Consumer Awareness and Analysis of Femina Buyology

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INTRODUCTION

Industry Profile

Media in India

Market DefinitionThe media industry consists of the advertising, broadcasting & cable TV, publishing and movies

& entertainment markets. The advertising market consists of agencies providing advertising

including display advertising services. The market value reflects income of the agencies from

such services. The broadcasting & cable TV market consists of all terrestrial, cable and satellite

broadcasters of digital and analog television programming. The market is valued as the revenues

generated by broadcasters through advertising, licensing (or public donations) and subscriptions.

The publishing market is valued at the retail sale of books, newspaper and magazines. The

movies & entertainment market includes both producers and distributors of public entertainment

formats, such as movies, music and sports. The sports and movie box office sectors have been

valued as the revenues received by box offices from total annual admissions. The music and

video sectors have been valued using the retail selling price (RSP) of items, such as DVD, VHS

and CD.

The Indian media industry had total revenue of $17.1 billion in 2010, representing a compound

annual growth rate (CAGR) of 10.5% for the period spanning 2006-2010.

The broadcasting & cable TV segment was the industries most lucrative in 2010, with total

revenue of $7.3 billion, equivalent to 42.9% of the industry's overall value.

The performance of the industry is forecast to accelerate, with an anticipated CAGR of 12.8%

for the five year period 2010-2015, which is expected to drive the industry to a value of $31.2

billion by the end of 2015



Market Analysis

The Indian media industry has experienced very strong, double digit growth in recent years, and

this trend is expected to continue throughout the forecast period. The broadcasting & cable TV

segment showed strong, double-digit growth in 2010, whilst the publishing segment showed

moderate growth.

The Indian media industry had total revenue of $17.1 billion in 2010, representing a compound

annual growth rate (CAGR) of 10.5% for the period spanning 2006-2010. In comparison, the

Chinese industry increased with a CAGR of 7.8%, and the Japanese industry declined with a

compound annual rate of change (CARC) of -0.5%, over the same period, to reach respective

values of $44.5 billion and $98.5 billion in 2010.

The broadcasting & cable TV segment was the industry's most lucrative in 2010, with total

revenue of $7.3 billion, equivalent to 42.9% of the industry's overall value. The publishing

segment contributed revenue of $4.2 billion in 2010, equating to 24.3% of the industry's

aggregate value.

Comparatively, the Chinese and Japanese industries will grow with CAGRs of 9.7% and 1.1%

respectively, over the same period, to reach respective values of $70.6 billion and $104.1 billion

in 2015.



Market Value

The Indian media industry grew by 11% in 2010 to reach a value of $17.1 billion.

The compound annual growth rate of the industry in the period 2006 – 10 was 10.5%.



Market Segmentation II

India accounts for 8.9% of the Asia-Pacific media industry value.

Japan accounts for a further 51.2% of the Asia-Pacific industry.



Competitive Landscape

The media industry will be analyzed taking broadcasting companies and publishers as players.

The key buyers will be taken as individual consumers, advertisers and retail outlets, and

production companies, paper merchants, and suppliers of printing equipment as the key

suppliers.

Technological advancements are having a profound affect on the world‟s media with everyone

from publishers to TV stations investing heavily in new technology to improve their service

offering. Due to high differentiation between segments of the media industry, the analysis

presented will focus on two of the industry‟s leading segments: broadcasting and cable TV, and

publishing. The media are adapting as technology advances. For example, technological

advancements have impacted on broadcasting with many major TV stations now having online

media players. Within the media industry, players often differentiate themselves by targeting

specific key demographics and niche markets, as well as specializing in specific sectors.

In publishing, printing is still the most commonly used method of mass-producing books,

newspapers and magazines but the ever-increasing popularity of online media is encourages new,

innovative ways of reaching consumers, which will invariably attract new players to the market.

Broadcasting players will be taken as public broadcasting companies and independent

broadcasters. Companies within the broadcasting and cable TV market gain their revenues

through a range of different channels. Public broadcasting companies typically gain their

revenues through state enforced licensing fees, government funding and advertising. Other

broadcasting companies gain revenues through the sale of advertising time and subscription fees.

There are therefore essentially two types of buyers with respect to the market, consumers paying

subscription fees and advertisers buying screen-time. Individual consumers have very little buyer

power as the price is fixed by the state and is a legal requirement upon owning a TV. Individuals

can only make an impact as a whole by displaying preferences of a product through viewing

figures. They can though, choose whether or not to subscribe to pay TV services.

