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Christopher Moore
is a Reader in Marketing at Glasgow Caledonian University.
Ruth Murphy
is a Senior Lecturer in Retail Marketing at the University of North London.
Keywords: Abstract A recent development within the UK fashion sector has been the adoption
product innovation, by younger consumers of products and brands which have been traditionally targeted
brand diffusion, market
towards older customer groups. While previous research has tended to focus upon
growth
developing an understanding of the motivations which lead young consumers to
adopt, adapt and in some cases undermine the brands and products typically associated
with other demographic groups, little attention has been given to the role that fashion
companies play in this process of market extension and development. By examining the
activities of four fashion companies which have successfully extended into the youth
market, the research identifies the varying strategic approaches that these firms
adopted as well as the alterations they were required to make in order to satisfy the
needs of this new group of customers. The research concludes by examining the long-
term implications of this type of market development.
© Henry Stewart Publications 1361-2026 (2000) Vol. 4, 1,15-25 Journal of Fashion Marketing and Management 15
Moore and Murphy
development appears to have been achieved which have considered the strategies
without detriment to their established available to fashion companies as they seek
customer following. to ensure the future growth and prosperity
Yet, despite the fact that a number of of their brands. The second strand considers
'classic' fashion brands, such as Burberry of the dynamics associated with the adoption
London, Kangol, Yves Saint Laurent, Hush and assimilation of the products and brands
Puppies, Clarks, The Mulberry Company, typically associated with one social or
Lacoste, Christian Dior and Farah have been demographic grouping to the fashion brand
eagerly, yet perhaps unexpectedly, adopted repertoire of those of another. These two
by a new and much younger group of dimensions will be considered here.
customers, little attention has been given
within previous research to the strategies
that fashion companies typically adopt, as Opportunities for growth
well as the issues that they must face, as Based upon a review of the literature
they seek to exploit these new (and possibly concerned with the marketing of fashion
unexpected) market opportunities. products and brands, it would appear that
Within the context of this seeming little or no attention has been given to the
research neglect, the purpose of this paper is issues and management processes
to examine the key issues associated with associated with the growth and
the market development of what have been development of fashion brands either within
termed 'classic fashion brands', typically existing markets or in other non-associated
focused upon the older, wealthy customer markets. Issues surrounding the creation,
(Verdict, 1997), into the younger fashion development, management and
customer segments. In particular, the repositioning of fashion brands have been
research seeks to: considered (Moore, 1995; Lea-Greenwood,
1997; Lewis and Hawksley, 1990; Evans,
— identify the impetus for such market 1989) as a response to declining consumer
developments (ie are these fashion demand, increased market competition
companies proactive in the development a n d / o r the desire to shift brand focus to a
of these new markets or are they reactive new target customer group. Attention has
to an unexpected customer demand?); also been given to the repositioning of
— examine the implications for the fashion fashion retailer brands, particularly in terms
firm's brand management strategies as of identifying the significance of advertising
they seek to maximise the opportunities and promotional activity, brand naming
afforded by newly emergent customer strategies and distribution control in the
markets; effective redevelopment of the successful
— identify the key issues associated with fashion brand (Moore, 1995). It has been
the future development of the brand(s) suggested that the success of a fashion
within their traditional and newer brand is dependent upon the extent to
markets. which the brand competently represents
The preliminary research results are and communicates the functional and
based upon a series of interviews with four representational requirements of the target
fashion companies whose brands, although consumer (Doyle, 1992).
traditionally targeted towards an older age Drawing from the generic characteristics
group, have become highly successful of the successful brand, de Chernatony and
within the younger age group. McDonald (1995) suggest that the successful
fashion brand is precisely targeted to serve
the needs of a clearly defined group of
Review of previous research customers, while other studies suggest that
Arguably, there are two main strands of the fashion brand is often used as a means
research which have direct relevance to this of denoting group conformity, status and
study. The first relates to those studies affiliations and aspirations to certain
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The strategic exploitation of new market opportunities by British fashion companies
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Moore and Murphy
In addition, if there is a requirement that the form of governance and control within
brand's marketing mix be adjusted in order society. Consequently, the adoption of the
to accommodate the needs of the newly ruling élite's symbols is regarded as the
targeted customer group, then there is the ultimate act of defiance (Craik, 1994).
