, and that is why they imitate the fashion styles of those in the classes above theirs. A good example is seen with hip-hop celebrities and their fans. Many of the artists live flashy lives that are admired by the masses. When celebrities wear a certain style, people tend to follow. By the time a fan collects enough money to buy the clothes or shoes he or she so with the artist, the rich celebrity has already moved on to the next newest fashion in town. Simmel also argues that demarcation plays a significant role in fashion. As the masses in the lower social classes strangle to erase the distinction established by fashion, members of the upper classes strive to remain distinct by moving to the next fashion style as soon as the previous becomes commonly worn.

The Pre-19th Century Era

Men’s and women’s dress codes before the 19th century expressed their social status, but the perception of their gender role was a principal message of the fashion designs. At the time, men and women were believed to be inherently different in terms of anatomy, intelligence, temperament, and physiology. Men were considered superior to women. Women were viewed as beings who remain childlike in body and mind throughout their lives. The gender roles of women were exclusively domestic duties, being a wife and a mother. Respectable women wore clothes, well-decorated clothes that covered almost their entire skin. Prostitutes wore sexually suggesting clothes. No clothes were defining a certain career for women, as women were mostly housewives. Women were not allowed to own property, and therefore their clothing depended on the wealth of their husbands. The social status of a woman depended on whom they were married to. Men, on the other hand, were leaders, soldiers, and occupied several other careers. Men in leadership positions upheld fashion that signified their social status, which mostly entailed heavily details expensive linens and jewelry. Soldiers wore armor that was quite heavy, signifying their strength, besides its protection purpose. The lower class, which consisted of farmers, laborers, and slaves, wore cheap linens which were often dirty, stained, and worn out. Their clothing made it easy for one to determine their social class.

The 19th and 20th Century

The nineteenth and twentieth centuries witnessed lots of social changes that also affected the fashion styles of people. The centuries saw the democratization of the women’s world, changing many aspects of their lives. The dress code of women in particular took a different path due to such changes. It began with the war against colonization, for example, the American Civil War, which saw hundreds of thousands of men leave their positions in society for the battlefields. Many of them died. Due to this occurrence, women had to fill in the positions left behind by men. Women stepped up and took over occupations that they could not be allowed to explore before the war. The job positions acquired women some power and freedom due to the financial gains and even the exposure of finally getting out of their homes. It was, however, until the 20th century that women began to experience real change. With the rise of the women’s rights movement, women did not only fight for political rights but also the freedom of dressing. For instance, the wearing of pants by women in public was not acceptable until the mid-1900s.

The relationship between fashion and social status did not just change for women but for the entire society. The two centuries also witnessed great economic development and wealth accumulation due to industrialization. Clothes became easy to produce, and therefore even those with not much wealth were able to access quality clothing. Fashion, therefore, became less effective in defining the socio-economic status of individuals in the 19th and 20th centuries. Other reasons separating the sense of fashion between different social groups, however, came up. For example, in the second half of the 20th century, major changes were witnessed in the music industry, which became highly influential. Rock, jazz, and hip-hop music was inspiring people to adopt certain fashions.

The 21st Century

In the 21st century, people are more concerned with their identity as individuals rather than an association with a certain social class. Nowadays people dress to express their lifestyle, sexual orientation, racial or ethnic background, fanaticism, for example, for soccer or a certain music genre, or support for ideologies such as environmentalism. With issues such as the rights of the LGBTQ community being on the rise, gender is no longer defined by dressing styles. Women now wear suits, trousers, and shirts that were formerly identified as men’s clothing. Men wear blouses and carry handbags. People are now more concerned about comfortability and freedom to make choices concerning one’s life, as long as they do not affect others. Even office clothes have relaxed from the strict official looks of the 1900s. People can now wear miniskirts, khaki trousers, and polo t-shirts to work. The new business culture is more concerned with the comfortability of the employees and the friendliness of the work environment than before.