However, as these services often hold exclusive broadcasting rights for sport and leading dramas,

they are viewed as a necessity by some consumers.



In the case of the publishing market, players will be considered as publishers (who produce,

serve and/or market media in the disciplines of: books; magazines and newspapers) and retail

outlets (such as bookstores, independent retailers, and supermarkets) as buyers. However,

consumer preference will likely have a strong pull-through on these outlets; especially in relation

to books.

Supermarkets and independent retailers have finite shelf-space dedicated to published media, so

consumer preference is even more significant in relation to what is stocked (bookstores will

dedicate a lot more space to cater for different consumer needs), and this selectivity increases

buyer power to an extent. Online distributors are not affected by this issue of 'shelf space' and

therefore titles can be sold to order (including back-issues of magazines and newspapers).

Customers will have preference towards certain titles, and customer loyalty to specific

newspapers is particularly apparent. Overall, buyer power is moderate.

Production companies form a major supplier to broadcasters, who either commission the

production of programming or purchase broadcast rights for programming. The supplier power

of production companies typically depends upon the quality of content, dictated by viewing

figures, to make the product saleable to advertising businesses. For example, a production

company tendering the rights for a successful television series would be expected to have

significantly more supplier power than a production company searching for a broadcaster to

commission a new series. In addition, transmission service providers provide vital technical

services for the broadcasting of terrestrial channels. There are a small number of large players

within the managed transmission service industry.

Suppliers to publishers include paper merchants, suppliers of printing equipment, renters of

office space, computer manufacturers etc. These various suppliers vary in size and number

depending on the specific supply. For example there are a greater number of computer

manufacturers and suppliers than there are paper merchants, so computer manufacturers have a

much stronger position relative to market players, which illustrates how supplier power can

differ depending on the specific supply. Furthermore, paper is a key resource to this market and



the price of specific varieties of paper varies depending on quality, which increases the supplier

power of paper merchants to an extent. Overall, supplier power is moderate.

The success of individual broadcasters is determined by overall viewing figures and individual

consumers incur no switching costs, unless they opt to pay for subscription TV services. A

significant barrier to the entrance of new players into terrestrial broadcasting is the limited choice

of available frequencies and therefore licenses in many countries. However, the switch off away

from analogue television broadcasting will free-up frequencies for digital broadcasting. This will

enable more channels to be broadcast via the terrestrial platform and therefore may present

opportunities for new players to enter the market. The threat of new entrants is significantly

higher with respect to cable and satellite broadcasting platforms due to their higher channel

capacity. However, viewing figures and therefore advertising revenues are typically considerably

lower than those of terrestrial channels. Moreover, it is difficult for new entrants to secure the

rights to popular programs such as CSI as these command large amounts of money.

The use of the internet as a broadcasting platform is becoming increasingly popular, with

unlimited broadcasting capacity. Leading broadcasters have invested significantly in online

broadcasting platforms and have very strong brand images. Such players are able to maintain

high levels of capital expenditure in purchasing rights to the most popular content, which

presents a significant impediment to the success of new players.

Customers will have preference towards certain titles, and customer loyalty to specific

newspapers is particularly apparent. Overall, buyer power is moderate.

Production companies form a major supplier to broadcasters, who either commission the

production of programming or purchase broadcast rights for programming. The supplier power

of production companies typically depends upon the quality of content, dictated by viewing

figures, to make the product saleable to advertising businesses. For example, a production

company tendering the rights for a successful television series would be expected to have

significantly more supplier power than a production company searching for a broadcaster to

commission a new series. In addition, transmission service providers provide vital technical



services for the broadcasting of terrestrial channels. There are a small number of large players

within the managed transmission service industry.

Suppliers to publishers include paper merchants, suppliers of printing equipment, renters of

office space, computer manufacturers etc. These various suppliers vary in size and number

depending on the specific supply. For example there are a greater number of computer

manufacturers and suppliers than there are paper merchants, so computer manufacturers have a

much stronger position relative to market players, which illustrates how supplier power can

differ depending on the specific supply. Furthermore, paper is a key resource to this market and

the price of specific varieties of paper varies depending on quality, which increases the supplier

power of paper merchants to an extent. Overall, supplier power is moderate.

