Strategic Fashion Marketing - Essay Example

Strategic Fashion Marketing Introduction The 20th century witnessed tremendous shifts in the fashion industry. Throughout the early parts of the decade Paris was the epitome of high fashion. Not only did Paris constitute the location of much cutting-edge fashion design, but it also came to represent a paradigm of designing and marketing that spread throughout many levels of Western society. During this period individuals sought both direct and symbolic linkages that this high fashion essence. Theorists have argued that the late 20th and early 21st centuries have witnessed a shift in this earlier paradigm. Agins (2000, p. 14) argued, “Today, a designers creativity expresses itself more than ever in the marketing rather than in the actual clothes...the focus has shifted away from designing, and if you have enough money and are good at marketing, you can create a strong brand.” While this perspective appears to hold a degree of validity, it is punctured at times by contrary positions. This research evaluates the extent that design or marketing is more significant in affecting consumer behavior in the fashion industry. Analysis In examining the extent that design and marketing is more significant in affecting consumer behavior in the fashion industry it’s necessary to establish a perspective on branding and marketing. Current perspectives on branding have embraced the notion of emotional branding. Emotional branding seeks to establish an emotional connection between the consumer and the consumed. Within this paradigm it is further understood that these contemporary branding practices involve “a specialized, non-geographically bound community, based on a structured set of social relations among admirers of a brand” (Muniz and O’Guinn, 2001, p.3). Furthermore, McAlexander, Schouten, & Koening, (2002, p. 1) “treats vital characteristics of brand communities, such as geotemporal concentrations and the richness of social context, as dynamic rather than static phenomena.” What these perspectives on branding present is the recognition that contemporary meaning in design is not established from a top down context. Instead, marketing and the product’s meaning and brand is increasing established by the specific community of consumers that develop an emotional connection with the product design. This shift in consumer perspectives is affirmed by Agins who states, “Increasingly, it became a honor to be a bargain hunter, even among the well-to-do…Marketing analysis describe consumers new embrace of the most functional and affordable clothes as the ‘commoditization’ of fashion” (Agins, 2000, p. 10-12). The collective recognition of these theoretical perspectives is not simply that one mode of promotion – marketing or design – is more effective, but rather that the fundamental way that consumers interact with products has shifted. For the fashion industry this means that increasing emphasis is placed on products that specifically address functionality rather than formalism. With the increasing shift towards consumer perspectives and functionality one considers a number of successful current brands. One of the most successful brands in recent years has been Zara. Zara has been featured in major retail outlets such as Target, as well as through a variety of distribution channels. Fig. 1 below is a Zara design. Fig. 1 Zara The above design demonstrates a clear emphasis on functionality rather than artistic frills; one witnesses the comfort and practical use of denim material. While Zara is engaged in strong marketing efforts, this research argues that it is the design functionality that drives the success of these marketing campaigns. Perhaps the fashion house that runs the most counter to the position of the primacy of marketing is Lacroix. Design Christian Lacroix, in addition to emerging in the late 20th century, has steadfastly clung to design over marketing standards. Lacroix himself noted, “I believe I have not given in to system whatever they might be…A Lacroix style has been born and even if it doesn’t appeal to everyone, so much the better” (Agins, p. 20). One considers that Lacroix’s designs are applicable to his own artistic voice rather than broader consumer trends. Indeed, his haute couture clothing seemed at times to be directly at odds with the commodification of fashion. Fig. 1 below demonstrates a characteristic Lacroix design. Fig. 2 Lacroix One notes that this assemblage seems to openly reject contemporary marketing standards instead more fully pursuing design artistry. While Lacroix can partly be used as an example for the continued importance of design in fashion, Lacroix’s recent financial troubles perhaps more accurately demonstrate the contemporary primacy of marketing. It is noted that, “By the end of the 1990s, Arnault would be forced to face the naked truth: that Lacroix was the end of fashion” (Agins, p. 20). This perspective specifically refers to how Lacroix had to declare for bankruptcy and be reduced to a licensing house (Lacroix, 2010). Ultimately, Lacroix demonstrates that while there are spurts of design artistry, the contemporary fashion consumer paradigm is firmly rooted in marketing standards. While Zara is recognized for functional design and aggressive marketing and Lacroix for emphasis on artistry, a third type of fashion house seems to fuse these approaches. Within this spectrum includes designers such as Prada, Hermes, and Louis Vitton. Even as Zara has engaged in aggressive marketing campaigns, it’s clear that the success of designers in this category rely more firmly on the strength of their emotional branding. Fig. 1 below is a Prada design. Fig. 3 Prada The above design, in addition to its form fitting functionality, makes use of touches of vision driven artistry. Additionally, the high costs of these designs further functions as a means of identity construction (Holt 2002). As such, wearing Prada or Louis Vitton differentiates one’s socioeconomic status from an individual wearing other brands. Conclusion In conclusion, this essay has examined the contemporary fashion industry in terms of whether design or marketing is more significant. Within this spectrum of understanding the research has argued that in large part it is design that drives marketing, such that the most practical and functional designs will allow for the most effective and widespread marketing campaigns. This is evidenced with Lacroix’s recent bankruptcy. Furthermore, while Prada and Louis Vitton rely strongly on emotional branding, the cost of the design materials functions as a means of consumer identity development. Ultimately then design and marketing are necessarily intertwined and the most significant factor in the fashion industry is now the mind of the consumer. References Agins, T. (2000). The end of fashion: How marketing changed the clothing business forever. New York: William Morrow Paperbacks. Holt, D. (2002) Why Do Brands Cause Trouble? A Dialectical Theory of Consumer Culture and Branding. Journal of Consumer Research. Vol. 29, No. 1 (June 2002), pp. 70-90 Lacroix, C. (2010). The fall of the house of lacroix. Retrieved from http://www.thedailybeast.com/newsweek/2010/03/18/the-fall-of-the-house-of-lacroix.html McAlexander, J., Schouten, J., Koening, H. (2002), ‘Building Brand Community’, Journal of Marketing: Vol. 66, No. 1, pp. 38-54. Muniz AM. Jr. & O’Guinn, T. (2001), ‘Brand Community,’ Journal of Consumer Research, 27 (March), 412-32. Read More