danger of confusing, diluting and Regardless of the original motivation for
undermining the brand's original such brand adoptions, it is invariably the
positioning. case that as part of the process of acquisition
While there has been little consideration both the functional role and the
of these brand development strategies representational significance of the b r a n d/
within the context of fashion marketing, the product are modified to suit the lifestyle
generic literature provides sufficient features of the youth culture better
direction for the development of the (Giddens, 1991). As such, the brand's
research approach described later. symbolism is reconfigured and its
associated meanings revised to reflect a new
cultural context. But what precipitates the
The adoption of fashion brands selection of one brand over another for this
While it is beyond the scope of this study to treatment of revision and reinvention by
consider consumer motivations and disaffected or aspirational consumer groups
activities in respect of the adoption of is less clearly explained. Nor does the
fashion brands typically associated with a literature adequately explain the role played
distinct and separate customer segment, it within this process of reconfiguration by the
could be argued that it is beneficial at least brand provider (whether that be the retailer
to consider the consumer dimension of this or manufacturer). Consequently, it is
process in order better to understand the unclear whether the fashion brand provider
strategies adopted by fashion firms to attract typically takes an active or passive role in
new groups of consumers to their products instigating the process of brand adoption
and brands. (and revision) undertaken by these younger
Various studies have considered the customer groups.
significance of fashion brands within social The review of the literature highlights
group settings, particularly within the that we have only a partial understanding of
context of young consumer groups the interplay between fashion firms' brand
(Calefato, 1997). The appropriation of management strategies and the attitudes
fashion brands and cultural images typically and behaviour of consumers, particular
associated with older customer groups and those who do not have an established
those of higher social status has been relationship with the brand. Within this
documented previously, and a variety of context, the focus of the empirical stage of
motivations have been identified to explain this research was thus to examine more
such behaviour. Among these are the desire closely the role that fashion firms play in the
to be associated with the values and lifestyle process of new market development.
of esteemed social groups, as well as the
need to be disassociated from the values
and characteristics of the consumer's Research purpose and method
immediate peer groups (Berward, 1995). In view of the lack of previous research in
In contrast, the assimilation of brands the area of fashion brand growth/
commonly associated with a higher social development, it is impossible to provide a
order, an élite or 'the establishment' may be theoretical framework upon which to direct
motivated by the desire to subvert that this research. As such, this study is by
social position and standing. Studies have necessity of a preliminary nature. This is
suggested (Giddens, 1991) that a common evidenced by the fact that the research aims
feature of contemporary youth is the desire are of a exploratory/descriptive nature, and
to undermine, devalue a n d / o r trivialise the only a small number of companies were
symbols of those groups which hold some included in the study.
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The strategic exploitation of new market opportunities by British fashion companies
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Moore and Murphy
Core brand values Design, innovation, Quality, quirkiness, Quality, comfort, International,
quality eccentricity, British heritage establishment,
craftsmanship established, high
fashion
Core target Homogeneous: 35-50 years, male Children's wear plus 35+ male and
market anyone wishing to and female, adult, 50+ years female, rich,
wear a hat predominantly international
female
Core products Casual and occasion- Leather accessories: Casual shoe market Couture, ready-to-
wear hats bags, belts, wear, shirts,
organisers, wallets accessories,
etc perfumes
New customer Male, aged 15-24, Late 20s-30s Late 20s-30s Male, aged 14-25,
features social class C1, C2 social class C1, C2
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The strategic exploitation of new market opportunities by British fashion companies
Unlike the other two companies, which Previous to the emergence of this new
were proactive in developing a younger customer group, the firm acknowledged
market following, both Kangol and the that they faced severe trading problems,
French design company initially found that notably in terms of an ageing core customer
their respective brands were adopted by and a decline in market growth and overall
younger consumers without any real market share, as well as the resultant de-
planning or encouragement on their part. listing of their ranges by wholesale account
During the 1970s, Kangol created a new customers. The unprompted emergence of a
logo, the kangaroo, which has since younger customer segment who were
become a prominent emblem within the attracted to the brand thus proved highly
context of street fashion. Kangol's brand significant and became a catalyst for new
manager identified that the brand was innovation and development within the
originally adopted by black youth in the company to capitalise upon this much-
UK. Noting headwear to be an important needed market opportunity.