The success of individual broadcasters is determined by overall viewing figures and individual

consumers incur no switching costs, unless they opt to pay for subscription TV services. A

significant barrier to the entrance of new players into terrestrial broadcasting is the limited choice

of available frequencies and therefore licenses in many countries. However, the switch off away

from analogue television broadcasting will free-up frequencies for digital broadcasting. This will

enable more channels to be broadcast via the terrestrial platform and therefore may present

opportunities for new players to enter the market. The threat of new entrants is significantly

higher with respect to cable and satellite broadcasting platforms due to their higher channel

capacity.

However, viewing figures and therefore advertising revenues are typically considerably lower

than those of terrestrial channels. Moreover, it is difficult for new entrants to secure the rights to

popular programs such as CSI as these command large amounts of money.

The use of the internet as a broadcasting platform is becoming increasingly popular, with

unlimited broadcasting capacity. Leading broadcasters have invested significantly in online

broadcasting platforms and have very strong brand images. Such players are able to maintain

high levels of capital expenditure in purchasing rights to the most popular content, which

presents a significant impediment to the success of new players.



In the publishing market, paper is a key resource and new entrants would need to establish

relations with a paper merchant for regular supplies beforehand. The availability of cheap, high

quality printing in many Asian countries is producing an escalation in local piracy including

commercial photocopying of standard texts. This may affect new entrants having relative success

in the Indian publishing market, (as well as impacting on the operations of existing players), and

may well act as a deterrent to entry. Furthermore, the presence of strong incumbents, such as

News Corporation and The Times Group, who benefit from large economies of scale and

distribution networks, makes it difficult for new players to establish themselves. However, strong

double-digit growth both in recent years and forecast for the future may still be enough to attract

new players. Overall, there is a moderate threat of new entrants.

Other forms of entertainment such as film, PCs and video games, can be considered as potential

substitutes to the broadcasting and cable TV market. A significant increase in popularity of other

entertainment forms could possibly impact upon viewing figures and thus advertising revenue.

The rise of downloading programs through the internet, both legally and illegally, has a

substantial impact as people download episodes of hit shows before they are shown on TV or to

avoid paying subscription fees. TV is still the most effective form of advertising for a company

but it is generally more expensive than internet, radio and game advertising.

Substitutes to the publishing market include other forms of media, educational material and

entertainment, such as television, CD-ROM learning software and computer gaming, to name but

a few.

The internet allows for a substitution from the physical format of books, newspapers and

magazines, with the option of online versions and e-books, with the advantage of updated

versions and revisions being much easier and more cost-effective to implement. However,

publishers are attempting to utilize the internet as part of their business and this separate

distribution channel is gaining popularity and is therefore not a true substitute. Overall, the threat

of substitutes is considered to be strong.



Top 10 Advertisers

RANK ADVERTISER

1 Hindustan Unilever

2 Reckitt Benckiser (India)

3 Coca Cola India

4 Bharti Airtel

5 ITC

6 LG Electronics India

7 Cadbury's India

8 Pantaloons Retail India

9 Procter & Gamble

10 L'Oreal India

Source: Nielsen Global AdView Pulse Q4/2009



Topic Introduction

Brand extension or brand stretching is a marketing strategy in which a firm marketing a

product with a well-developed image uses the same brand name in a different product category.

The new product is called a spin-off. Organizations use this strategy to increase and

leverage brand equity (definition: the net worth and long-term sustainability just from the

renowned name). An example of a brand extension is Jello-gelatin creating Jello pudding pops. It

increases awareness of the brand name and increases profitability from offerings in more than

one product category.

A brand's "extendibility" depends on how strong consumer's associations are to the brand's

values and goals. Ralph Lauren‟s Polo brand successfully extended from clothing to home

furnishings such as bedding and towels. Both clothing and bedding are made of linen and fulfill a

similar consumer function of comfort and hominess. Arm & Hammer leveraged its brand equity

from basic baking soda into the oral care and laundry care categories. By emphasizing its key

attributes, the cleaning and deodorizing properties of its core product, Arm & Hammer was able

to leverage those attributes into new categories with success. Another example is Virgin Group,

which was initially a record label that has extended its brand successfully many times; from

transportation (aeroplanes, trains) to games stores and video stores such a Virgin Megastore.

In the 1990s, 81% of new products used brand extension to introduce new brands and to createsales. Launching a new product is not only time consuming but also needs a big budget to create

awareness and to promote a product's benefits. Brand extension is one of the new product

development strategies which can reduce financial risk by using the parent brand name to

enhance consumers' perception due to the core brand equity.

