MERCHANDISING

To understand the concept of Fashion. To understand the definition & meaning of Merchandising. To understand the difference between Marketing & Merchandising. To understand the classifications of Fashion. To understand the Uniqueness of Fashion Merchandising.

To understand the Components of Fashion. To understand the Principles of Fashion. To understand the concept of Fashion Lifecycle. To understand the Accelerating and Retarding influences on Fashion.

What is Fashion??

Fashion is a form of expression widely accepted by a group of people over time. The group that accepts a fashion is usually defined by demographic and psychographic characteristics. E.g. Young marrieds, senior citizens and urbanites.

The time period that defines the duration of fashion varies.

Fashion affects the way we eat, dress, decorate our homes, spend our leisure time and speak. Almost all categories of goods and services reflect fashion. E.g. Cars, consumer electronics etc. The acceptance of fashion by one group is independent of its acceptance by another. Fashion acceptance changes with time. (to be detailed in FLC) Fashion implies three components: a) Style b) Change c) Acceptance

Style: It is any particular characteristic or look in apparel or accessories. Designers interpret fashion ideas into new styles and offer them to the public. A style may come and go in fashion but that specific style always remains that style, whether fashion or not.

Change: Fashion is always changing. Therefore, the sense of timing is essential to determine when their customers are willing to accept change. Fashion is one way for consumers to visually express their relationship to current events and to life itself.

Fashion changes because:

rational reasons :It reflects changes in peoples lifestyles and current events: rational reasons rational reasons :Peoples needs change: in response to changing situations or environment. E.g. womens liberation in 20th century psychological reasons: People get bored with what they have. Industry as the initiator of change: different segments of the industry force change on consumers by dictating new trends.e.g. Trade magazines(WWD) & Retailers.

Acceptance: There is no fashion if nobody buys it. Different market segments adopt different fashions. Designers plan styles to appeal to certain consumer groups then the public decides whether these styles will become fashion or not. Fashion acceptance is stimulated by exposure (media etc.). Acceptance does not imply the design is beautiful but that its timing is right and it fills a need.

Trend: It is the direction or movement of fashion. It implies : a) Degree of acceptance strong or key trend b) Direction - emerging or dying trend c) Duration Seasonal, or d) Relation to other trends secondary or background Trends tell retailers what to buy, how to price, when to promote and when to mark down. However, overreacting to trends is as dangerous as not reacting them. to

Taste: It implies an individuals preference for one style or another. Good taste implies sensitivity to what is beautiful and appropriate. Taste is usually developed by exposure to and appreciation for beautiful design and experience.

A style is a type of product that has one or more specific features or characteristics that distinguish it & make it different from other products of the same type.

The individual interpretations or versions of the same style are called designs. E.g. Cardigan sweater is a style: different types of knits & embroideries are designs.

E.g. crewneck & turtle neck

Technology:

Technological advances contribute to the growth of fashion industry. (e.g. invention of sewing machine during the industrial revolution)

Economics:

Fashion sells best when economic times are favorable. When times are tough consumers stick to the basics.

Societal trends: Media:

etc.

e.g. Womens liberalization Movies, television

 Marketing

is defined by as the activity, set of institutions, and processes for creating, communicating, delivering, and exchanging offerings that have value for customers, clients, partners, and society at large.

The American Marketing Association

The

management process responsible for identifying, anticipating and satisfying customer requirements profitably.

The Chartered Institute of Marketing.

Merchandising is the process of planning, developing, executing, and presenting the product to the buyer. Merchandising department does the job of directing and overseeing the product development from its starting to its finish.
Merchandising is generally defined as a set of activities designed to provide the right goods at the right place at the right time through the right medium at the right price in the right mix of the right quality from the right source in the right quantity as per the requirements of the business. It ensures that the smooth occurrence of any activity is not hindered for want of any material or service.