element of black youth style, he suggested
that with Kangol's specialisation in
headwear and the fact that these hats had Implications for brand management and
an emblem with 'street credibility', it soon positioning
became the case that Kangol was a 'must- The emergence of new market opportunities
have' item for this youth group. In had important implications for the
addition, a further twist of fashion fate also respective fashion companies' approach to
assisted the development of the Kangol the management and positioning of their
brand. During the late 1980s it became de brands. Interestingly, each of the companies
rigueur to wear hats back to front, hence felt that it was necessary to engage in some
modifying a traditional look to suit a form of adaptation of their marketing mix so
modern style. Since the kangaroo logo was that the brand offering would better match
placed on the back of Kangol hats, by the needs of these younger consumers. The
reversing the hats when wearing them the rationale for this alteration is given by the
Kangol brand became even more obvious UK marketing director of the French design
and prominent, and this appears to have firm:
encouraged further adoption of the Kangol
brand by other youth groups. 'You have to realise that in this type of
In the case of the French fashion situation, the customer is rarely buying into
company, the UK marketing director stated the existing product range. It may be one
that the adoption of the brand came 'totally product in particular, but really it is the brand
out of the blue'; he described the process as they want. What you must do is get them to
continue liking the brand by moulding the
follows:
product range in such a way that you make it
more what they would want in style and
'Young casuals, if you can call them that — image terms. You have got to convert the
macho types — picked up on the brand which brand into the sorts of products they would
they got from the better department stores. want. These are not likely to be the same for a
They started to wear the classic shirts with 60 year old and a 23 year old.'
jeans, out to the clubs. The research we have
done says that they picked up on our brand as Table 2 provides a summation of the
a symbol of money, wealth. Some even adaptations to the marketing mix
thought of us as English — a British Ralph
undertaken by each of the companies in
Lauren — which was quite funny. They
picked us and I think that there was some response to their new market opportunities.
sense of sub-culture, of nationalism. I do not
really understand it at all. Then the other Revised marketing communications
"lads" picked it up. But it came as a surprise
— we never planned it — I do not think that The research clearly identified the
we could have.' importance of marketing communications,
© Henry Stewart Publications 1361-2026 (2000)Vol.4, 1, 15-25 Journal of Fashion Marketing and Management 21
Moore and Murphy
Product Brand extensions via Offering 'fresher', Fresh new shoe styles New range of
licensing: belts, more youthful and making older underwear, jeans,
watches, footwear, styles, eg brightly brands more casual shirts and
sunglasses coloured leather youthful, eg outerwear
handbags Springers
Place Maintain selling in Opening Manchester Refitted UK shops to Development of a
mainstream stores store reflecting a give 'new look' to wholesale
and outfitters; turn towards the complement distribution
licensed products UK market advertising strategy offering
are targeted at campaign the brand to
outlets specifically youth retailers and
for the youth department stores
market
Price Maintain traditional Retained same price Retained some price Introduction of
pricing strategy points points high-street-level
prices
Promotion Do not formally Retained classical Refresh brand with Advertised in youth
advertise; extensive country image, but TV advertising media; greater
PR activities slowly moved campaign; modify emphasis upon PR
towards 'suity point-of-sale activities
urban' material to reflect
this
and public relations in particular, in the order to make the brand more appealing
process of extending the appeal of fashion and relevant to a younger customer base,
brands within younger market segments. the decision was taken to photograph the
For Mulberry, the opening of their store in advertising campaigns within urban
Manchester, a city considered by them to be locations, such as Hampstead in London.
urban, stylish and young, was seen as a The new imagery saw a shift away from
significant step for the company in previous associations with English nostalgia
attracting a more youthful market. To signal and aristocracy to one which was more
this new emphasis upon a younger market, modern, urban and sharper. It was not the
the company attracted local young intention to lose the central values of the
celebrities to their store opening; as well as Mulberry brand. The aim was instead to re-
this form of peer-personality endorsement, cast these values within a more modern
Mulberry for the first time used public context which, in turn, would be more
transport advertising in the area and meaningful and attractive to a younger
postcard drops in all the key young customer segment.