While humankind mostly thought of wealth accumulation as the ultimate definition of success in the past days, the thought is changing in the contemporary world. A person wearing an uncomfortable expensive outfit will not be looked up to due to the high prices of their dress. There is an emerging new social classification in the contemporary world. It is based on the happiness of an individual, which is now considered the ultimate goal of human life. Those who have achieved happiness are considered successful. If a social hierarchy was to be established, those who have achieved total freedom would be at the top. Their clothing would therefore not be defined by prices, but rather by the comfortability and the representation of their identities and world views. Those still wearing certain clothing not by choice but rather because of oppressions such as religious and cultural bonds would be at the lowest rank of the new social hierarchy.

Despite all that, socio-economic status still continues to manifest itself in the fashion style of the people in the 21st century. Some people still purchase ridiculously pricey clothes just to be associated with the high class. On the contrary, however, some wealthy people still wear ordinary clothes, and that does not lower their social status. That means that although fashion can make one look, high class, it is not entirely what defines the social status of an individual, especially in the contemporary world. People nowadays gain respect for what they do to make the world a better place. The most honored persons in modern history are mostly those whose life achievements were humanitarian, for example, Mother Teresa, Barack Obama, Beyoncé, and the like. Although they might have worn expensive clothes, their rank at the top of the social hierarchy is based on their contribution to humanity. A concern is, however, raised when such people dress as if to undermine the rights and freedoms of others. That is now termed as low—for example, a celebrity wearing the label of a racist cloth-line owner.

Conclusion

Human history is rich in changes that have affected every aspect of human society. The fashion and social class aspects are no exemption. Over time, the factors that place one in a certain social class keep changing. The definition of high-class or low-class dressing, therefore, keeps changing as well. Social class divisions are no longer based on gender, economic status, or one’s type of occupation, nor on fashion. People who enjoy economic, cultural, and personal freedom are now considered the most successful and can therefore be ranked at the top of the new social hierarchy. Such people have the freedom to choose their clothes based on their comfort, identity, and ideologies. That is contemporary high-class dressing.

Wedding Gown as the Main Wedding Attribute: Informative Essay

For many people, their wedding day is a long-awaited day, with many days of planning set aside for the signature, life-altering event. One major piece of a wedding is a wedding gown. In this essay, I will be talking about the evolution of the European wedding gown between the 1950s to the 2000s. I will also discuss the unique colors that describe a bride, and last but not least, the factors that determine the cost of a wedding gown.

The European wedding gown has changed every decade and during the last fifty years especially. In the 1950s, brides wore ballgowns with a small waist and a full skirt. The desired necklines at this time were high V cuts, bateau which has a wider opening at the neck, sweetheart which has an opening in the middle showing a heart, and strapless. In the 1960s, gowns changed from ballgowns to slim-fit column gowns with mutton sleeves. In the late 1960s, gowns were raised to knee length. In the 1970s, brides still wore column gowns. Long sleeves, with puffy elbows and high necklines. In the 1980s, brides forgot about dramatic sleeves and wore everything strapless. The late 1980s were closefitting with puffy sleeves. The late 1990s included a flirty silhouette, which was tightfitting with asymmetrical ruffles. In the 2000s, gowns were much lighter and were long and flowy. A-line wedding gowns became very popular. Thus, as we can see, wedding gowns have gained and lost trends for the past fifty years.

Every wedding gown has its own unique color that helps create every girl’s dream wedding gown. Although the traditional color is white, many brides decide to wear a different color that describes their personality. White describes light, innocence, purity, and virginity. Ivory has also the same meaning. Pink symbolizes innocence, a childlike personality, and a flirtatious personality. Red symbolizes infatuation, strong emotions, strength, and passion. Blue symbolizes water, calmness, and peacefulness. Also, femininity, security, and lifelong loyalty. Black resembles elegance, formality, wealth, and mystery. A simple color can determine a bride’s personality and her own way of thinking.

