Consumerism and Fashion in Developing Nations - Essay Example

CONSUMERISM AND FASHION IN DEVELOPING NATIONS Abed Mahfouz (Fashionbrides, 2009) Consumerism and Fashion in Developing Nations Name Class Date Consumerism and Fashion in Developing Nations Introduction Luxury and the accessibility to luxury is relevant to how it is prioritized in the context of disposal income, debt, and the cultural expectations that apply pressure on the consumer. In designer works of fashion, the aesthetics and expectations of society combine in order to provide attraction for the consumer. It is the psychology of the consumer that will define whether or not a piece is attractive, the piece defined by necessity, expectation, and emotion that will inspire the decision as to whether or not to make a purchase. As the world becomes more interdependent and the availability of designer works becomes globalized, the decision making process of developed and developing nations begin to merge so that expectations are becoming aligned. The importance of quality, the development of aesthetics in fashion, and the diversities of income which provide for the development of luxury statements in the wardrobe help to define how developing nations are beginning to have a presence in the fashion industry and their consumers participating in the transactions for designer pieces. There are levels of designer offerings in the fashion world. Accessibility to designer level pieces of fashion is balanced through defining what constitutes a designer level piece of fashion art. In addition, accessibility to designer work is defined by demand; developing nations providing for opportunities that must conform both to the designer aesthetic and the cultural norms. The following paper will explore the nature of designer works of fashion and their role in the consumer process in developing nations in comparison to developed nations. Design and the Consumer Experience The lights in the boutique highlight the bag, the details in the folds of the leather and the weight as it sits on the shelf providing a sense of its quality entices the consumer. The details that set off the metal on the bag and the telltale snap of the closure encourages the buyer to look inside to see a high quality interior with thick, well-stitched pockets. Picking up the handbag confirms it has weight and stability, and as the buyer slips it over her arm, she feels that it is also balanced and comfortable. Lightly sliding the tag from the pocket, a light sharp breath is taken in, imperceptible to those around her as her face slides into a smile to mask her shock. Looking in the mirror, the bag hanging from her arm for a minute more, she then places it back on the shelf while the numbers run through her head. If she pays rent three days late and borrows a little from a friend, she can buy it, but not today. It will take a couple of days to put the money together, but she has decided – the bag will be hers by the end of the week. The fashionista looks at the work of designers from the perspective of quality, trend, and design, the sculptural quality of textile design a type of art that she can access, with a little financial ingenuity at times for the common shopper, she can have items in her wardrobe that speak so much more than their function. The art can be in the classicism of a piece or in its innovation. Sometimes, a piece is just really beautiful and other times it is simply unique and beyond the expected. The process of making a fashion choice is as much about the consumer as it is about the designer, a collaboration of aesthetic and intention so that when worn, the art becomes an extension of a greater editorial in which a statement is expressed from the body and through the shape and colour of an item, the body merging with work in order to be a piece of living art. The art that is involved in the creation of fashion is based upon creating extensions of the body, reforming and restructuring the silhouettes so that the structure falls into an editorial. In creating fashion within the world of ‘otherness’ that is presented in most developing nations, expectations shift so that what is presented reflects local aesthetics. Fashion in Developing Nations In the fashion industry, more often than not the discussion of fashion in relationship to developing nations is based upon centres of manufacturing. Manlow (2007) writes that manufacturing in developing nations are done for Liz Claiborne as often as it is for Wal-Mart. Most manufacturing for high end designers is done in what is termed tier 1 manufacturing locations which include Italy, France, the U.K. and Japan. However, often components are manufactured in what is considered lower tiers for economic reasons with the finalization occurring in a first tier nation so that the claim of origin can be legitimately labelled into the fashion wear. In other words, designer does not automatically carry with it an assumption of origin. Developing nations often carry the responsibility of manufacturing, lowering costs while supporting the appearance of items having been made in centres of what is commonly considered high fashion centres. On the converse, knock-offs are often found having been made in developing nations, regulations on bootlegged designs not as strict in nations who are struggling to hold their people above poverty. So the centre of the fashion experience in developing nations is primarily as a functional part of the industry in which manufacturing perpetuates cost effective production. New consumers, however, are emerging in regions where wealth and globalisation in supporting the needs for luxury on Western terms in contexts of ‘otherness’. In developing nations the development of consumer demand for couture has placed