The changing dynamics of the fashion retailing industry has progressed and become a global multibillion industry, (Solomon & Rabolt, 2007). It has put a lot of pressure on the fast fashion retailers were key strategies in order to maintain a strong position in market, must be established, (Doyle, Moore & Morgan, 2006). As the increasing number of new fashion retailing companies have emerged and established, the fashion segment has become a market leader, (Mehrjoo & Pasek, 2014). Fashion consumers expect and thrive on continuous change were new fashion products always have to be available in store on an everyday basis, (Bruce & Daly, 2006). Most companies aim to ensure the speed to market as a competitive strategy by offering rapidly fashion trends. Fast fashion companies need to deliver their product offer to the customers before their competitors do and the choice of supply chain strategy gets critical, (Porter 1996). Gadde and Håkansson (2009), argue that a company's purchase process is the answer of this matter. The importance of the purchase process has therefore become of great focus. The issue of defining what it is that actually makes the difference when working with the purchase process is complex, with several aspects to take in consideration. The aim of this report is to present the most significant activities within the purchase process that makes a company competitive in the market. As buyers carry the main responsibility over their department groups it became essential to answer the research questions from their perspective. The buyers’ sees a general problematic in how to influence the purchase chain in a larger scale. However, they claim that the most essential factors, that makes a difference for a company to be successful within the fast fashion industry was concluded to be: short-term and long-term solutions within the daily work primary within the team. The buyers’ solutions are presented in the form of clear goals within the process work, and tools for how to reach the set goals. There must be a clarity through the organization which generates an 80/20 mindset were all actors are focusing on what it is that makes the difference. Communication is a key tool one should work with further on, both at an internal and an external level and as it creates the right conditions for the workflow in a more efficient way. This is for everyone to share a clearer understanding of and be able to work effectively towards the rapid changes that are performed over the season. Lastly, the buyers appear to have an ambiguous picture of how the fashion industry will progress. They are proud of how far Sweden has come with its identity in the fashion industry and the prominent clothing brands. But on the other hand, they are concerned for the how much further the fashion industry can be pushed, taking the environmental and sustainable viewpoint in consideration.

Este estudo analisa os aspectos do design de lojas de varejo de moda por meio de variáveis tangíveis presentes nos espaços da rede de varejo do vestuário do modelo fast fashion. O modelo fast fashion vem consolidando sua presença no mercado de vestuário de moda por meio de um modelo inovador no ciclo de desenvolvimento de produtos, no abastecimento das lojas e na própria distribuição por meio de lojas próprias que atendem o modelo. A questão do estudo investigou se as características do modelo se refletem no design das lojas fast fashion contribuindo para a comunicação e o modelo de oferecimento dos produtos. Na pesquisa de campo em lojas fast fashion buscou-se por meio do modelo de investigação qualitativa utilizar o método de observação direta em quatro cadeias de lojas em shopping centers e lojas em rua e sua correspondência com as características da literatura relacionada ao modelo fast fashion. Alguns resultados obtidos nesta pesquisa propõem, por exemplo, a comunicação da vitrina em conjunto com os manequins de acesso a loja comunicam lançamentos de produtos de moda para os consumidores e deste modo demonstram correspondência com fast fashion. Neste sentido, as variáveis do design presentes nas lojas de varejo, importantes elementos do ambiente que atuam individualmente ou em conjunto e assim oferecem funcionalidade para este modelo fast fashion. Este estudo aponta para abertura de novas oportunidades de investigação do design de lojas nos segmentos de varejo de moda, por meio dos levantamentos obtidos nesta pesquisa / This study analyzes the design aspects of fashion retail stores through tangible variables present in the garment retail chain of fast fashion model. The fast fashion model has consolidated its presence in the fashion apparel market through an innovative model in the product development cycle, in the supply of stores and own distribution through stores that meet the model. The study question investigated whether the characteristics of the model are reflected in the design of fast fashion stores contributing to communication and the model of offering the products. In field research in fast fashion stores sought by means of qualitative research model using the method of direct observation in four chain stores in shopping malls and stores in the street and your correspondence with the characteristics of the literature related to the fast fashion model. Some results obtained in this research, propose, for example, the communication from the showcase in conjunction with the dummies store, access communicate product sets to consumers and thus demonstrate correspondence with fast fashion. In this sense, the design variables present in retail stores, important elements of the environment that act individually or together and thus offer functionality for this fast fashion model. This study points to the opening of new opportunities for research on store design in fashion retail segments by means of surveys obtained in this research

