Academic literature on the topic 'CASUAL APPAREL BRANDS'

Purpose The purpose of this paper is to analyze the post type of the official account of the Korean fashion brands on Instagram and to analyze the images and keywords according to the use of the hashtag in it. This study also will provide data of how fashion brands use the new media of Instagram and how they promote it. Design/methodology/approach This study investigated the types of postings and keywords of hashtag(#) of fashion brand’s official Instagram account in order to analyze the post type and keyword. In total, six apparel brand companies were selected, with two in each of three categories (classic casual brand, outdoor sports brand and designer character brand), and seven types of postings were classified (lookbook and product, collection, broadcasting ads, brand issue, sensibility pictures, sponsorship and event). The frequencies were collected according to their types that were confirmed by four fashion major specialists. Findings First, the proportion of the types of postings varied according to the characteristics of the brand. Second, the six brands used keywords of a symbol because it is important to convey brand identity. Third, the sensibility keywords of each brand were investigated, and one of the designer character brands used only practical keywords without sensibility keywords. Fourth, this study examined the number of Instagram hashtags and hearts to determine if the reaction was in alignment with the marketing trends of the company’s official Instagram account and consumers. One of the classic casual brands, one of the outdoor sports brands and both designer character brands showed a high proportion of types of posts on Instagram that well matched with consumer response. As a hypothesis of this study, it was supported that the posting types of images and hashtags will be different according to the characteristics of brand. Originality/value Instagram is the fastest growing social network service (SNS) globally, especially among young adults. Instagram is noted for its strong SNS marketing but it has not been well researched in the apparel industry. The study results will help improve the brand image and promotion by using official Instagram account in the apparel industry.

The aim of this paper is to study the concept of brand love among Indonesian youths. According to triangular theory of love, there is a three dimensional of brand love. Further, the study uncover the relationship between variables used in this research as well as provide the theoretical framework for revealing the concept of wearing casual apparels. Additionally, this empirical research employed 88 respondents for gathering the data requirements. This study employs SEM AMOS in order to analyze the data. These exploratory result indicates that the concept of brand love in Indonesia is affected by several constructs called brand passion, brand intimacy, social media use, purchase intention, and brand advocacy. These findings generate the possibility for future research into brand love using the concept of triangular theory of love in order to gather deeper understanding how the changes in the perceptions of self-influence the brand love.

Multilateral developments in the millennium era have led to an increase in social welfare around the world, with the exception of the less developed countries. Technology has offered people more comfortable living conditions. Thus, people have the opportunity to follow and experience new fashion events quickly and easily in many activities in their private lives. These experiences have supported both individual and common life to be more qualified, healthful and entertaining. According to Global Dimensional Industrial Analysis Reports of 2017, with an increasing rate of participation in sportive activities and people's awareness of health, fitness and sportswear market is expected to reach 231.7 billion dollars, by 2024. Taking into account these expectations, world-renowned luxury fashion designers has orientated to Athleisure clothing collections regarded as the new luxury. Emerged with the modern age and prepared for physical activities and leisure time, the function-purpose sports apparels eventually have come into use extendedly during the day. Especially after the 1990s, the concept of “new luxury” and the properties of the