Avant Garde Fashion:

A consumer perception of avant garde and mainstream fashion

Submitted by:

Shalini Kumari

National Institute of Fashion Technology

05th August 2020

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Avant Garde Fashion

TABLE OF CONTENTS
ABSTRACT………………………………………………………………………………………… (4)

ACKNOWLEDGMENTS………………………………………………………………………….(5)

GLOSSARY……………………………………………………………………………………..…….(6)
Avant Garde- The older generation

Avant Garde- The new generation

1. INTRODUCTION………………………………………………………………………(8-9)
1.1 Problems
1.1.1 Today
1.1.2 Current Knowledge
1.1.3 Win- win situation
1.1.4 Purpose and Research
1.1.5 Thesis

2. METHODOLOGY…..........................................................................................(10-11)
2.1 Research Strategy and Approach
2.1.1 Research based on qualitative
2.2 Research Model
2.2.1 The level of fit between products and brands
2.2.2 Identity of Avant Garde fashion brands

3. CONSUMER PERCEPTION ABOUT AVANT GARDE FASHION….(11-12)

3.1 Consumer Behavior
3.2 Collections
3.3 General Attitude and Scales
3.4 Identity
3.5 Avant Garde vs Mainstream

4. ANALYSIS……………………………………………….………………………...…(12-13)
4.1 Fundamental Concept of Fashion
4.2 Matter of Design
4.3 Emotional Branding
4.4 Influence of Awareness

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4.5 The end of Avant Garde

IMPLICATIONS AND FUTURE RESEARCH……………………………………...…….(14)

CONCLUSION…………………………………………………………………………………..…(15)

META ANALYSIS………………………………………………………………………...…(16-17)

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Avant Garde Fashion

ABSTRACT

Over the last decades, co-branding within fashion including avant garde has increased
dramatically. The applied research model of avant garde’s brand identity, examines the
effects on consumer perception. The study supports the contradictive nature and risk of
the collaborations.

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ACKNOWLEDGEMENT

A VERY SPECIAL THANK YOU TO

Kajal Sinha
For stimulating discussions, her literature input, support and patience

My family and friends

for enduring me during the last few weeks

“Fashion is a movie. Every morning when you get dressed, you direct
yourself.”
Thierry Mugler

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GLOSSARY
Fashion Designers

Avant Garde- The older generation

Antwerp 6

A Belgian fashion collective from the Antwerp’s Royal Academy of Arts all graduating
between 1980-1981. The designers referred to as the Antwerp 6 are Anne
Demeulemeester, Walter Van Beirendonck, Dries Van Noten, dirk, Van Saene, Dirk
Bikkemberg and Marina Yee. They shared a radical vision of fashiom and are said to
have defined the style of the 1990s, after their breakthrough in London in 1986.

Issay Miyake

A Japanese Designer known for technology-driven designs having a long tradition of

innovative designs and a grant position in avant garde fashion.

Avant Garde- The new generation

Rick Owens

A spectacular designer known for his progressivism and innovative hands in fashion. He
himself describes his collections or designs as glunge- a combination of glamour and
grunge. The dark colours and luxurious materials that he uses shows the designer’s
passion. He has earned popularity and numerous brands tried to imitate his works.

Thierry Mugler

Known for fetishistic fashions, he came in fashion design via dance and photography.
His style of his collections looks both sophisticated and urban. Despite retiring from his
brand, he made exception designs later on.

Iris Van Herpen

A Dutch fashion designer who’s from engineering background experimenting with

technology and creating her progressive collections by using 3D prints.

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Other younger avant garde designers: Raf Simons, Haider Ackermann, Kris van
Assche, Damir doma, Yohli Yamamoto, Alexander McQueen, Tsumori Chisato.

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1. INTRODUCTION
As the designers simply cannot please a high end brand and serve the masses at the
same time, one has to pick a side. The high end fashion designers takes mainstream
fashion to another level, by designing unusual and daring co-branded collections
between fashion designers.

