I consider myself the typical male, especially when it comes to clothes shopping. I tend to find what I need, make sure it fits, and I am out the door. Quite often, I venture out on shopping expeditions with my wife. On one of those trips I encountered a store that amazes me so much that I decided to step outside of my comfort zone and write my essay on it, that store is Anthropologie. Anthropologie by all definition is a women’s clothing store, that has very astutely followed some of the scientific formulas outlined in Malcolm Gladwell’s article “The Science of Shopping.” This article discusses the scientific selling techniques developed by Paco Underhill, an expert on consumer buying trends. Anthropologie follows some of these approaches to attract one of the largest groups of spending customers; the late twenties to early forties American female. Anthropologie is located in a fairly new shopping center with a majority of high-end stores that target female shoppers. Approaching the store and focusing on the front of the building, I can already tell it is not like the rest of the stores in the plaza. The foyer has an archway of weathered planks surrounding the enormous glass doors in the center of the foyer. The doors are oversized and each have handles that are made out of tree branches. On either side of the entrance there are windows with eye-catching displays that are far from the everyday window dressing that I am accustomed to seeing. Both of the display windows are visible from across the parking lot, and immediately demand my attention. The positioning of both windows allows an unobstructed view from most anywhere in the general vicinity. This positioning gives potential customers time to slow down and take in the v... ... middle of paper ... ...solid remembrance of their visit here. Anthropologie seems to have a very good reading on the pulse of their buyers and have discovered a way to not only lure them in, but to keep them spellbound, and capture their business. As I walk outside, I feel a bit deflated much like the end of summer vacation. It was a much different realm inside those doors. The atmosphere was calming, magical, with none of the hustle and bustle that is out on the streets. Even though Anthropologie’s goal is to attract women between the ages of twenty and forty, through the use of the marketing skills discussed in “The Science of Shopping,” they have even attracted me, a fifty year old man. I may have to tag along on my wife’s next shopping trip to see if there are any new surprises. Works Cited Gladwell, Malcolm. “The Science of Shopping.” The New Yorker November, 4 1996: 1 - 14. Print.
When a person is shopping they typically are drawn to something eye catching that is either in or on the storefront. Some storefronts appeal to a very specific customer group whereas others are very general. One storefront that does a good job of pulling the attention of a fairly specific customer group is H&M. The front of this store is very modern, with clean lines that make it appear very sleek and elegant. Something else that this store does that helps them is that almost the entire storefront is made of huge floor to ceiling windows which not only go along to the sleek, modern design but it also allows the customers to see completely into the store. The front of this store helps them to attract the customer group that they are targeting because it gives off a very professional and sophisticated vibe that goes with the type of people that shop there. The floor to ceiling glass windows also help the store attract customers because it
Over the years, the American department store has developed and evolved as not only a commercial business but also a cultural institution. While it has weathered many storms and changes since its inception and throughout history, its most predominant enemy has been a change in the lifestyle of the American people (Whitaker, 2013). As the customer’s needs and wants have shifted, department stores have struggled to keep up with demands. It has been argued that the decline of the department store has been ongoing for the last 50 years (Whitaker, 2013). This dissertation aims to understand how the department store has historically played a role in consumer culture and spending, and additionally, how this has evolved and changed in today’s retail market. Although department stores may not be able to take all the credit for inventing modern shopping, they certainly made its conventions and conveniences commonplace. They set a new standard for the way the consumer should expect to be treated, the type of services that should be provided, and the convenience that should attend the process of acquiring the necessities and niceties of life all in one place. They made shopping into a leisure pastime. This environment meant shopping was a means of freedom to look around, pick up objects with no obligations to buy. As one historian remarked, department stores: “encouraged a perception of the building as a public place, where consumption itself was almost incidental to the delights of a sheltered promenade in a densely crowded, middle-class urban space” (Whitaker, 2006). Although this perception and view of the department store has changed over the years, this paper aims to follow the trail of how and why that happened.
In the 1997 article Listening to Khakis, published in the New Yorker, Malcolm Gladwell effectively paints a vivid picture of the thought and science that goes into advertising campaigns. Gladwell begins his paper by focusing on the Dockers’ advertising campaign for their line of adult male khaki pants, which he labels as extremely successful. This campaign was the first line of successful fashion advertisements aimed directly toward adult males (Gladwell, 1997). This campaign was cunningly simple and showed only males wearing the pants being advertised with the background noise filled with men having a casual conversation (Gladwell, 1997). This tactic was used because studies showed that Dockers’ target market felt an absence in adult male friendships. (Gladwell, 1997). The simplicity of the advertisements was accentuated as to not to deter possible customers by creating a fashion based ad because, based on Gladwell’s multiple interviews of advertising experts, males shy away from being viewed as fashion forward or “trying to hard” (Gladwell, 1997).
