Indian appareal research (Bangalore)

HOW GLOBAL BRAND
INTERPRET
IN INDIAN CONTEXT
BY RAHUL KARANKAL
RETAIL EXPERIENCE DESIGNER
NID BANGALORE
SPONSOR: GENSLER

HOW GLOBAL BRANDS INTERPRET IN INDIAN CONTEXT/ RAHUL KARANKAL / NID BANGALORE/1
ACKNOWLEDGEMENT
I'd like to take this opportunity to thank all of the people who have helped me directly or
indirectly during the course of this diploma project.
I'm highly indebted to Design Director (Gensler) Diwakar Chintella and Regional Head
(Gensler) Smita Gupta for their guidance, constant supervision and critique as well as
for providing necessary information regarding the project and in the design process. It'll
be tough finding a similar design environment to work in.
My sincere thanks to the project academic guide, Mr. CS Susanth, for his timely inputs
and insights that proved invaluable in implementing this project.
It was a pleasure working with the Retail Research , UX teams at Gensler Bangalore .
Thank you guys!
I would like to express my gratitude to my sponsor,Gensler Bangalore, for providing me
with a platform to undertake this project and in the process, working with an amazing
set of people, professionally and personally.
A big thanks to all my friends, notably Mayank Chauhan, both the Niramayee, Gurpreet,
Roshan, Rahul B, Swadha, Upamanyu, Shashidhar, Manish & Anupam for their constant
encouragement, discussions and reminders.
And finally, I'm grateful for the immense support and encouragement given by my family
without whom this project wouldn't have been possible.

2 / HOW GLOBAL BRANDS INTERPRET IN INDIAN CONTEXT/ RAHUL KARANKAL / NID BANGALORE

Indian Retail Market Sector.................................................................
Why Consumer Pick Global Brand.....................................................
Global Consumer Segments................................................................
Technology & Trends.............................................................................
UNIQLO...................................................................................................
ZARA........................................................................................................
FABINDIA................................................................................................
United Colors of Benetton.................................................................
Abercrombie and Fitch........................................................................
Local Language Interpretation..........................................................
Grid For Store Front.............................................................................
Mannequin Display..............................................................................
Arch ( Inspire Local Culture)..............................................................
81
84
88
91
99
105
109
117
118
120
122
124
128
Industry Sponsor...................................................................................
Brief..........................................................................................................
NID...........................................................................................................
Brain Storm............................................................................................
Design Methodology............................................................................
Culture in India......................................................................................
History of Indian Clothing..................................................................
Apparel in Bangalore............................................................................
Organized Market Sector.....................................................................
Unorganized Market Sector................................................................
Typology In Bangalore..........................................................................
Front Facade...........................................................................................
Sale...........................................................................................................
Window Display.....................................................................................
Bangalore Demography.......................................................................
Consumer Survey..................................................................................
Consumer Conception of Brand........................................................
CONTENTS
INTRODUCTION SECONDARY RESEARCH
INSIGHTS
UNDERSTANDING 21
PRIMARY RESEARCH 35
77
DESIGN FRAMEWORK 137
DESIGN DIRECTION 119
BRAND PROMOTION 113
CASE STUDY 97
7901
09
11
13
15
19
23
25
29
29
33
37
39
51
61
67
69
71

WHAT IS A GLOBAL BRAND?
A global brand is simply a brand that is sold and marketed consistently around
the world Brand name known everywhere. A global brand has the advantage of
economies of scale in terms of production, recognition, and packaging. A global
brand is one that has transcended its culture origins to develop strong relationship
with consumers across different countries and culture.
GLOBAL BRANDS

Retail experience is based on the brand, retailer and consumers. Brand name creates
a base and sells more products. For example, Coca Cola is one of the top brands in
the world and sells products worldwide, creating more market value for its products.
Without such a strong brand name, no one would buy this product on such a large
scale. Another example is of Walmart. Walmart sells a very wide variety of products, all
under one roof. Brand differentiate products (Ex. Cameras, cars, software etc) and give
premium placement (example, Rolls Royce, Lamborghini, etc) Retailers generally make a
structure for the brand to ensure that the store fits within the brand's image. They create
a project sale and ensure that customers come back for more.
Consumers give the brand feedback about their needs and what could be improved
about the product. A brand can modify it's products to suit the consumer's needs and
make more sales by giving the consumers what they want.
A brand which is attentive to it's consumer's needs builds up a good brand image and
ultimately becomes more popular.
RETAIL CYCLE

Above Chart shows retail types &
Influential factors surrounding the Brand,
Consumer & Retailers.
INITIAL PROCESS
BRAND RETAILER CONSUMER
Supply chain
Retail Display
Value
Product
Packaging
Store Ambience
Price
Income
Attitude
E - Commerce
Past experience
Life StyleFamily
Personality
Technology
Selling
Advertisement
Promotion

As architects, designers, planners and consultants, we work with our clients on some
3,000+ projects every year. These projects can be as small as a wine label or as large as a
new urban district. With more than 3,500 professionals networks across 44 locations,
we serve our clients as trusted advisors, combining localized expertise with global
perspective wherever new opportunities arise.
Our work reflects an enduring commitment to stainability and the belief that design is
one of the most powerful strategic tools for securing lasting competitive advantage.
RETAIL
Lifestyle choices and aspirations drive the retail sector, whether it's a store, a lifestyle
center or an urban retail district. The language of retailing is experiential, speaking to
people's desire for self-expression, for community, for authenticity, for connection.
Gensler plans, designs and implements the full range of retail from store design and
rollout to retail architecture. We also provide brand development and merchandising
design everything from the customer experience to the logos, labels and packaging.

ABSTRACT
What, specifically, I like to learn or prove? (What
causes the need for localization in global world? )
By investigating principles of corporate strategy as
well as psychology/consumer behavior, we seek to
better understand why some retail brands thrive in
New global markets, while others effort flat.
We propose to present our findings in a series
of external webinars co hosted with the National
Retail Federation. (NRF)
What methods and Research processes we use?
We will collect and analyze - through a design.
Which target audience will be most interested in
the findings, and why?
(Select all that apply)
Client/End users : retailer will gain learned from
brands that have already expanded
Developer: Developers in global market will gain
that aid leasing strategies.
Practitioners: Advisors to the retail industry will
understand how to help their clients to expand.
Other: National Retail Federation members will
have access to educational webinars.
We have observed that even in this era of extreme
personalization, customized and localized
retailers are very successful with the global roll-
out of a store prototype that is essentially the
same in each new market.
While other retailers are very specific about
their desire to localize each store as they
expand outside the U.S. many other retailers fall
somewhere in between, maintaining strong brand
standards,while ensuring that global/local culture
and customer unique desires and aspirations are
acknowledged. These facts raised the questions:
What is the trigger point for each brand?
What cues we look for that will help retailers
understand when its appropriate to stay
consistent globally,or when its imperative to
localize and evolve?
While there is much existing data/ research about
global consumers (which we'd like to collect and
analyze more thoroughly) we have not been able
to find any research that specifically addressed
the trigger points between global prototypes and
localization.

HOW GLOBAL BRANDS INTERPRET
IN INDIAN CONTEXT
Analyze currently available knowledge and set the context for a potential future research effort.
Develop expert knowledge of a specific design, business, competitive or market issue.
Identify and understand the influential or important driving forces that have an impact on
possible future events or directions that will affect our clients’ business or our business.
Develop processes, design tools, and frameworks that can be used by designers and/or clients
for innovation in design & delivery.
BRIEF
KEY WORDS
• Bangalore apparel retail market.
• Typology in Bangalore.
• Global brand enter in India.
• Brand Introduction.
• Brand Promotion.

