La presente investigación tiene como objetivo analizar la influencia que posee el visual merchandising en la experiencia del consumidor generando así una recompra en los diferentes restaurantes temáticos deportivos de Lima, Perú: Estadio, The Corner y The Houlihan's, restaurantes que tienen como foco principal brindar un espacio para el disfrute de deportes nacionales e internacionales con el motivo principal de, a partir de datos comprobados, impulsar los negocios de acuerdo con las nuevas demandas del mercado. Esta investigación fue estudiada con una población de 202 participantes que asistieron a uno o más de estos establecimientos en los últimos dos años. Los métodos aplicados para la presente investigación fueron el enfoque cuantitativo, el diseño no experimental y el muestreo no probabilístico usando el método de bola de nieve a través de la técnica de recolección de datos mediante cuestionarios online. Luego de realizar las pruebas de correlación para cada hipótesis formulada se pudo comprobar que el cliente posee un nivel alto de interés hacia la experiencia en los establecimientos a los que asisten, considerando el visual merchandising y logrando un nivel alto de satisfacción, recompra y lealtad hacia los restaurantes temáticos en estudio. Por ello, se recomienda a este tipo de establecimientos de retailfood temáticos, invertir y potenciar los elementos del visual merchandising que elevarán la experiencia hacia sus consumidores y por lo tanto incrementarán la recompra y lealtad hacia sus marcas. / This research aims to analyze the influence of visual merchandising on the consumer experience thus generating a buyback in the different sports themed restaurants in Lima, Peru: Estadio, The Corner y The Houlihan's restaurants that have as their main focus provide a space for the enjoyment of national and international sports with the main reason of, from proven data, boosting business according to new market demand. This research was studied with a population of 202 participants who attended one or more of these establishments in the last two years. The methods applied for this research were quantitative focus, non-experimental design and non-probabilistic sampling using the snowball method through the online questionnaire data collection technique. After performing the correlation tests for each hypothesis formulated it could be verified that the client has a high level of interest towards the experience in the establishments they attend, considering the visual merchandising and achieving a high level of satisfaction, buyback and loyalty to the thematic restaurants under study. Therefore, it is recommended that such thematic retailfood establishments invest and enhance the elements of visual merchandising that will elevate the experience towards their consumers and therefore increase buyback and loyalty to their brands. / Trabajo de investigación

Die aktuelle Ausgabe des Newsletter für Freunde, Absolventen und Ehemalige der Technischen Universität Chemnitz.

Die aktuelle Ausgabe des Newsletter für Freunde, Absolventen und Ehemalige der Technischen Universität Chemnitz.

M. Tech. (Department of Visual Arts and Design, Faculty of Human Sciences), Vaal University of Technology. / Fashion entrepreneurs with no formal fashion-related education or training are hereafter referred to by the acronym FEWFFET (fashion entrepreneurs without formal fashion-related education or training). Entrepreneurship provides a feasible means of employment in a country where national unemployment rates are alarmingly high. To succeed, entrepreneurs require business knowledge and skill to operate profitable and sustainable businesses. However, entrepreneurs who were previously disadvantaged often possess only low levels of education, limited qualifications and training. This applies to survivalist fashion entrepreneurs in the Sedibeng District Municipality (SDM) who produce various items of apparel and clothing. Over a third of these entrepreneurs are not formally educated in business management and may not possess the adequate knowledge to operate their fashion business successfully. The research aim was to investigate the uses and challenges pertaining to business skills amongst FEWFFET to determine their business skills training needs. The sample population included 105 black fashion entrepreneurs, operating micro, survivalist enterprises within peri-urban, resource-poor communities in the Emfuleni Local Municipality (ELM) of Sedibeng, Gauteng. A quantitative study using non-probability purposive sampling and snowball sampling was performed. Interviewer-administered questionnaires were conducted with respondents at fabric and haberdashery stores or within their home-business environments. The results indicated that respondents lacked business plan development skills and showed only moderate skills in finance and marketing. Respondents indicated business skills training needs for developing a business plan, conducting basic bookkeeping, determining correct product pricing, drafting quotations and invoices, developing a budget, conducting basic market research and advertising their products and services.

