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Personal characteristics of successful entrepreneurs
Personal characteristics of successful entrepreneurs
Personal characteristics of successful entrepreneurs
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Margaret Howell and MHL by Margaret Howell Comparison Analysis
Brand Designer and Brand Equity Introduction
At the high-end of fashion, the entrepreneurial spark, which is initially responsible for launching a business, is often linked to individual’s personality, values and set of skills.(Jackson and Shaw, 2009) Ms Margaret Howell is one of them, who is known as one of the Britain’s most respected designer and has been designing comfortable and classic pieces tailored in traditional British fabrics (Conefrey, 2013). Since 1972. In a world where over-exposure in the media is a norm, Ms Margaret Howell is modest and well-grounded in her manner and lifestyle. Similarly, she fiercely guard the quiet and personal authenticity of her eponymous
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Margaret Howell are perceived to be of excellent quality, but maybe parent or even grandparent generation would buy. Therefore, Margaret Howell launched a new line to introduce some vitality and energy to the mono-brand. From 4P based analysis presented by selected detailed information, Margaret Howell is about blend traditional materials with sophisticated modern designs, playing an important role in brand identification and representing hand British simplicity, elegance and craftsmanship. And MHL is about great fabric with workwear austere design and represents unfussy modest aesthetic, playing a key role in penetrating and pleasing broader market, more commercial and younger. Actually for fashion luxurious company, diffusion lines are usually used to be a crucial channel to increase mono-brand awareness, recruiting younger consumers and generating reliable revenues by using more accessible fabrications and lower price points. (Pratt, …show more content…
Nowadays she has to delegate some of the design work to a team that she oversees, but she says, “…it’s hard to delegate design…” (Johnson, 2014) So when Ms Margaret Howell is leaving her designer position, who will be in charge of it and whether he/she will represent the eponymous brand.
Lastly, craftsmanship and authenticity of its products is highly appreciated as well for largely using UK, Italy and France small specialist mills and manufacturers as suppliers. Well-made products, the convenience of location and ease of working, and the commitment of the staff are the benefits. However, there are also obvious weaknesses, an ageing workforce, undercapitalized firms, reliance on drive from owners, and as the handmade brands develop violently, there are not enough companies. It is a challenge for Margaret Howell as
Berry, Hannah. “The Fashion Industry: Free to Be an Individual.” The Norton Field Guide to
Givenchy’s love for fashion grew when at the age of ten he attended the Pavillon d’ Elegance Paris Exposition. Once looking through Vogue magazine, he was inspired by Balenciaga men’s wear. He wanted to be a couturier and attended Ecole des Beaux-Arts in Paris, to start a formal education in fashion. His designing inspirations came from Elsa Schiaparelli and Madam Gres’s work. His experience also came from working at the House of Piguet in Paris; this salon was known for its dramatic yet simple style and after, at the House of Lelong that was known for their high quality clothing. Those positions gave him knowledge on how to work with couture customers and gave him an opportunity to build strong relationships with them (Press, 2002).
Werle, Simone. Fashionista A Century of Style Icons. New York: G.P. Putnam's Sons, 1977. Print.
In the 19th century play, FASHION, Anna Mowatt develops the character plot as a contrast and comparison between being “natural” and “artificial in a world becoming preoccupied with fashion, and being fashionable. In the head notes, it was stated that Daniel Havens said FASHION is “the ugly image of the American Dream gone sour.” (Watt and Richardson) Fashion has a complex definition. The word ‘fashion’ can mean anything from the type of clothes you wear, how you communicate with others, the place you live, how you present yourself, or who you associate yourself with. In FASHION, Mowatt took a comical yet sober look at the definitions of “fashion,” applied it to real life in 1845, and through her characters, provides a mirror with which an audience/reader can evaluate themselves. I do not believe updating this play would be difficult because America has continued down the fast and destructive path in an effort to keep up with the “fashions” of the day.
Fashion has been around ever since ancient times, since the time of the Romans, it survived the world wars and is yet today a business with rapid changes. Fashion started off as an art form, a way for the riches to show their social status with unique and innovative designs that only they could afford. It was a way to separate the social classes of the society. In this paper I will include the creator of haute couture, and how the following designers developed couture, as well as having leading names in today’s ready-to-wear industry. The list is long, but I chose to focus on the three most important designers of the modern fashion industry.
Morris, BM, 1996. Valentino: (The Universe of Fashion) . 1st ed. England: London : Thames & Hudson
Jennifer Craik . The face of fashion: Cultural studies in fashion. New York :Routledge ,1993.
The world of fashion is not all that is seems. What we see on the outside is flashy clothes with big price tags. In actuality, if you were to be thrown into this world you would see that it is much more than just that. This is the same realization that Amy Odell had in her book, Tales From the Back Row.
Lock, Simon. “Rewiring Fashion Week” The Business of Fashion. N.P., 27 September 2013. Web. 21 October 2013
Thesis: With the unregulated practices that goes on in the Fashion Industry, change is one notion that this abusive yet glamorous business have yet to see.
In the early 1800s, France was the sole fashion capital of the world; everyone who was anyone looked towards Paris for inspiration (DeJean, 35). French fashion authority was not disputed until the late twentieth century when Italy emerged as a major fashion hub (DeJean, 80). During the nineteenth century, mass produced clothing was beginning to be marketed and the appearance of department stores was on the rise (Stearns, 211). High fashion looks were being adapted and sold into “midlevel stores” so that the greater public could have what was once only available to the social elite (DeJean, 38). People were obsessed with expensive fashions; wealthy parents were advised not the let their children run around in expensive clothing. People would wait for children dressed in expensive clothing to walk by and then they would kidnap them and steal their clothes to sell for money (DeJean, 39). Accessories were another obsession of France‘s fashion; they felt no outfit was complete without something like jewelry or a shrug to finish off the look and make it all around polished (DeJean, 61). As designers put lines together, marketing began to become important to fashion in the nineteenth century; fashion plates came into use as a way to show off fashion l...
Is it Time to be Modest? Modest-wear is now the biggest growing wardrobe collection in the Fashion industry. It has now secured a lot of attention in the worldwide market, while it has its own challenges. Fashion bloggers and revolutionist has invested enormous
The practice of brand management is a key component of marketing and performs an integral function by motivating the wants and needs of consumers. It is known that marketing can shape consumer needs and wants, however, consumers today appear to be more knowledgeable about the information regarding products. Consumers lead busy lives and have therefore gone to the internet as one of the many channels to learn about products in order to make informed decisions. This paper will discuss the argument that marketing should reflect the needs and wants of consumers rather than shaping these attributes. Due to the speed and ease of obtaining information, consumers do not take at face value strong marketing efforts that appear to be overly aggressive and push a brand rather than just being informative. Brand managers have to be aware of these changing dynamics and carefully craft brand management practices to meet the demands of consumers.
Fashion takes on many different facets and concerns many subsets— a model sashaying down the runway in a gown encrusted in real gems, Lady Gaga’s infamous dress made of cuts of raw beef, a teenage girl obsessing over the season’s latest styles— it is all an expression of our minds and who we are or want to be, made tangible. It is a medium just like any other, for while artists wield brushes and paints, designers use thread and cloth to illustrate their vision. The artistry is none more so apparent than in the exclusive world of haute couture, a world of extravagance that caters to aesthetics, producing one-of-a-kind wearable masterpieces that are made to be admired rather than worn. It is without doubt, high fashion and its design is an art.
We assume models, with their long legs and ideal physique, to have a life of luxury and without any stress. Seeing these “perfect” individuals openly share with the public a moment of vulnerability will influence the many female students that are inspired by fashion designers and models to wear