There are many factors that determine the cost of a wedding dress. There are twenty-six different styles of fabrics. The six most traditional wedding gown fabrics are satin, charmeuse, chiffon, organza, tulle, and lace. Depending on what a wedding gown is, its value is determined. A ball gown with lots of beading will cost more than a simple batiste wedding gown. The average cost of a wedding dress in the United States ranges from $400- $1,700. Although, you can buy a wedding gown below or above the prices. Fabrics and beading are the factors that determine the cost of a wedding gown.

Wedding gowns have evolved in fashion every decade. Just as each bride is different and unique, every wedding gown will be special in its own way.

Essay on Lifestyle and Fashion

Coco Chanel‘s designs were a symbol of her independence and unwillingness to submit herself to societal demands. She took her ‘wild’ ideas of style, strength, and empowerment and incorporated those into her designs and words. Chanel helped to abolish the previously strict and rigid social structure in society, allowing everyone to feel more equal. She turned women’s perception of fashion and lifestyle upside down by liberating women from constrictive clothing.

The influence Chanel still holds in fashion is credited to the fact that she did not care about what people thought or what was expected of her, she simply made her dreams of business come to life.

The fashion of the late 19th and early 20th century was very modest and restrictive. The women of the decade wore frilly, puffed blouses and fluted skirts with long tunics over the top, decorated with lace and ribbon ties. In addition, impractical outfits which included corsets and high necklines were also popular at the time. Due to the expensive fabrics and other adorations, it was easier to tell apart the lower classes from those of higher social ranking. This emphasized the social disparity and inequality of the early 20th century. The lower classes tended to have simpler designs that were usually made of cotton, the upper classes outfits had many decorations and were made of more expensive fabrics, such as silk. Chanel signified a change in the way women’s clothes were seen in society by designing clothes that could be worn by anyone no matter their social status.

Chanel‘s fashion impacted the role that women had in society; it gave women a place in the community because they were no longer viewed as pretty little things that could do anything, but they were now being accepted into the work society. Coco Chanel said, “One world was dying, another coming into existence. I was there is an opportunity beckoned and I took it. I was the same age in the new century, so it turned me to expression clothing.” People had only thought that Chanel was a “revolutionaire” in the fashion world. She also impacted society do you to the fact that she broadened the fashion that was available to women which gave them more opportunities. For example, when pants were created for women they could ride horses freely and not just have to see them sideways and fear falling off. She set examples and took a bold leap branching out of the norm. “ if I cut my hair, others did. If I shortened my progress, so did everyone.” Chanel was becoming a major influence in fashion at that period and had the majority of people following her trends.

Coco Chanel’s views and impacts carried on to broader trends in the early 20th century. She started this change of how women viewed themselves, and how society viewed women. This trend then continued onto a larger scale in the early 20th century when women gained the right to vote, and there was an increase in feminism. Feminism is advocating for women’s social, political, and economic rights to be equal to men’s. Coco Chanel drew attention to the day-to-day issues that women face. It’s part of a larger awareness of other issues that women of that period faced. Although Coco Chanel passed away, her inspiration and ideas stuck with women as they fought for a more equal society and other designers as they began making more liberating clothes for women.

Essay on Passionate about Fashion

Space Age fashion was first introduced in the mid-to-late 60s by a French couturier who was passionate about engineering and architecture. His name was André Courrèges and his vision of fashion redefined the beauty canons of Western society, evading those already established by designers like Cristobal Balenciaga or the house of Dior (and its wasp-shape figure). Courréges reinvented the model of femininity: functional and liberating; full of movement. “Clothes must be able to move too”, he once said, creating a direct connection between the never-ending social evolution and his garments. (This current was already present with the figure of Alexander Rodchenko (1920s) and his unisex Soviet uniforms based on utilitarian functionality. Jean Patou (1920s) who was influenced by sportswear and created fashionable wear also focused on producing garments that were elegant, wearable, and practical.) Soon, other designers such as Pierre Cardin with the cylinder suit jacket, Paco Rabanne and his dedicated- – –sci-fi attire or Mary Quant, with the use of plastics decided to follow Courrèges’ lead and divulge the trend by characterizing it with their attributes.