NATIONAL INSTITUTE OF DESIGN (NID)
The National Institute of Design (NID) is internationally acclaimed as one of the
foremost multi-disciplinary institutions in the field of design education and research.
The Business Week, USA has listed NID as one of the top 25 European & Asian
programmes in the world. The institute functions as an autonomous body under
the department of Industrial Policy & Promotion, Ministry of Commerce & Industry,
Government of India. NID is recognized by the Dept. of Scientific & Industrial Research
(DSIR) under Ministry of Science & Technology, Government of India, as a scientific and
industrial design research organization.
DESIGN FOR RETAIL EXPERIENCE
The increasingly competitive market has transformed shopping from just purchasing
products to an experience and an activity in itself.
The programme has an integrated approach to designing products, systems and spaces
for enriched consumer experiences. Students have inputs on visual merchandising,
trends, materials, technology and techniques. The programme offers a challenge to
redefine boundaries, understand consumer lifestyles and aspirations in order to visualize
and create new concepts for an outstanding shopping experience.
R&D CAMPUS,BANGALORE
NID's R&D Campus at Bangalore was set up as a joint initiative of and funding from
the Department of Industrial Policy and Promotion (DIPP), Ministry of Commerce
and Industry and the Ministry of Information Technology, Government of India and
was inaugurated in March 2006. R&D Campus commenced two research intensive PG
Programmes namely Design for Retail Experience and Design for Digital Experience,
from the academic year 2007-2008. From the academic year 2008-2009, the Campus
has also commenced one more research intensive PG Programme, namely Information
and Interface Design. NID's Research & Development Campus addresses the immediate
need for an exclusive Design Research centre in the country, by fostering the creative
design spirit and sighting new opportunities and frontiers through NID's design acumen
nurtured over the four decades of intense teaching-learning process.

DISCLAIMER
All contents included in this document as part of research and information collection
process are intended to be used for purely inspirational/referential purposes to provide
insights for the overall design development of the Diploma project. No copyright
infringement is intended. This document is purely for academic purposes and the body
work included here has not been shared with the client or for any other commercial
purposes.
ONLINE ARTICLES
Due to the large amount of text collected from online articles and case-studies, in places
experts have been created to provide the essence of the body of work.
IMAGE
The extensive image bank that was created during the course of this project at each
stage has been covered as snapshots wherever necessary and relevant to the overall
flow of this document. Since a large number of image have been used, the entire list of
image sources has been included under the 'Image Credits' selection toward the end.

The research started with brainstorming about the design process
to be followed. The area of focus in the Indian market sector was
also decided. After discussion the focus area selected was
"Apparel market in Bangalore"
BRAIN STORMING

The first step was to look at the Indian market
from three different perspectives namely.
TYPOLOGY It describes the different types of markets with respect to
the urban context and the physical characteristics.
MARKET SECTOR This provides the information about the global
and the local market leaders across different sectors.
AREA OF FOCUS Location, physical characteristics, brand, consumer
demographics, consumer journey, e-retailing and service are the areas
of focus.

CASE STUDY
SURVEY
TYPOLOGY
IN BANGALORE
GLOBAL &
LOCAL APPAREL
BRANDS
UNDERSTANDING
INDIAN CULTURE
GLOBAL MARKET
& CONSUMER
PHOTO SURVEY
ORGANIZED &
UNORGANIZED
RETAIL
SURVEY
CONSUMER
DEMOGRAPHIC
BRAND EXPERIENCE
MAPPING
LITERATURE
STUDY
LITERATURE
STUDY
CLOTHING
HISTORY OF
INDIA
INDIAN RETAILER
RETAIL MARKET
IN INDIA
DESIGN METHODOLOGY

FRAMEWORKCONCEPTS
OBSERVATIONOBSERVATION OBSERVATION CONSUMER
BRAND
PROMOTIONS
DESIGN
DIRECTIONS
SALEFRONT FACADE
WINDOW
DISPLAY
ONLINE SURVEY

UNDERSTANDING"To understand more about the Indian market various aspects were studied. The impact
of Culture, Celebrations, Festivals, Bollywood and languages on the Indian market is also
studied.
Study about the history of Indian clothing helped in better understanding of current clothing
styles across the country and the influence on the market.

ART FORM: RASA BOLLYWOOD
CULTURE CELEBRATION FESTIVAL

LANGUAGE
BOLLYWOOD LANGUAGE

HISTORY OF INDIAN CLOTHING
(-3000)
India was the first place
where cotton has grown,
even as early as 2500 BC
in the Harappan period.
HARAPPANS (-2500)
The harappans had one
piece dresses. Men had
something like a dhoti and
women wore a kind of sari.
VEDIC PERIOD
(-1700 - -500)
Around this time dress get
modified. People started
wearing 3 piece dress
including under garment
ARYANS
(-1000 - -300)
That time silk clothes were
introduced. Rich women
wore silk saree. Sewing
considered inauspicious.
BUDDHISM AND
JAINISM(-500 - 00)
People following these
religions used to wear
one piece cloths.
MAURYA EMPIRE
(-322 - -185)
Men and women contin-
ued wearing unstitched
garments birth of Ghagra
noticed in some places.
STITCHING INTRO-
DUCED(00 - 500)
Stitches introduced in this
period. God and goddess
continued to be depicted
in dress w/o stitches.
KUSHAN DYNASTY
(30 - 375)
Kushans had five differ-
ent kind of costumes for
different people including
soldiers and women.
PERSIAN
(300 - 500)
Persian cap and dress
introduced in India.

KASHMIR
(1947)
Influenced by Hindu,
Muslim, Afgans, Bud-
dhists. Due to climate
salwar became a common
dress.
Himachal Pradesh
In 1947, Costumes
evolved out of necessity
owning extreme climate.
MUGHALS
(1526 - 1858)
Purdahs, nose ring, kurta
pajama, sherwani and
salwar kameez came to
India during this period
for the upper body.
HUMAYU
(1556)
He added Persian ele-
ments for the upper body.
AKBAR 1605
He introduced local
texture. He also devel-
oped a vocabulary of
clothes and textiles.
BRITISH AND OTHER
FOREIGNER 1800
They brought many
western style dresses in
India including pant, shirt,
jeans, top etc.
GUPTA DYNASTY
(350 - 70)
Many forms of cut and
sewn garments became
fashionable.
KANCHUKA AND
GHAGRA
(500 - 100)
Stitched antariya evolved
as ghagra & Kanchuka was
a close fitted garment cov-
ering the upper body.
LUNGI
(600 - 1100)
Men started wearing lungi
instead of dhoti. Sari drape
changed from kaccha to
dhoti style covering the
upper body.

LUNGI
Unlike dhotis, which are linear like sheets,
lungis are sewn into a tubular shape like
a skirt. They are especially worn in hot
regions. There are also cheaper "open"
lungis, in identical dimensions but not
sewn into a tubular shape.
They are normally woven from cotton and
come in a variety of designs and colors.
Silk lungis are available for ceremonial
purposes such as weddings.
The most common styles are either solid-
colored or plain, reflecting the relative
ease and cost-effectiveness of producing
these patterns on a power loom.
Blue is particularly popular, since it
fades to pleasant tones in contrast to
other colors. Regardless of the design
or color, lungis are often lined at the top
and bottom with a black/white stripe
containing reinforced.
DHOTI
The name dhoti derives from Sanskrit
dhauta.
It is a rectangular piece of unstitched cloth,
usually around 4.5 metres (15 ft.) long,
wrapped around the waist and the legs and
knotted at the waist, resembling a long
skirt.
The name dhoti derives from Sanskrit
dhauta. [Citation needed]The garment has
numerous other names such as, Dhot in
Oriya, called Dhotiyu in Gujarati, Suriya
in Assamese, Dhuti in Bengali, Dhoti or
Kachche Panche in Kannada,‌Dhotar, Ango-
star, Aad-neschey or Pudve in Konkani,
Mundu in Malayalam, Dhoti or Pancha
in Telugu, Dhotar or Pancha in Marathi,
Laacha in Punjabi and "Mardaani" in cities
of UP, Bihar, Terai, vEtti or vEshti in Tamil.
Pancha (Singular) in Marathi is not Dhotar,
both are different. While dhotar is worn
around waist, Pancha is normally used to
wipe(dab dry)water after bath/shower,
similar to using Towel. Panche is plural.
SARI
The word sari is derived from Sanskrit
which means 'strip of cloth'
The most common style for sari to be
wrapped around the waist, with the loose
end of the drape to be worn over the
shoulder, baring the midriff. However,
the sari can be draped in several different
styles, though some styles do require a
sari of a particular length or form.
The French cultural anthropologist
and sari researcher Chantal Boulanger
categorized sari drapes in the following
families. Nivi, Bengali, Gujarati/Rajasthani,
Maharashtrian/Konkani/Kashta, Madisar,
Kodagu style, Gobbe Seere.
From Wikipedia, the free encyclopedia

INDIAN RETAIL MARKET

APPAREL IN BANGALORE
Initially the research started first in the Bangalore retail market.
There are various typologies (different types of retail formats )in
Bangalore retail market and they were studied in detail. There were
many areas around the retail segment like Location, physical charac-
teristics, consumer influence and behavior.
This project focusses on areas like store front, window display and
brand introduction and information possibilities. Visiting some of
the local and global retail stores and clicking photographs helped in
understanding the organized and unorganized apparel market sector.
The unique and influential factors observed during this process have
been presented here.