1.1 Problems
In many fashion houses, the designers do not have rights on their brands and gets
owned by the investors many times. That results in licensing agreements which are
financially beneficial but there are other issue of fashionability and consistency with the
brand identity to get ignored. One of the examples is Calvin Klein, due to inconsistent
brand collaborations or licensing agreements they have suffered under extreme
fluctuation of their brand image along the years.

1.2.1 Today

It’s completely dead mindset and unthinkable today that the high end brands cannot
target the masses as well. Luxury goods like perfumes and cosmetics can be found in
every department store or in retailer shop. In fact, H&M being the fashion retailer or the
big car industries have been encouraging collaborations. The scene aims to explore the
effects of the brands and does cross-fertilization for consumers. As the high end brand
Versace did the collaboration with Lamborghini. The partner are often belongs to
different nature, some are commercially oriented and mainstream, whereas others are
extremely progressive and artistic. The following grid shows the other example sets of
partner collaborations:

Fig.1: Maison High-End

Martin

Rick MISSONI
Owen

Avant Garde Mainstream

Adidas

H&M
Low-End

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The fig.1 shows the examples consists of mass market retail company who is similar to
H&M has collaborated with both less popular young designers as well as the famous
fashion brands like Missoni. Rick Owen have launched a collaboration between Swedish
mainstream fashion retailer H&M. The Belgian liked the collections of the collaboration
between the fashion house Maison Martin and H&M, even they got prized for politically
breaking the ground.

1.2.2 Current Knowledge

The avant garde design targets a narrow consumer group as well as they collaborate
with mass fashion brands and it is more common than ever. These types of
collaborations are mainly marketed by the mass fashion brand, while the avant garde
designer has a role of a design licensor. The design collection’s approach and expression
also vary in sizes and are diverse.

1.2.3 Win-Win Situation

The image of the avant-gardist brand gets affected to what extent, despite the monetary
compensation? Generally the Brand’s value is based on their progressiveness. One
should ask what is left, if it changes the nature. The targeted expansion of the brands
should results in beneficiary to both, whether its mainstream retailing or avant garde
design.

1.2.4 Purpose and Research

The main purpose of the study includes the investigation of the effects of design
collaborations between high end avant garde brands and the mainstream/mass-market
brands. The complex consequences of collaborations and what’s the sociological
perspective of it.

1.2..5 Thesis

The chapter provides an overview of the theoretical work as well as presents the
methodology and choices related to research approach. It includes the suggestions for
further research.

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2. METHODOLOGY
Considering the research methods and to reach the aim of upgrading more knowledge
to brand strategy, there’s an interest for exploring the consumer perceptions. The
selected design field is an abductive exploratory study, in which there are datas based
on the experts and few research articles.

2.1 Research Strategy and Approach

To approach the research of design, an initial step is to examine the relation between
the theory and research. This research work aims to make strong understanding of the
collaborations between the avant garde designers and mainstream clothing retailers
and how the consumers behaves and gets involved in it.

2.1.1 Research based on qualitative

Limited research has been done in the area of study. Yet lacking a clear definition. The
aim is to gain in-depth knowledge of consumer behavior by the by doing qualitative
research. It mainly focuses on the insights through emphasizing words text in the data
collection and analysis; it motivates the appropriateness of strategy.

2.2. Research Model

In what way the collaboration sort out the products, identity and the effects consumer
perception. According to research, fit of brands can be looked along two different
dimensions.

2.2.1 The level of fit between products and brands

Firstly, the mainstream clothing focuses on offering a low price, while avant garde
collection lies in its expressions, expensive materials and artistic progression. Secondly,
the category of products varies from designer to designer philosophies.

2.2.2 Identity of Avant Garde fashion brands

Avant Garde designers who use emotional strategies, very relevant and common in
Fashion industry. Fashion consumers are very sensitive, if it’s about consumption. Due

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to mass market products, it is difficult for individuals to express their affection and
interest. That’s the reason why consumers move on to the collaboration of high end and
mass market.

