The New Symbolic Consumers For Fashion Brands

This research is written to explore the consumer behaviours associated with fashion purchasing and help the manager understand what drives consumers to buy fashion products so as to determine the campaign strategy. The study proposes to investigate the people perceive what is fashion or unfashion and discover the possible relationship between different factors and the consumers’ willingness toward fashion. These factors include the effects of brand, the influences of mass media and social network, various shopping places. Surprisingly, the different attitude between different genders toward fashion is considered as an essential factor for people to engage in fashion purchasing.

Our consumers’ perception of the brand, J.Crew, usually entails the style they advertise in commercials and television. J.Crew can be seen as a style with practical women in finely cut business suits and overcoats. When most people visualize the company they visualize classy and professional clothing. The problem is they are not seen as the standard, like Gap, for instance, they lack the basic necessities to attract young college students. J.Crew just wants to maintain its professional status, but attract a younger crowd who are establishing their position in the real world applying and interview for jobs. When walking into the store, consumers see bright lights and a variety of fabrics and styles. The dresses range from simple around the house to dressy date-night dresses. The one-thing consumers’ can expect to see when entering J. Crew is the variety of clothing. Consumers’ can perceive clothing brands based on what they see on

Be that as it may, Ralph Lauren is rivaling other originator brand organizations, this brand has a selective logo to imply itself to purchasers and separate its image from other surely understood designer brands. As indicated by Sturken & Cartwright (2001) these images are entitled product signs or signifiers. These signs do not distribute the quality to the purchaser their point is excessively empower the consumers buy the style of the item.As indicated by Sturken & Cartwright (2001) Brand signs, for example, ralph Lauren the originator challenge with other similar designer brands for their signs to be perceived over the globe

Many people in today's society are distressed greatly with ones rank in the social hierarchy; material possessions of all sorts seem to construct, shape, and style the lives of consumers all over the world. Consumers all over the world are becoming more and more demanding as more and more is being advertised. Many companies, such as Apple, often advertise months in advance for products creating commotion, attentiveness, and desire among the world. Stores, such as Old Navy, inspire consumers to shop at stores like theirs to feel pleased and satisfied with how much can be bought with such small amounts of money; when in reality, the consumers are spending money on their identity.

The fashion industry is one of the most prevalent and visible forms of influence on today’s society. Billboards, malls, magazines, TV, movies, advertisements, runways, etc. are filled with fashion campaigns usually distributed to make a statement and to influence the consumers. Often times, the fashion industry engages in offensive promotions like romanticizing eating less and the “thigh gap” or producing clothing that has “depression” plastered all over it. One of the most offensive trends of the fashion industry is the use of cultural appropriation to promote their company or clothing. Cultural appropriation is the taking of something produced by members of one culture by members of another culture. The products of that culture usually have a special sacred or cultural significance to them, which is why cultural appropriation is seen as offensive and exploiting rather than appreciated. The public tends to overlook these extreme messages and appropriation from the fashion industry, brushing them off as trendy and ideal. This becomes a problem because the fashion industry’s blatant use of cultural appropriation in editorials and ads influences people to show admiration for products from other cultures yet still remain prejudiced against the people who created and continue to practice that culture.

A ‘commodity sign’ invests symbolic meaning in products or services as a signifier with an image as signified. In recent times, consumer culture is driven by our desire for superfluous wants, causing the production and consumption of commodity signs to become more specialised according to the notion of capital. Capitalism is characterised by economies that are based on open markets and the ethos of individuality over community. French Sociologist Pierre Bourdieu (Distinction 1984) introduced the schema of subcultural capital, which ‘confers status on its owner in the eyes of the relevant beholder’ (Thorton, 2006: 100). Therefore people have the idea that they can buy subcultural capital, as it is seen as self-revealing, in order to impress people or become someone else (Frith, 1996: 5). Thus advertising was developed as a strategy in generating demand in a contemporary consumer culture. Mass marketing has split the unity of signifiers and signified into a language of appearances and images of which we realise as either visible, physical connections or indirect connotations to that which they represent.

In the fashion industry, fashion brands are highly associated with branding, because of the intensive competitive fashion markets. Moreover, fashion brands are self-expressing to some extent (Carroll, 2008). Building creative brand image is important for the fashion brands. In addition, Carroll (2008) said that social responsibility and potential risks are the two aspects related to the fashion brands. Just as

Some people utilize fashion as a means of self definition. For example, for some people, brand names carry intrinsic value. A person may wear Burberry frequently. Why? The brand makes the person feel connected to the fashion that she loves. It does not matter that the person could buy about ten shirts at Kohl's for the price of one Burberry piece - the Burberry piece gives a person self esteem and pride in her appearance.