entertainment venues to create awareness Clarks, with a strong position in the
and interest in their new store opening. children's and over 50s' markets, recognised
In addition to advertising within the the need to attract those customers 'in the
'traditional' fashion magazines, such as middle'. Ironically, access to the late 20s and
Vogue, Harpers and Queen and Tatler, the 30s market was not necessarily difficult for
company included their campaigns within Clarks by virtue of the fact that 28 is the
magazines targeted towards younger average age for a woman to have a first baby
customer groups, such as Marie Claire, GQ in the UK. The company felt that when the
and Loaded. As well as altering the family entered a Clarks shop for their
placement of such advertisements, toddler's first shoes, this would be a prime
Mulberry also altered the mood and context opportunity to sell to the rest of the family.
of these adverts. In the past, Mulberry's In order to do this, the company recognised
visual communication had been exclusively the need to revise their marketing
focused upon country images, as epitomised communications strategy and therefore in
by rural locations and country pursuits. In September 1997 launched the 'Act Your
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The strategic exploitation of new market opportunities by British fashion companies
Shoe Size' television advertising campaign, including underwear, jeans, casualwear and
which through humour tried to reposition sportswear, under license agreements. In
Clarks as a stylish, modern and fun brand. addition, new marketing communication
Along with the campaign, the company campaigns were developed and tailored to
had their retail outlets updated through the needs of a younger customer group, and
refurbishment, and devised an in-store new wholesale customers have been found
communications strategy which sought to to ensure maximum product availability.
underline and reflect the television The frenetic activity undertaken by the firm
campaigns. In terms of product is expressed in the summation of their UK
development, Clarks relaunched their desert marketing director:
boot (which originally helped them to
launch their business overseas in the 1950s) 'Really, this has been like building a new
together with the Desert Trek and Wallabees company. It has meant new design, new
designs. Fortuitously, the company has also suppliers, new advertisements, new
experienced unprecedented press PR distribution systems. It is incredible how the
coverage as these products have been emergence of a new market requires such a
adopted by a number of successful British fundamental change in how things are
organised.'
bands, including Oasis and The Verve.
The emergence of a new customer
following has given Kangol the impetus to
Key issues for the future
develop a new range of branded products
through licensing agreements. From their A major key issue for both Mulberry and
initial focus in the headwear market, the Clarks is the need to embrace their newly
Kangol brand has now been successfully emerging target markets without alienating
extended to include casualwear, shoes, their traditional market. Mulberry has gone
watches and sunglasses. The company seeks some way to achieve this through the use of
to coordinate and control this extension of 'older' models within a new younger setting
their brand carefully and has tried to ensure in their advertising campaigns. For Clarks,
that the Kangol brand is associated with the strategy outlined here reflects the
innovative 'street' design which is well continuing evolvement of the company, and
considered and of good quality. As such, the as such they continue to embrace their
Kangol brand has emerged as something of children's market via loyalty schemes such
a 'street lifestyle' brand which is urban and as Toddler Team, Young Explorer and
highly fashionable. Historically the Playground Friends. The company suggests
company has not advertised because it was that the development of a range for the 20s/
felt that in so doing the brand would 30s customer age group appears not to have
become 'pigeon-holed'. Since the brand is alienated their older customers at all.
attractive to a range of segments, the Kangol consider that their traditional, and
company has been reluctant to prescribe an therefore older, market is still their core
image through advertising. Instead, Kangol business, and while the company has
has invested heavily in PR activities, and, received immense publicity within the
like Clarks, has benefited from the adoption youth media, it is mindful of the fact that
by many successful music bands of their this segment still only accounts for one-fifth
brand. This serves to underline the of sales. The company feels that it has not
significant influence that music has upon alienated its traditional market and claims
fashion adoption within the youth market. to have retained a clear focus on the needs
Despite the fact that the French designer of this important market.
company initially played no apparent role The French designer company stated that
in creating a younger market following, the the future for them means developing their
firm has subsequently sought to develop old and new markets as if these were
this opportunity carefully. This has resulted distinctly different businesses. The company
in their developing a new range of products, argues that this can be achieved through the
© Henry Stewart Publications 1361-2026 (2000) Vol. 4, 1,15-25 Journal of Fashion Marketing and Management 23
Moore and Murphy
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The strategic exploitation of new market opportunities by British fashion companies
© Henry Stewart publications 1361-2026 (2000)Vol.4, 1,15-25 Journal of Fashion Marketing and Management 25