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Innovation in fine fashion

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Different innovation theories applied to the fine fashion industry, explained by clear examples and short definitions.

Publicada em: Estilo de vida, Varejo, Design
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Innovation in fine fashion

  1. Silvia Arditi Pierandrea Miglietta Lucia Peraldo Fiamma Sinibaldi Luciana Tornabene Giulia Trombi
  2. 1 2 3 4 5 The AbernathyUtterbackmodel ResourceBased View VS. StructuralView DominantDesign vs ConvergentDesign L.Tushmanand P.Anderson model Capettaet al. study 6 Structural Ambidexerity
  3. Time Acceptanceof the style High diffusionof the new style Slow start, new style hasto be accepted Approachingto the limit
  4. “therewasalmostnowhereelse to go.. The mini-skirtcouldgo no higher” mini-skirtasmass diffusionphenomenon Time “a controversialitem of clothing, symbol of liberation” 1962 1965 1975 Acceptanceof the style
  5. Time Style The 90’s The 50’s 2014 Unlikely in technology , mini-skirt is not more efficient than the the50’s one. It is just more popular D
  6. Stylea temporal phenomenon an obligatory transformation of taste.
  7. Approches to Style Search DesignerDriven
  8. MarketDriven
  9. TwoApproachesto Style Search KEY SUBJECT COMPETENCES PROCESS LOCUS OF SEARCH Designer Unit (Design Function) Designer Customer and competitor orientation Individualsensemaking Collective sensemaking Local Distant Designer-Driven Search Market-Driven Search
  10. TwoApproachesto Style Search Designer-Driven Search Market-Driven Search INCENTIVES LEGACY INNOVATION OUTCOMES LONG-RUN LIMITATIONS Designeristheownerofthecompanyorgetsroyalties Memberoftheunitareregularemployeeswithatraditionaldivisionoflabourandanincentivetoinnovate Pastcollections Marketdynamics Evolutionarychange Radicalchange Adaptationwiththemarketatrisk Stylisticidentityatrisk
  11. the design that is used by the majority of the players in the industry
  12. ANDERSON AND TUSHMAN (1990)
  13. Whichindustriescome to yourmind?
  14. Thismodelisapplicablealsotoindustriesdrivenbystyle ….andnotonlybytechnology.
  15. Period of ferment Relevantstyle differences 1
  16. Periodof incrementalchange Convergenceon the samestyle
  17. Technical compatibility «the capability of different interfaces
  18. SymbolicinnovationReassignmentof social meaningto an existingproduct, the changeof aestheticcharacteristicsgeneratingbotha new pdtand a neìwmeaning.
  19. DominantDesign ConvergentDesign
  20. For stylistic innovation Compatibility
  21. The desire for stylisticinnovationcan be explainedasboththe wantto havethe right pdtsand interactwith the right ppl.
  22. For stylistic innovation Compatibility
  23. Visual coherence in the aesthetic appearance of the elements
  24. AESTHETIC COMPATIBILITY
  25. HYPOTHESIS Stylisticinnovationfollowsan evolutionarymodel characterisedby the sequenceof periodsof fermentand incrementalchange.
  26. *R. Cappettaet al. / ResearchPolicy 35 (2006) 1273–1290
  27. 1980 -1985 Masculine -Structeredjacketswith XL shoulderpats -Career Woman’sUniform Periodof incrementalchange
  28. 1986-1990 Periodof Ferment -More unstructuredclothing -More use of pale colors Somethingis changing!
  29. 1991-1993 Minimalism -Strong use of neutralcolors -Cleancuts -More feminity 1994-1998 Periodof Ferment -Neutralcolors are mixedwith strong ones -More experimentation
  30. 1999 -2001 Kitsch -Artificial materials -Strong colors -Combinations that clash. 75.7% designers’ preferences.
  31. Demandof a productincreaseswhenothersconsumeit
  32. q a demandof a productdecreasesbecausetoomanyothersare consumingit.
  33. Are accelaratingtheseeffects
  34. HYPOTHESIS During the period of incremental change, incumbents are more innovative than new entrants. Indeed, they have a consolidated style and they prefer incremental innovations to radical changes.
  35. HYPOTHESIS During the period of ferment, new entrants are more innovative than incumbents. In fact, theycan deploy at best their ‘newness’ by creating a completely new style, because of lack of inertial frames, cognitive ‘sunk costs’ and existing routines.
  36. HYPOTHESIS During the period of incremental change, incumbents are statisticallymore successful than new entrants.
  37. HYPOTHESIS During the period of ferment, new entrants are statistically more successful than incumbents.
  38. oldstylescan instantlybacomerelevantagain.
  39. STRUCTURAL AMBIDEXTERITYMaster the presentPre-emptthe futureexplorationexploitation
  40. Eventhoseindustryhistoricallydrivenby technologicalinnovation…
  41. …are startingto strenghtenthe importanceof stylisticinnovation.
  42. You!
  43. Bibliography Cappetta, Rossella, Cillo, Paola & Ponti, Anna(2006) "Convergent designs in fine fashion: An evolutionary model for stylistic innovation".Research Policy,35(9), pp. 1273-1290. Cillo, Paola & Verona, Gianmario(2008) "Search Styles in Style Searching: Exploring Innovation Strategies in Fashion Firms".Long range planning,41(6), pp. 650-671.

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