garments prepared for sports activities were combined with the design of formal clothes and business casuals. The Athleisure wear emerged from this reunion (which can be translated into Turkish as a recreation, sport-stylish clothing/elegant leisure wear) has revealed the trend of new fashion clothes. This trend has mass product characteristics in terms of design, production, distribution and price formation strategies, and also offers consumers a more comfortable use in terms of positioning and promotion strategies. Thus, new consumption and production behaviors are formed, in comparison with the past. The aim of this study is to investigate the development of Athleisure wear production which emerged with modern age. For this purpose, the question of the research has designed that What are the product characteristics of the Athleisure wear type of the brands that produce in different market segments? The study aims to explain the answers to the questions that what & how? For this reason, it is a qualitative research based on descriptive, and evaluation for interpreting the process. The materials of the study consist of 10 brands, which are considered to be the most valuable brands in the global scale from past to present. The examples in the study were chosen by the brands' innovative Athleisure wear on the market. In the study, the data collected by document scans and visual media records have been used, printed and on-line. In the findings, selected samples reflecting the change in the properties of new Athleisure products were discussed in regard to design, technologic and production process. As a result of the research, the subsequence of the new fashion trends were inferred. Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet Milenyum çağındaki çok yönlü gelişmeler, az gelişmiş ülkeler dışında, dünya genelinde toplumsal refahın artmasını sağlamıştır. Teknoloji insanlara daha rahat yaşam koşulları sunmuştur. Böylece insanlar, özel yaşamlarındaki pek çok aktivitede, yeni moda etkinlikleri hızlı ve kolaylıkla takip etme ve deneyimleme şansını bulmuştur. Bu deneyimler, bireysel ve ortak yaşamın daha kaliteli, sağlıklı ve keyifli olmasını desteklemiştir. 2017 yılının Küresel Boyutlu Endüstri Analiz Raporlarına göre, insanların sağlık bilincinin ve spor etkinliklerine katılım oranının artmasıyla, 2024 yılına kadar fitness ve spor giyim pazarının 231,7 milyar dolara ulaşması beklenmektedir. Dünyaca ünlü lüks moda tasarımcıları, bu beklentileri dikkate alarak Athleisure giyim koleksiyonlarına yönelmektedirler. Modern çağla birlikte ortaya çıkan, iş dışındaki zamanlarda ve fiziksel aktiviteler için hazırlanan fonksiyonel amaçlı spor giysiler, zamanla gün içerisinde daha uzun süreli kullanıma girmiştir. Özellikle 1990’lardan sonra “yeni lüks” adı verilen kavram ile spor aktiviteleri için hazırlanan giysi özellikleri, daha resmi olan iş ve iş dışı ortamlar için planlanan giysi tasarımlarıyla birleştirilmiştir. Bu birleşmeden doğan Türkçeye günlük spor-şık giyim/rekreasyon giyimi olarak çevrilebilecek Athleisure giyim (Athleisure wear) yeni moda giysi trendi ortaya çıkmıştır. Bu trend, tasarım, üretim, dağıtım ve fiyatlandırma stratejileri açısından kitlesel ürün özellikleri taşımakta, konumlandırma ve tutundurma stratejileri açısından, tüketiciye daha konforlu bir kullanım imkânı sunmaktadır. Böylece, geçmişe oranla yeni tüketim ve üretim davranışları oluşturulmaktadır. Bu çalışmanın amacı, modern çağla birlikte ortaya çıkan Athleisure giysi üretimindeki gelişimi incelemektir. Bu amaçla araştırmada “farklı pazar bölümlerine üretim yapan markaların Athleisure giyim türündeki ürün özellikleri nelerdir? Sorusunun cevabı aranmıştır. Çalışma “ne-nasıl ?” sorularının cevaplarını açıklamayı hedeflediği için tanımlayıcı, açıklayıcı ve süreci yorumlama amaçlı değerlendirmeye dayalı nitel bir araştırmadır. Çalışmanın evreni, geçmişten günümüze küresel boyutta en değerli markalar olarak kabul edilen 10 markayı kapsamaktadır. Çalışmadaki örnekler, markaların inovatif Athleisure giyim tarzında pazara sürdükleri ürünlerin en karakteristik özelliklerini yansıtanlar arasından seçilmiştir. Bulgularda, spor giyimden yeni Athleisure giyime doğru değişimi yansıtan örnekler irdelenmiştir. İncelemeler, tasarım, teknoloji ve üretim süreci yönünden tartışılarak gelecekteki moda giyim eğilimlerinin seyrine yönelik çıkarımlarda bulunulmuştur.

