<p>This paper studies the impact of market orientation strategy on brand awareness. Zara, a Spanish leading fashion retailer and an example of a brand using this strategy, is compared to three other multinational brands operating in Stockholm, Sweden, namely Topshop, Mango and United Colours of Benetton. The latter brands are known to use advertising to create brand awareness.</p><p>Fashion magazine attention was used as a measure of brand awareness. Data on the brand awareness was gathered by browsing three leading Swedish fashion magazines – Elle, Glamour and Damernas Värld – and the fashion section of the biggest Swedish tabloid, Aftonbladet.</p><p>It was found that market orientation can compete with advertising as a marketing strategy to create brand awareness, but only in part of the market segment. This was concluded from the fact that Zara was featured in some of the magazines, but not all of them.</p>

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Colour forecasting is a sector of trend forecasting which is arguably the most important link in the product development process, yet little is known about it, the methodology behind its development or its accuracy. It is part of a global trend forecasting industry valued recently at $36bn, providing information which is developed commercially eighteen months to two years ahead of the season. Used throughout the garment supply chain, by the yarn and fibre manufacturers, the fabric mills, garment designers and retailers, it plays a pivotal role in the fashion and textile industry, but appears in many different forms. Colour forecasts were first commercially produced in 1917, but became more widely used during the 1970s, and in recent years digital versions of colour forecasts have become increasingly popular. The investigation aimed to establish the historical background of the industry, mindful of the considerable changes to fashion manufacturing and retailing in recent decades. For the purposes of the investigation, a period spanning 25 years was selected, from 1985 to 2010. In reviewing the available literature, and the methodologies currently used in developing forecasting information, it became clear that there was a view that the process is very intuitive, and thus a lack of in depth academic literature. This necessitated a considerable quantity of primary research in order to fill the gaps in the knowledge regarding the development, use and accuracy of colour forecasting. A mixed method approach to primary research was required to answer the aim of the thesis, namely to investigate how colour forecasts are compiled, and examine their use, influence and accuracy within the fashion and textiles industry, suggesting methods for developing more accurate forecasts in the future. Interviews were conducted with industry practitioners comprising forecasters, designers and retailers to better understand how colour was developed and used within industry. Two longitudinal studies were carried out with the two largest UK clothing retailers to map their development and use of colour palettes, and understand better how colour contributes to the critical path and supply chain. Two colour development meetings were observed, one with a commercial colour forecaster, the other with an industry association, and two colour archives were studied to establish whether or not any identifiable and predictable colour cycles existed. Data from the interviews and longitudinal studies were analysed using a grounded approach, and revealed some new insights into the influences upon the development of colour forecasts both commercially and from the retailer's perspective. The sell through rates of merchandise, EPOS analysis and range of practices between those interviewed and the two retailers studied provided an interesting insight into working practices and how colour forecasting information is changed when used by the retailers. It was found that a group of core colours existed, which were used season after season, and consistently demonstrated a high sell through rate, such as black, white, grey and navy. In order to establish whether or not colour cycles were consistently predictable in their repetition, two colour forecasting archives were assessed. If predictable colour cycles existed, they would be a useful tool in developing more accurate forecasts. Unfortunately this was not the case, as no clear colour cycles were found. However, the archive, together with evidence from the retailers demonstrated the 'lifecycle' of fashion colours was longer than expected, as they took time to phase in and out. It was concluded that in general the less fashion led brands used their own signature colours and were able to develop colour palettes far later in the product development timeline. This approach could be adopted more widely by retailers and designers as it was discovered that although accuracy rates for colour forecasts are generally accepted to be around 80%, the commercial forecasters provide colour update cards closer to the season where at least 40% of the colours are changed. Very early information, two years ahead of the season is no longer necessary in the contemporary fashion and textiles industry.

The importance of the retail environment has been a prominent area of research for over four decades, focusing upon the effects of design. The retail environment, like other aesthetic surroundings affects customers’ behaviour, perceptions and attitudes. Yet, while there is a growing body of research regarding design, there is little research to date specifically on fashion retail shopping environments. Technology has made shopping via multiple channels possible and economically feasible, and the demand for more channel options is being driven by the consumer. The significant growth of online retailing has led to the evolution of traditional retailing, developing from a single channel to multi-channel models. This study has used both quantitative and qualitative research methods in order to explain theoretically the online shopping environment cues that contribute towards creating an online fashion shopping environment. As this research is taking into consideration the development of the retail market and the movement of retailers towards multi-channel fashion retailing, design cues which can be replicated, or transferred from a physical shopping environment to an online shopping environment will be discussed. Fashion retailers can use the different channel environments to induce a desired shopping experience for the consumer, facilitate the consumers’ needs and fulfil the retailers’ strategic objectives. This report includes new perspectives on how website design has developed during the past decade as a result of advances in technology and consumer acceptance. This research will identify and develop some important issues related to online environment cues and consumers' perceptions of online design that have not been addressed by previous studies by investigating literature regarding the physical and online shopping environment, design cues that form part of an online fashion environment focusing on the strategic design of an online retail store will be studied.

This degree work aims to tell a story about the force of fashion. Through forced material interactions on body the focus of this study is interaction. Interaction between contrasting materials, body and space and/or catwalk and audience. By forcing materials to act and interact on body this work aims to nd new expressions and ways of making in fashion. To tell this story a design space was made, ‘Wonderland’, a place where all the ‘Wonder Women’ live. These ‘Wonder Women' are like sisters, di erent from the other. The resemblance lies in the interaction and forceful expression. This collection is the result of a thorough material investigation resulting in a lineup of seven looks. Each made in di erent techniques, the possibilities within this study are endless. This work proposes to all within the fashion eld to not be afraid, to step away from the season-hysteria and do what you want. Tell that story, and may the force be with you.

