Lancer Gallery LLC began as a trading post operation in the 1990’s and quickly gained regional recognition as a trusted supplier of southwestern jewelry and pottery. Lancer later expanded its offering to South American and African artifacts. Because of their vigilance to imposter artifacts, they were able to gain national recognition as an authentic artifact supplier. This recognition was extremely beneficial to the company because in their industry, reputation is everything—people are more likely to buy from a dealer they trust because of the influx of fakes. In 2001 Lancer began to openly sell replicas, which accounted for a small portion of their $35m gross sales. This changed their product line from authentic only, to a mix of authentic and manufactured artifacts. Because of …show more content…
With their production center and trucks ready, Lancer distribution would commence and their relationship with the retailer would be solidified. Separating the Lancer Company into a brand of authentic, exclusively sold artifacts, and a brand of quality, limited distribution products, keeps the perception of Lancer Gallery high in the mind of consumers. This is beneficial because for those who buy authentic artifacts do so to show their social class or prestige, or, because they are interested in that country’s culture. By buying their artifacts from Lancer they be assured that what they purchases is not an imposter or anything that can be bought by the average Joe. This decision is also the best because it builds the relationship with the department store, which in return boosts Lancer’s market share and revenue. In doing so, Lancer is a bigger player in the industry with more bargaining power and financial capital, which aids their fight against the numerous and impeding threats that they
Lancer’s national sales manager, Myron Rangard, identified changing consumer preferences from modern/abstract décor to more concrete items. This increase in demand for replicas changed the market, and left the door open for more competitors and bottom feeders. David Olsen, director of procurement, noted that over a decade ago Lancer only had about 5 competitors, today it has 11. As well as serious competition, Lancer also has to combat amateur sellers and “fly-by-night” competitors. These individuals move into a new city and dump a bunch of inauthentic junk on the market at exorbitant
Technology has steadily evolved to develop more innovative and productive techniques in the making of various crafts. In addition to enhancing the quality of products, the ability to create them at a higher rate has been discovered. However, quality and quantity are usually inversely proportional to each other. In more recent times consumers have begun to desire Japanese artifacts. Most producers attempt to sate this desire through mass production. While this alternative may be inexpensive, it lacks the high quality that true artisans can deliver. In these cases, consumers are also at fault as they let their desire for instant gratification outweigh their desire for superior creations. Largely, in the production of crafts, producers sacrifice optimal quality for a high output in order to fill the demand for inexpensive products by the consumer.
People go to see artifacts in museums for experience. What could be a better experience than going to the place they are from? Yes, the trip could cost a little more, but you cannot replicate the historical value an object holds in its origin country. The price is nothing compared to the true understanding of the history we gain from going out and visiting the place they should be. The place they should be is their home, where they were found and formed, their origin country.
The competitive rivalry is high as the industry is comprises of many clothing retailers. For instance, ASDA’s brands George and Matalan, which provide not only quality garments but also sell them in a low price. Primark may lose a significant number of customers due to the intense
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
The company had to be the second largest retailer shop in the US; it has many advantages that come along. The customers well acknowledge the company and its brand have been well established.
In “Whose Culture Is It, Anyway? ”, Kwame Anthony Appiah begins by pointing out that some of the museums of the world, particularly in the West, have large collections of artefacts and objects which were robbed from developing and poor countries. He then raises a question: who owns these cultural patrimony and properties? Our first answer may be that since they make up the cultural heritage of a people, they belong to the people and culture from whom they were taken. Appiah has doubt about this and argues that if some cultural artefacts are potentially valuable to all human beings, they should belong to all of humanity. He thinks that when they make contribution to world culture, they should be protected by being made available to those who would benefit from experiencing them and put into trusteeship of humanity.
Product as an element of the marketing mix is at the base of Primark 's marketing strategy, as it is meant to attract customers researching those very actual benefits which only Primark products should be able to provide. In this Primark also has to be careful, shall other companies adapt their products to provide similar benefits the targeted customers may chose other companies ' products, so benefits may also comport risks for Primark as those are not very specific.
According to Schneider, defining “authenticity” is a battle between indigenous peoples and the tourists who purchase their arts and crafts. As “tourist” art grows with the realization of international tourism as means of development and economic growth in marginalized communities, foreign assumptions affect the perception of indigenous arts and crafts as “legitimately” indigenous. Indigenous peoples readily “transform” functional items into feasible commodities; “goods such as “indigenous blouses and shawls” easily become “alien place mates and pillow cases,” enabling indigenous peoples to survive (Schneider 80).
After a 4 P analysis of the company one found that it found itself in a luxury market where product quality and constant innovation are key points for the success. That is why the production process and its design can take even months. Product line is extensive however it is only conformed of high priced products. Price in this case is a guarantee of the quality present in the product. Moreover, high pricing represent an element of differentiation that the customer appreciates. However this is not a setback, LVMH has managed to have world wide presence and success. To accomplish it its selective retailing division is of high importance. Nevertheless, promotion posses the major challenge since its through this that the image of the product its transmitted that is why the company poses a major part of its budget in this section. It is Important to note that the percentage allocated is higher than those of most competitors.
Are items created for profit physically any different from their “authentic” counterparts? At an atomic level, perhaps, but the untrained eyes of most tourists would probably not find any dissimilarities between a mass-produced mask and a more “authentic” one. Yet we as a society treat economically motivated primitive art as different from the primitive art actually used in rituals, which indicates that economic motivations can definitely influence our perceptions of art. This realization still brings us back to the question posed in the last paragraph, however: why would people treat Renaissance art as valuable and advertising as beneath their notice if both have economic motivations behind their
Many of our people in our society throughout the years, have been buying different types of products and commodities from craft workers that are very personally close with one another and also from smal...
...lawsuits. Informative videos that show interviews of key players that fight to stop the illegal activities include ABC Nightline, ABC: Faking It, and Katie Couric’s segment on counterfeit fashion. It’s comforting to see that there is an awareness that is building. The contribution between eBay, the Council of Fashion Designers of America, and the major designers in world is really one of the first steps in spreading attention and understanding of fake of fashion goods. So far, each year of its planned event has found success. Consumers should take the awareness to heart and be proactive in extending it to prevent catastrophes in areas of human creativity and economy. This would also include inhibiting further subsidy of illegal activities. Counterfeiting is an undeclared war and consumers are the only ones who can essentially save the world from its negative impact.
...enture into overseas market comes with expectations as well as uncertainties due to unfamiliarity. Charles and Keith, the fashion retailer, has to understand clearly that what appeals in one market might not be accepted in the others and this is almost the same for all industries. Thus, a thorough research on cultural background has to be done before entering an unfamiliar ground.
The consumption of souvenirs play also a major economic role in tourism destinations where producing, consuming and the selling of souvenirs are worth billions of dollars each year (Swanson, 2012). On a smaller scale, many retail businesses located near or at the destination are dependent on the selling of souvenirs (Swanson, 2004). Furthermore, souvenir consumption also helps in supporting indigenous local people who produce and retail authentic handicrafts and souvenir goods (Tosun, Temizkan, Timothy & Fyall, 2007...