While there can be significant benefits in brand extension strategies, there can also be significant

risks, resulting in a diluted or severely damaged brand image. Poor choices for brand extension

may dilute and deteriorate the core brand and damage the brand equity. Most of the literaturefocuses on the consumer evaluation and positive impact on parent brand. In practical cases, the

failures of brand extension are at higher rate than the successes. Some studies show that negative

impact may dilute brand image and equity. In spite of the positive impact of brand extension,

negative association and wrong communication strategy do harm to the parent brand even brand

family.



There are feedback benefits to the parent brand and the organization .

a. The image of parent brand is enhanced.

b. It revives the brand.

c. It allows subsequent extension.

d. Brand meaning is clarified.

e. It increases market coverage as it brings new customers into brand franchise.

f. Customers associate original/core brand to new product, hence they also have quality

associations.

Disadvantages of Brand Extension

1. Brand extension in unrelated markets may lead to loss of reliability if a brand name is

extended too far. An organization must research the product categories in which the

established brand name will work.

2. There is a risk that the new product may generate implications that damage the image of

the core/original brand.

3. There are chances of less awareness and trial because the management may not provide

enough investment for the introduction of new product assuming that the spin-off effects

from the original brand name will compensate.4. If the brand extensions have no advantage over competitive brands in the new category,

then it will fail.



RESEARCH METHODOLOGY

Title of the project:

“ Consumer awareness and analysis of Femina Buyology, a brand extension of Femina ”

Background:

“Femina Buyology", is the brand extension of "Femina Magazine". It's a unique platform to

reach out to the Femina readers in Chandigarh. Femina Buyology caters to a broad market with

featured ideas that appeal to the modern Life & Style of an ever changing Chandigarh.

It is a ready reckoner on Chandigarh made for Chandigarhans. The supplement contains

information on Page 3 circle, Best places for shopping, property deals and much more. Femina

Buyology comes as a supplementary issue which is circulated with the main Femina Magazine.

This magazine is for the women of today, primarily Chandigarhans, to inspire her, give her

space, inform about whats new in the city, where and help her prepare her „It List‟ Keeping this

as the back ground, a survey was conducted to find out if the market is aware of the

supplementary issue and also what the readers expect out of it.

Objective:

To understand the readers preference towards women magazines.

To find out the level of awareness of Femina Buyology.

To analyze the readers attitude towards Femina Buyology.

To analyze the reader‟s preference in terms of feature like promotions, events, products

in market etc.

To promote Femina Buyology.

To understand the potential market in Chandigarh for Femina Buyology.

.



Research Data Collection

The data for the study of the consumer awareness collected through two main sources broadly

classified into:

Primary Sources

Primary source of data was collected through questionnaire method which was filled by random

people.

The questionnaire contained fourteen questions. The respondents had to tick the options that

were given or give their feedback on blank space in each question. After the questionnaire was

designed the field work was organized. The questionnaire was distributed and the feedback was

taken personally. After collecting the required information the questionnaire was transferred to

the work sheet. A master chart was prepared with tally marks. The findings were finally recorded

and the data was represented in tables and charts graphically.

Secondary Sources

Computers and information technology have played a major role in providing information in

today‟s world. Through extensive use of internet information, requirements were fulfilled.

These include information on all brands and current market scenario of Women magazines. The

company‟s profile was extracted from the internet and through other independent surveys

conducted by reliable sources.

Sample Surveys

Experience from the experts reveals that it is not realistically possible to approach all customers.

Thus careful sampling of representative customers is essential. Different cross sections of the

customers that make up the bulk of the market were selected in Chandigarh. In total 250

respondents were approached personally in colleges, malls, residential areas, fashion boutiques,

beauty parlor and coffee shops.



FM stations), 360 Degrees (Event Management), Times Outoors (Outdoor Advertising &

Billboard Marketing), Mirchi Movies Limited (Movie production, Entertainment); Times

Internet Limited (TIL), which has: Indiatimes portal and Times of Money (an online payments

portal specializing in remitting money to India and other parts of the world); Times Global

Broadcasting Limited - previously a Joint Venture with Reuters. The company heads: Times

Now (a news channel), Zoom (a lifestyle channel); Times Business Solutions controls: TBSL

(corporate website of TBSL), Times Jobs (a jobs portal), SimplyMarry earlier known as

TimesMatri (a matrimonial portal), Magic Bricks (a real estate portal), Yolist (free classifieds

portal), Ads2Book (online classifieds booking system for print publications); World Wide

Media - a magazine joint venture between BCCL and BBC magazines.