This past month I made my last visit to the popular teenage/college student retail store Abercrombie and Fitch. Finishing up some back to school shopping, I was on a quest for jeans, and I knew the place to get them. My last two favorite pairs were from Abercrombie and Fitch, and I was planning on buying the same kind once again. Happy and relieved that I would not spend the afternoon ransacking the mall for one pair of jeans, I entered the store to the pulsating beat of techno dance music. In front of me was the teenage Mecca of what is truly hip -- the first thing I noticed were the life-size pictured that covered the walls -- half-clad muscular and glistening young men, frolicking around with pouty faced but beautiful young women who were wearing either size 2 short shorts with bikini tops or 3 layered sweaters. The tables were covered with overpriced shorts, shirts, and sweaters, strewn about by desperate customers searching for the perfect outfit. The sales people who roamed the floors were definitions of cool themselves -- ranging from age 16-22, they modeled their employee discounts in a haughty way which encouraged the customers to strive for their ultra-hip look. And strive the customers did. What was the most noticeable upon entering the store (besides the blaringly loud music which made me wonder if I was at a clothing store or a dance club) were the herds of desperate young men and women, who seemed to range from age 12-25, strutting around the store and searching for anything that had the name A&F on it. I can only imaging how many nights of baby-sitting it would take some of these eager teenagers to buy one sweater. The young custome...
You go pick one either because the picture is better or you saw the commercial the other day and you want it. During the length of this paper we will talk about two important writers, Kalle Lasn the writer of “The Cult You’re in” and Benoit Denizet-Lewis the writer of “ The Man Behind Abercrombie & Fitch”. They both talk about similar topics that go hand and hand with each other, they talk about the consumers “Dream”, how companies recruit the consumers, who cult members really are, how people are forced to wear something they don’t want, and about slackers. What is the dream we all have? Think about the main things that you strive for in life.
Pous, Terri. “We, the Underdressed: A Brief History of Discrimination and Indifference in Fashion Retail.” Style.time.com. Time Style, 22 May 2013. Web. 15 January 2014.
It is interesting to consider Veblen’s theory of conspicuous consumption as it pertains to the modern day fashion industry, specifically the luxury fashion sector. In The Theory of the Leisure Class, Veblen said “we all find a costly hand-wrought articles of apparel much preferable to a less expensive imitation of it;” however, at the beginning of the 20th century, couture clothing was exclusively available to those who were very wealthy, simply because of how much the garments cost. By the mid-1930’s, businesses were beginning to change their ways of thinking after seeing the enormous profit that the Walt Disney Company received once they licensed the making of Mickey Mouse novelty items. Christian Dior was the first of many fashion designers to foll...
In “The man behind Abercrombie and Fitch.” An interview conducted by Benoit Denizet-Lewis displays a glimpse into the life of Mike Jeffries and his views of his company only hiring “good-looking” people and targeting “good-looking” people to wear his clothes. This has been done in order to force his audience to recognize that the issue of acceptance one’s peers and exclusion of a community mentioned by Mike Jeffries, is a result of cultural perceptions and individual self-image. Denizet-Lewis skillfully shows that while Jeffries remarks of not wanting the “not-so-popular” kids to shop in his stores, it poses a question to consumers asking what change in our attitudes will come or if there will be any change at all. Thus comes the issue of how consumers today have a shift in the reasoning behind why one buys clothing and the motivating factors that influence one to buy certain clothing. Denizet-Lewis also demonstrates the different messages that controversial advertisements and statements affect different groups of people and how what they project is really what people desire, though deemed by many people as unacceptable or inappropriate. The author also examines how in the news media, the image has become more important than the message and how images have taken precedent over actual issues and character. As a result of this, various communities have formed by the construct of selling to “beautiful people” and how popular appeal has become an extension of a person.