Most of the clothing retail in Bangalore
malls & high streets are organized. There
are various store formats at play in these
malls and high streets: stand alone stores,
Boutiques, Flagship stores. Most of these
Branded stores are Global brands & some
of them are local franchise stores and
Local branded stores.
These stores in malls are organized
because they have separate segments like
store front, product/merchandise display,
signages, branding etc. Each of them are
given a lot of attention and direction.
ORGANIZED CLOTHING RETAIL IN INDIA
There are some branded company stores
as well as local franchisee stores. Also one
local franchise might run different brands.
They provide better consumer experience
for example car parking, store experience,
air condition, cash wrap system, after
sales service. Moreover the variety &
clothing quality is also good.

The unorganized clothing retail in
Bangalore includes shops and retail spaces
which were cluttered and lack a uniform
design language. For which they lack in
design language they make up with unique
identities, diverse selling points, vibrant
introduction techniques. Each of these
sellers have small quantity to sell. Even
within these small quantities, there are
various varieties.
Hawkers (thelawala), small shops in old
street, footpath shops, City market shops,
small shops in public spaces are places
where examples of unorganized clothing
retail can be seen.
Sometimes these individual merchants
carry their merchandise with them. Most
of the clothes are unbranded and are of
low quality. Even some hawkers & shops
sell duplicate brand clothes. These small
shops lack space and some of them are
temporary.
For displaying the clothes they use
available material & use street walls for
displaying the products.
ORGANIZED CLOTHING RETAIL IN INDIA

PRIMARY
RESEARCH

MALL HIGH STREET
After understanding organized and unorganized sector in the Apparel market, many
types of retail market sectors emerged. Some of these types evolved and changed after
development because of various factors like modernization, competition from foreign
brands, etc.
It was observed that High streets and new malls were the most preferred places of
shopping among people.
So, this research concentrates mostly on mall and street shopping in Bangalore.
The research was done on the basis of location. After brainstorming and photo-surveys,
the main areas of focus were the following 4 points --
1. Front Facade
2. Sale
3. Window Displays
4. Events and Trends.
All the above, can help in introducing and promoting a foreign brand in the Indian
Market. This was done so that Gensler could also build a strong portfolio for its foreign
clients and easily help them in introducing their products in the Indian market.

FRONT
FACADE
SALE
SEASON
WINDOW
DISPLAY
EVENTS
TYPOLOGY IN BANGALORE ( PRIMARY RESEARCH )

FRONT FACADE
Front facade its easiest way to introduce brand . A good
storefront will attract attention, provide effective display space,
allow natural light into the retail space and contribute to the
overall appearance of the down-town.
A well-designed facade will work both within the aesthetic
unity of the building and still reflect the individual character and
personality of the business.
In studying front facade, there was particular emphasis on
studying store entry, signages and their position, color and
material application and how all these factors can spaces. The
goal is to give the brand a good visibility and focus on the brand's
message. Local and global brand facades were studied and
compared for research.

LOCAL
Most of the shops are unorganized . Open
displays, Bright colors and flat type face
are the most common views in shops.
Local shops also use English in addition to
the local language. In the festival season,
they display offers and also change the
appearance of the front side of the store
as suitable.
Most of local stores are small in size. They
use available furniture in market ( Plastic
tables are commonly used for the cashier )
Shoppers can easily spot all mannequins
displayed outside.
The price and discount for unique things
are shown in front facade, because most of
the consumers are not brand conscious.
They have strong emphasis on English
after using the local language, as well
as information about clothing. For Tag
lines- they use both the local language and
English.
But price is the most important thing for
selling cloth, which is why some shops
show the price more prominently in front.
Red color is the most common color for
the front facade .
BRIGADE ROAD

GLOBAL
Brigade road is one of the most crowded
streets in Bangalore. All shops are
connected to each other. Because of the
small narrow footpath, it is difficult to see
full front facade of shops.
People can't see the brand name because
all brand name & logo positions are
displayed at the top of the store. For Brand
naming, they use two languages in front
of store - one local & other global. Most
of the bikes & other vehicles are parked
in front of the store, making it difficult to
enter the store.
Window display plays a major role in
introducing new stocks & promoting
brand. But there is no space for window
display and no space even for parking.
For shops where products are not
displayed close to the entrance, the front
facade glass helps in increasing visibility.
Glass panel can even be used for sticking
signs & messages for the brand . Most
stores are stand alone, and they consist of
ground floor plus a loft (Duplex)
For front facade. They use colors
depending on brand guideline, but a major
difficulty is customizing the same typeface
in local language .

LOCAL
Hanging panels are used for brand name.
Most of products are displayed outside in
unbranded stores.
Mannequin its most UNIQUE point
of this observation . While the stores
are not designed, the mannequins are
highlighted prominently in their displays.
The rest of the store is often cluttered,
making it difficult for the consumers
to see the products and decide what to
buy. While the store itself is cluttered,
the mannequin's human form, helps the
consumers in making a choice
Some mannequins are displayed on the
street so that the consumers can touch
the garments on display. This is also a
strategy to attract the buyers. Size and
proportions of mannequins are different
based on the gender. In some cases, only
half mannequins are displayed
Price tags are displayed prominently on
the mannequins. Most mannequins are
easy to display and even dismantle. For
some ethnic garments like Salwar Kameez,
mannequins even replace racks or shelves
in the store For naming the store, they
use the merchandize (cloth) name and the
emphasis is on English language. Store
name is sometimes repeated in multiple
places and languages for more emphasis.
People always like to buy more variety
based on color, so most of the shops
customize their displays to showcase a
wide range of colors and designs.
COMMERCIAL STREET

GLOBAL
Commercial streets is a fully crowded
place most of brand located here.
All shops are narrow and tall . Even big
global brands have to try and adjust in a
very small space.
Facade color helps in differentiating
between two different shops.
Most brands use their brand name in two
places on the facade.
Focus lights are used to emphasize the
brand name.
The facades of all stores are not always
located at normal street level. Some shops
are in the basement and some are on
higher floors. They don't have space to
introduce their brand through the front
facade. When this happens, sometimes,
more than 2 brands utilize the same
facade space for their branding. In such
cases, the consumers get confused about
the stores location and entry points.
There is not enough space for window
displays.
Sometimes, Easel stands, promotion props
and boxes (of sales and offers) are used for
promotion outside the store.
Full glass panels are used for sticking
brand name. In some cases, artwork and
vinyl treatment on the glass is used to
emphasize the brand and create a nice
visual effect.
Brand logo is also used on glass panels
to promote the brand. Glass panels also
make it easy for people outside, to see the
clothes displayed inside.

LOCAL
On the front facade local apparel sellers
use hangers & ropes for hanging clothes.
They also put mannequins outside so that
the store space is utilized more effectively.
Most of the local store hawkers use
temporary material for displays.
Flex is generally used for signage.
Most brands use English language.
The entry is open for most of the stores
and there is no design language. Most of
the times, the entire store is visible from
outside.
Here also, price tags are features
prominently in the store displays.
Some stores specifically target only men
or only women. Some are for both men's
and women's apparel. This distinction is
promoted on the store's front facade.
Some stores specially mention that they
accept debit or credit cards on their front
facade.
Clothes which are hung outside or stacked
in the display leads to a perception that
they are more affordable.
INDIRA NAGAR

GLOBAL
Presence of trees can also affect sales,
since they reduce the visibility of the store
and the display.
Street lamps can be distracting.
Images can be used to convey the brand's
story and image effectively. They also help
in attracting customers.
A grid-like structure in the front facade
helps in attracting attention towards the
displayed apparel and entry points in a
store.
Most stores have front parking.
Vinyl is used to decorate the front glass.