WWM heads: Filmfare, Filmfare Awards, Femina, Femina Miss India, A Beauty Paegent, Top

Gear India, Hello, BBC Good Homes, TIML Golden Square Limited which purchased Virgin

Radio (soon to be called Absolute Radio) in the United Kingdom. This company is a direct

subsidiary of BCCL (not through TIML or ENIL). In 2009, the company launched its latest

business channel entitled ET Now.

Key Metrics

The company recorded a turnover in excess of $700 million in 2008. Further financial details are

not available.

WorldWide Media Pvt Ltd

In the year 2004, the media landscape witnessed the inception of a strategic alliance, when

India's largest media and entertainment conglomerate, The Times Group, and The BBC

WorldWide, which is a household name the world over, came together to form World Wide

Media (WWM).

Worldwide Media is a 50:50 company owned by BBC Worldwide and The Times Group, India‟s

largest media group. The company publishes more that 25 magazine titles. Among them are

Femina - India‟s largest English language women‟s magazine and Filmfare – India‟s largest



Brands in WWM

Femina

The story of Femina, India's first and most read women's English magazine, reads much like the

story of the urban Indian woman. For over 50 years now, Femina has been capturing the essence

of the modern woman, and how she has been evolving.

Now, looking back, there's only one thing they have to say: they've both come a long way. From

the first Miss India in the 60s, the sexual revolution of the 70s, the makeup and fashion mores of

the 80s, the fairytales of Sushmita Sen and Aishwarya Rai in the 90s, to the reality TV boom of

the noughties, much has changed however; some things haven't changed at all. Femina has long

been the definitive life and lifestyle guide for progressive women. In this brave new age of the

multi-faceted, multitasking woman, Femina still remains the referral point for women who are

expanding their roles, and exploring new frontiers. And continues to talk to forward- thinking

women on issues that matter most to them.

To celebrate how far the progressive Indian woman has come, Femina, decided to give them self

a total makeover. Femina now sports a bold new look and attitude, and covers a whole lot of

fresh content and topics that appeal to the young, confident and outgoing woman of today. Even

the advertising has moved from our tagline, 'Believe' to 'For all the women you are'.

Over the years, Femina's readership has constantly grew, with over 60% of its English edition

readers in the age group of 25-45 years and over 76% of its Hindi edition readers in the age

group of 16-45 years. Today, the reader is not 'just' a housewife or 'just' a professional, but she's

both & more. And like the readers, they too evolved.

They‟ve made waves in other circles as well. For example, the biggest, internationally

recognized properties India has ever developed 'Femina Miss India. Over the years, it has

become a symbol of elegance, intelligence, wit and beauty. Renowned names like Persis

Khambata, Zeenat Aman, Sushmita Sen, Aishwarya Rai and Priyanka Chopra began life as a

Femina Miss India contestant before taking centre-stage in every household.

Femina in Hindi, an extension of the brand Femina was launched in October 2008. It brings to

the table; the values, content and quality which the Indian woman has come to expect from



Filmfare

For over five decades now, Filmfare has been the official handbook on everything Bollywood for

the diehard fan, which, in India is almost everyone. It is also a magazine that film stars think of

first & trust most when they want to open up to their fans.

With its exclusive interviews, classy photo-shoots, insider stories, sneak peeks, Bollywood

fashion coverage, movie reviews & special features, Filmfare captures Bollywood's biggest stars

and divas at their most colourful & candid best.

As India's No. 1 entertainment magazine, Filmfare has through the years, turned from a monthly

into a fortnightly, launched an edition devoted to the southern film industry and gained a

readership of more than 2 million fans!

There's no better evidence of Filmfare's hold on the industry than the Filmfare Awards.

Considered the Oscars of India, it has become the benchmark for excellence in mainstream

cinema, and a much sought after accomplishment by industry professionals. Over the years, the

awards night has evolved into a glamorous extravaganza featuring star performances, drawing

millions of people to their TV sets.

The Southern Filmfare Awards were also started in conjunction with the main Bollywood

awards. It was a celebration of excellence in four languages-- Kannada, Malayalam, Tamil and

Telugu.