During this decade the United States, United Kingdom, and continental Europe suffered abnormal socio-political revolutions that encouraged artists to challenge their boundaries and explore beyond the already accepted tedious social norm. The space race between the United States and the Soviet Union marked a pivotal point for society and the longevity of the trend.

Economic perspective

Although Space Age fashion focuses more on a cultural and technological scenario, it is crucial to analyze the importance of economic factors such as demand, sales, and production. These are of great interest to understand how ‘prominent’ the trend was.

These garments were originally produced for an exclusive and reserved sector, but soon, Courrèges revealed that: ‘Working women have always interested me the most,’ said Life Magazine in 1965. ‘They belong to the present, the future’. During that same year, the visionary sold over 200.000 miniskirts. This meant his designs started popularising over a female-dominant sector eager to become a more ‘cosmic’ version of their selves. This figure exhibits the importance of mass production during that era: without modern machinery, sales wouldn’t have risen. Due to this vast production, Space-Age apparel was cheap and purchasable by many members of the population. In 1968, half of his company was acquired by L’Oréal, expanding his empire by opening 125 boutiques worldwide and introducing his first fragrance: Mr. Courrèges (diversifying his brand and attracting a male audience.)

However, it was Pierre Cardin who saw the potential of China as a source of attracting millions of new customers. In 1967 Cardin founded ‘Gruppo GFT’ with the fusion of Tianjin Jin Garment Company and ended up forming the Pierre Cardin label (This crucial movement could allude to Paul Poiret’s (1903) ‘Persian Rose collection’, where he was the first designer to commercialize his name. Poiret was the pioneer for it.) This led him to negotiate about 800 licensing deals in more than 100 countries. His fashion expanded at an over-accelerated worldwide level; people knew his name, his brand, and his products. Cardin didn’t only produce fashion at this stage: alarm clocks, pens, and cigarettes were also included in his collection. By the end of the century, he already produced $2.5 billion per year. Industrialisation is more than present at this stage: the supply and demand chain is purely active and Cardin became one of the world’s top business owners due to the vast capital produced. However, with the act of ongoing licensing and the subsequent use of a wide range of product strategies, the brand ended up being damaged, losing the prestige it originally had.

Cultural perspective

In a decade marked by political conflicts and social changes, the Cold War and the Vietnam War were still palpable, leaving the younger generations impacted by the atrocities committed. They needed a radical cultural change, some organisms embraced freedom, and diversity, while others remained obtuse to this idea.

The Chambre Syndicale (the French fashion industry’s governing body) didn’t accept the launch of Cardin’s Space Age ready-to-wear line (1959) and, as a consequence, the designer got expelled from it. This represents how thorough its members were when defending this institution’s values on haute couture. However, this wasn’t an impediment for him to expand and transform his trademark (as stated previously).

In terms of cultural perception, April’s issue of 1965 Harper’s Bazaar magazine was dedicated to Space Age fashion. Featuring a galactic cover photographed by the prestigious Richard Avedon, the microtrend couldn’t have been depicted any better: glamorous, seductive, and recent. Some of the models included for this issue were: Donyale Luna and Paul McCartney. People saw them as a reference, contemporary to the decade they were living in, and consequently, desired to have a more ‘up-to-date’, advanced outfit. Eloquent garments were portrayed such as the: “kinetic threads”, the striped dress, or the “OP Scene” (a symmetrical short attire with large circular monochromatic shapes printed on its surface.) However, this trend not only focused on the apparel; the messages fashion creators wanted to convey through their designs were so powerful that soon Space Age reinvented itself and transformed into a literary movement. For this April’s edition, Lane Dunlop forges a state of illusion and trance when describing a pictured scene: “Moon-driven, ungovernable as the sea in her moods Of sexual mayhem, or the maniacal calm of 3 a.m. She laughs to scorn the mind-forged manacles, and Gives up her dead to the depth charge of grief”. This “Note to the Heart” alludes to the aesthetic being created by the trend: abstract, exclusive, and utopic. Reserved for individuals who wanted to “dress for success”, following Emanuel Ungaro’s statement for Space Age. This designer wanted to disclose sex appeal without relating it to vulgarity. Just as Rudi Gernreich and his swimwear (forged following the trend) and very much appreciated by celebrities such as the late actress Sharon Tate (Roman Polanski’s first wife), pictured on multiple occasions wearing the aquatic costume. She became an icon of her time who portrayed the embodiment of Space Age fashion.