LOCAL
For big stores, the store front attracts a
huge crowd of people who keeps coming
in and out of the store, because of this,
the front facade is designed to be more
spacious and open.
Backlight is used for name fascia.
In some cases, the front fascia and front
facade seems to be disproportionate with
respect to each other.
Some stores use a similar design
language for both local and English in
their branding (for example, typography,
color, etc.). While for others, the branding
is completely different for different
languages (for example, the English
typeface is thicker and more prominent
in the branding on the fascia). In one
instance of innovation, a metal detector
was also used as a sign board. Side walls
of the store are used prominently for
signages or promotion of the sale season.
ORION MALL

GLOBAL
Most of the stores have limited vertical
space in malls. In most stores, the entry
is located on the left side or the center of
the store.
The front facade of the store also defines
the boundary of the store.
One thing which the stores have in
common is a defined framework for
different parts of the store facade. Most
stores follow this framework for entry,
window display, name fascia, etc.
Some store fronts use a flat, store facade
to communicate a more casual look, while
other are more recessed. The general look
and feel indicate the nature of the brand.
In malls, stores use open security system.
This gives a more welcoming feel.
Even in malls, the brand's identity cannot
be replicated effectively in the local
language.

LOCAL
People come to malls for different reasons.
Some come to watch movies in attached
multiplexes or just to spend time with
their friends and family.
Mall window displays are the best place to
introduce a brand. Open, full glass facade
is the most effective in increasing visibility
of the store.
Some shops introduce the brand name
directly on the glass, instead of using
a name fascia. But in these cases, the
visibility of the brand is reduced.
PHOENIX CITY MALL

GLOBAL
In case of the global brands they focus
more on the brand name to attract more
number of customers. As the brand name
acts as a major crowd puller.
Even the standard material is used so as to
create a visual connect with the existing
customers and hence creating a consistent
brand experience. A lot of emphasis is
given on the front facade.

SALE
"I am brand conscious, but I cannot afford branded clothes if they are not on sale".
A lot of people are brand conscious, but they only shop during sale season. Even people who
don't follow fashion trends regularly likes branded clothes. Many people are influenced to
buy more during sale season because of the 'small cost big brand' phenomenon. End of the
season sales are also extremely popular for this very reason.
"I went to watch a movie with my friends to the mall, and I saw a really nice Zara dress in
the window display and went inside the shop to check it out. I actually ended up buying nine
garments." Many impulse buyers get influenced because of window displays and even if they
have not come to the store with the intention of buying clothes, they end up buying on an
impulse.
"I am originally from Malaysia, but I always buy foreign brands when I come to India, because
the prices are cheaper in India". Many foreigners tend to buy big brands in India, because the
cost of some branded clothes in Indian stores are lesser than some other countries.

FRONT FACADE (LOCAL)
One of the local retail shops used the
word "Sale" repeatedly everywhere in the
shop to attract more customers.
Many shops used stickers to promote
the sale on walls, window displays and
the shop's door. There was a lot of visual
clutter, since no design language had been
used. The shop was located at a prominent
location on Brigade road in Bangalore, and
hence it looks odd.
Some shops on Commercial Street used
bright colors to emphasize their stores.
The colors were so bright that they over
shadowed the adjacent shops
Some shops has entry pylon sign to brand
the shop.
SALE

FRONT FACADE (GLOBAL)
People tend to buy larger quantity of
clothes during sale season, since it is
cheaper.
Because of this, sale season is the most
important time for the retailers, since
they need to clear their entire stock and
because people tend to buy more during
this period.
Most of the store owners change the
whole format of the store during sale
season.
They make changes in the front facade,
signages and merchandise display.
The word "SALE" makes a big impact
on the consumer's mind and attracts
more customers. Some retail stores use
easels for sale banners. In some stores,
semi translucent vinyl is also used to
communicate about the sale offers.
Front facade is the most simple way to
display sale. If the front facade is made of
full sized glass panels or vinyl could be used
to convey sale and discount offers.
Small props are also used to convey sale
season. Hoardings can also be changed
according to the front facade to promote
the sale.

SALE INTRODUCED THROUGH
WINDOW DISPLAYS
Window display is the easiest way to
introduce Sale. Some retailers use a theme
to decorate the window display.
Most of the time, they display the tale tag
on the tables or mannequins.
Bright colors, generally red, are used in the
merchandise display.
It is generally challenging to convey a lot
of information in small amount of time
and space. The space is sometimes not
enough to convey all the information
about the brand, sale schemes and
discount offers.
Tag lines and catch phrases like "heavenly
discounts" are also used to entice the
customers.
Shopping bags are sometimes branded
specially for sale season. Even the bags
emphasize the sale season or discount
offers in the store.
Sometimes stores make modifications
in the window display height or space
specially for sale season.
SALE

SALE DISPLAY AT DIFFERENT
PLACES & SIZES
International brands use different
branding techniques in different places.
It is important for them to plan and
understand the impact of their
window display design on sales before
implementing it.
Depending on different factors like store
size, window space, etc they use different
display designs in different stores. The
central theme is common, but the actual
window display is different in different
stores.
Some brands tend to break away from the
monotony and use different and unique
colors for promoting sales.
By using unconventional colors, they make
themselves unique and attract attention.
This also makes them different from their
competitors.

STRUCTURE & PROPS FOR SALE
Suspended panels made from sun boards,
MDF or vinyl are used to promote sale
season. These are easily available, modular
and can be easily dismantled.
Stripped pattern is most commonly used
for all windows. Some malls use MS free
stand for displaying sale and discount
offers in the entrance areas.
Many stores use outdoor backlit pylon
during sale season. It is flexible and easy
to assemble.
SALE

MANNEQUIN USE AS A SALE
PROMOTION
Some brands use mannequins for
introducing sale. A group of mannequins
are kept in the entrance area to promote
sale season. This is a new way of
communication.

SIMILAR FIXTURES USED FOR
DIFFERENT BRANDS
Most of window displays employ wooden
easel for displaying sale season. It is easy
to port.
On the same stand, one side can be used
to communicate with the customers
outside, and the other side can be used
for communicating to customers inside
the store. Stands can be used in malls or
in window displays. One fixture can be
used at different locations and by different
brands.

WINDOW DISPLAY

MALL SCENARIO
LOCAL
Local retailers are also getting influenced
by fancy window displays used by
international brands and they are trying
to reconstruct the same kind of displays in
their stores.

GLOBAL
Except mannequin in widow display
people use poster. Global brand windows
are minimal & most of brand windows are
full close & semi close.

STREET WINDOW DISPLAY
LOCAL
Local shops also get inspired by
International brands and try to display
their products in innovative ways. They
display many garments at a time and
there is no well-thought theme behind it,
they still try to use hangers for window
displays.
Sometimes, they make custom fixtures to
arrange mannequins. Most mannequins
are older models. There is no fixed
position for displaying mannequins. In
most cases, they try and use whatever
space is available to them (like walls,
staircases, railing, etc) using any material
which is easily available to them.

GLOBAL
Global brands always follow the brand's
guidelines and season's guidelines while
designing the window display.
Most window display design guidelines
come from store's abroad and they are
just replicated in India. The design is not
location specific.
It is sometimes difficult for them to
display all products in the available space.
Props are not fixed on the windows and
light fixtures are not very flexible. The
window height is a constraint, since the
display always needs to be at a proper eye
level. All these are some challenges that
global brand stores face while setting up
window displays.
There are different varieties in the types
of window displays, like completely closed
backdrop display, semi closed and open
window display etc.
Most of the street shop window displays
are semi closed and open window type
displays. They offer better visibility of the
store interior.
Many window displays use mannequins
and hoardings along with signage boards.
They also use wall vinyl stickers.
Now a days, white type face on the
window is becoming very popular because
of the clarity and visibility it offers.
Most stores tend to hire local artists
and vendors to change the signage and
stickers.

BANGALORE DEMOGRAPHY

BAD EXPERIENCE
OK EXPERIENCE
GOOD EXPERIENCE
People generally buy clothes after a month
or three months. Some people buy clothes
yearly. There are almost no weekly buyers
for clothes, since clothes shopping is not
like grocery shopping and people don't
tend to buy clothes that often.
CONSUMER SURVEY
Most of the people prefer malls for
shopping. They think that a mall gives
them a good shopping experience with a
'wow' factor. People also buy online, but
most users complain that their experience
is not always good.
13% AFTER
SIX MONTH
31%
MONTHLY
37% AFTER
THREE MONTH
15% YEARLY

STORE
EXPERIENCE
8%
BRAND
13%
DESIGN
STYLE
23%
MATERIAL
FABRIC
25%
FITTING
31%
FIRST STEP OF MY PURCHASE
Most people tend to visit the stores first,
while others become acquainted with the
brand through magazines. People also find out
about brands through social networking sites
or through friends. Many people tend to get
influences by advertisements via TV, hoardings,
websites, etc.
46 % STORE VISIT
18% FASHION
&
MAGAZINE
14% SOCIAL
NETWORK
10% FRIENDS
GUIDELINE
2%GOOGLE
2%T.
V.
8%WEBSITE
While buying clothes people
generally give priority first to the
fitting, then material and fabric,
then design or style and lastly
the brand.