MERCHANDISING ACTIVITIES 1. PRODUCT PLANNING AND DEVELOPMENT 2. STANDARDISATION AND GRADING 3. BUYING AND ASSEMBLING 4. SELLING PHYSICAL DISTRIBUTION ACTIVITIES 5. STORAGE 6. TRANSPORTATION

SUPPORTING ACTIVITIES

7. MARKETING FINANCE 8. MARKET RISK BEARING 9. OBTAINING AND ANALYSING MARKET INFORMATION

BASIC FUNCTIONS OF MERCHANDISING 1. PLANNING

2. BUYING
3. SELLING THE FUNDAMENTAL CONSIDERATION OF FASHION MERCHANDISING IS TO STOCK WHAT CONSUMERS ARE LIKELY TO ACCEPT. RIGHT WITH RESPECT TO STYLES, COLOURS, PRICE, PLACE,TIME, ETC

MARKETING AND MERCHANDISING

MARKETING: IDENTIFIES CUSTOMERS, DETERMINES WHAT PRODUCTS TO OFFER TO CUSTOMERS AND HOW TO DO SO, WHILE MEETING THE FINANCIAL RETURN OBJECTIVE OF THE COMPANY

MERCHANDISING: PROCESS THROUGH WHICH PRODUCTS ARE DESIGNED, DEVELOPED AND PROMOTED TO THE POINT OF SALE.

STEPS IN FASHION MERCHANDISING 1. PLANNING: FASHION IS SUBJECT TO CHANGE AND THE PLANNING MUST HAVE FLEXIBILITY

PLANNING BASED ON HOW MUCH WE EXPECT TO SELL AND HOW MUCH INVENTORY IT WILL TAKE TO SECURE THAT SELLING
PLANNING THE ASSORTMENTS

CUSTOMER ORIENTATION : KNOWING WHAT PEOPLE WANT, WHEN THEY WANT AND HOW MUCH THEY WOULD PAY FOR IT.
PREPARATION OF SIX MONTH BUYING PLANS WHICH REQUIRE THE KNOWLEDGE OF FASHION TRENDS AND MARKET CONDITIONS AND ECONOMIC FACTORS MOST IMPORTANAT FACTOR IN PLANNING IS FLEXIBILITY.

2.

BUYING: BUYING IS DONE BY CLASSIFICATIONS PRICE LINES SIZES QUANTITIES BUYING IS DEPENDANT ON CUSTOMER DEMAND ESTIMATED BY STUDY OF CUSTOMER WANTS AND NEEDS

THE SUCCESSFUL BUYER KNOWS WHAT CUSTOMER WANTS, WHEN THEY WANT IT AND HOW MUCH THEY WANT TO PAY FOR THE GOODS.

 1. 2. 3. 4.

BUYING INVOLVES THE FOLLOWING FUNTIONS CHOOSING THE RESOURCE SELECTING THE MERCHANDISE SECURING THE BEST TERMS ACTUAL PLACING THE ORDER.

THE BUYER IS RESPOSIBLE FOR NOT ONLY WHAT TO BUY AND WHEN TO BUY, BUT ALSO WHERE TO BUY AND HOW MUCH TO SPEND. BUYING RESPONSIBILITIES INCLUDES: ESTABLISHING AND MAINTAINING EFFECTIVE BUYING RELATIONSHIP WITH VENDORS. ADEQUATELY STOCKING THE DEPARTMENTS PRICELINES AND SECURING THE BEST POSSIBLE MARK UP ON ALL PURCHASES

SUPERVISING THE PHYSICAL INVENTORY OR STOCK COUNTS TO VERIFY THE ACCURACY OF THE STOCK RECORDS. SELLING: BUYING IS DEPENDENT ON CUSTOMER DEMAND. DEMAND DETERMINED BEST BY THE ACTUAL CUSTOMER RESPONSE TO THE TO GOODS MADE AVAILABLE BY THE BUYING FUNCTION. SO BUYING FUNCTION CANNOT EXIST WITHOUT INVOLVEMENT IN SELLING FUNCTION. THIS FUNCTION INCLUDES COMMUNICATION AND PROMOTIONAL ACTIVITY. GOODS WELL BOUGHT ARE HALF SOLD TREND TOWARDS CENTRAL BUYING- MERCHANDISE PRESENTATION TO THE CUSTOMER IS BECOMING A FUNCTION OF SALES MANAGER RATHER THAN BUYING

1.