In regard to consumerism and gender, I find two figures—Hannah Hoch and James Rosenquist--connected. Hoch once worked for a women's magazine of the huge Ullstein Press while Rosenquist once earned his living as a billboard painter at Artkraft-Strauss. They had been working within the mass media during the day and using the fragments from the industry to create art works at night before they moved to their own studios. The Beautiful Girl (1919-1920) and The Light That Won’t Fail I (1961) are examples I will use to explore consumerism and the relationship between consumerism and gender. As insiders of the mass culture, Hoch and Rosenquist take both content and technique from the visual vocabulary of mass consumption and transform them into art. Their approaches of creating art pieces witness changes in the consumer world at different time periods of history. As manifested in their works, The Beautiful Girl and The Light That Won’t Fail I, photomontage and billboard-like painting resemble the forms of advertising. And their different kinds of juxtaposition embody the experience of the consumer world and the artists’ allegorical comment on consumerism and gender.
The principles of marketing (The Times 100, n.d) are a range of processes concerned with finding out what consumers want, and providing it for them. This involves the ‘4ps’ of marketing; price, place, product and promotion. The product decision in any company involves dealing with goods that should be offered to a group of customers (Jobber & Ellis-Chadwick, 2012). Burberry maintains a product line with great width and scope in which their products fall into two main categories; fashion or continuity. Their fashion products are designed to be responsive to fashion trends and are introduced on a collection to collection basis (Burberry, n.d). Continuity products however have life cycles that are expected to last for a certain time period. Burberry also has 3 primary collections; womenswear, menswear and accessories, with the variety of products they can utilize their product mix greatly. Burberry also has...
There are fashionable furniture and decorations in the room, all of them in gender-neutral colors. The family is well-dressed in soft blues and white. Every face in the ad is adorned with a tremendous smile. The caption in the upper-left corner describes “dad” as cool and a best friend, bike fixer, swim coach, tent builder, and hug giver rolled into one. Or two. The family includes a young daughter and son who appear Hispanic, and their two Caucasian fathers, approximately in their thirties. This stylish clothing advertisement not only sells JCPenney’s clothes, but also challenges the conventional roles and ideas that have been imposed on the American
Tremendous shopping centers, malls, even those little corner shops became an icon of American culture and its society. We are constantly manipulated by these so called convenient public places where escaping from it would be almost impossible. There are probably a 50% of chances that we will start our day with a cup of coffee in one, buy our afternoon lunch in the other one, or end up just walking around one. Shopping centers are everywhere; we cannot escape from it. Moreover, we do not want to escape from it as we are constantly underestimating the power and the real impact these places have on our society. Thus these places play a huge role in the process of socialization and are largely influencing the development of our society as a whole. In order to understand the way these places are emphasizing the gender differences and inequalities between the sexes, I decided to visit the local store Walmart and through an observation of its environment and its settings try to record its power of gendering. I was looking for a proof that gender is not merely an element of individual identity, but a socially constructed institutional phenomenon which is even imposed in our shopping centers and local stores.
It’s no secret that some women believe fashion portrays who they are. Therefore follow every season’s new trend. This leads to spending money that they don’t have. Waller Lea, a journalist, suggest that “for some communities, purchasing knockoffs or generic products are frowned upon, forcing minorities to spend more money. Now businesses and companies are targeting minorities, causing more debt problems.” Addicted to retail or brainwashed? Opponents claim that fashion is simply a creative way to express themselves. There are others ways to express ourselves that are no based on our appearance. Through drawing, painting or through our thoughts and ideas. What happens when someone can’t afford expensive clothing or doesn’t have access to fashionable clothes? They are singled out and excluded from society for being different.
Cohan overall leaves a strong impression on the reader that change in women’s advertising is very important and necessary. He effectively shows that women’s advertising is often unethical and ultimately needs to stop degrading women and move to more positive ways of advertising. Although, upon digging deeper in to Cohan’s specific claims on idealized imagery advertising, a gap emerges. Cohan calls the women in the ads who have been idealized “perfect” “ideal”, women that the “average women” will never be able to look like/be (327), but in all actuality, how can advertisements, or anyone for that matter, define what is “perfect”, “average”, “pretty”, “ugly”? Cohan overlooks this phenomenon, of the ever evolving, never definable term: beauty, therefore creating a need for deeper analysis.
The absence of clothing has become omnipresent in today’s advertising. Some ads focus on the removal of clothing, while others focus on no clothing at all. This idea is ever-present in fragrance advertising, as it forces the viewer to focus on the product over the appearance of one’s clothing. The absence of clothing creates a very specific mood for the ad: sex. The ad is able to portray a meaning that is not even included in the ad just by removing pieces of clothing. Fragrance advertising, such as Gucci Guilty, uses sex as a tool to sell a product without knowing anything about it.