From a modest ceremony which lasted for less than a couple of hours, the Filmfare Awards

ceremony has morphed into the most breathtaking and marvelous show that the country waits for

with bated breath each year. The awards ceremony has always been marked by a distinct brand

of elegance, dignity and unparalleled magic. Today it's an exclusive and a 'by invitation only'event for the creme-de-la-creme of the industry.

On the web, www.Filmfare.com provides exclusive movie and celebrity content on the web and

aims to be the ultimate film portal.



unmatched depth and variety. Its Indian edition, launched in April 2007 has captivated a huge set

of loyal readers, advertisers and celebrities for its exclusive and dignified portrayal of

personalities. HELLO! India celebrated its 3rd anniversary in April 2010.

BBC Top Gear

When it comes to being driven by passion for cars, there is one magazine that fuels it up for the

whole new breed of enthusiasts who see cars as a lifestyle, not a data sheet - the BBC Top Gear.

Being the world's leading motoring magazine, BBC Top Gear has editions covering 50 countries,

capturing every little action and thrills of the motoring world.

BBC Top Gear brings in its pages 'the real story' - an honest, irreverent and humorous view of

driving the world's most exciting cars to their limit.

To give the readers the real experience every month, BBC Top Gear puts them in the driver's seat

and powers it with opinionated, entertaining material, like Features - where we conduct road tests

with a twist, taking the cars to the limit in situations that bring out their true character; Metal -

which gives you a sneak preview of the coolest new and concept cars from around the world;

Faces - where you come face-to-face with the who's who of the auto world; Drives - which offers

know-it-all dope on latest cars; TG2 Wheels - where the newest and fastest bikes get the TG

treatment; Gear- where you can check out the latest products, accessories, games, movies and

more; Buyers Guide - which is a comprehensive guide to every single car and bike available in

the market.

A heady mix of torture-tests of fresh wheels on exotic locations, sneak peek at cool automotive

trends and the wit of world-renowned columnists like Jeremy Clarkson, makes Top Gear a great

read for both petrol heads and just about anyone who enjoys a good story.

BBC GoodHomes

Home is where the heart is, and that is exactly where the heart of BBC GoodHomes lies. Today it

is one of the most preferred & leading dé cor magazines that inspire its readers with innovative

ideas that fit every space & budget.

From kitsch to classic, simple to sublime, understated to ostentatious, no matter what the design



sensibility or individual style, BBC GoodHomes offers its readers an eclectic mix of dé cor

suggestions and DIY tips.

Some of the many reasons that make BBC GoodHomes a precious pick are its 8 editorial pillars.

These comprise Cover Features - which offer interesting and fun advice that are easy and

practical in nature to be implemented at homes. Real Homes - that open doors to the world of the

liveliest and engaging homes. Decorating - This is a comprehensive source of beautifying

techniques and dé cor course. Art - This brings experts‟ interpretation of form, colour and space

to simplify it for the readers. Gardens and Flowers - which offer a bouquet of ideas & tips from

bonsais to flower arrangements. Travel - that gives you suggestions on where to go and how to

bring the local essence back home. Technology - that talks about combining convenience and

style along with aesthetics. Problem Solved - This is where you get answers to your queries from

the experts on good homes and better living.

BBC GoodHomes is supported by a celebrated advisory board that include renowned

personalities like Hafeez Contractor - the scion of Indian architecture; Nisha Jamvwal - award

winning interior and fashion designer; Tripat Kalra - the leader of the revolution in Indian art; JJ

Valaya - the name synonymous with posh ensembles and dé cor. Anjaleka Kriplani - a renowned

interior designer.

Lonely Planet Magazine India

After 35 years of sending world travelers to parts known and unknown; Lonely Planet Magazine,

the world's most trusted and thumbed-through source on travel made its way to India as a

monthly magazine.

Lonely Planet Magazine India aims to inspire and enable travelers to connect with the world.

Encourage them to leave behind the mundane daily grind & sample different cultures first-hand.

Discover people, history and the land like a true traveler.

The magazine looks at travel not as destinations to visit, but as experiences. It opens up readers



The Family Monthly Income of the respondents:

Table IV

Family Monthly

Income No. of Respondents Percentage

Less than 20,000 31 12.40%

20,000 – 50,000 51 20.40%

50,000 – 1,00,000 75 30.00%

More than 1,00,000 93 37.20%

Total 250 100.00%

Chart IV

Analysis:

The Family monthly income of 37% of the respondents is more than 1, 00,000.