Outfitters and Ethnic is brilliantly running its business nationwide, directly emphasising product differentiation. They believe that Fashion is a celebration of individual style, and they target youngsters who own their personal style and individuality. They have a street-ready mix of casual, sporty and semi-formal looks, all in zesty shades. They strive to remove traditional boundaries from the apparel sector. Even after being involved in the fierce competition, they managed to sustain their market position. The failure to enter into international boundaries, financial crisis, export and import restrictions, discount-oriented customers, more bargaining power of customers than ever and other challenges have made them a stronger brand that every Pakistani would love to own. This case provides insights from their marketing department into their operations and how they overcame challenges.

Postmodernism is supposed to identify the conditions of contemporary cultural production when human affairs in general, and the dissemination of prevailing ideas in particular, have become fully enmeshed in relations of commodity exchange. (Martin 2002, p. 30) The accumulation of capital within industrial economies keyed on the surplus value derived from the production of raw materials into mass manufactured products, and their subsequent exchange in the capitalist marketplace. Within what Poster (1990) described as the contemporary mode of information , surplus capital is generated from the manufacturing of product’s symbolic values, which in turn substantiate their use and ultimately exchange values within the consumer market. This, in essence, is the centrifugal process undermining the brand (Klein 1999), promotional (Wernick 1991), or commodity sign (Goldman and Papson 1996), culture that characterizes contemporary capitalism: Through the creative outpourings of “cultural intermediaries” (Bourdieu 1984) working within the advertising, marketing, public relations, and media industries, commodities—routinely produced within low wage industrializing economies—are symbolically constituted to global consuming publics. This postmodern regime of cultural production is graphically illustrated within the sporting goods industry (Miles 1998) where, in regard to their use value, highly non-differentiated material products such as sport shoes are differentiated in symbolic terms through innovative advertising and marketing initiatives. In this way, oftentimes gaudy concoctions of leather, nylon, and rubber become transformed into prized cultural commodities possessing an inflated economic value within today’s informational-symbolic order (Castells 1996). Arguably, the globally ubiquitous Nike Inc. is the sporting brand that has most aggressively and effectively capitalized upon what Rowe described as the “culturalization of economics” in the latter twentieth century (1999, p. 70). Indeed, as Nike Chairman and CEO Phil Knight enthusiastically declared: For years, we thought of ourselves as a production-oriented company, meaning we put all our emphasis on designing and manufacturing the product. But now we understand that the most important thing we do is market the product. We’ve come around to saying that Nike is a marketing-oriented company, and the product is our most important marketing tool. What I mean is that marketing knits the whole organization together. The design elements and functional characteristics of the product itself are just part of the overall marketing process. (Quoted in (Willigan 1992, p. 92) This commercial culturalization of Nike has certainly sparked considerable academic interest, as evidenced by the voluminous literature pertaining to the various dimensions of its practices of cultural production (Donaghu and Barff 1990; Ind 1993; Korzeniewicz 1994; Cole and Hribar 1995; Boje 1998; Goldman and Papson 1998; Lafrance 1998; Armstrong 1999; Denzin 1999; Penaloza 1999; Sage 1999; Lucas 2000; Stabile 2000). Rather than contribute to this body of work, our aim is to engage a sporting shoe company attempting to establish itself within the brand universe defined and dominated by Nike. For this reason we turn to German-based Puma AG: a dynamic brand-in-process, seeking to differentiate itself within the cluttered sporting landscape, through the assertion of a consciously fractured brand identity designed to address a diverse range of clearly-defined consumer subjectivities. Puma’s history can be traced to post-war Germany when, in 1948, a fraternal dispute compelled Rudolf Dassler to leave Adidas (the company he founded with his brother Adi) and set up a rival sports shoe business on the opposite bank of the Moselle river in Herzogenaurach. Over the next three decades the two companies vied for the leadership in the global sports shoe industry. However, the emergence of Nike and Reebok in the 1980s, and particularly their adoption