M. Tech. (Department of Visual Arts and Design: Fashion, Faculty of Human Sciences), Vaal University of Technology. / INTRODUCTION AND BACKGROUND The fashion trade is a global industry (Amankhwah, Badoe & Chichi 2014:144) that plays a major role in the socio-economic development of many countries (Sarpong, Howard & Osei-Ntiri 2011:98). A number of Asian countries, for example, have been known to thrive in the international textile and fashion trade, owing to their successful training programs in fashion and apparel design (Maiyo, Abong’o & Tuigon’g 2014:63). In South Africa (SA) fashion is also seen as an important industry, as it forms part of economic development programs (Dlodlo 2014:191) and aids in income generation for individuals, not only in major cities, but also in smaller towns and peri-urban areas. Thus, the statement can be made that the successful training of individuals through training programs (with regard to fashion-related skills) has a direct link to a thriving fashion industry and a direct impact on individuals, group and community income generation. Nonetheless, not all individuals within the fashion industry have acquired formal fashion training. Some may have obtained fashion-related skills (such as sewing, pattern making and fashion drawing) through family members, short courses, school or in-service work experience elsewhere. These skills, particularly fashion drawing and illustration (hereafter referred to as fashion drawing), are necessary visual communication tools with which the designer relays their ideas and designs to the client. Visual communication is a pictorial form of communication where visual symbols are incorporated in order to convey information (Liu 2015:41) and this process of visual communication enables both parties to be equally clear about the proposed design (Tatham & Seaman 2004:114; Calderin 2013:148). Thus, specifically in relation to the field of fashion, visual communication is used to communicate designs or ideas to individuals in a visual manner by making use of sketches, photographs, drawings, etc. However, in a previous study conducted in the Sedibeng District Municipality (SDM) (Van Wyk 2007:78), it was found that the most prominent skill that fashion entrepreneurs felt they needed, but lacked, is that of fashion drawing. Of the total sample population, 19% indicated that they do not possess fashion drawing skills. Although this is not a significantly high number, it is important to note that 66% of the mentioned study’s respondents had obtained qualifications from tertiary institutions (Van Wyk 2007:77), which would in all probability have included a fashion drawing curriculum. The lack of drawing skills could be problematic, as this lack relates to client satisfaction which, in turn, promotes the success of entrepreneurial endeavours (Burns & Bryant 2002:42). To address this, the current study was aimed at determining the level, nature and type of fashion drawing applied by fashion entrepreneurs with no formal fashion-related training (FEWNFFRT)1 within the Emfuleni Local Municipality (ELM). This ascertainment was completed in terms, specifically, of the following: the use of fashion sketches to visually communicate the design of the garment to the client; the challenges experienced by the fashion entrepreneurs when communicating an idea or design to a client; and the need for training in fashion drawing as a means of visual communication. A quantitative, non-experimental needs assessment was conducted among a group of FEWNFFRT within the ELM. It is important for the reader to note that this specific research study formed part of a larger study, in which the data was gathered in a joint manner with another researcher (whose study focussed on the business skills training needs for FEWNFFRT in the ELM). To clarify, data was collected and analysed together, but the interpretation and application of the data differed due to different research questions, focus and context. Therefore, while the same data was gathered and used in conjunction with another researcher, it should be noted that this study followed a unique angle. The reason for the joint data collection was dictated by the specific constraint of the study in terms of the specific inclusion criteria to which the sample population had to adhere. Interviewer-administered questionnaires were employed in order to gather data from respondents. This type of data collection tool was seen as the most appropriate for the collection of data for this study, as it was conducted in a verbal manner and allowed the interviewer to explain questions and instruction to the respondents in cases where questions were in any way unclear or the respondents were uncertain. This in turn ensured a higher response rate and enhanced the quality of the data gathered. Insight gained from this study aided in generating a new understanding of the fashion drawing skills training needs of fashion entrepreneurs in the ELM region, which may guide future research aimed at developing training programs, materials and interventions with regard to fashion drawing skills.

M. Tech. (Department of Visual Arts and Design: Fashion, Faculty of Human Sciences), Vaal University of Technology. / Customer satisfaction has proven to be a major determinant on the success or failure of a business. Regrettably, fashion entrepreneurs are not meeting customer expectations because they have problems that are affecting the quality of their work. In order to promote customer satisfaction, fashion entrepreneurs require a master plan that is customer-based. Thus, they could implement customisation of garments to address customers’ concerns. It is, therefore, crucial for home-based fashion entrepreneurs to be aware of their customers’ needs and the factors that affect their satisfaction to boost its levels. Based on this background, it was found necessary to conduct a research study with the aim to determine factors that affect customer satisfaction of custom-made garments produced by home-based fashion entrepreneurs in the Emfuleni Local Municipality. A qualitative study, applying purposive and snowball sampling techniques, was conducted by means of one-on-one interviews. Data saturation guided the study and was reached after nineteen women were interviewed and two more interviews were done to enhance credibility. Analysis of data was conducted applying the six stages of Creswell’s approach of data analysis. During this process four themes emerged and were presented in line with their categories. The study findings revealed that some of the factors that largely influenced customer satisfaction were service quality, product quality, price, value and location. Garment fit and uniqueness were also found to be reasons why participants opted for custom-made garments. However, some of the participating women did not get the satisfaction they were seeking. Their satisfaction was negatively affected by garment quality, lack of communication, missing delivery deadlines and inaccessibility of the entrepreneur. The research outcome provides home-based fashion entrepreneurs with useful information to improve the levels of customer satisfaction.