designers in a position to look at their work from new perspectives. Naheier and Isar (2008) write that “extension also means increasing the product offer to satisfy customers with different expectations and different cultural backgrounds” which means that different marketing approaches become necessary to address the differing expectations (p. 257). Manlow (2007) discusses how emerging nations are shifting from being solely centres of manufacturing to consumer markets which support value added and concept driven marketing focused on brands. A good portion of the shift in the focus is defined by Asian markets where predicted world economic output by 2050 will be at least at 50%. Current paradigms in fashion industry development can be paralleled to the emergence of Japanese designers in the 1980s which changed the fashion industry to the point of perspective shifts through new concepts in conceiving clothing and accessories. The key to emerging markets for fashion, especially designer wear, is in creating cultural associations to the clothing so that universality comes from the desire to associate with national origins. In creating garments at a designer level for emerging markets in developing nations, designers in those markets emerge into developed national markets. Different cultures have always placed their own aesthetics into the mainstream as they have become legitimized into the consumer culture. As an example, in the 1960s when countercultures began to emerge and became established the aesthetics of those cultures began to become reflected in couture, with representatives from those cultures entering into the design mainstream (Anheier & Isar, 2008). In this same example, the emergence of the Japanese designers in the 1980s shows that as the market consumer locales grow, so does the growth of designers from those new markets, changing the editorial and evolving the overall state of fashion. Designers from developing nations have begun to be seen in more traditional centres of fashion, interconnecting their aesthetics into mainstream couture. Designers such as Rita Kumar have begun to define fashion design in India and translated it for a global presence (see Figure 1). Figure 1 Rita Kumar, India (Yahoo Images, 2012) Priyadarshini Rao, also from India, provides a sense of comfort as well as traditional elements that are translated into modern silhouettes (see Figure 2). This designer has a strong aesthetic and editorial through which she is able to establish her identity both as a creative artist and as an Indian national. Integrating her aesthetic into the mainstream designer market provides for new insights into both her heritage and the emerging market in India. Figure 2 Priyadarshini Rao (Fashion Gen, 2009) Abed Mahfouz from Lebanon has brought his work into the mainstream consciousness in relationship to fashion, reinterpreting elegance using traditional elements with very modern interpretations. His work can be seen as some of the most progressive and high end from the region. Figure 3 Abed Mahfouz (Fashionbrides, 2009) This makes this period of time very exciting as the emergence of designers from Middle Eastern and Near East nations, as well as from continental Africa begins to change the foundations of the aesthetic through placing their designs into the mainstream. As the market develops, the inclusion of ‘otherness’ becomes more diverse and the consumer of designer fashion begins have new characteristics and expressed needs. Consumers in Developing vs. Developed Countries One of the ways in which developing countries are differentiated from developed countries in relationship to their consumer behavior is through their responsibility in relationship to environmentally conservative buying habits. Personal choices in nations such as Brazil and India are shown to have environmental responsibility as a part of those choices where consumers in developed nations do not typically place environmental responsibility at the top of their decision making process. Science Daily (2008) reports that people who live in developing nations more often live in smaller residences, have fewer appliances and electronic devices, and walk, use public transportation or cycle to their more common destinations. Consumers in nations with developed economies have far more green options but typically will have larger homes with air conditioning, own more vehicles and drive to more of their common locations, and are less likely to buy environmentally responsible products. United States consumers are the worst with larger average homes and only 15 percent on average using lower levels of fresh water. Excess, although associated with luxury, is not the nature of the consumers from developing nations. Therefore approaches in the markets of developing nations may need an approach that is not based on excess, but reflects this aesthetic. Lindenmeier, Schleer and Pricle (2011) discuss the nature of consumer outrage as it is associated with consumer behaviours in relationship to emotions that emerge. There are a number of ways in which consumer outrage will translate into boycotts and the development of negative perceptions of a company. As developing nations begin to have a stronger presence in the market as consumers, their aesthetics in relationship to conservative buying habits will likely inform their attraction levels to designers in the fashion industry. Consumer behaviour is centred on information and decision making processes. These processes are informed by culture and developed around the aesthetics that come from belief systems and rituals that define traditions within a market. Tybout and Artz (1994) developed a comprehensive understanding of consumer psychologies in relationship to behaviour. Several of the