of aggressive marketing strategies, saw both Adidas and Puma succumbing to what was a new world sneaker order (Strasser and Becklund 1991). Of the two, Puma’s plight was the more chronic, with expenditures regularly exceeding moribund revenues. For instance, in 1993, Puma lost US$32 million on sales of just US$190 million (Saddleton 2002, p. 2). At this time, Puma’s brand presence and identity was negligible quite simply because it failed to operate according to the rhythms and regimes of the commodity sign economy that the sport shoe industry had become (Goldman and Papson 1994; 1996; 1998). Remarkably, from this position of seemingly terminal decline, in recent years, Puma has “successfully turned its image around” (Saddleton 2002, p. 2) through the adoption of a branding strategy perhaps even more radical than that of Nike’s. Led by the company’s global director of brand management, Antonio Bertone, Puma positioned itself as “the brand that mixes the influence of sport, lifestyle and fashion” (quoted in (Davis 2002, p. 41). Hence, Puma eschewed the sport performance mantra which defined the company (and indeed its rivals) for so long, in favour of a strategy centered on the aestheticization of the sport shoe as an important component of the commodity based lifestyle assemblages, through which individuals are encouraged to constitute their very being (Featherstone 1991; Lury 1996). According to Bertone, Puma is now “targeting the sneaker enthusiast, not the guy who buys shoes for running” (quoted in (Davis 2002, p. 41). While its efforts to “blur the lines between sport and lifestyle” (Anon 2002, p. 30) may explain part of Puma’s recent success, at the core of the company’s turnaround was its move to diversify the brand into a plethora of lifestyle and fashion options. Puma has essentially splintered into a range of seemingly disparate sub-brands each directed at a very definite target consumer (or perceptions thereof). Amongst other options, Puma can presently be consumed in, and through: the upscale pseudo-Prada Platinum range; collections by fashion designers such as Jil Sander and Yasuhiro Mihara; Pumaville, a range clearly directed at the “alternative sport” market, and endorsed by athletes such as motocross rider Travis Pastrana; and, the H Street range designed to capture “the carefree spirit of athletics” (http://www.puma.com). However, Puma’s attempts to interpellate (Althusser 1971) a diverse array of sporting subjectivies is perhaps best illustrated in the “Nuala” collection, a yoga-inspired “lifestyle” collection resulting from a collaboration with supermodel Christy Turlington, the inspiration for which is expressed in suitably flowery terms: What is Nuala? NUALA is an acronym representing: Natural-Universal-Altruistic-Limitless-Authentic. Often defined as "meditation in motion", Nuala is the product of an organic partnership that reflects Christy Turlington's passion for the ancient discipline of Yoga and PUMA's commitment to create a superior mix of sport and lifestyle products. Having studied comparative religion and philosophy at New York University, model turned entrepreneur Christy Turlington sought to merge her interest in eastern practices with her real-life experience in the fashion industry and create an elegant, concise, fashion collection to complement her busy work, travel, and exercise schedule. The goal of Nuala is to create a symbiosis between the outer and inner being, the individual and collective experience, using yoga as a metaphor to make this balance possible. At Nuala, we believe that everything in life should serve more than one purpose. Nuala is more than a line of yoga-inspired activewear; it is a building block for limitless living aimed at providing fashion-conscious, independant women comfort for everyday life. The line allows flexibility and transition, from technical yoga pieces to fashionable apparel one can live in. Celebrating women for their intuition, intelligence, and individuality, Nuala bridges the spacious gap between one's public and private life. Thus, Puma seeks to hail the female subject of consumption (Andrews 1998), through design and marketing rhetorics (couched in a spurious Eastern mysticism) which contemporary manifestations of what are traditionally feminine experiences and sensibilities. In seeking to engage, at one at the same time, a variety of class, ethnic, and gender based constituencies through the symbolic advancement of a range of lifestyle niches (hi-fashion, sports, casual, organic, retro etc.) Puma evokes Toffler’s prophetic vision regarding the rise of a “de-massified society” and “a profusion of life-styles and more highly individualized personalities” (Toffler 1980, pp. 231, 255-256). In this manner, Puma identified how the nurturing of an ever-expanding array of consumer subjectivities has become perhaps the most pertinent feature of present-day