In this comparative study, the design elements and visual merchandising approaches employed in window displays by high-end and fast-fashion retailers are investigated. The study utilizes a visual content analysis method with standardized evaluation criteria to analyze the window displays of six high-end and six fast-fashion stores located in Paris. By adopting an analytical framework adapted mainly from Morgan (2015) and Diamond and Diamond (2007), the research aims to uncover shared patterns and distinguishing factors in the approaches of these two sectors. The findings reveal clear differences in purpose, layout, visual weight, focal points, color schemes, and prop usage between highend and fast-fashion retailers. These insights offer valuable practical implications for enhancing the visual appeal of window displays in the highly competitive retail landscape

Les rapports entre l’oeuvre audiovisuelle et les droits dérivés présentent deux tendances contraires. La première de ces tendances est celle de l’autonomie. En effet, certaines exploitations dérivées ont pour objet des oeuvres telles que les titres et les personnages qui bénéficient d’une protection indépendante de l’oeuvre audiovisuelle. Ce mouvement s’accentue lorsque les titres et les personnages font l’objet de dépôts de marques, car la finalité de la marque diffère de celle du droit d’auteur. La protection cumulative crée des interactions entre les droits, tant dans leur existence que dans leur exercice. Une dernière manifestation de cette autonomie réside dans l’exclusion des droits dérivés du champ de la présomption de cession des droits d’exploitation au producteur, cette exclusion se justifiant par le fait que les droits dérivés ont pour objet la création et l’exploitation d’oeuvres nouvelles. La seconde de ces tendances est celle du rattachement des droits dérivés à l’oeuvre audiovisuelle. Tout d’abord, la propriété commune de l’oeuvre audiovisuelle implique un consentement de l’ensemble des coauteurs à son adaptation. Ensuite la liberté de l’adaptateur est limitée par le droit au respect de l’oeuvre qui fait obstacle à la dénaturation de l’oeuvre audiovisuelle. Enfin, la pratique révèle que le producteur s’érige en personnage pivot de l’exploitation de l’oeuvre audiovisuelle en lui assurant une unité organique. A l’origine des investissements consentis en vue de la création initiale, il va ainsi chercher à participer le plus largement possible aux fruits de l’exploitation en se faisant céder les droits dérivés et en concluant des sous-contrats d’exploitation. / The connection between the audiovisual work and the derivative rights sets out two opposing trends. The first of these trends is that of autonomy. Indeed, some derivative exploitations involve works such as titles and characters that are granted an independent protection of the one granted to the audiovisual work. This movement becomes more pronounced when titles and characters are subject to trademark applications, because the function of the trademark is different from that of copyright. The cumulative protection creates interactions between the rights, both in their existence and in their exercise. A final expression of this autonomy is the exclusion of the derivative rights from the scope of the presumption of assignment of exploitation rights in the audiovisual work to the producer. This exclusion is mainly justified by the fact that the purpose of derivative rights is to authorize the creation and the exploitation of new works. However, and its the second trend, derivative rights remain in many ways related to the audiovisual work. First, the common property of the audiovisual work implies consent of all the joint authors to its adaptation. Then, the freedom of the adapter is limited by the moral right of integrity which forbids the distortion of the audiovisual work’s substance. Finally, the practice reveals that the producer stands as a pivotal character of the exploitation of the rights in the audiovisual work. Taking the initiative of investing in the creation, the producer, in order to extend the field of profit-making, will seek to obtain from the authors the transfer of derivative rights and conclude sublicence agreements with third parties.

This diploma work deals with marketing problems of bank services. The theory of marketing bank mix is described in it, creation of marketing campaign and control of relations with clients. The goal is a detection of an embarrassment of marketing methods and campaigns used in Česká spořitelna, then evaluation of this methods and finally making some concept how to solve this situation.

This research study acquired a consumer response centred approach to visual merchandising stimuli, in an attempt to holistically consider this area of the retail industry. Consumers‟ perceptions towards visual merchandising displays and the effect these displays have on consumer behaviour were exposed. The primary research question that pended from the preliminary literature was to determine the effect of visual merchandising displays on consumer perceptions. Explorative research was performed and qualitative data were collected by means of focus groups and naïve sketches. The data was analysed by means of a thematic analysis process. Perceptions of visual merchandising displays that were identified were subliminal in creating an interest and desire to further peruse the merchandise and aesthetically to beautify the store. Consumers expressed that the impact that visual merchandising displays had on their buying decisions depended on their personal preferences. / Business Management / M. Com. (Business Management)