CONSUMER'S CONCEPTION OF
BRAND EXPERIENCE
Here I understand how brand reach throw
customers, we brainstorm what are the
most important factors to make decision &
Influence.
Awareness (Post experience, Brand styles,
trends, fashion, media flags, newspaper
advertisements) start to think consumer
& after surrounding experience (Friends,
relatives, Article hoardings) educate the
customer.
They make choice & criteria (Price, Quality
After sale service ) for him & after he
evaluate the product. Store experience
& other service experience, force to
consumer to buy the product.

HIGH STREET

MALL

1 2
34
5
6

INSIGHTS
BRAND INTRODUCTION
BRAND PERCEPTION
Introduction of brand through events.
Different front facade designs based on store size,
location and space.
Lack of customizing in local language for name fascia.
Same fixtures used for different brands.
Bulk selling.
Mannequins inspire people as they relate to see
the form to themselves and get a direct visual of
how the garment would look on a person.
1
3
4
5
6
2

SECONDARY
RESEARCH

92% UNORGANIZED
8% ORGANIZED
SOURCE: http://www.indiaretailing.com

INDIAN RETAIL
MARKET SECTOR
Most populous democracy & over 1.2 billion people staying
in India. But most of the people live in villages & very dense
population staying in metro city.
Indian retail market sector is 92% unorganized & 8% are
organized. But most of the statistics are about total area of the
Country. It includes small village areas, but in metro cities we
can find there more organized Market sectors .

CLOTHING & FASHION BEAUTY & WELLNESS
ORGANIZED
77% 88%
UNORGANIZED

FOOD & GROCERY
99% 96% 89%
FURNITURE & FURNISHINGSELECTRONICS

The three dimensions of global brands
quality signal, global myth, and social
responsibility together explain roughly
64% of the variation in brand preferences
worldwide.
The percentages shown in the chart are
the averages of survey responses from 12
countries.
WHY CONSUMERS
PICK GLOBAL BRANDS

Source :Harward Business review

QUALITY SIGNAL
Consumers watch the fierce battles that
transnational companies wage over quality
and are impressed by the victors.
A focus-group participant in Russia told us:
“The more people who buy [a] brand...The
better quality it is.” A Spanish consumer
agreed: “I like [global] brands because
they usually offer more quality and better
guarantees than other products.” That
perception often serves as a rationale for
global brands to charge premiums.
Global brands “are expensive, but the
price is reasonable when you think of the
quality,” pointed out a Thai participant.
Consumers also believe that transnational
companies compete by trying to
develop new products and breakthrough
technologies faster than rivals.
Global brands “are very dynamic, always
upgrading themselves,” said an Indian.
An Australian added that global brands
“are more exciting because they come up
with new products all the time, whereas
you know what you’ll get with local ones.”
That’s a significant shift.
Until recently, people’s perceptions
about quality for value and technological
prowess were tied to the nations from
which products originated.
“Made in the USA” was once important;
so were Japanese quality and Italian
design in some industries. Increasingly,
however, a company’s global stature
indicates whether it excels on quality. We
included measures for country-of-origin
associations in our study as a basis for
comparison and found that, while they
are still important, they are only one-third
as strong as the perceptions driven by a
brand’s “Globalness.”
GLOBAL MYTH
Consumers look to global brands as
symbols of cultural ideals. They use brands
to create an imagined global identity that
they share with like-minded people.
Transnational companies therefore
compete not only to offer the highest
value products but also to deliver cultural
myths with global appeal.
"Global brand make us feel like citizens
of the world and they somehow give us
an identity," an Argentinean consumer
observed.
WHY CONSUMERS
PICK GLOBAL BRANDS
SOCIAL RESPONSIBILITY
People recognize that global companies
wield extraordinary influence, both
positive and negative, on society’s well-
being. They expect firms to address social
problems linked to what they sell and how
they conduct business. In fact, consumers
vote with their checkbooks if they feel that
transnational companies aren’t acting as
stewards of public health, worker rights,
and the environment.
As infamous cases have filled the air-
waves Nestle's infant-formula sales in
Africa since the 1980's, Union Carbide’s
Bhopal gas tragedy in 1984, the Exxon
Valdez spill in 1989, the outcry over Shell’s
plan to sink its Brent Spar oil rig and the
protests at its Nigerian facilities in 1995
people have become convinced that global
brands have a special duty to tackle social
issues.
A German told us: “I still haven’t forgiven
Shell for what they [did] with that oil rig.”
An Australian argued: “Mc- Donald’s pays
back locally, but it is their duty. They are
making so much money, they should be
giving back.

That debate has cast a long shadow over
American firms, and they have become
rather circumspect about revealing their
origins, culture, and values while doing
business overseas. Many have tried to
position themselves as more global than
(ugly) American.
However, we found that it simply didn’t
Matter to consumers whether the global
brands they bought were American. To
be sure, many people said they cared. A
French panelist called American brands
“imperialistic threats that undermine
French culture.” A German told us that
Americans “want to impose their way on
everybody.” But the rhetoric be- lied the
reality. When we measured the extent
to which consumers’ purchase decisions
were influenced by products’ American
roots, we discovered that the impact was
negligible.
That finding is all the more remarkable
considering that when we conducted our
survey, anti-American sentiment in many
nations was rising because of the Iraq war.
Most of the consumers were like the South
African who candidly said, “I hate the
country, but I love their products.”
A Filipino confessed: “I used to go on anti-
American rallies when I was a student, but
I never thought about the [American]
Brand of clothes or shoes I wore!” “We
aren’t concerned with how America
governs itself,” an Indian said.
“What we look for is quality in their
products.” Since people’s concerns with
U.S. foreign policy have little impact on
brand preferences, American companies
should man-age brands just as rivals from
other countries do.
The playing field isn’t level; consumers
don’t demand that local companies
tackle global warming, but they expect
multinational giants like BP and Shell
to do so. Similarly, people may turn a
blind eye when local companies take
advantage of employees, but they won’t
stand for transnational players like Nike
and Polo adopting similar practices.
Such expectations are as pronounced in
developing countries like China and India
as they are in developed countries in
Europe.
What we didn’t find was anti-American
sentiment that colored judgments about
U.S. based global brands. Since American
companies dominate the international
market, critics have charged that they
run roughshod over indigenous cultures
in other countries. Champions of free
trade have countered that people in
other nations want to partake of the
great American dream, and global brands
like Coke, McDonald’s, and Nike provide
access to it.
Source :Harward Business review

GLOBAL CITIZENS
Fifty-five percent of respondents, on
average, rely on the global success of a
company as a signal of quality and
Innovation. At the same time, they are
concerned whether companies behave
responsibly on issues like consumer
health, the environment, and worker
rights. According to study, the United
States and the UK have relatively few
global citizens, and Brazil, China, and
Indonesia have relatively high numbers of
them.
Global Dreamers
The second-largest segment, at 23%,
consisted of consumers who are less
discerning about, but more ardent
in their admiration of, transnational
companies. They see global brands as
quality products and readily buy into the
myths they author. They aren’t nearly as
concerned with those companies’ social
responsibilities as are the global citizens.
Each country, consumers held a variety of views about global brands
ANTIGLOBALS
Thirteen percent of consumers are
skeptical that transnational companies
deliver higher quality goods. They dislike
brands that preach American values and
don’t trust global companies to behave
responsibly. Their brand preferences
indicate that they try to avoid doing
business with transnational firms. The anti-
globals’ numbers are relatively high in the
UK and China and relatively low in Egypt
and South Africa.
GLOBAL AGNOSTICS
Such consumers don’t base purchase
decisions on a brand’s global at- tributes.
Instead, they evaluate a global product by
the same criteria they use to judge local
brands and don’t regard its global nature
as meriting special consideration.
While global agnostics typically number
around 8% of the population, there’s a
higher percentage of them in the United
States and South Africa and a relatively
low percentage in Japan, Indonesia, China,
and Turkey.
GLOBAL CONSUMER
SEGMENTS