Technological perspective

As society was evolving, so did the interpretation of the suit following Pierre Cardin’s filter. One year before the Russian cosmonaut Yuri Gagarin became the first human to reach outer space, Cardin introduced his Cylinder menswear collection. It consisted of a reinterpretation of the conventional men’s suit along with the sports coat. He removed the lapel, narrowed the shoulders, and sewed a five-button design on the blazer that reached up to the tie knot. This served him in 1968 as a source of inspiration for his Cosmo Corps collection (made exclusively for everyone: men, women, and children.) Some of the materials he conveyed had never been used for daily wear. These included: vinyl, plastic, leather, and his own three-dimensional “Cardine” fabric.

Another designer crucial to mention, who revolutionized the fashion industry regarding technological advances was Paco Rabanne. In 1966 he inaugurated his ‘breakout’ show: “Twelve Unwearable Dresses in Contemporary Materials.” These garments were produced with sparkling paillettes and metal discs that were joined through split metal rings by hand. This process of craftsmanship mirrors how time-consuming some of these designs were: using innovative components wasn’t time-efficient but the final result left the audience mesmerized. Their shininess mirrored the one found in spacecraft and spacesuits; making the cosmos that surrounds humanity more tangible. At this point, Rabanne thought about comfort as a minor factor of concern (unlike his predecessors: André Courrèges or Pierre Cardin.) He believed in the uniqueness of his attire and conceived it as timeless. Such is his judgment that during the 2017 ready-to-wear Autumn collection, Rabanne made a huge comeback and brought Space Age fashion back to the runway: the shiny and iridescent metallic fabrics were seen again not only on the catwalk but on the streets. Karl Lagerfeld for Chanel also produced cost-worthy silver textiles that could be appreciated for their “Rocket Launch” collection during this same year. Rabanne initiated a passion for the use of unusual materials that relate to today’s context of sustainability and waste.

Conclusion

Without a doubt, this trend has left remarkable moments within Western society. It has shown a craving to go beyond any boundaries established, any shapes/silhouettes studied, and any ideas accepted. Space Age fashion was truly embraced by a community passionate about autonomy and citizenship, unity. Designers went from embracing a trend to creating a new one: ambition is what best characterized their spirit for renewal. They managed to thrive economically, to be accepted (even nowadays) by several nations, not only Western but Occidental, and introduced new materials we perceive as being ‘ordinary’ as a novelty for the time. They accomplished the popularisation and expansion of the 60’s zeitgeist remodelling it into a sempiternal trend. Space Age fashion is eternal.

Essay on Hippies Fashion

“Fashion thrives on its reputation for being lawless and the most famous notions of irresponsibility have captured the media and gained public recognition.” Lucy Siegle, journalist, founder of Observer Ethical Awards, and TV presenter.

The concept of ethical fashion, it’s not new, although it is a substantial topic of discussion in the industry at this moment in time as climate change and environmental awareness have become leading social and political issues. The fashion industry has a poor record of ethical practices, with concerns being raised regarding the use and fabrication of synthetic fibers, unethical cultivation of cotton, exploitative labor practices, and fur farming.