market relations. Such an approach to sub-branding is, of course, hardly anything new (Gartman 1998). Indeed, even the sports shoe giants have long-since diversified into a range of product lines. Yet it is our contention that even in the process of sub-branding, companies such as Nike nonetheless retain a tangible sense of a core brand identity. So, for instance, Nike imbues a sentiment of performative authenticity, cultural irreverence and personal empowerment throughout all its sub-brands, from its running shoes to its outdoor wear (arguably, Nike commercials have a distinctive “look” or “feel”) (Cole and Hribar 1995). By contrast, Puma’s sub-branding suggests a greater polyvalence: the brand engages divergent consumer subjectivities in much more definite and explicit ways. As Davis (2002, p. 41) emphasis added) suggested, Puma “has done a good job of effectively meeting the demands of disparate groups of consumers.” Perhaps more accurately, it could be asserted that Puma has been effective in constituting the market as an aggregate of disparate consumer groups (Solomon and Englis 1997). Goldman and Papson have suggested the decline of Reebok in the early 1990s owed much to the “inconsistency in the image they projected” (1996, p. 38). Following the logic of this assertion, the Puma brand’s lack of coherence or consistency would seem to foretell and impending decline. Yet, recent evidence suggests such a prediction as being wholly erroneous: Puma is a company, and (sub)brand system, on the rise. Recent market performance would certainly suggest so. For instance, in the first quarter of 2003 (a period in which many of its competitors experienced meager growth rates), Puma’s consolidated sales increased 47% resulting in a share price jump from ?1.43 to ?3.08 (Puma.com 2003). Moreover, as one trade magazine suggested: “Puma is one brand that has successfully turned its image around in recent years…and if analysts predictions are accurate, Puma’s sales will almost double by 2005” (Saddleton 2002, p. 2). So, within a postmodern cultural economy characterized by fragmentation and instability (Jameson 1991; Firat and Venkatesh 1995; Gartman 1998), brand flexibility and eclecticism has proven to be an effective stratagem for, however temporally, engaging the consciousness of decentered consuming subjects. Perhaps it’s a Puma culture, as opposed to a Nike one (Goldman and Papson 1998) that best characterizes the contemporary condition after all? Works Cited Althusser, L. (1971). Lenin and philosophy and other essays. London: New Left Books. Andrews, D. L. (1998). Feminizing Olympic reality: Preliminary dispatches from Baudrillard's Atlanta. International Review for the Sociology of Sport, 33(1), 5-18. Anon. (2002, December 9). The Midas touch. Business and Industry, 30. Armstrong, K. L. (1999). Nike's communication with black audiences: A sociological analysis of advertising effectiveness via symbolic interactionism. Journal of Sport & Social Issues, 23(3), 266-286. Boje, D. M. (1998). Nike, Greek goddess of victory or cruelty? Women's stories of Asian factory life. Journal of Organizational Change Management, 11(6), 461-480. Bourdieu, P. (1984). Distinction: A social critique of the judgement of taste. Cambridge: Harvard University Press. Castells, M. (1996). The rise of the network society: Blackwell Publishers. Cole, C. L., & Hribar, A. S. (1995). Celebrity feminism: Nike Style - Post-fordism, transcendence, and consumer power. Sociology of Sport Journal, 12(4), 347-369. Davis, J. (2002, October 13). Sneaker pimp. The Independent, pp. 41-42. Denzin, N. (1999). Dennis Hopper, McDonald's and Nike. In B. Smart (Ed.), Resisting McDonalidization (pp. 163-185). London: Sage. Donaghu, M. T., & Barff, R. (1990). Nike just did it: International subcontracting and flexibility in athletic footwear production. Regional Studies, 24(6), 537-552. Featherstone, M. (1991). Consumer culture and postmodernism. London: Sage. Firat, A. F., & Venkatesh, A. (1995). Postmodern perspectives on consumption. In R. W. Belk, N. Dholakia & A. Venkatesh (Eds.), Consumption and Marketing: Macro dimensions (pp. 234-265). Cincinnati: South-Western College Publishing. Gartman, D. (1998). Postmodernism: Or, the cultural logic of post-Fordism. Sociological Quarterly, 39(1), 119-137. Goldman, R., & Papson, S. (1994). Advertising in the age of hypersignification. Theory, Culture & Society, 11(3), 23-53. Goldman, R., & Papson, S. (1996). Sign wars: The cluttered landscape of advertising. Boulder: Westview Press. Goldman, R., & Papson, S. (1998). Nike culture. London: Sage. Ind, N. (1993). Nike: Communicating a corporate culture. In Great advertising campaigns: Goals and accomplishments (pp. 171-186). Lincolnwood: NTC Business Books. Jameson, F. (1991). Postmodernism, or, the cultural logic of late capitalism. Durham: Duke University Press. Klein, N. (1999). No Logo: Taking