3. CONSUMER PERCEPTION ABOUT AVANT GARDE

FASHION
The consumption of the individuals gives an idea of avant garde consumers. The
consumer’s attitudes and opinions are the major part, according to their need and
demand the designers or brand organizes themes, concepts etc. The first survey is all
about the avant garde consumers and how they consume. After having the theme,
collections are made towards collaboration in terms of perception as well as personal
requirements.

3.1 Consumer Behaviour

Avant garde consumers are the mainly working in creative industries because of the
capital that’s needed to acquire the uniqueness. There are consumers who dedicate
themselves into avant garde without compromise. They have a level of awareness about
personal fashion style and the mass consumption. There are other people who mix
avant garde with mainstream. All of them have different taste and level of thinking.

3.2 Collections
The theme taken after the survey aims to depict the consumer’s attitudes towards
design. The designers identify the group patterns during the collaboration.

3.3 General Attitude and Scales

The attitude varies and if it’s about the collaborations then brands are very diverse.
Some will be positive in the beginning but can change their mindset at any point of time.
Like in first it will seem a good idea, then as the work load increase it will make them
lazy. At last, all the way it doesn’t make any sense at all.

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3.4 Identity
The clients of these kinds of garments belong to different experiences like architects,
artists and other who are in the industry itself. It shows the customers want to belong to
a certain social group.

3.5 Avant garde vs Mainstream

Avant garde’s association range from materials to ideas behind the garments. It sounds
differently in contrast to mainstream, which is based on seasonal trends. The
mainstream’s understanding seems to be difficult from consumer’s point of view, as
they mostly think of actual garments and their characteristics, not like the avant garde.

4. ANALYSIS
The brands will look on the effects on consumer perception of the avant garde fashion.
It originates the target market segmentation as well as how it is related to fit.

4.1 Moderator between brands and products

To determine the level of fit, one option is to indicate the impacts of consumer
perception and attitude towards the collaboration mass market partner brand.

4.2 Matter of Design

Both avant garde and mainstream designs matches, almost impossible to fuse; other
than that fit on brand level determines the fit on a product level.

4.3 Emotional Branding

Nature of emotional branding helps brand images to get connected with the
consumers.

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Related to authenticity, mainstream clothing brand exposes risk to the avant garde
designers.

4.4 Influence of Awareness

The high level of increased accessibility which is the loss of brand’s value and position
in the eyes of the consumers.

4.5 The end of Avant Garde

The discussed above theory of finding indicates positive impact of brand collaborations
in terms of awareness and consumer perception. This can be profitable for the
consumers who are from medium class background to have garments having names of
high-end brands on it. Overall, collaborations with mass market brands strengthens
positions and explores customer’s base.

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IMPLICATIONS AND FUTURE RESEARCH

 The future calls for impacts of consumer purchasing and moreover the general
attitude of customers; their actual behavior and personal preferences.

 This subject can be very interesting for further studies and might have much
implications for researchers.

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CONCLUSION

 The study concerns about the consumer perception of the avant garde brand.

 The risk of collaboration might compete with the high monetary compensation.

 On combining the research areas, different ideas generated regarding the

sensitivity of identity of brand and effects of it.

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META ANALYSIS

S.No. Citation Review Full Reference

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depicted the Margiela for H&M – alla
collaboration Plagg & Accessoarer.
between Margiela Retrieved April 29
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different language http://elle.se/margiela-
(translated in for-hm-allaplagg- och-
google) accessoarer/

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3. Arnould, E. J., & Arnould, E.J & Arnould, E. J., &

Thompson, C. J. Thompson, C.J Thompson, C. J. (2005).
(2005) (2005) have clearly Thompson &
defined the theory Arnould_Consumer
of consumer, their Culture Theory.pdf.
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5. Egbert, D. D. Egbert, D.D (1967) Egbert, D. D. (1967).

(1967) has historically The Idea of “Avant-
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avant garde

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