A STORE REGARDLESS OF ITS SIZE, CANNOT AND SHOULD NOT STOCK, ALL THE MERCHANDISE AVAILABLE IN THE MARKET. THE CRUX OF MERCHANDISING : SELECTING THE MERCHANDISE WITH CERTAIN CHARACTERISTICS THAT ARE INDICATIVE OF TASTES OF CUSTOMERS OF A STORE AND IN SUCH ASSORTMENTS , DEPTHS AND PRICE LEVELS THAT MAKE FOR A PROPER RATE OF SALE DECIDED UPON BY THE CUSTOMER.

Pret-a-porter

Haute Couture

Knock-off

Haute Couture is a French phrase for high fashion. Couture means dressmaking, sewing, or needlework and haute means elegant or high, so the two combined imply excellent artistry with the fashioning of garments. The purchase of a haute couture model garment is at the top level of hand customised fashion design and clothing construction made by a couture design house. A model haute couture garment is made specifically for the wearer's measurements and body type. The made to measure exclusive clothes are virtually made by hand, carefully interlined, stay taped and fitted to perfection for each client. In order to be able to produce haute couture clothes they have to get an official permission from the Syndical Chamber for Haute Couture, it is based in Paris. Because of this agreement, designers have to show their collections twice a year and not less than 35 outfits in one collection. As a rule, these outfits are exposed in private salons.

High Fashion - High Cost of Haute Couture: Dependant on the Haute Couture design house and the garment, the cost of a couture item runs from about 10,000 for a simple blouse to 40,000 and often beyond that figure. A Chanel couture suit for example in 2002 might have cost 20,000. By mid 2004 an evening frock cost 50,000. The client would get a perfection of fit only achieved by painstaking methods of cutting and fitting to the client's body. The manual labour needed to produce a garment this way takes between 100-150 hours for a suit and up to 1000 hours for an embellished evening dress. Exclusive Expensive Haute Couture Fabrics:

The fabrics available to the couture house would be very luxurious and include the latest novelty fabrics and expensive silks, fine wools, cashmeres, cottons, linens, leather, suede, other skins or furs. In the case of a famous design house the design and colour of a cloth, may be exclusively reserved for that couture house.

Toiles are Sample Garments: Designers create their initial designs either by using muslin, which drapes well for flowing designs or by using linen canvas or calico for more structured garments such as tailored garments. These sample models are called toiles and save using very expensive fabrics that can cost a 100 or more a metre. The toile can be manipulated, marked and adjusted to fit a particular live model's measurements until the designer and his sale staff are all satisfied. The final toile of a design idea is an accurate interpretation of the line or cut right down to the button placement or hemline that the designer is seeking. Once satisfied the designer instructs his staff to make up the garment in the selected and exclusive materials. One seamstress or tailor will work on the garment from start to finish. The cutting and finishing is done in one room and the workroom manageress is responsible for everything produced in that room.

Translation: Pret-a-porter (pronounced pret-uh-por-tay) is a French phrase meaning "ready-to-wear." These terms can be used interchangeably.
Definition: Ready-to-wear clothing is sold "off the rack" in standardized sizes. The opposite of ready-to-wear apparel is haute couture, which is handmade clothing custom-designed to fit an individual's measurements. Production: Ready-to-wear apparel is generally mass-produced in factories, using standardized patterns and inexpensive construction methods. It is manufactured this way to produce low-cost garments. Pret-a-porter Today: All clothing found in chain stores and department stores today is ready-towear. The exception is men's suiting, which is sometimes considered semi-ready-to-wear because it is tailored specifically for the customer. Pret-a-porter Collections: Most couture designers, such as Dior and Chanel, also design ready-to-wear collections, which produce larger profits than haute couture. At Fashion Week, designers show these pret-a-porter collections.