According to Keller (2012) state that brand identity and image as two key vital tools to manage brands effectively, Furthermore, as shown Figure 2, Brand identity at the sender side, to deliver such as brand meaning, aim. Also, it exist the other source: firstly, company might consider the mimicry situation and marketing area; second, Stella create hers company exactly based on hers lifelong vegetarian faith. Message side shows the nature factors of brand, the product Stella mainly provide, target markets, stores located and the communication with customers Like Stella target their customer as 20-50 years old people with higher income; Good fashion awareness; prefer design and high quality clothing; Eco-friendly, conscious women (Drexler, 2014). In this process, it exist competition such as Alexander McQueen, Vivienne Westwood which has similar sustaining operation background (Cronin, 2014). At final stage, brand image as Receiver side, customer receive Stella particular image. For instance, Point-of-Difference (POD’S) attribute stand out Eco-fashion, vegetarian image, environmentally and sustainability conscious (Stella McCartney, 2015).

Cacharel fragrance brand was acquired by the L’Oreal group in 1975 (Insead, 2007). L’Oreal is known as a house of diverse corporate and umbrella brands, namely just a few: L’Oreal Paris, Lancome, Cacharel, Giogio Armani, Ralph Lauren and many others. Each of these umbrella brands has below it numerous products brands and line brands. They constitute so-called a multi-brand matrix (Marketing Mastermind, 2008). Cacharel umbrella brand belongs to the Luxury Products Division, one of three divisions of the L’Oreal group, which offers up-market premium products to consumers. Every umbrella brand has established distinct identity, image to focus on different target market, in turn; the Cacharel umbrella itself is perceived as an encompassing combination of prestige, femininity, charm and romanticism. (Kepferer, chapter 11, p292). As a result, Anais Anais was the most responsible for creating Cacharel’s identity by its extraordinary succeed. In the shoes of Katsachnias, we have been encoding the Cacharel brand identity in some extends, whether it helps to revitalize the brand at its crisis? We continuously perceive this insight in the next question.

Consumerism and the effects of branding affect people’s lives. Branding allows consumers to easily identify which products are made by which companies. Yet, the brands create more of an influence on consumer’s lifestyles and in the end decide what kind of consumer that person is. Branding creates a blurred divide in our society. Consumers who are ore likely to purchase the branded products that are associated with better quality and higher prices are put into their own category bucket versus the consumers who choose the cheaper priced products that are made with less quality. When it comes to deciding who you are based off of the products and brands that you associate yourself with, it creates a capital divide in our society. Consumers than associate brands with personal feelings based upon whether or not they associate themselves with those brands. Lives of consumers are heavily influenced. Their lives are worse off when they feel the need to ‘keep up’ with brands in order to feel as if they are portraying themselves in the best light. In a way, this is similar to how all of branding began with livestock. Consumers want to physically brand themselves with specific brands by wearing logos and identifying with a brand. They might not be burning the brands directly onto their skin but they are burning the brands onto their clothes and burning holes in their wallets to keep up with society standards about brands.

Gucci is a multinational fashion brand based in Italy. The brand specialises in leather goods, clothes, and fashion accessories for both and women aged between 24 and 30 years. Gucci was founded in 1921 in Florence, Italy by Guccio Gucci (Gucci Official Site United States, 2016). The main purpose of this paper is to provide an in depth brand analysis of Gucci. The paper will investigate and evaluate Gucci’s vales and identity, and will discuss how successfully these are reflected by Gucci’s business model, supply chain management, and Corporate Social Responsibility (CSR) activities. In addition to that, the paper will critically evaluate Gucci’s brand identity (identity) in relation to its brand image (external).

In today’s world an individual is bombarded with brands from companies all around the world. These companies start with an idea and most of those ideas develop into a brand. Brands rely on the use of semiotics, “the science of signs” (Ryan and Conover 25), to relate to consumers or interpreters. They also relay on the connotation and denotation of the signs as well as the colors being used. When it comes to the entire package of a marketing plan and branding a company or product, graphic designers need to look at how to create the brand from a visually and culturally pleasing aspect. A brand is mostly based on a semiotic design that uses a trademark image and colors that relate to a group in a cultural setting.

During the information search stage of their decision-making process, the consumer stated that they constantly looked at online shops and magazines to improve their personal understanding of fashion. It was noted that the consumer’s awareness set consisted of ten different brands. However, the size of her

In recent times, branding has played a pivotal role in some brands’ success. This has been made possible through the ability of some marketers to capture the essence and minds of people (consumers), and put the trends and characteristics into the personality of a brand. Customers have always found ways to identify themselves with certain products, and on several occasions, branding campaigns