O estudo consiste em analisar as diferenças do supply chain de moda entre as coleções tradicionais e o fast fashion, identificando os desafios e ações empreendidas pelas empresas têxteis que atuam no início da cadeia produtiva de moda. Tomando como base a literatura sobre as gestões da cadeia produtiva de moda e as mudanças ocorridas no mercado, identificou-se a contradição no tempo de aprovisionamento no que diz respeito às etapas de produção entre a moda tradicional e o fast fashion, termo em inglês, traduzido como moda rápida. As análises e comparações entre as gestões da cadeia produtiva de moda compreendem como esses dois sistemas atuam no mercado. Por um lado, existem as empresas de moda programada tradicional que pelo conceito e o tempo utilizado para o desenvolvimento de suas coleções funcionam como uma forma de imposição do consumo de seus produtos, já o modelo fast fashion pode ser interpretado como uma resposta do mercado consumidor. Com isso, a necessidade de diminuir o time to market para reduzir o risco exige encontrar soluções produtivas adequadas. A partir de uma revisão de literatura e de uma pesquisa exploratória, foi possível identificar como o setor têxtil, que atua no início da cadeia produtiva de moda, corresponde às diferenças de supply chain entre as coleções tradicionais e o fast fashion / This study consists on analyzing the supply chain differences between the traditional collections and the fast fashion, identifying the challenges and the undertaken actions by textile companies that act in the beginning of fashion productive chain. Taking as a base the literature on fashion productive chain management and the market changes, the contradiction on provision time was identified about the production levels between the traditional fashion and the fast fashion. The analysis and comparisons between fashion productive chain management comprehend on how theses both methods act on market. On the one hand there are the scheduled traditional fashion companies that through conception and the used time to develop their collection, it works as imposition consumption for their products, whereas the fast fashion way can be seen as the customer reply. Therewith, there is a need to reduce the time to market to decrease the risk new productive solutions must be found. From a literature review and a deep research, it was possible to identify how the textile sector, which operates at the beginning of the production chain fashion, corresponds to the supply chain differences between traditional collections and the fast fashion

A partir de 2004, no Brasil, com autorização do Ministério da Educação, cursos de nível superior voltados para formação do profissional da área de criação em moda passaram a ser amparados nas diretrizes curriculares do campo do design. Desta forma, a recente integração entre elementos do campo do design e elementos do campo da moda proporcionou o surgimento e compartilhamento desta nova subárea, o design de moda, e uma nova categoria profissional foi estabelecida, o designer de moda. A presente pesquisa analisa possíveis relações entre referenciais teóricos do campo do design e do campo da moda a partir da perspectiva do design de moda. Investiga, também, como tais referenciais interagem e são articulados na consolidação de um repertório teórico próprio do design de moda e que outras possíveis relações emergem deste momento de transição e integração de conteúdos, sobretudo no âmbito nacional. Tem como propósito norteador promover o aprofundamento da discussão sobre as confluências e dissonâncias entre os campos de design e de moda intrínsecas ao design de moda, na tentativa de contribuir para a integração entre os campos por meio da articulação de conceitos e conteúdos teóricos. E compreende, por fim, os campos de design e de moda como equivalentes na possibilidade de gerar, reciprocamente, críticas construtivas. / Since 2004, with authorization from the Ministry of Education, higher education courses for training the professional creative field in fashion are now supported in the curriculum guidelines of the design field. Thus, the recent integration between the elements of the design field and elements of the fashion field provided the emergence and sharing of this new sub-area, fashion design, and a new category was established, the fashion designer. This research analyzes possible relations between theoretical frameworks of the design field and the fashion field from the fashion design perspective. It also investigates, as such references interact and are articulated in the consolidation of its own theoretical repertoire of fashion design and other possible relationships emerge from this time of transition and integration of content, especially at the national level. Its purpose is to promote further discussion of the consensus and dissent between design and fashion fields, intrinsic to fashion design in an attempt to contribute to the integration between the fields through the articulation of concepts and theoretical contents. And understand, finally, the design and fashion fields as equivalent in the possibility of generating, conversely, constructive criticism.