GLOBAL
CITIZENS
GLOBAL
DREAMERS
ANTI
GLOBALS
GLOBAL
AGNOSTICS
BRAZIL
OVER ALL AVERAGE
CHINA
EGYPT
FRANCE
INDIA
INDONESIA
JAPAN
POLAND
SOUTH AFRICA
TURKEY
U.K.
U.S.
Source : Harward Business review

TECHNOLOGY & TRENDS

People are now consuming information from a growing range of multiple sources – jumping
back and forth across the digital real-world divide in their quest to be entertained, to connect
with one another and of course to buy.
This shift away from linear, traditional consumption is creating the opportunity for a
decentralised marketplace, where the possibility of purchasing can come from any angle.
Around-the-clock shopping, buying from remote locations and purchasing from the pages
of a magazine, menu, music video or TV show are happening now. The result? In the era of
‘Anywhere Retailing’, brands can no longer afford to expect consumers to come to them; they
must go to the consumer, and learn to wrap the retail and brand experience around them.
Source :Stylus Global research

MOBILE IS MANDATORY
The most successful retail concepts
emerging now and in the future will be
those focused on mobile devices. From
smart phones to portable devices that
digitally transport consumers to virtual
environments, systems, services, products
and projects must be accessible on the
go. Adopt mobile thinking now in order to
connect with consumers, wherever they
are. Seize the Moment.
Successful anywhere retailing is based
on connecting with consumers as the
inspiration to purchase hits them – and
then offering a direct route to sale,
without pause. Whether shopping from
blogs, TV, menus or ‘citizen-sellers’,
explore how your products and services
can be made accessible across multiple
touch points and media, far beyond
traditional retail. The aim is to maximise
the point of initial seduction. Lose that
moment, and risk losing the brand
connection.
SELL MORE THAN PRODUCT
The fashion brands now selling fashion,
backstage beauty looks and even show
sound tracks direct from the catwalk
can attest to the pulling power of selling
‘extras’. From shopping the hype to giving
advice, brands should now consider
themselves not merely as vendors, but
as purveyors of an extended lifestyle
proposition.
MAKE IT INTERACTIVE
In the digital era, successful brand thinking
must be interactive. For brands, initiatives
that trade on exchange boast positive
audience perception and recoup a wealth
of invaluable data to help understand
consumers’ changing needs.
For consumers, there’s an alluring sense
of empowerment – choice, customizing
and the capacity to have a voice amid the
masses. Strive to Satisfy with Seamless
Connections. Whether its apps that allow
consumers to shop 24/7, or initiatives that
bring the benefits of the virtual world into
the physical retail journey, concepts that
create a fluid, integrated and personalized
shopping experience must be top of every
brand’s agenda.

SMART CLOTHES HANGERS,
JAPAN
Youth-oriented Japanese menswear label
Vanquish has taken the humble, but iconic,
clothing hanger and transformed it into a
21st- century, interactive selling tool.
Designed by Tokyo-based multimedia tech
agency Team Lab for the brand’s trendy
Shibuya district store, the hangers contain
RFID (Radio Frequency Identification)
chips, which sense when a customer lifts
the item of clothing from the rail. A signal
then prompts a screen on the wall above
the item to display product information,
modelled images, accessory suggestions
and alternative colors.
Pushing interactive game-play to its
limits, the hangers also have the ability to
control the store’s lighting and music to
complement the chosen item. They also
double as a tracking tool, providing more
accurate data on consumer behavior and
product placement.
Source :Stylus Global research

CASE STUDY
UNIQLO GLOBAL BRAND
ZARA GLOBAL BRAND IN INDIA
FAB INDIA INDIAN BRAND

UNIQUE CLOTHING
CASE STUDY 1

BRAND NAME: UNIQLO
TAG LINE: MADE FOR ALL
Source :Fast retailing

HISTORY
1949
2008
2004
2009 2010 2011 2012
2005 2006 2007
Men's shop Oqori shoji is founded
in Ube City, Yamaguchi Prefec-
ture.
UNIQLO establishes a joint
venture with Wing Tai Retail Pte.
Ltd.to expand in Singapore.
UNIQLO Design studio (Currently
The R&D Center) opened in New
York.
UNIQLO signs a design consult-
ing contract for its products with
Ms.Jil Sander, a world-renowned
fashion designer.
UNIQLO Shinsaibashi Store in
Osaka opens as the first UNIQLO
global flagship store in Japan.
UNIQLO Daimaru Umeda Store
opens as the first UNIQLO loca-
tion in department store in the
Osaka region.
First UNIQLO store opened in
San Francisco on the West Coast
of the United States.
First UNIQLO South Korean store
opened in Seoul.
UNIQLO begins its All- Product
Recycling Initiative. First store
opened in Ichikawa.
UNIQLO opens the Kobe Harbor-
land Store, a large-format store
with over 3,300 square meters
floor space.

UNIQLO ACROSS THE GLOBE
In 1984, Fast Retailing, headed by Tadashi
Yanai, opened the first UNIQLO store
in Hiroshima, Japan. Since UNIQLO first
established an overseas presence in
London in 2001. They have expanded their
operations around the world. In Europe
,the United states and Asia.
Today they have grow to 359 stones in
their network of UNIQLO stores outside
of Japan through February 2013. Sales
from these stores account for 21.3% of
UNIQLO sales. They are going to open
stores globally to bring UNIQLO products
to an even greater number of people.
PROMOTION
UNIQLO is fast becoming a brand of great
international repute. In the past few years,
they have successfully opened their stores
in many countries. To mark the brand's
10th anniversary, in 2012, they offered
over 1000 different colored designs, along
with reprints of their most popular designs
from their extensive 10 year archive.
UNIQLO also promotes its brand through
many social initiatives, which the company
takes up very actively. Any UNIQLO item
of clothing at stores that the customers no
longer need are donated as clothing aid or
recycled (to generate energy).
At the end of October 2012, UNIQLO
managed to collect a total of 18.4 million
items. All the garments were in good
condition and were delivered to refugee
camps in Ethiopia and cyclone affected
areas in Myanmar. Such kind of social
initiatives have helped the brand earn a lot
of goodwill in the market
UNIQUE TECHNOLOGY
UNIQLO is also famous for its HETTECH
fiber, which was developed by the
company in conjunction with international
fiber manufacturer Today Industries. This
new fiber changes water vapor emitted
by the body into thermal energy. An air
pocket,or layer of air , within the fabric
acts to retain the heat insulating wearers
against the cold.
That's science that's good for the
environment too! Worldwide UNIQLO
sold 100 million HEATTECH items in
fall/winter season of 2011. Aside from
HETTECH, UNIQLO remains popular for
its fleece garments.
AIRISM is a new concept in functional
inner wear created by UNIQLO for the
spring and summer seasons. Sarafine
Inner wear absorbs moisture, dries fast
and deodorized for the man who prizes
his crisp, flesh look,both so amazingly soft
on the skin that you hardly feel you are
wearing anything at all.
UNIQLO always strives to research,
discover, invent and produce new fabrics
and create clothing of highest quality and
optimum comfort.

UNIQLO BUSINESS MODEL
UNIQLO was the first company in japan
to establish an SPA(Speciality store
retailer of private label Apparel) model
encompassing all stages of the business
from design and production to final sale.
By continuously refining its SPA model,
UNIQLO successfully differentiates itself
from other companies by developing
unique products. We quickly make
adjustment to production to reflect
the latest sales trends and to minimize
tore operation cost such as personnel
expenses and rent. This is how UNIQLO
provide such high-quality clothing at such
reasonable price.