aim at brand bullies. New York: Picador. Korzeniewicz, M. (1994). "Commodity chains and marketing strategies: Nike and the global athletic footwear industry." In G. Gereffi & M. Korzeniewicz (Eds.), Commodity chains and global capitalism (pp. 247-265). Westport: Greenwood Press. Lafrance, M. R. (1998). "Colonizing the feminine: Nike's intersections of postfeminism and hyperconsumption." In G. Rail (Ed.), Sport and postmodern times (pp. 117-142). New York: State University of New York Press. Lucas, S. (2000). "Nike's commercial solution: Girls, sneakers, and salvation." International Review for the Sociology of Sport, 35(2), 149-164. Lury, C. (1996). Consumer culture. Cambridge: Polity Press. Martin, R. (2002). On your Marx: Rethinking socialism and the left. Minneapolis: University of Minnesota Press. Miles, S. (1998). Consumerism: As a way of life. London: Sage. Penaloza, L. (1999). "Just doing it: A visual ethnographic study of spectacular consumption behavior at Nike Town." Consumption, Markets and Culture, 2(4), 337-400. Poster, M. (1990). The mode of information: Poststructuralism and social context. Chicago: University of Chicago Press. Puma.com. (2003). Financial results for the 1st quarter 2003. Retrieved 23 April, from http://about.puma.com/ Rowe, D. (1999). Sport, culture and the media: The unruly trinity. Buckingham: Open University Press. Saddleton, L. (2002, May 6). How would you revive a flagging fashion brand? Strategy, 2. Sage, G. H. (1999). Justice do it! The Nike transnational advocacy network: Organization, collective actions, and outcomes. Sociology of Sport Journal, 16(3), 206-235. Solomon, M. R., & Englis, B. G. (1997). Breaking out of the box: Is lifestyle a construct or a construction? In S. Brown & D. Turley (Eds.), Consumer research: Postcards from the edge (pp. 322-349). London: Routledge. Stabile, C. A. (2000). Nike, social responsibility, and the hidden abode of production. Critical Studies in Media Communication, 17(2), 186-204. Strasser, J. B., & Becklund, L. (1991). Swoosh: The unauthorized story of Nike and the men who played there. New York: Harcourt Brace Jovanovich. Toffler, A. (1980). The third wave. New York: William Morrow. Wernick, A. (1991). Promotional culture: Advertising, ideology and symbolic expression. London: Sage. Willigan, G. E. (1992). High performance marketing: An interview with Nike's Phil Knight. Harvard Business Review(July/August), 91-101. Links http://about.puma.com/ http://www.puma.com Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Grainger, Andrew D. and Andrews, David L.. "Postmodern Puma" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0306/08-postmodernpuma.php>. APA Style Grainger, A. D. & Andrews, D. L. (2003, Jun 19). Postmodern Puma. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0306/08-postmodernpuma.php>

From influencers to established travel brands to casual consumers, there are a number of existing organisms in the online ecosystem of Instagram simultaneously producing and consuming content. At first glance, the nature of these relationships seems simple - sharing and engaging via a visual medium - but upon prolonged review, deeper questions about the interwoven complexity existing between these organisms and their content emerge. The authors illuminate several discernible patterns through a deep theoretical framing of the gaze, mimetic reproduction and ownership followed by a conceptual modelling through a review of everyday Instagramic practices. What becomes apparent are a number of stages of development in this process. Firstly, the practice of photographic mimicry becomes a form of consumption in which the consumer ‘consumes places’ vicariously across space and time, making image reproduction an embodied practice. Secondly, the Instagram fee of an individual consumer (or influencer) becomes a sort of living autobiography, curating and aggrandizing the glossiest images which form a projected extension of self that is not grounded necessarily in authenticity, but in reproduction. Finally, the proliferation of communication between consumer and consumer reproduces a surrogate type that creates a constantly evolving circular content loop where the flow of influence and information becomes muddled and originality becomes less distinguishable. This paper critically explores how Instagram has collapsed traditional influence and consumer relationships particularly in how tourist experience and imagery are shared, resulting in a complex online community that resembles a cultural colonial organism fed by communication feedback loops. The result of this paper is the positioning of a surrogate tourist embodied within a collection of individual entities performing specialized tasks dependent on other individuals in the community in which the function and nature of the individual recedes in importance to the relationship existing between organisms.

