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Introduction

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

White Lotus, the theme of the funeral that has transported us into the world of fashion designers and the South Delhi business elite, is a fitting metaphor for the key motif of this book. It is also a fitting metaphor for the ethnographic journey in which this work is grounded and for its analytical angle. Like the lotus, the beauties ritualof Indian fashion and heritage luxuryheritage luxury cannot be conceived without their juxtaposition, without the mud from which they grow and that brings the

Neo-Feudal Ornamentalism and Elitist Fantasies

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

The first chapter introduces the Indian fashion industry, the dominant neo-aristocratic aesthetics in contemporary luxury fashion design and the recent intensification of the business elites’ obsession with displays of opulent Indianness and their desire to master time and space through conspicous displays of status. It walks the reader through three key rituals. First, the interactions between designers and their clients in the studios, where they ‘celebrate Indianness’ together. Second, the fas

Producing Cosmopolitanism, Hierarchy and Social Cohesion

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

The second chapter develops the theme of imagined economy and India’s superpowerdom by focusing on the symptomatic commodification of past and heritage in fashion design. It does so by zooming onto the complex material and ideological production of traditional chikan embroidery from Lucknow, a city remembered for its past opulence, cosmopolitanism and luxurious lifestyle. It traces the movement of this embroidery, popular with India’s leading designers, from the local networks of its material pro

Design Genius and his Ghost Others

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

The third chapter turns to the tensed relations between design and craft. Developing further the case of chikan embroidery, as it moves from villages to fashion boutiques, the chapter analyses the ways in which material labour is artificially separated from immaterial labour. It shows how the designers’ narratives about creativity, innovation and artistic genius systematically push craftspeople into invisibility, inferiority and passivity, and deny their creativity, individuality and agency. The

Charitable Non-Love and Philanthrocapitalism

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

Chapter 4 further develops the theme of power relations between design and craft and between the rich and the poor. Many designers working with craftspeople also run non-governmental organizations to ‘empower’ these workers, while cultivating the rhetoric of ethical business and philanthropy, and offering their customers in addition to luxurious clothing also good conscience. Such NGOs and trusts become effective tools of co-option of the village workforce into the capitalist system and reproduce

Fashion, Whisky and ‘Muscular’ Neo-Royals

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

The final chapter turns to the world of elite men and the balancing acts of masculinity that they perform in order to cultivate their image of power.The role played by the ‘rhetoric of muscularity’ is investigated, as is the threat of effeminacy, stemming among other things from their indulgence in luxury and consumption. In order to counteract this threat, men appropriate symbols of low class machismo and incorporate them in the elitist aesthetic, in a similar way in which they use ‘dirty’ subst

Conclusion

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

The conclusion reviews the central points of the work, focusing especially on the power dynamics between the producers and designers, the poor and the rich, the rise of expert privilege and the logic of philanthrocapitalism as an instrument of power. It claims that the current philanthrocapitalism that has taken elite India by storm is deeply neo-feudal in its nature while being wrapped up in rhetoric of good intentions. As such it is a telling sign of the times of brutally rising socio-economic

Designs, Brands and Trends—To Leave a Mark

Jenny Lantz

Source: The Trendmakers. Behind the Scenes of the Global Fashion Industry, 2018, Berg Fashion Library

Book chapter

The 1990s and 2000s were characterized by the emergence of “fast fashion.” With more efficient buying and distribution processes, mass-market fashion chainsmass-market fashion chains, such as the pioneering Spanish firm Zara, could get their clothes into their stores much more quickly than ever before. Fast-fashion chains broke with the seasonal model that had earlier dominated the industry, offering new goods every week. By transferring production to low-cost countries, primarily in Asia, where

Brand Identity and Protection

Fiona Armstrong-Gibbs and Tamsin McLaren

Source: Marketing Fashion Footwear. The Business of Shoes, 2017, Fairchild Books Library

Book chapter

Fashion footwear is a complex industry where many variables converge to present brands with challenges that test their ability to become, and remain, credible. It is this credibility that is crucial for brands to survive, not just short term, but long term. And it is this credibility, in the eyes of the consumer, that allows brands to charge far in excess of production costs and overheads, and therefore yield greater profit.