Why

is FASHION MERCHANDISING unique???

FASHION MERCHANDISING FACTORS THAT MAKE FASHION MERCHANDISING UNIQUE.

1.
2. 3. 4. 5.

OBSOLESCENCE FACTOR
HIGHER MARKDOWN FASTER TURNOVER SEASONAL FACTORS SALES PROMOTION

OBSOLESCENCE FACTOR OBSOLETE = NO LONGER IN USE OR DISCARDED FASHION IN MANY CATEGORIES OF MERCHANDISE UTILITY VALUE IS A STRONG FACTOR. BUT IN FASHION THE EMOTIONAL PULL IS AN ALL CONSUMING ELEMENT. IT CAN BE READILY SEEN THAT WHAT IS NOT ACCEPTED BECOMES OBSOLETE. MERCHANDISE IS INITIALLY PRICED AT A LEVEL THAT WILL MAKE FOR A DESIRED PROFIT CONSUMERS ACCEPTANCE = BUYERS SUCCESS

LACK OF ACCEPTANCE MEANS SLOW OR NON SELLING STYLE

NEW SELLING PRICE TO MOVE IT OUT OF STOCK

HIGHER MARKDOWNS: RIGHT MERCHANDISE AT RIGHT PRICE LEVEL IS THE KEY TO SUCCESS PRODUCT OBSOLESCENCE LEADS TO MARK DOWN FIRST MARKDOWN SHOULD BE DEEP ENOUGH SO THAT THERE IS AN IMMEDIATE APPEAL TO CONSUMERSAND THAT THE STOCK CAN BE MOVED OUT QUICKLY STRONG RELATION BETWEEN THE ITEM AND TIME OF THE SEASON IT IS MARKED DOWN

FASTER TURNOVER:
FASHION CHANGE FAST BY CONSTANTLY CHANGING STYLES IN STOCK, THE MERCHANDISE IS KEPT IN GOOD CONDITION

SEASONAL FACTORS: FASHION DEPENDS ON THE SEASON OF THE YEAR, WHEN THE SEASON IS OVER, THE MERCHANDISE FADES WITH IT. VERY RARELY MERCHANDISE IS KEPT IN STORAGE FOR THE FOLLOWING YEAR. IT IS ENTIRELY DANGEROUS

EACH BUYER THREFORE FOLLOWS THE PRINCIPLE

WHAT IS PURCHASED MUST BE SOLD SALES PROMOTIONS: FASHION PRODUCTS SALES PROMOTIONS ARE AN IMPORTANT PART. PRESENTATION: IN CASE OF FASHION PRODUCTS PRESENTATION OF PRODUCT TO CONSUMER IS OF UTMOST IMPORTANT

The Basic - Fashion Continuum

Merchandise is often classified as either Basic or Fashion. Basic Goods: are functional goods that change infrequently and are generally considered necessities. E.g. Basic white shirt They are purchased on a replacement basis and out of necessity Price coupled with need is the purchase incentive. Fashion Goods: are aesthetically appealing goods that change frequently and are generally considered non-necessities. E.g. Jewellery Purchases are based on consumer desire for novelty and change. Goods between the extremes have both basic and fashion characteristics. e.g. Coat

Producers transform basic goods to fashion goods by introducing new product features or creating interesting styles. This results in increased sales. (e.g. active-wear as street-wear, yoga pants etc) Consumers may reject drastic change but they will also not buy unless they perceive appreciable difference between current and previous offerings. (best response is to make something familiar look new)

Consumers establish fashions by accepting or rejecting the styles offered. (A customer is a patron or potential purchaser of goods or services. Retail buyer manufacturer fabric producer)
Fashions are not based on price Upper income consumers accept fashion at very low prices & vice-versa. Consumers also coordinate both expensive & inexpensive with little regard to price. Fashions are evolutionary in nature; they are rarely revolutionary. No amount of sales promotion can change the direction in which fashions are moving.