A presente pesquisa apresenta um estudo em torno do cross-branding, parceria entre duas ou mais marcas a fim de lançarem um produto e/ou serviço, e da cocriação de coleções no varejo de moda brasileiro. O cross-branding vem sendo bastante utilizado no mercado e é uma das ferramentas de marketing em evidência. O objetivo principal deste trabalho é identificar - a partir de uma discussão em torno do fast-fashion e da moda como resultado da expressão contemporânea - como se dá a estratégia do cross-branding, bem como suas influências no desenvolvimento de coleções. O trabalho é realizado a partir de uma revisão bibliográfica em torno da história da indústria da moda, conceitos em desenvolvimento de produtos, reflexões sobre inovação, cocriação e o varejo atual. Foi possível discutir não só como se dá o cross-branding, como também os reflexos advindos da utilização da estratégia no varejo de moda. Foram realizados estudos de casos das coleções cápsulas das lojas de departamento C&A e Riachuelo, frutos de cross-brandings com marcas e estilistas brasileiros. / This research presents a study about the cross-branding, partnership between two or more brands willing to launch a product and / or service, and the co-creation of collections in brazilian fashion retail. The cross-branding has been often used in the fashion market and is one of the marketing strategies in evidence. The goal is to identify, from a discussion about fast-fashion and fashion as a result of contemporary expression, how is the strategy of cross-branding as well as their influences on the development of fashion collections. The work is done from a literature review about the history of the fashion industry, product development concepts, reflections on innovation, co-creation and nowadays retail. It was possible to discuss how the crossbranding works, as well as the reflections arising from the use of strategy in fashion retail. Case studies of capsule collections of department stores, as Riachuelo and C&A, the result of cross-brandings with Brazilian designers and brands, have been conducted.