Brand Management

Fiona Armstrong-Gibbs and Tamsin McLaren

Source: Marketing Fashion Footwear. The Business of Shoes, 2017, Fairchild Books Library

Book chapter

Successful fashion footwear brands are not born overnight but rather evolve over time as a result of unique product, in-depth consumer research, carefully planned strategies and in many cases by capturing the spirit of the time, often by chance. This chapter explores how brands morph from “fad” brands into truly iconic brands by appealing to many different consumer types simultaneously.

Three: The King of Lifestyle Merchandising: Ralph Lauren

Joseph H. Hancock

Source: Brand Story. Cases and Explorations in Fashion Branding, 2nd Edition, 2016, Fairchild Books Library

Book chapter

Ralph Lauren was born on October 14, 1939, the son of Russian Jewish immigrants. His real name was Ralph Lifshitz, but in his late teens, he and his brothers had their names changed to Lauren. He had a normal childhood, with a modest upbringing. He grew up in the Bronx and lived with his parents in a two-bedroom apartment. He shared a room with his brothers throughout his childhood and often wore their hand-me-down clothes. He became accustomed to the worn look of the garments and eventually enjo

Four: Fantastically Sexy!: Dolce & Gabbana

Joseph H. Hancock

Source: Brand Story. Cases and Explorations in Fashion Branding, 2nd Edition, 2016, Fairchild Books Library

Book chapter

Domenico Dolce was born on September 13, 1958, in the Sicilian village of Polizzi, and his partner, Stefano Gabbana, was born on November 14, 1962, in Milan. They met in 1980 while working for the same design company and instantly had chemistry—for fashion and each other.“Dolce & Gabbana,” The Biography Channel, www.thebiographychannel.co.uk/biographies. For many years, Stefano Gabbana and Domenico Dolce were partners in both business and life. By literally spending day and night together, they w

Designing for different markets

Elinor Renfrew and Colin Renfrew

Source: Developing a Fashion Collection, 2nd Edition, 2016, Fairchild Books Library

Book chapter

Haute couture is the highest, most specialist market level. Couture is preindustrial fashion based around privately commissioned ateliers (workshops) producing handmade, bespoke garments fitted to clients who appreciate the highest quality and utmost privacy. Established houses, such as Chanel, Givenchy, Dior, and more recently Gaultier, are members of the Chambre Syndicale de la Haute Couture and show their couture collections in Paris over three days in January and July. Currently there are onl

Luxury

Jonathan Faiers

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Luxury and fashion today are increasingly uttered in the same breath, and while fashion certainly does not have to be luxurious, the term fashion adds a significance and meaning to everyday clothing that elevates it above its chief utilitarian functions of providing protection, warmth, and modesty. The combination luxury fashion, however, implies cost, exclusivity, indulgence, and excess, and is typically understood as being constructed from the finest materials, involving a high level of craftsm

Reel to Real Life: Re-Fashioning India from Bollywood to Street

Arti Sandhu

Source: Indian Fashion. Tradition, Innovation, Style, 2015, Berg Fashion Library

Book chapter

Cinema in India is an extremely influential cultural medium. India has the world’s largest film industry with over 1,000 films produced every year in more than 20 languagesIbid. and over 14 million Indians go to the movies on a daily basis.In 2008 the industry was valued at approximately US$2.2 billion, and expected to grow by 9 percent p.a. till 2015 (Deloitte 2011 report: “Media & Entertainment in India Digital Road Ahead.” www.deloitte.com/in [accessed June 4, 2013]) Many more watch them at ho

Ungaro, Fall/Winter 1999

Vanessa Semmens

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Ungaro’s fall/winter 1999 collection was a departure from the designs he had been known for in the 1980s and early 1990s. It had more of a hippie feel than his previous collections; however, it still had the luxury that was associated with the brand. Ungaro’s show was judged to have successfully achieved a balance between commerciality and the craft of the couturier.