All fashions end in excess.

Fashion design involves the combination of four basic elements or components:

Silhouette Detail Texture, and Color

Only through a change in one of these basic components does a new fashion evolve.

Silhouette: The silhouette of a costume is its overall outline or contour. It is

frequently referred to as shape or form.

Details: The individual elements that give a silhouette its form or shape are called
details. These include trimmings, skirt and pant length & width, and shoulder, waist & sleeve treatment. Silhouettes evolve gradually from one another through changes in detail. When the trend in a detail reaches an extreme, a reversal of the trend takes place. Variations in detail allow both designers and consumers to express their individuality freely within the framework of the currently accepted silhouette.

Texture: It refers to the look and feel of material, woven or non-woven. It can affect
the appearance of a silhouette, giving it a bulky or slender look, depending on the roughness or smoothness of the materials. (e.g. a woman dressed in a rough tweed dress and a bulky knit sweater is likely to look larger and squarer than she does in the same dress in smooth jersey topped with a cashmere sweater. Texture affects the drape of a garment. (CHIFFON feminine styles : CORDUROY casual garments) It affects the color of a fabric by causing the surface to either reflect/absorb light. (rough surfaces absorb light smooth surfaces reflect) Color : It is a key factor in apparel selection for both sexes. It is important in advertising, packaging and store dcor as well. Rank: Purple noble birth Geographical location: White (purity for West mourning in India)

Trickle

Up Trickle Down Trickle Across

 Trickle-down

theory:

Traditional process of copying and adapting trendsetting fashion from Paris, Milan and New York designers. Couture or Signature designer fashion is expensive exposure more people want for themselves less expensive adaptations produced - copied again and again at lower prices till the most conservative buyers accept cheapest versions at discount stores popularity fades.

TRICKLE-UP OR BOTTOM-UP THEORY (REVERSE ADOPTION)

Watch people on the streets for new ideas

Influence designer collections

Manufacturer Manufacturers copy hot new styles almost immediately in order to meet the high demand. Manufacturer NEW STYLE Manufacturer Speed of production is of greatest importance. Various designers and manufacturer labels appeal to various groups at different price points.

Manufacturer

TRICKLE ACROSS THEORY (MASS DISSEMINATION)

Trickle Up

Fashion Theories

The way fashion changes is usually described as a fashion cycle. It is depicted as a bell-shaped curve comprising of five stages-

a) Introduction b) Rise in popularity/ Growth c) Peak of popularity

d) Decline in popularity, and

e) Rejection

Introduction: Designers interpret their research and creative ideas into apparel or accessories
and then offer new styles to the public. At the first stage of the cycle, fashion implies only style and newness. Most new styles are introduced at high price level. (renowned designers work with few limitations production costs high few people can afford the garments)

Growth: When a new style is purchased, worn and seen by many people, it may attract the
attention of buyers, press and public. Popularity is further increased through copying and adaptation. Adaptations as per the target groups needs leads to further popularity.

Peak: When a fashion is at the height of popularity, manufacturers produce adaptations of it at

many price levels. Volume production requires likelihood of mass acceptance therefore a careful study of sales trends is required.

Decline: After mass production, fashion conscious people begin to look for something new.
Consumers still wear garments in the style but are no longer willing to buy at regular prices. Retail stores put declining styles on sale racks.

Rejection or Obsolescence: The rejection or discarding of a style just because it is out of

fashion is called consumer obsolescence.

