FASHION THEORY

BY
VANDANA
ASST. PROFESSOR
ADOPTION OF FASHION
 It is important to understand how new fashion ideas are
disseminated, or spread, and how they are adapted to the
tastes, life-styles, and budgets of various consumers.
 Basically, there are three variations of the fashion
adoption process:
1. traditional adoption,

2. reverse adoption, and

3. mass dissemination.
TRADITIONAL FASHION ADOPTION
(TRICKLE-DOWN THEORY)
 The trickle-down theory is based on the traditional
process of copying and adapting trendsetting fashion
from Paris, Milan, London, and New York designers.
 Sometimes it is even difficult to know where an idea
began.
 As the new fashion are worn by publicized fashion
leaders or shown in fashion publications, more
consumers are exposed to the new look, and some will
desire it for themselves.
 To appeal to this broader group of consumers,
manufacturers produce less expensive versions or
adaptation of high fashion.
 These are copies again and again at lower prices, until
they have been seem often enough to become acceptable
to the most conservative buyer.
 The cheapest versions are seen at discount houses soon
after. Consumers then tire of the look, and its popularity
fades.
 The length of this process is influenced by location. If
the new look starts in Europe, then people in New York
and other large cities will probably be the fist to accept
it.
 Fashion implies newness and freshness, quality, and
other and other essential design elements.
JACKIE’S PILLBOX HAT
 A pillbox hat is a small hat, usually worn by women,
with a flat crown, straight, upright sides, and no
brim. It is named after the small cylindrical or
hexagonal cases that pills used to be sold in.
REVERSE ADAPTATION (TRICKLE-UP OR
BOTTOM-UP THEORY)
 Since the 1960s, manufacturers and retailers pay more
attention to consumer innovation. They watch people on
the streets to find ideas.
 Some of these ideas eventually reach the consumer
market.
 The “Grunge” look of the early 1990s is a good example
of street look that reached the runways.
 Dancewear and active wear which began as functional
needs of the consumer, also have influenced designer
collections.
 Vintage fashion purchased by young people in thrift
shops has influenced collections too.
EXAMPLES

 Jeans are an omnipresent example of trickle up fashion

trend – initially worn by miners, factory workers, and

farmers, which gradually gained acceptance among larger
audience and by 1970s jeans trickled up to become popular
casual wear in America.

 T-shirt is another trickle-up style which was originally

confined to blue-collar workers but evolved into must-have

wardrobe staple due to its practicality and comfort.
RIPPED JEANS
MASS DISSEMINATION (TRICKLE-
ACROSS THEORY)
 Modern communication bring fashion from around the world into
our homes instantly.
 Consumers see the trends and want to look as fashionable as the
celebrities.
 Manufacturers copy hot new styles almost immediately to meet
the high demand. Speed of production is of the greatest
importance.
 Mass Dissemination is becoming the prevalent mode of fashion
adoption.
 There is no longer one channel of fashion dissemination. Many
separate markets have developed geared to various age ranges,
life-styles, tastes and pocketbooks.
 Various designers and manufacturers labels appeal to various
market segments at different price points.
MOTIVES FOR CONSUMER BUYING
 To help them make styling and merchandising decisions, designers,
buyers, and other industry executives try to understand consumer
motivation.
 In the past, most people bought new clothes only when a need arose,
for a very special occasion, or because their old clothes worn out.
 The average person simply could not afford to buy more than basic
necessities.
 Today, discretionary income is larger, and people can buy new
clothes frequently.
 Therefore, buying motives have changed; people are able to buy
clothes because they want or like them.
 Buying motives vary from consumer to consumer and from day to
day.
 Motives are both rational and emotional.
 To Be Fashionable: People may buy new clothing to make
them feel that they are trendy or, at least, in the mainstream
of fashion. They may discard clothing that is still wearable
only because it is out of fashion
 To Be Attractive: Consumers wants clothes that are
flattering, that makes them look their best, or that show off
their physical attributes.
 To Impress Others: People may want to project a successful
image or establish unique identities with fashion. They may
want to exhibit their level of taste or income through
clothing. Expensive brands have even served as status
symbol.
 To Fill an Emotional Needs: New clothes often help people
better psychologically. Being secure in the feeling that they
are wearing appropriate fashion helps them feel confident
and self-assured. This motive, however, may often lead to
impulse buying.
FASHION SELECTION
 Buying patterns change continually. To determine the
acceptability of fashion, both designers and manufactures find
it helpful to consider the criteria consumer use for its
selection.
 Consumer look for their idea of quality at reasonable prices;
often referred to as perceived value.
 There is a trend towards more selective buying. Consumes
may buy only one item, such as jacket, to update their
wardrobes.
 For women, there is renewed interest in glamour and
femininity.
 Many consumers look for comfortable, functional, multiple-
use clothing.
 People are buying closer to need; often referred to as a “wear
now” mentality.
 Customer are attracted to a particular garment or accessory by
its styling features. There are also practical considerations,
including quality and price, that the consumer usually
evaluates before making a purchase.

