Questo sito utilizza cookie di terze parti per inviarti pubblicità in linea con le tue preferenze. Se vuoi saperne di più clicca QUI 
Chiudendo questo banner, scorrendo questa pagina, cliccando su un link o proseguendo la navigazione in altra maniera, acconsenti all'uso dei cookie. OK

A Study of Distribution Channel Strategies in the European High Fashion Market with Particular Reference to Giorgio Armani, Vivienne Westwood and Sonia Rykiel

Aim of the thesis is the analysis of distribution channels for fashion industry.
Starting from an observation of the European textile and clothing market, the thesis offers a wide overview of the origins and the evolution of fashion market, through the '80s and the subsequent crisis, to present day, when it is marked by an increasingly fierce competition. The thesis, after a elaboration of data gathered via internet and magazines, offers a direct testimony of three of the most representative and internationally recognized cornerstones of European fashion: Giorgio Armani, Vivienne Westwood and Sonia Rykiel.
For each of them, one chapter describes the origins, the evolution and distribution strategies and the adopted style in the international markets of reference.

Mostra/Nascondi contenuto.
14 14 THE EUROPEAN FASHION INDUSTRY 1.1 The Origin of the European Fashion �The high-fashion industry as we know it today, with seasonally presented, designer-led fashions was established in Second Empire Paris (1952-70)� (De la Haye A., 1996 p.13). The promoters of fashion creation have been widely credited as the British-born Charles Frederick Worth and his partner Otto Boberg. They founded their fashion house in 1858, and imposing their own design ideas, created fashion unequivocally determined by the designer. In 1868 the �Chambre Syndicale de la Couture Parisienne�, was founded in order to co-ordinate, study and defend the economic, industrial and commercial interests of this prestigious industry. The wealthiest European and American women purchased their clothing direct from the couture houses and the rest of fashionable society looked to Paris for stylistic guidance. The war period, with all its restrictions, had taken some of the sheen from French fashion internationally and suddenly it was no longer the benchmark it had once been. Other countries such as Italy gained a good position and profit from the situation, because of the French fashion influences cut-off by the occupation. Consequently, various Italian designers in the Italian couture acquired their skills and developed an Italian style, becoming world wide recognised for style and quality. ��Italy started to be considered by many expertise, to be second only to France as a fashion market centre, being especially strong in sportswear, knitwear and accessories-notably shoes� (Jarnow and Judell, 1974. page192). Things were slightly different in Great Britain. Since before �Mary Quant� fashion revolution, London was a fashion market centre. Known primarily for expertly tailored menswear, London also had a haute couture group called the �Incorporated Society of Fashion Designers�. Although British tweeds and British custom tailoring have always been famous, it was not until after World War II that influences from the British fashion industry were heard around the world.

Tesi di Laurea

Facoltà: Economia

Autore: Barbara Pini Contatta »

Composta da 91 pagine.


Questa tesi ha raggiunto 4808 click dal 20/03/2004.


Consultata integralmente 24 volte.

Disponibile in PDF, la consultazione è esclusivamente in formato digitale.