The relationship between consumers’ decision-making styles and their choice between domestic and imported brand clothing is investigated using a sample of Indian consumers. The multivariate analysis of variance and discriminant analysis results indicate that seven decision-making styles together with other consumer behavioural characteristics can be used to distinguish and profile consumers who prefer to buy domestic, imported or both types of clothing. Empirical findings reveal that consumers who prefer to buy imported brand clothing tend to have a unique lifestyle and shopping orientation that differ from those who prefer domestic brand clothing. Conceptual contributions and managerial implications are discussed. This study was conducted in order to determine the consumer preferences of global brands instead of local ones. It is also designed to find out the buying behavior patterns of young Indian consumers Consumer evaluates products based on information cues, which are intrinsic and extrinsic. A number of factors affect the consumer purchase decisions. The results suggest that most important factors that influence a consumer’s final decision are the price and quality of the product in question. Since the consumers usually associate the price of the brand with its quality, a brand priced too low is generally perceived as a low quality product. Similarly, a product priced too high may not be affordable by many. Other factors that have an impact on the consumer preferences are: consumer ethnocentrism, country of origin, social status, price relativity with the competing brands and family and friends. The research was conducted in Delhi and the samples selected included 50 people of age 16-40. The data collected for the research was through a questionnaire and was conducted in two popular shopping malls of the city and two universities since the target audience was largely the youth. Calculations were then analysed and interpreted using a percentage of respondents and through frequency distribution tables and charts.

碩士
輔仁大學
應用美術學系碩士班
100
One of the masters of management trend in Japan, Kenichi Ohmae pointed out that the continuing expansion of M-shaped social phenomenon has deeply affected all kind of business operation strategy. The global fashion industry is also relatively affected, which resulting in the rise of "affordable fashion" field and becoming an international wave all around the world. Under this circumstance, Taiwan owns abundant benefits for taking advantages of the emergence of the affordable fashion market, by being the biggest OEM (Original Equipment Manufacturer) of global garment industry during the period of 1970’s, to build its own international brand of affordable fashion and business opportunities with excellent cultural image of the brand design strategy. The direction of affordable fashion brand image design is the main topic of this research.

Currently, the Ecuadorian footwear industry faces competitiveness problems with products that enter the country with advantages in terms of quality, design, and price, factors that have captured the preference of local consumers. The purpose of this work is to highlight the value of design in the footwear industry in Ecuador, contributing with a proposal focused on ethnic fashion, using typical and traditional Ecuadorian elements and forms as a strategy of differentiation in the generation of products with identity, which allow competitiveness within the national market and subsequently international. For this purpose, Etnika was born, a brand of traditional Ecuadorian women's casual footwear, that proposes the application of a business model focused on “slow fashion” based on a specific market study, which has shown preference in aspects that involve factors such as new materials, design ethics, eco-friendly manufacturing processes, fair trade, quality, and added value.