Orientador: Renato José Pinto Ortiz / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-19T20:39:25Z (GMT). No. of bitstreams: 1 Michetti_Miqueli_D.pdf: 4119704 bytes, checksum: b2edf78e25f6d3ad5d22d81dcef22981 (MD5) Previous issue date: 2012 / Resumo: A "moda brasileira", a despeito de seu nome, não conforma um fenômeno nacional. Ela integra e tem por condicionantes os processos de globalização de mercados e de mundialização da cultura. Com o objetivo de elucidar porque a "moda brasileira", enquanto configuração material e simbólica, só faz sentido se pensada no seio desse panorama mais amplo, realizamos pesquisas de campo em eventos de moda nos quais ela era apresentada, sediados nas cidades de São Paulo, do Rio de Janeiro e de Paris. Análises bibliográficas e de conjuntura também foram cruciais para entendermos a articulação de diversos agentes, imbuídos de interesses, valores e discursos específicos, em torno da volição de se construir uma "moda nacional", ao mesmo tempo diferente e equivalente das modas historicamente consagradas. A partir da abertura do mercado brasileiro ocorrida na década de 1990, o setor nacional de têxteis, confecções e moda assistiu à transformação do estado da concorrência no mercado doméstico, diante do que buscou-se construir um "diferencial competitivo" para a moda do país, desde então às voltas com o mercado global. Esse movimento é perpassado por dinâmicas simbólicas complexas, visto que, embora a moda nacional seja majoritariamente produzida e consumida no mercado doméstico e, nesse sentido, não seja econômica ou objetivamente global, a globalidade é atualmente erigida como um valor mundialmente válido e, conseguintemente, mesmo visando especialmente o mercado interno, a moda do país precisará adequar-se a padrões de organização, qualidade e consagração que se tornam globais. Diante disso, ela buscará ser reconhecida enquanto "global" e, para tanto, tentará consagrar-se junto às "capitais mundiais" da moda. Todavia, para ser aceita em um mercado global de bens simbólicos que elege também a diversidade como valor positivo, a moda do país deverá ser oferecida enquanto "brasileira". Logo, as iniciativas em prol da constituição de uma "moda nacional" e aquelas com vistas à sua globalização são simultâneas porquanto correlatas. Isso explica porque, embora configure um fenômeno característico da globalização, a "moda brasileira" tomará por fonte simbólica as representações sobre "o" Brasil e sua suposta diversidade. É por isso também que as construções identitárias no bojo das marcas de moda nacionais com pretensões globais buscarão não se restringir aos usos da "brasilidade", mas encampar os dois valores caros à moda atual. Contudo, no mesmo momento em que as identidades são discursadas como "flexíveis" e em que a mobilidade se torna quesito valorativo, as condições das composições identitárias entre diversidade e globalidade serão desigualmente distribuídas conforme os agentes enverguem posições mais afeitas à fixidez ou à mobilidade, o que apresenta vínculos mediados com seus pertencimentos geosimbólicos. Portanto, a "moda brasileira" buscará emprestar globalidade das instâncias globais de consagração, as quais, de sua parte, precisarão da diversidade imputada às ditas "modas do mundo". Porém, embora a moda global integre hoje agentes e regiões que não constavam anteriormente na cartografia do setor, as novas relações a que dá lugar não são isentas de hierarquias. Ainda que interesses mútuos sejam contemplados nas novas trocas econômico-culturais constitutivas da moda contemporânea, nelas alguns tem mais a ganhar / Abstract: The "Brazilian fashion", despite its name, is in fact a global phenomenon which is conditioned by the processes of globalization of markets and culture. In order to elucidate why the "Brazilian fashion", conceived as a material and symbolic assemblage, only makes sense if thought within the globalization conjuncture, we conducted field researches in the cities of São Paulo, Rio de Janeiro and Paris, more specifically in fashion events where the "Brazilian fashion" was presented. Literature reviews and conjunctural analysis were also crucial to understand the articulation of different agents, imbued with specific interests, values and discourses around the volition to build a "national fashion", at the same time different and equivalent of the historically consecrated fashions. Due the liberalization of the Brazilian market in the 1990s, foreign competition in the domestic market impelled the national industry of textiles, apparel and fashion to build a "competitive edge" for the country?s fashion in order to deal with the global market. This movement is permeated by complex symbolic dynamics, for although the national fashion is mostly produced and consumed in the domestic market and, in this sense, is not economically global, "globality" is now established as a worldly valid value and, consequently, the national fashion has to conform itself to organizational, qualitative and consecration standards, which become global, even though the internal market is its most important target. Because of this, "Brazilian fashion" seeks to be recognized as "global" and, therefore, tries to consecrate itself in the "fashion capitals" of the world. However, to be accepted in a global market of symbolic goods which elects diversity as a positive value, the national fashion must be offered and show itself as "Brazilian". Therefore, initiatives to promote the establishment of a "national fashion" and those seeking its globalization are simultaneous and correlated. This explains why, although it is a globalization phenomenon, the "Brazilian fashion" will take some representations of "the" Brazil and its presumed diversity as its symbolic source. It also explains why the construction of the identities by the national fashion brands with global aspirations couldn?t be restricted to the uses of "Brazilianness", for it has to encompass both fashion market current values. Nevertheless, in the same conjuncture in which identities are discoursed as "flexible" and where mobility becomes positively distinctive, the conditions of identity compositions between globality and diversity are unevenly distributed according to a more fixed or mobile position of agents, which has mediated links with their geosimbolic belongings. Thus, the "Brazilian fashion" tries to borrow the consecration of global instances, that in turn need the diversity attributed to the so-called "local fashions" or "world fashions". Although nowadays global fashion integrates agents and regions which were not included in the earlier cartography of the sector, and even if mutual interests are covered in the new economic and cultural exchanges that constitute the contemporary fashion, the new relationships it arises are not free of hierarchies / Doutorado / Sociologia / Doutor em Sociologia