Celebrities and Fashion Models: Endorsement and Promotion Agreements

Ted Max

Source: Fashion Law. A Guide for Designers, Fashion Executives, and Attorneys, 2nd Edition, 2014, Fairchild Books Library

Book chapter

Fashion brands today rely heavily on campaigns featuring celebrities and famous models to augment the profile of their brands and bring attention to their latest fashion and accessory designs. The rise of social media, including Facebook, YouTube, Twitter, and Pinterest has contributed to a heightened impact of celebrities and models as part of advertising and brand building by creating celebrity advocates with whom consumers affiliate and identify closely.Recent studies of advertising to Millenn

Branding

Virginia Grose

Source: Fashion Merchandising, 2012, Fairchild Books Library

Book chapter

Customer behaviour can be unpredictable and it is difficult to make assumptions about who will buy fashion, but it is probably safe to assume that customers can be promiscuous about purchasing habits and highly sophisticated in terms of taste. Consumers today are more affluent, discerning, demanding, cosmopolitan, educated and time-pressured than ever before.

The Fashion Brand

Kaled K. Hameide

Source: Fashion Branding. Unraveled, 2011, Fairchild Books Library

Book part

Luxury Fashion Brands

Kaled K. Hameide

Source: Fashion Branding. Unraveled, 2011, Fairchild Books Library

Book chapter

The term LUXURY is actually a relative one. What may be luxury to one person or one culture may not be so to another, and what used to be luxury in the past may not be so in the future— in fact, it may even be considered standard. Nevertheless, we all seem to share some common understanding of what luxury ought to be. Just mention the word “luxury” and a mental image is automatically triggered. A few descriptions pop into most people’s minds, such as expensive, creative, trendy, exclusive, high q

Mass-Market Fashion Brands

Kaled K. Hameide

Source: Fashion Branding. Unraveled, 2011, Fairchild Books Library

Book chapter

MASS-MARKET brands are ones that are mass produced. They range in price from low-priced budget brands to high-priced premium brands with mid-priced consumer brands in between. Mass-market fashion brands are generally fashion followers and not trendsetters. They may suffer from sameness, indistinguishable differences, or lack of creativity compared to luxury brands; thus, they are rarely positioned on creativity but on values derived from price, and convenience. Accordingly, these brands’ values u

iBRAND: The Age of Interactive, Wireless, and Virtual Brands

Kaled K. Hameide

Source: Fashion Branding. Unraveled, 2011, Fairchild Books Library

Book chapter

Interactive branding refers to a situation whereby the consumer interacts directly with the brand or the process of creating and developing it. It is through the help of new technologies that it has become possible for consumers to play a direct and interactive role in shaping a brand as he or she likes. A good example of this trend is the concept of mass customization (or MC). In this chapter we focus on mass customization, explain the concept, give examples of various applications, and then exa

Customer Service Means Business

Ira Neimark

Source: The Rise of Fashion and Lessons Learned at Bergdorf Goodman, 2011, Fairchild Books Library

Book chapter

As I have mentioned before, salesmanship seems to be a lost art. All retailers bemoan the fact when a snowstorm, or other inclement weather, causes customers to stay home instead of shopping, it will ruin their sales. I am reminded of a wonderful retail story that I heard many years ago, so long ago that I may have the wrong names. However, whenever the weather turned bad for me, I thought about it.

Private Labeling and Product Development

Jay Diamond and Sheri Litt

Source: Retailing in the Twenty-First Century, 2nd Edition, 2009, Fairchild Books Library

Book chapter

In most retail operations, be they brick-and-mortar, catalogues, or Web sites, the greatest proportion of the merchandise is produced by manufacturers. The products are not restricted to any one merchant, but sometimes their purchase comes with exclusivity terms for certain merchants. That is, the goods are restricted to specific retailers in a trading area.

Branding Strategies for Gentle Monster

Ho Jung Choo , Woo Bin Kim

Source: Bloomsbury Fashion Business Cases

Level: Introductory

Business case

Gentle Monster is a South Korean luxury eyewear brand that launched in 2011. This relatively young brand achieved immediate success owing to its thoughtfully designed stores that are full of artistic inspiration and eyewear products with unique and trendy designs. Gentle Monster uses the physical store as an exhibition space to convey its brand image and not merely for product sales. Each store is designed with its own concept and utilizes various objects and sculptures to turn this selling place

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