Source :Fast retailing
HIGH PRICE
HIGH QUALITY
LOW QUALITY
LOW PRICE
BRAND POSITION

Zara recorded 56% sale
growth an annual sale turn-
over of Rs. 405 Billion through
Nine existing store in India
(2012-13)
EUROPE FASTEST
GROWING APPAREL
RETAILER
CASE STUDY 2

Zara stores are company-owned, except where
local legislation forbids foreigner-owned busi-
nesses; In those cases, Zara franchises the
stores. There are a total of 1763 Zara stores
and 171 Kiddy’s Class stores worldwide.
HISTORY
1975 19921980
1994 2010
1989 1990
Zara is a Spanish clothing and
accessories retailer based in
Arteixo, Galicia.
Entered into Maxico.The company started its inter-
national expansion through Porto,
Portugal.
Entered into Greece, Belgium and
Sweden
Inditex signs a joint venture with
Trent the Tata Group to open
stores in India at beginning .
Entered into United States. Entered into France.
Source : Forbes

BRAND & CULTURE
Zara is indeed the Coca-Cola of the
fashion world. Starting sometime in the
mid-Seventies in Spain, Inditex, the Euro
11 billion (revenue) company that owns
Zara and some other labels, built a hugely
successful business model of taking the
latest catwalk designs and converting
them into affordable high street fashion
in a matter of three weeks. Zara focusses
on rapid product development and design
and out sources the manufacture in small
batch sizes to a network of dedicated
suppliers. Its ability to bring changing
fashion quickly to market has meant that
while customers in Europe visit other
fashion stores just three times a year,
they visit Zara 17 times, according to one
study.
Zara’s track record on globalization has
been enviable. Its flexible, high-speed
business model has travelled from Spain
to 77 markets around the world, including
China. It entered mainland China in 2006
and has close to 44 stores there. PabloIsla,
the 46th chief executive of Inditex, is now
betting big on India.
In earlier media interactions, he has also
made it known that it may well be among
its most challenging market entries yet
Zara’s global model will be tested in India
on three counts.
One, there aren’t too many seasonal
variations. In most parts of the country,
winter is non-existent or at best lasts
barely a couple of months.
So driving new fashions every season
isn’t easy. Two, there is the cultural issue:
Although the new mall culture is inducing
buying habits to change, Indians still don’t
change their wardrobe that quickly. And
it is Zara’s ability to get customers to visit
and buy several times a year that enables
it to achieve scale. Three, as a concept,
Western women’s wear is still catching
on. For most part, traditional Indian wear
tends to dominate the wardrobe. And
there is a strong preference for bright
colors as opposed to the limited color
palette — black, white and browns — in
the West.
So far, Zara has cranked out all its designs
from a hub near Madrid and airlifted the
finished product to its stores around the
world twice a week. The added costs have
been defrayed by charging a higher price
in each of these foreign markets. In India,
most foreign retailers have struggled to
build a strong franchise based around
import-led premium pricing strategy.
Oil stain” strategy : It means Zara opens
its first few stores in a country to get an
understanding of a market and then uses
that knowledge as it expands into that
market. “The most important thing for
us to enter a new market is the existence
of potential customers: People sensible
to fashion phenomenon. And, in an
operational sense, the availability of
suitable locations,” says Inditex’s official
spokesperson .
ZARA IN INDIA
The fact is that Zara has had an opening
few foreign brands have had in India.
Through the opening weekend, there were
long queues outside its trial rooms as
women jostled to try out clothes. Accord-
ing to industry sources (Zara itself is
famously reticent about sharing numbers),
it had sales of close to Rs. 1.25 billion in
the first weekend in Delhi and nearly the
same in its Mumbai store.
Delhi’s Select City Walk mall recorded 40
percent more footfalls than it usually does
and Mumbai’s Palladium mall recorded
close to 30 percent higher footfalls.
Any mall owner will want Zara now for
free because it has an ability to bring more
people of a certain kind into the mall,”
says Arjun Sharma, promoter of Delhi’s
Select City walk mall
“Their opening has been far beyond
expectations,” says Govind Shrikhande,
chief executive of department store chain,
Shoppers Stop. He credits the brand with
opening up the premium women’s wear
market in an unexpected way.
Source : Forbes

Industry executives such as him pin Zara’s
initial success to the fact that it faithfully
brings its famously international brand
appeal and experience without having the
higher prices that foreign brands typically
have in India on account of high duties.
At more than 16,000 Sq. ft., the
stores look and feel exactly as they do
internationally. The merchandise is also
the same as is available in international
stores currently, except that these stores
have more of its “Basic” and casual wear
collections rather than the higher end
“Collection” clothes and accessories.
PROMOTION
Zero advertising .Another noticeable
thing about Zara that has left many
marketing suits surprised is that the brand
doesn't advertise at all. When quizzed,
the company responded, "We do not
advertise, as we believe that our product
and our stores must speak themselves
and satisfy customers' expectations. We
don't envisage any kind of promotion and
Zara doesn't work with celebrities in any
country."
So much so that the brand hasn't got even
a specific marketing budget for Indian
market.
PRICE
Industry sources say price points are
mostly below its international competitors
in India, including Mango, Guess, Esprit,
and French Connection. They are also
in line with Zara prices in other markets
including Singapore, Dubai and some
European markets.
This has come as a surprise to customers
because international brands have tended
to price above Singapore and Dubai prices
because Indian duties could add 30-40
percent on retail prices, while duties in
these countries are much lower.
Devangshu Dutta, managing director of
Third Eyesight, a retail constancy based
in the capital, reckons that Inditex may
be taking a long-term view of the Indian
market and relying on strategic pricing.

QUINTESSENTIAL INDIAN
BRAND
Source :Online article
CASE STUDY 3

1960
2001
1980
2004 2006 2009
1990 1999
John Bissel starts FabIndia as a
whole sale export company.
Has 6 stores in metro's.
Added ready to wear garments to
the retail offering.
Food products range launched.
20 stores across the metros, and
started expanding to Tier 2 and 3.
Body care products range
launched, FabIndia Sana.
85 retail stores across India.
Marketing focus shifts from
exports to local Indian retail.
William Bissel takes over as MD,
FabIndia.
HISTORY

BRAND & CULTURE
Fabindia was started with the intention
of exporting Indian traditional products
to the Western markets. Fabindia was an
exports only company during the first
three decades of its inception. It was felt
by the promoters that there was a need
gap not hitherto served within these
Western markets which could be satisfied
by the products available from India.
Giving the fact that the India second
largest population in the world and its
middle class was growing fast. These
moves say initially focussing on the export
market has benefitted the company
immensely . The company over the years
has build up a sustainable market niche.
PROMOTION
Fabindia does not advertise. In fact,
company believes in the word of mouth
publicity to familiarise its products.
Hence it saves a lot of money on
otherwise costly advertisement
expenditure. When Fabindia started off,
marketing of its products was supported
by big buyers like Habitat. Later on, When
exports seemed to slow down, Fabindia
started to build on the domestic market.
Given the size of the domestic market and
its appetite for ethnic products,the market
for Fabindia products are sustainable.
DESIGN AND APPEAL
Though the products of Fabindia are
manufacture by Indian craftsman,
Fabindia does the ground work to alter
the products to meet with the tastes and
expectations of the urban consumer.
Its design and quality teams interact with
the weavers to enable them to produce
authentic products that comply with
rigorous quality requirement. Also, the
product of FabIndia are eco-friendly , the
dyes and colors used in the clothes are
natural dyes, the skin care products are
made from natural ingredients with almost
no chemical content in them, while the
furniture is always of natural wood.
This kind of product portfolio attracts
a large loyal client who are willing to
pay extra to buy a product that they are
comfortable with. Till date, a credible
challenge is yet to emerge for FabInia and
portfolio products.
FAB INDIA PRODUCTS
The major portion of Fabindia’s product
range is textile based. Non- textile
introductions to this range are Home
Products (introduced in October 2000),
Organic Food Products (introduced in
July 2004) & Fabindia’s range of authen-
tic Personal care products (introduced in
March 2006).
The textile-based product range includes
ready-to-wear garments and accessories
for men, women, teenagers and children;
bed, bath, table and kitchen linen; floor
coverings, upholstery fabric and cur-
tains. Cotton, silk, wool, grass, linen and
jute are the basic fibres used.
The Home Products range carries fur-
niture, lighting, stationery, tableware,
cane baskets and a selection of hand-
crafted utility items. Fabindia Organics
carries several types of cereals, grains,
pulses, spices, sugar, tea, coffee, honey,
fruit preserves and herbs.
Fabindia's range of authentic Personal
care products includes soaps, shampoos,
hair oils, pure oils, moisturizers, body
scrubs, face packs, hair conditioners &
special skin care products.