Length of Cycles: Although all fashions follow the same cyclical pattern, there is no timetable for fashion cycle. Some take short time to peak, others longer; some decline slowly, others swiftly. Based on the length of the fashion cycle, styles are categorized as: a) Classics: Styles that do not become completely obsolete but remain accepted for an extended period. It is characterized by simplicity of design which keeps it from being dated easily. (e.g. Jeans, Polo shirt, loafers etc.)

b) Fads: Fashions that come and go in a single season is called fad. They lack the design strength to hold consumer attention for very long. They usually affect narrow consumer groups, begin at lower price ranges and are relatively simple and inexpensive to copy.

Cycles within Cycles Design elements (color, texture etc.) may change even though the style itself remains popular. E.g. Jeans remains popular but the silhouettes like bell and baggy came and went.

Interrupted Cycles
Consumer Buying is often halted prematurely because manufacturers and retailers no longer wish to risk producing or stocking merchandise that will decline in popularity soon. Sometimes, normal progress is also halted by social upheaval, economic depression or war.

Recurring Cycles When a style reappears years later, it is re-interpreted for a new time. A silhouette or proportion may recur but it is interpreted with a change in fabric and detail.

Consumer Identification with Fashion Cycles

Fashion Leaders: People who look for new fashion and wear it before it
becomes generally acceptable are often referred to as fashion leaders. They are confident of their own taste and do not need the approval of others. They are a very small percentage of the public. They fall into two categories: a) Fashion innovators and b) Fashion role models.

Fashion Innovators: Some fashion leaders actually create fashion. They may be
designers. They constantly look for interesting new styles, colors, fabrics or ways to accessorize. They are discerning shoppers who like to wear unusual apparel. They may give impetus to new style by discovering and wearing it. They may be referred to as avant garde.

Fashion Motivators or Role Models: A few fashion leaders have the beauty,
status and wealth to become fashion role models. They are seen at public places, in films/television. They become role models and influence the way people dress. There are fashion leaders for every market segment.

Fashion Victims: They are people with too much money to spend who become
slaves to signatures.

Fashion Followers: Most men and women seek acceptance through conformity and follow world/national/community fashion leaders in order to feel confident. They emulate others only after they are sure of fashion trends. They become fashion followers for one or more reasons: They Lack the time, money and interest to devote to fashion leadership. Busy with their jobs and families and feel that fashion is unimportant. Need a period of exposure to new styles before accepting them Insecure about their tastes and preferencesand turn to what others have already approved as acceptable and appropriate. Want to fit in with their friends or peer group Imitate people they admire From a marketing point of view fashion followers are very important as they make mass production possible.

C
O M

P
A R A T I V E

STUDY

MERCHANDISING FASHION CYCLE: RISE PEAK DECLINE

INTRODUCTION TESTING STYLE PRESTIGE ADS LIMITED SALES LIMITED PRODUCTION

MASS ACCEPTANCE VOLUME PRODUCTION REGULARPRICE LINES VOLUME SALES VOLUME SELLING ADS

PHASING OUT PRICE REDUCTIONS SPECIAL PURCHASES

ACCORDING TO ROGERS:
THE INNOVATORS (2.5%) THE EARLY ADAPTORS (13.5%) THE EARLY MAJORITY (34%) THE LATE MAJORITY (34%) THE LAGGARDS (16%)

MOTIVATORS 1. 2. SOCIAL STATUS NEED TO CONFORM TO SOCIETY

CONSUMER BUYING AND FASHION CYCLE:

CONSUMER BUYING CYCLE OBSOLESCENCE

CONSUMER USE CYCLE

1.

WHEN FASHION REACHES ITS PEAK CONSUMER BUYING CYCLE TENDS DECLINE MORE RAPIDLY THAN CONSUMER USE CYCLE DIFFERENT SEGMENTS OF SOCIETY RESPOND TO AND TIRE OF A FASHION AT DIFFERENT TIMES. SO DIFFERENT GROUPS OF CONSUMERS CONTINUE TO WEAR FASHION FOR VARIOUS LENGTHS OF TIME AFTER THEY HAVE CEASED BUYING THEM. WHILE EACH GROUP IS USING AND ENJOYING A FASHION, THE PRODUCERS AND MERCHANTS SERVING THAT GROUP ARE ALREADY ABANDONING THE STYLE AND MARKETING SOMETHING NEWER THEIR EFFORTS IN THIS DIRECTION ARE MOST PROFITABLE, WHEN THEY ANTICIPATE, RATHER THAN FOLLOW THE TREND OF CONSUMER DEMAND.