concepts that they have explored are directly related to the differences that can be observed between developing and developed nations and consumer habits. As an example, context is a very important in how decisions are made in buying. Tybout and Artz (1994) write that “evidence suggests that the effect associated with a contextual conditioning stimulus becomes associated with a target unconditioned stimulus when consumers recognize the relationship between the two (p. 137). This type of contextual decision making process is strongest and most relevant to consumers who are knowledgeable about the product. This is in line with the concept of designer products in fashion where aesthetics and artistic value are relevant to the purchase price and the desire to own an item. Morrison, Gan, Dubelaar, & Oppewal (2010) discuss the nature of influence on the consumer in a retail setting. Environmental factors are necessarily specific in order to encourage buying. Temperature, music, aromas, and any number of factors can be utilized as encouraging elements within the retail buying experience. As designer fashions are offered to those who would be consumers of that type of fashion, the environments in which it is offered must be made specific to the needs of those members of society who would buy their designs. Many developing nations have extremes in wealth and designers from Western cultures have taken the opportunity to place their goods into those environments, defining their locations to meet the needs of consumers and the traditions that frame their expectations. An example of Western design outlets in a developing nation is within the nation of Dubai where shops from Hugo Boss, Roccobarocco, Louis Vuitton, Escada, Hermes, Prada, and Chanel can all be found. Dubai has its own fashion week and participates on its own terms in relationship to a position as a fashion centre in the Middle East. One can find high end fashion in nations where women’s clothing is restricted. Women in Saudi Arabia, where the abaya is tradition, still have choices that are defined by designer work on this traditional dress. As shown in Figure 4, the abaya can have the proper silhouette, but be produced through design aesthetics. Figure 4 Abaya dress in Saudi Arabia (Yahoo Images, 2012) In the same context, Figure 5 shows how dress can have high end details and still provide for the traditional needs of a woman in Saudi Arabia. In this context, the nature of high end fashion is dependent upon following traditions that are timeless and long lived. Figure 5 Abaya in Saudi Arabia (Yahoo Images, 2012) Conclusion Differences in consumer behaviour are defined by national identities as well cultural traditions. Some of those differences include a more conservative perspective on consumer behaviours, the ways in which decision making is conducted based upon knowledge and information that comes from perspective. Traditionally, buyers in developing nations are more conscious and conservative, based upon a higher awareness of environmental needs. The attitude towards designer products is based upon traditions of conservative behaviours combined with traditions about female clothing. In some nations that means being highly conservative and wearing traditional dresses with modern details with high levels of design maturity. There are two factors that most highly affect these differences. The first is that where there is still developing infrastructure and industry, the nature of life more often demands conservation of resources. Because of this influence on the overall culture, there is a reflection of this aesthetic in buying habits. The second influence is the expectations of dress within different nations that must be fulfilled along with the addition of the concept of design. As in the example of the abaya in Saudi Arabia, the traditional dress is combined with design in order to create traditional silhouettes. In the example of India and Lebennon, tradition and Western classic designs meet in order to integrate into mainstream designer wear. As designers, both from newly opened markets and from traditional markets, work to meet the needs of consumers in markets from developing nations, their design aesthetics and attention to the needs in cultures that represent ‘other’ will begin new trends in mainstream design. The future of design depends upon the integration of global design aesthetics and in recognizing differences while supporting continued quality and editorial in their fashion art. Resources Anheier, H. K., & Isar, Y. R. (2008). Cultures and Globalization: The Cultural Economy. London: Sage Publications. Fashionbrides (2009). Abed Mahfouz. Retrieved from fashionbride.wordpress.com Fashion Gen. (2009). Priyadarshini Rao, Retrieved from www.fashiongen.com Lindenmeier, Schleer, & Pricl (1 May 2011). Consumer outrage: Emotional reactions to unethical corporate behavior. Journal of Business Research. 65, 1364-1373. Manlow, V. (2007). Designing clothes: Culture and organization of the fashion industry. New Brunswick: Transaction Publishers. Morrison, M., Gan, S., Dubelaar, C. & Oppewal, H. (1 June 2010). In store music and aroma influences on shopper behavior and satisfaction. Journal of Business Research. 64, 558- 564. Science Daily. (8 May 2008). Ranking consumers by environmental behavior: India, Brazil top index; United States ranks last. Retrieved from http://www.sciencedaily.com/releas es/2008/05/080507133314.htm Staritz, C. (2011). Making the cut?: Low-income countries and the global clothing value chain in a post-quota and post-crisis world. Washington, D.C: World Bank. Tybout & Artz (1994). Consumer psychology. Annual Review of Psychology. 45, 131-169. Yahoo Images. (2012) Retrieved from http://images.search.yahoo.com/ Read More