STYLING FEATURES
 Styling features are the same as the elements of design; but
considered from the purchaser’s point of view rather than the
creator’s.
 COLOR: People relate very personally to color, usually
selecting or rejecting a fashion because the color does or does
not appeal to them or is or is not flattering.
 TEXTURE: The surface interest in the fabric of a garment or
accessory is called texture. Texture usually gives a clue as to
fiber content.
 STYLE: The elements that define a style include line,
silhouette, and details. A consumer’s selection is frequently
influenced by his or her opinion of what is currently
fashionable.

PRACTICAL CONSIDERATIONS
 PRICE: Consumer wants the best product at the best price.
Price is probably the most important practical consideration
for the average consumer. They must compare the total
perceived worth of a style with the retail price and with their
own budgets.
 FIT: Sizing is not a guarantee to fit. The U.S. Department of
Commerce has tried to set sizing standards, but it is difficult
to set size ranges and grading rules to fit every figure. Each
company tries its sample garments on models whose figures
are typical of its target customers, which makes sizing very
from brand to brand.
 COMFORT: Obviously, people need clothes to keep
warm in cold weather or cool in warm weather. As the
population ages and as travel increases, people also want
clothes that are comfortable to move in, sit in, travel in,
and so on. The increasing desire for comfortable clothes
is one of the reasons for the popularity of spandex fiber.
 APPROPRIATENESS: It is important that consumers
find suitable or acceptable fashions for specific
occasions or to meet the needs of their lifestyles.
Consumers consider their clothing needs for job and
leisure-time activities as well as what is appropriate for
their figure type, personality, coloring and age.
 BRAND OR DESIGNER LABEL: Brands are a
manufacturer’s means of product identification. Some
consumers buy on basis of a particular brand’s
reputation, often as a result of heavy advertising.
 FABRIC PERFORMANCE AND CARE: The
durability of a garment or accessory and the ease or
difficulty of caring for it are often factors in selection.
Many consumers prefer easy-care fabrics because they
do not have the time or the interest in ironing or the
money to pay dry cleaning. Consumer concern
popularity of wash-and-fold cotton garments. To protect
the consumer, government regulations now require fiber
content and care instruction labels to be sewn into
apparel.
 QUALITY: Consumer demand for quality has risen in
recent years. The designer or bridge customer considers
clothing an investment and may not mind spending more
for the lasting qualities of fine detailing and
workmanship. Some consumer may look for a particular
brand or name on the basis of a reputation for quality.
 CONVENIENCE: With time and energy in increasingly
short supply, consumers are looking for ways to make
shopping easier. Consumer want to find what they need
easily and quickly. In response to consumer needs,
catalog and Internet shopping has increased. In the
stores, consumer are demanding service and in-stock
assortments.
THANKYOU !!