2.

3.

4.

FACTORS INFLUENCING THE FASHION MOVEMENT: ACCELERATING FACTORS: SPEED UP FASHION CYCLE; 1. INCREASINGLY WIDE SPREAD BUYING POWER:
MORE PEOPLEWITH FINANCIAL MEANS TO RESPOND TO A FASHION CHANGE. MORE CONSUMERS FLOCK TO A NEW FASHION SOONER IT WILL REACH ITS CULMINATION.

2.

INCREASED LEISURE :
MORE LEISURE TIME USUALLY MEANS MORE TIME TO BUY AND ENJOY FASHION OF MANY KINDS. DECRASE IN WORKING HOURS AND INCREASE IN PAID HOLIDAYS, HAVE ENCOURAGED THE USE OF CASUAL WEAR AND SPORTS WEAR. RETURN TO CATALOGUE BUYING

3.

MORE EDUCATION:

A. BROADENING OF PEOPLESTHINKING HORIZON,

B. EQUIPPED BY EDUCATION TO EARN MORE.

4. 5.

IMPROVED STATUS OF WOMEN: WOMEN WITH DISCRETIONARY INCOME CAN SPEND AS THEY CHOOSE. TECHNOLOGICAL ADVANCES: FLOW OF INFORMATION
TECHNOLOGICAL ADVANCES MAKE GOODS AVAILABLE ALMOST AT AN INSTANT AND CONSUMERS ARE PSYCHOLOGICALLY AND FINANCIALLY READY TO BUY. THUS THE CYCLE OF FASHION BECOMES MORE AND MORE ACCELERATED

6.

SALES PROMOTION: MAGAZINES, TV, NEWSPAPER, BILL BOARDS, DIRECT MAIL, INTERNET EXPOSE PUBLIC TO NEW FASHIONS.SALES PROMOTIONS CAN HELP TO SPEED UP THE ACCEPTANCE OF A NEW FASHION OR SOMETIMES EXTEND THE DURATION OF THE PEAK. SEASONAL CHANGE: FASHIONS FADE WITH SEASONS. HENCE SEASONAL CHANGES SPEED UP FASHION CYCLE.

7.

RETARDING FACTORS: EITHER DISCOURAGE PEOPLE FROM ACCEPTING INCOMING STYLES OR ENCOURAGE THEM TO CONTINUE USING STYLES THAT MIGHT BE CONSIDERED ON DECLINE. 1. HABIT AND CUSTOM: BY SLOW ACCEPTANCE OF NEW STYLES AND PROLONGING THE LIFE SPAN OF THOSE ALREADY ACCEPTED, HABIT AND CUSTOM EXERT A BREAKING EFFECT ON FASHION MOVEMENT. RELIGION: HISTORICALLY RELIGIOUS LEADERS HAVE CHAMPIONED CUSTOMS AND CEREMONIAL APPEAL.

2.

3.
4.

SUMPTUARY LAWS: THEY REGULATE EXTRAVAGANCE AND LUXURY ON DRESS ON RELIGIOUS OR MORAL GROUNDS
NATURE OF MERCHANDISE: SOMETIMES THE VERY NATURE OF MERCHANDISE IS RESPONSIBLE FOR THE RATE OF MOVEMENT. MENS FASHION CYCLE MOVE MORE SLOWLY THAN WOMENS

5. REDUCTION IN CONSUMER BUYING POWER: REDUCTION IN CONSUMER BUYING POWER WOULD HAVE

NEGATIVE AFFECT ON FASHION MOVEMENT.