In this essay, I am going to analyze how in the mid-1960s, the Hippies, a counterculture born in San Francisco inspired by music, art, and politics going against the dominant norms of the time, applied sustainability to fashion and made it appealing to a young audience.

In 1962, a book that started moving people’s conscience toward the issue of sustainability came out, was Rachel Carson’s Silent Spring, an environmental science book that focuses on themes like the damage done to the environment due to the incessant use of chemicals. The offenders included cotton growers and textile manufacturers. Cotton growers were to blame because of the large amounts of pesticides and fertilizers used to produce greater crop yields, while textile manufacturers discharged chemicals into local rivers and streams through their mills. Environmental issues suddenly became a topic of discussion and they found their voice in a community of young people that shared values like opposition to the war in general and the Vietnam War in particular, rejection of the soulless consumerism that surrounded them, and a desire to get back to nature. They created their own life by their way of life. Hippie fashion was characterized by bold patterns and colors, and free-flowing clothes, from peasant blouses and skirts to bell-bottom trousers and vests and long hair for both men and women, but hippie fashion was more than mere rejection of sobriety and traditionalism, as it was often used to make a political statement. Wearing a Khaki army surplus jacket with a flower in the buttonhole encompassed their beliefs of peaceful protesting against the Vietnam War. The vast majority of the clothes the Hippies were wearing were bought from secondhand shops and often customized or handmade, using organic fabric. Though they were against mainstream fashion, their established culture, style, and fashion are still prevailing in our contemporary fashion.

In recent years, the term sustainability has gained more and more popularity in the fashion industry and many designers and organizations around the world have started to make the shift to a more ethical approach. But it is not enough to fulfill the mass demand. For establishing sustainable fashion, we should focus on all the elements of sustainability that already exist in our surroundings. For example, local handicrafts, handloom, garments wastage & second-hand clothes.

In recent years, the term sustainability has gained more and more popularity in the fashion industry and many designers and organizations around the world have started to make the shift to a more ethical approach. But it is not enough to fulfill the mass demand. For establishing sustainable fashion, we should focus on all the elements of sustainability that already exist in our surroundings. For example, local handicrafts, handloom, garments wastage & second-hand clothes.

Essay on Fashion Stereotypes

Androgynous chooses an identity that can be explained as an altered blend of both or mixed male or female identity. True androgyny lies in the absence of gender binaries and their associations. Designers who have managed to create androgynous fashion are typically the ones who erase masculine and feminine differences. Androgyny refers to someone’s physical appearance or presentation and doesn’t necessarily correlate to a gender or sexual orientation.

As ANDROGYNOUS FASHION is genderless it sometimes raises political thread, whereby issues of feminism and the gay rights movement have intersected with expressing a non-binary aesthetic to clothing. Example: A woman carrying a pantsuit or a man wearing makeup or heels. The best example is Luisa Capetillo an adult woman activist in Puerto Rico she started wearing a suit and a tie in public.

Androgynous fashion began before it became a symbol of style and fashion. Women started to enter the workforce, political and social changes impacted fashion, and they wore suits, ties, and tuxedos in public which was not at all common in the 1920’s.In the same era, Coco Chanel introduced women’s trousers and influenced and inspired women like Katherine Hepburn to carry on the trend of pants as they are so comfortable compared to the ‘typical’ feminine clothing like those long big skirts women used to wear twenty-four seven.

Then the end of World War II working women wore this style of clothing by default as it was more comfortable and practical as they had long working hours. Cinema had played a huge role in embracing Androgynous Fashion, men took pride in their physical appearance by using hair products and beauty products like makeup for the plays. Example: James Dean acted as a pioneer with his dramatic hairstyles and quirky style of clothing, he paved the way forward to a modern way of thinking and dressing. The shift was accelerated by the army recruiting female spies, who had to wear special uniforms comprised of jackets and dresses over trousers. Women then were perceived as wearing outfits of men.