Today it seems like fast fashion brands are affecting luxury brands. Have the fast fashion brands been ignored too long and have luxury brands failed at protecting their brand values?  Luxury fashion brands make collaborations with fast fashion designers, something that would have been unthinkable a long time ago. Luxury brands have increased their number of seasons, some have diffusion lines and others sell online on their own websites. Luxury brands and fast fashion brands are sold on the same streets, worn by the same customers and can be found in the same magazines. Once fast fashion brands were irrelevant for the luxury brands and they ignored them, but time has changed. Fast fashion has affected the luxury industry in several ways. “Fast design turnover”, “Limited-edition products”, “brand communication”, “celebrity products and brand endorsement”, “prestige retail location” and“co-branding with luxury fashion designers” are just examples of tactics fast fashion brands use to imitate luxury brands (Okonkwo, 2007). But luxury brands have characteristics that fast fashion brands don’t such as high quality, exclusivity, high prices, status, and offer highlevels of symbolic and emotional values (Tynan, McKechnie, & Chhuon, 2009). Common characteristics for fast fashion brands are trendy clothing, cheap, interpreted after fashion shows and the collections are delivered quickly (Plunkett, 2010). This study is of qualitative nature and the topic is under-researched academically, which makes it more interesting to explore. However, the fast fashion and luxury fashion has been examined by an extensive literature review. The fast fashion has been dominating the fashion industry in recent years. The purpose was to find out how fast fashion brands and luxury fashion brands were connected. Seven interviews were conducted with people working in the luxury industry. Luxury and fast fashion, consumers, e-commerce, seasons and collaborations will be explored in this paper. This dissertation will mainly focus on how the fast fashion already has affected luxury brands. The conclusion was that luxury brands have been affected by fast fashion brands in numerous ways, it seems to affect bigger luxury brands more than independent designers. Clearly, the luxury industry has been affected by the fast fashion industry.

The purpose of this research was to evaluate the quality of design, materials, construction, appearance, and performance of mens 100% cotton jersey knit t-shirts from three retail categories: mass merchant, fast fashion, and better. These retail categories were represented by brands Fruit of the Loom, H&M, and Brooks Brothers, respectively. A convenience sample was comprised of 78 t-shirts. 13 white and 13 navy t-shirts from each brand were used for testing according to ASTM and AATCC standards and specifications. Evaluations and measurements were conducted before washing, and after one, five, ten, and twenty laundry cycles. The t-shirts were evaluated for fabric weight, fabric count, color change, whiteness change, crocking, smoothness appearance, bursting strength, pilling, dimensional stability, and skewness. The navy t-shirts in the ‘better’ retail category met five out of the six requirements specified by the ASTM standard. However, the navy t-shirts in the ‘fast fashion’ category met four out of five met by the ‘better’ category. In conclusion, the decision to purchase a t-shirt from these retail categories may depend on consumer expectations.

No description available.

The Czech fashion industry is constantly in progress and has growth potential. However, it still has significant deficiencies. The thesis focuses on local fashion and its presentation in Czech lifestyle magazines. The primary quantitative research focused on examining the Czech lifestyle fashion magazine's environment and determining in what context and how often these media write about local fashion and its designers. Through the content analysis, the three fashion titles (Vogue CS, Elle, and Harper's Bazaar) were examined during the period between August 2018 and December 2020. The theoretical part of the thesis focuses on the topic introduction, where deals with fashion and fashion journalism evolution. Then, the current situation in both fields is described. The methodological part consists of a theoretical basis, literary review, and research design. Three research questions and four hypotheses were formulated within this paper. Research results suggest that Czech fashion media outputs regarding the local fashion are mostly connected with Mercedes-Benz Prague Fashion Week via online editorial articles.