BRAND INTRODUCTION

The brand has created 15 concept wool art
installations, dubbed Lana Sutra (pic-
tured), to represent the traditional and
new values of Benetton, which include
“uniqueness and authenticity” of the
fashion range, “love of art” and the brand’s
“interest in the web”.
Benetton says the Lana Sutra reflects
the definition of the word “Kamasutra”,
meaning pleasure and “a thread that
unites” and will use colours that represent
the Fall/Winter 2011 collection.
The installations will be on display in three
concept stores in Istanbul, Milan and
Munich and will be shown on Benetton
Live Windows, the company’s digital shop
window. The concept will be supported by
Benetton’s, Facebook and Twitter page and
mobile applications.
The image overhaul has been led by Benet-
ton’s chief merchandising and creative
director You Nguyen, who joined the
company from Levi Strauss in June to rede-
sign the company’s brand identity, in-store
architecture and clothing collections.
United Colors of Benetton was a leading
European fashion brand in the 1980s,
led by edgy ad campaigns that played on
race, gender and religious stereotypes. It
has since lost its market leading position
to brands such as Zara, Topshop, Gap and
H&M.
Alessandro Benetton, executive deputy
chairman of the Benetton Group, says:
“With this project, which has been con-
ceived and developed in harmony with our
new Fall/Winter 2011 collection, we are
highlighting the uniqueness and global
values associated with United Colors of
Benetton: an all-encompassing brand
whose fashion, unites, with a truthful
voice, people, points of view and themes
that touch the whole of humanity.”
UNITED COLORS OF BENETTON

ABERCROMBIE & FITCH

HALF-NAKED, ALL SMILES:
ABERCROMBIE & FITCH OPENS IN
HONG KONG
In celebration of the opening of its newest
flagship store in Hong Kong, Abercrombie
& Fitch has imported 110 of its finest male
models to wreak havoc in the streets (and
hopefully drive customers).
The store, located in Central's Pedder
Building, officially opens August 11. But
the models, wearing red board shorts and
not much else, arrived several days ago to
tour the city, pose for pictures and build
up buzz for the preceptor chain.
They come from Abercrombie & Fitch
stores from as far as the U.S., Italy, France,
Germany, Denmark, Spain, Japan, Belgium,
and Singapore, and are reportedly being
put up at the posh W Hong Kong, accord-
ing to HotelChatter.
Male or female, everyone can admit to
doing a double take after passing the front
of an Abercrombie & Fitch store, though
it's not always for the reason the company
would like. Forget the stupid A&F-branded
clothes that are nothing more than an
international symbol for douche and
forget the fact that they spray their nasty
cologne out onto the streets; the double
take is all about the abs on the men who
stand sentry at the store entrances and
now even Hong Kong has them.
This month, HK gears up to welcome its
very first Abercrombie as 110 A&F male
models wander the city, manning promo
events and otherwise just touristing
around, posing for photos.
They've all got to sleep somewhere,
however. In a very thorough examina-
tion of the abbés infestation, The Wander
lister notes that "110 Models are staying
in 60 Rooms for the next two weeks" at
the West Hong Kong. That's a very nice
vacation for guys who otherwise are com-
manded to look pretty and preppy.

DESIGN
DIRECTIONS

LOCAL LANGUAGE
INTERPRETATION
For name fascia, there needs to be a consistency in the design
language for both English and the local language. The brand
logo, typeface, colors, etc. Needs to be similar in both languages.
This will ensure that people will relate to the brand even though
they see different languages and the overall design language of
the brand remains the same. Over time, people will learn to
Identify with the brand because of this and help in making the
brand popular overseas.

CONCEPT EXPLORATION

GRID FOR STORE FRONT
Four Important factors to be considered while designing for
stores with different sizes, locations, etc.
1. Store entry point
2. Window display
3. Brand name (English and local)
4. Brand image
The following images show a standard grid structure (for store
front and sides) which can be followed for stores with different
sizes and structures. This guideline will be useful while designing
stores for different locations, that has varying space and other
constraints.

1 2
3 4
STORE ENTRY
STORE ENTRY
STORE ENTRY
WINDOW DISPLAY
WINDOW DISPLAY
BRAND NAME
BRAND IMAGE
WINDOW DISPLAY
WINDOW DISPLAY WINDOW DISPLAY
BRAND NAME
BRAND NAMECONCEPT EXPLORATION

MANNEQUINS DISPLAY
Promotion of brand through unique arrangement of mannequins.
When a brand is launching for the first time, it needs to create
awareness among consumers.
The arrangements shown are try to depict how the brand is
different and unique from all others. In India, people are
sometimes hesitant to enter global brand stores. To ease this, we
can arrange the mannequins in public spaces to depict a more
casual "brand-for-all" image of the brand.
By using many number of mannequins, it will help in attracting
people towards the display and creating more awareness about
the brand.

CONCEPT EXPLORATION

ARCH
Inspired by local retail shops, this kind of arrangement also aims
to display maximum number of designs near the store entrance.
By taking inspiration from local shops, where all garments are
stacked and arranged in a way that consumers can view
maximum products at a time; we can create the same kind of
arrangement for global brands too.
This will also be a unique and distinguishing feature for the
brand, from other global brands, which tend to be more
minimalist in their window displays.
Global brands can follow the local stores without looking
cluttered, by following a common design language.
The structure is inspired by an 'arch' that is commonly seen in
household entrances, during festive times. These cultural
influences will help to create a good brand image among locals.

CONCEPT EXPLORATION

CONCEPT SKETCHES

LANGUAGE
FRONT FACADE
WINDOW DISPLAY
SALE SEASON
EVENT
BRAND PROMOTION
BRANDNAME
TYPEFACE
CELEBRATION
LOGO
COLOR
CULTURE
SOCIAL
BRANDINTRODUCTION
BRANDINFORMATION
BRANDIMAGE
RETAILPROPS
SIGNAGE
GUIDELINE

FRAMEWORK
A framework for global brands, who want to introduce their brand in the Indian market.
LANGUAGE (SIGNAGE AND NAME FASCIA)
Customized signage for the local language in which the brand's logo, typeface, colors, size
etc remain consistent with the international logo and brand image.
INTRODUCTION TO THE BRAND
The brand should be introduced through front facade, window displays, events or
exhibitions.
INFORMATION
Brand information through unique and innovative window displays. Window displays also
convey information about what the brand is all about. It will also convey information
regarding sales, seasons and special offers. The story or theme of the window display will
help in attracting more customers to the stores.
PROMOTION (LOCATION AND EVENTS)
The brand can be promoted through different events like sale, discounts, special offers, etc.

CONCLUSION
Most of the Indian retail market sectors are unorganized , unlike in the major metro cities
like Mumbai, Delhi, Kolkatta & Bangalore. When a global brand wants to enter the Indian
market, there are some difficulties faced like Infrastructure, Space & Cost, Language
Differences & Culture, Localization, Technology Usage.
The research done during the project helps to provide guideline for global brand to
understand what happens in Bangalore apparel retail market. It also provides a comparison
between the local and the global market. The case studies and observations helped in the
better understanding of what factors should be considered while introducing the global
brand in the local context. The global brand needs to understand the local demography of
the area that has been chosen for the opening of a new store in order to have a clear view
of the target group and drive better sales.
The framework has also been provided in the end of the research. It lists the steps that will
help the global brand to enter the local market by proving them with the information
related to store format and brand promotion.

BIBLIOGRAPHY
Refrence
INDIAN CLOTHING HISTORY: http://timerime.com/en/timeline/783223/
indian+clothing/
LUNGI: http://en.wikipedia.org/wiki/Lungi
DHOTI: http://en.wikipedia.org/wiki/Dhoti
SARI: http://en.wikipedia.org/wiki/Sari
INDIAN RETAIL MARKET SECTOR : http://www.indiaretailing.com/
WHY CONSUMERS PICK GLOBAL BRANDS: designguide.metro.as/index.
php/content/content/
ANYWHERE RETAILING : http://www.stylus.com/lxqcnb
SMART CLOTHES HANGERS,JAPAN :www.stylus.com/
UNIQLO CASE STUDY: http://www.fastretailing.com/eng/
ZARA CASE STUDY: http://www.forbes.com/
PROMOTION
UNITED COLORS OF BENETTON: http://www.marketingweek.co.uk/
benetton-unveils-kamasutra-themed-image-overhaul
ABERCROMBIE & FITCH http://travel.cnn.com/hong-kong/shop/
abercrombie-340592

Indian appareal research (Bangalore)

Indian appareal research (Bangalore)

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