This thesis explores aesthetization in general and fashion in particular in digital technology design and how we can design digital technology to account for the extended influences of fashion. The thesis applies a combination of methods to explore the new design space at the intersection of fashion and technology. First, it contributes to theoretical understandings of aesthetization and fashion institutionalization that influence digital technology design. We show that there is an unstable aesthetization in mobile design and the increased aesthetization is closely related to the fashion industry. Fashion emerged through shared institutional activities, which are usually in the form of action nets in the design of digital devices. “Tech Fashion” is proposed to interpret such dynamic action nets of institutional arrangements that make digital technology fashionable and desirable. Second, through associative design research, we have designed and developed two prototypes that account for institutionalized fashion values, such as the concept “outfit-centric accessory.” We call for a more extensive collaboration between fashion design and interaction design. / <p>At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Accepted. Paper 5: Manuscript.</p>

This work aims to explore the linking of bodyparts and the internal interaction of material, body and motion in order to establish a new relationship between body and dress. The common system in construction of dress is based on an absent body, consequently dividing it into predetermined pieces, where the parts of the body are being isolated from eachother. With the intention of challenging those fixed structures, the work proposes a change of order in dress through a change of practice when investigating the linking possibilities within the body. Based on the elasticity of the moving body and the haptic perception, in terms of constructing directly on the own body, the work presents a series of examples which connects and compose dress from new positions of the body. This should be considered a contribution to what is perceived as dress and bridging the gap in the lacking discussion between body and dress.

The purpose of this thesis is to consider three opposing statements regarding aesthetics in our popular culture. The first statement is that the youth of this age are demolishing the old standards of aesthetic taste and are creating a nonaesthetic; the second statement is that the youth are enlarging the vision and scope of the accepted standard of aesthetic and changing its direction; the thrid statement is that the creations of the youth in our popular culture of today are neither new nor nonaesthetic, but merely a continuation of aesthetics as they are accepted. One statement will be chosen as the most valid of the three.

The ancillary trades of the London based élite fashion industry are the focus of this practice-based research, which is founded in material culture studies. Hitherto these trades have not been the subject of any in depth scholarly work, and therefore this thesis seeks to make a contribution to knowledge by assessing and documenting their historical and contemporary application and significance; by examining and assessing the potential of laser technology to those trades that are concerned with embellishment; and by developing and applying a material culture framework to the execution and analysis of practice. The ancillary trades serve the material production of luxury fashion through the small scale, bespoke manufacturing of items such as artificial flowers and buttons; and the provision of specialist finishes such as bead-work, embroidery and pleating. These trades have developed little over the last century or more and most still involve varying degrees of skilled hand-making processes; but while their French counterparts are widely recognised as crafts, they remain an entity to which scant attention has been paid in assessments of either élite British fashion or of the crafts in Britain. Through a series of material culture analyses this research critically evaluates these trades, examining their contribution to the necessary distinction of historical and contemporary élite fashionable dress, and investigating the making practices and wider circumstances of key trades and practitioners. The contextual research not only situates the empirical practice-based case study in the field of interest but also is significant in informing the aesthetics and techniques invoked in practice. The potential of laser technology is investigated in the production of items of embellishment, alternatives to the more ubiquitous sequins, beads and faux jewels. Presented and critically evaluated within the thesis, the outcomes, a series of embellished textile proposals for the élite fashion industry, are hybrids of industrial process and hand-making techniques. Artefacts are central to this research. The interdisciplinary material culture theory and method of Jules David Prown, foregrounding the artefact as a repository of information, has been adopted for the contextual research and further developed in relation to the analysis of the objects that inform practice, while the outcomes of practice serve as material mnemonics in the retrieval of the intimacies of the making process. Referring to a range of associated literature, archival research and interview findings, the outcomes of the ancillary trades and of practice are examined in the aesthetic, cultural, technological, and socio-economic circumstances of their production and consumption.

Ph.D. (Marketing Management) / As more retailers gain access to similar technologies, information and processes, it is becoming increasingly difficult to establish a sustainable competitive advantage in the marketplace, ensure customer satisfaction and encourage repurchase intention. This is especially true for high fashion retailers, since their higher margin customers have greater expectations to receive value from these high fashion retailers. To succeed in a highly competitive marketplace, high fashion retailers must become adept not just at providing quality products, but also at providing value to their customers. Only those businesses that truly offer the value that customers want and expect, remain competitive in the long term and are able to increase customer satisfaction levels. Higher levels of customer satisfaction leads to improved repurchase intention. It is therefore important for high fashion retailers to ensure that they offer value to their customers. Despite research undertaken in customer value, much debate still exists as to what contributes to customer value and what the relevant customer value dimensions are. Customer value is of managerial interest to high fashion retailers, as these retailers need to identify the dimensions they should focus on to increase the value they are delivering to their customers in order to obtain or retain a sustainable competitive advantage. Customer value leads to customer satisfaction and customer satisfaction in turn is a strong indicator of repurchase intention. This study therefore focuses on uncovering the concept of customer value, with specific emphasis on determining the underlying customer value dimensions from the perspective of the customer shopping at high fashion retail stores. The aim of this study is to propose a multidimensional model of customer value for high fashion retailers, including the interrelationship between customer value, customer satisfaction and repurchase intention.....