Elizabeth first showed “this unique style” to her cousin Elizabeth Cady Stanton, an American social activist, abolitionist, and leading figure of the early women’s rights movement. Caddy was very impressed with the look and the freedom of the movement and about her experience of wearing trousers and being comfortable.

There was an introduction of FLAPPER STYLE consisting of trousers and a ‘chic bob’ hairstyle marketed as the latest trend in women’s fashion. The flapper style gained much popularity with celebrities during the 1930s the glamorous German actress Marlene Dietrich was one of the first cinema stars to adopt adapt flapper androgynous style. Marlene Dietrich was often seen wearing trousers and suits at movie premiers. From then on androgynous fashion became widely adopted by celebrities and fans from all over the world.

The ‘persona’ was introduced to the public when David launched his music album ‘The Rise and Fall of Ziggy Stardust and Spiders from Mars’. David described it as a reflection of his sexual ambiguity under the influence of pop culture and cinema stars androgynous fashion made its mark.

Since historic times the word ‘androgyny’ has been synonymously used with the term ‘hermaphrodite’, which means possessing a combination of both masculine and feminine characteristics. Androgyny is all about nonconformity. A gender-bending movement in fashion to fill any gender gaps. Androgynous style and clothing has been a runway staple in the West and it is making its way in dominating the Indian market.

In India, androgyny is not thought of as an odd mixture of sexual organs but is viewed as a fortunate combination of male and female qualities. According to Indians men and women are incomplete without each other. Together they are complete with each part helping the other.

India is slowly accepting inclusivity and warming up to the LGBTQI+ community, especially after bidding goodbye to the law discriminating against homosexuality. It aims to break the gender binary rules of society through clothing and using the stage as a means of silent protest and expression.

In contrast, androgynous fashion has been present since the 1900s, but was limited to big designer houses and was worn mainly by people in Hollywood showbiz but is slowly making its way to the Indian film industry by dominating one runway at a time. Every year, designers are blending fabrics, experimenting with cuts and silhouettes foraying into the world of genderless clothing with some or other new concept.

Modern androgyny started slow but the Turning point was Lakme fashion week 2013 one particular womenswear designer managed to turn heads and get the attention of the industry with his curious long tunics with side slits. The tunic, fitted brilliantly into the wardrobe of both men and women. And then soon after another domination was in 2015, when Ranveer Singh known for his bold and outrageous sense of fashion wore skirts for the promotion of his movie Bajirao Mastani, bringing embracing androgyny and this trend into the spotlight. After which Ayushmann Khurrana and Irfan Khan were seen wearing similar outfits.

It expresses power rather than gender. Power has traditionally been associated with men. Through androgynous silhouettes, there is a sense of power being transferred to women. Making women look more masculine than men — not only does this change gender stereotypes, but it is also an empowering gesture. It also started symbolizing how important is for women to be financially independent and professionally successful.

Today many designers are also approaching models who are open to adapting and carrying androgynous clothing. There are certain campaigns, catalogs, and fashion shows where people get a chance to showcase androgynous attire. Today Indian fashion designers are playing a huge role in changing our outlook on the way we look at clothes. Designers like Rohit Bal and Rajesh Pratap Singh have introduced drapes, floral patterns, and free-flowing folds into their collections. These designers and many others are slowly blurring the idea of ‘feminine’ and ‘masculine’ clothing.

People in India are slowly adapting androgynous styles of dressings breaking the gender binary rules which is visible in modifications to the traditional Indian garments. For Example, Dhoti which was considered a traditional attire for men is now worn by women as well, and Anarkali which is a dress-like silhouette that was traditionally adorned by women is now given as a variation to the traditional masculine sherwani.

Many Bollywood actors have incorporated androgynous clothing in their wardrobe/style and have made fashion statements for promoting their movies, magazine cover shoots, and breaking gender norms in fashion.

Jim Sarbh made a statement by wearing a flowy outfit with trumpet sleeves and a traditional Indian kurta/Anarkali style dress with a floral print.

Designers soon started adding masculine influences. Silhouettes started having masculine influences. For instance: Detailing on collars, adds a sense of masculinity to women’s clothes. From shirts and bombers to boxy shorts and boyfriend jackets, bold graffiti-esque slogan prints from your boyfriend’s closet, and vice versa, the gender lines started blurring step by step

Home-ground brands have curated Indian fashion labels that have successfully managed to champion genderless in their collections.

• Kallol Datta

Kallol Datta’s designs are conceptualized while keeping in mind the fabric and material and not the consumer’s gender. Her designs were famously known for fluid silhouettes.

• NorBlack NorWhite

NorBlack NorWhite (NBNW) is a brand known for coming together with modern silhouettes and refined techniques of traditional Indian handicrafts. Most of the pieces of clothing comprise unisex separates with no distinctions made concerning prints, fabrics, or silhouettes.

• Bobo Calcutta:

This label is popularly known as Bobo describes himself as a ‘lover of art, obsession, and illusive modern expressionism, history and fashion’. This label is a reflection of the core belief of love being the basis of all things. Clothes are inspired from paintings because as art has no gender his clothes also have no gender.

Alan Alexander Kaleekal is a label that has become known for using Indian handicrafts and handloom fabrics and for garments with baggy silhouettes that are cut from a single block of fabric, for minimal fabric wastage. The majority of the garments are limited to a very neutral palette of black and white.

Rimi Nayak, a womenswear designer taking up androgynous fashion aesthetics, worked on menswear detailing in her collection for Lakme fashion week- ‘Some of my silhouettes have masculine influences. Detailing on collars, for instance, adds a sense of masculinity to women’s clothes. I even have one ensemble where a man’s tie is printed onto a top. From shirts and bombers to boxy shorts and boyfriend jackets, the gender lines are being blurred and I am happy to endorse this trend,” says the designer.

Soon androgynous fashion furthered the case for un-gendered styles and inspired even mega high-street brands like Zara, Topshop, H&M, and New Look to launch special collections without gender tags. Every day one or other person is including androgynous fashion in their wardrobe because it’s not just style, fashion, or trend it signifies one’s expression and power. The fashion is not a fad, it is here to stay.

Though India is slowly accepting androgynous fashion, it still has a long way to go. Different people have different opinions towards androgynous fashion, We shall conduct several surveys and interviews to assess the evolving perceptions about androgynous fashion.

You will be responsible for researching and creating a video presentation about

You will be responsible for researching and creating a video presentation about innovations that are currently being explored, beta tested, and/or implemented in a retail environment, preferably fashion retailing. You will conduct extensive research on the innovation and use reputable sources. Once you have selected a retail innovation, please go to BB and write a detailed description of your retail innovation topic in the discussion board forum labeled “Video Presentation Retail Innovation Topic”. Once a topic is selected, no one else can use the innovation. In other words, topics are a first-come-first-serve basis. The instructor will make the final decision as to the relevancy of the topic, so make sure to get confirmation prior to beginning the assignment. This project will be worth 80 points. Two components will be graded for this project: Content (55 pts) and Presentation (25 pts).  The topic I chose for you to do for this assignment is 3D printing in fashion retail to revolutionize how clothing and accessories are designed and produced. 3D printing technology has emerged as a game-changer in the fashion industry, offering unprecedented capabilities in customization, sustainability, and design innovation. Unlike traditional manufacturing methods, which are subtractive processes involving cutting and shaping materials, 3D printing is additive, building items layer by layer based on digital models. In conclusion, 3D printing represents a transformative innovation in fashion retail, offering unparalleled opportunities for customization, sustainability, and design creativity. As the technology continues to evolve and become more accessible, it has the potential to reshape the future of fashion, making it more personalized, sustainable, and responsive to consumer preferences.