13%

20%

30%

37%

Family monthly Income of the

Respondents

Less than 20,000

20,000 – 50,000

50,000 –

1,00,000

More than 1,00,000



Comparative study of women magazine based on age of the respondents:

Chart VII - 1 Chart VII - 2


1 2 3 4 5

49 plus 18.52 29.637.41%18.5225.93

40 – 48 8.82%5.88%20.59 32.35 32.35

33 – 39 0.00%0.00%35.00 22.50 42.50

25 – 32 0.00%4.76%14.29 28.57 52.38

18 – 24 4.76%14.29 30.95 28.57 21.43

0%10%20%30%40%50%60%70%80%90%

100%

Femina

1 2 3 4 5

49 plus 20.0060.000.00%20.000.00%

40 – 48 21.05 42.11 21.05 10.535.26%

33 – 39 0.00%22.2244.4416.6716.67

25 – 32 0.00%16.0028.0028.0028.00

18 – 24 0.00%6.06%24.2433.3336.36

0%10%20%30%40%50%60%70%80%90%

100%

Vogue

1 2 3 4 5

49 plus 46.6740.006.67%0.00%6.67%

40 – 48 27.2745.4527.270.00%0.00%

33 – 39 3.85%7.69%19.2326.9242.31

25 – 32 0.00%6.67%23.3323.3346.67

18 – 24 0.00%2.50%22.5032.5042.50

0%10%20%30%40%50%60%70%80%90%

100%

Cosmopolitan

1 2 3 4 5

49 plus 0.00%0.00%25.0035.7139.29

40 – 48 2.86%0.00%14.2922.8660.00

33 – 39 5.71%0.00%22.8617.1454.29

25 – 32 14.8114.8118.5218.5233.33

18 – 24 38.1028.5728.570.00%4.76%

0%10%20%30%40%50%60%70%80%90%

100%

New Woman





1 2 3 4 5

49 plus 50.0033.3316.670.00%0.00%

40 – 48 28.5742.8614.290.00%14.29

33 – 39 0.00%20.0040.000.00%40.00

25 – 32 0.00%22.2233.3333.3311.11

18 –

24 0.00%4.35%21.7447.8326.09

0%10%20%30%40%50%60%70%80%90%

100%

Marie Claire

1 2 3 4 5

49 plus 33.33%66.67%0.00%0.00%0.00%

40 – 48 28.57%57.14%0.00%0.00%14.29%

33 – 39 7.14%35.71%14.29%21.43%21.43%

25 – 32 22.22%5.56%22.22%27.78%22.22%

18 –

24 0.00%0.00%46.88%21.88%31.25%

0%10%20%30%40%50%60%70%80%90%

100%

Elle

1 2 3 4 5

49 plus 0.00%0.00%0.00%0.00%0.00%

40 – 48 0.00%0.00%25.000.00%75.00

33 – 39 18.1813.6422.7318.1827.27

25 – 32 5.26%5.26%47.3726.3215.79

18 – 24 8.70%4.35%47.8317.3921.74

0%10%20%30%40%

50%60%70%80%90%

100%

Grazia

1 2 3 4 5

49 plus 0.00%0.00%24.1444.83 31.03

40 – 48 0.00%0.00%11.7647.06 41.18

33 – 39 0.00%0.00%15.0030.00 55.00

25 – 32 0.00%0.00%19.4422.22 58.33

18 – 24 0.00%8.00%20.0016.00 56.00

0%10%20%30%40%50%60%70%80%90%

100%

Good Housekeeping



Rating of the aspects important for women magazines based on age of the respondent:

Chart VIII - 1 Chart VIII - 2

Chart VIII - 3 Chart VIII - 4

1 2 3

49 plus 34.78% 13.43% 4.00%

40 – 48 23.91% 13.43% 15.00%

33 –

39 19.57% 23.88% 16.00%

25 – 32 13.04% 41.79% 31.00%

18 – 24 8.70% 7.46% 34.00%

0%10%20%30%40%50%60%70%80%90%

100%

Fashion & Shopping

1 2 3

49 plus 4.35% 1.79% 20.15%

40 – 48 4.35% 5.36% 23.13%

33 –

39 8.70% 16.07% 22.39%

25 – 32 26.09% 51.79% 22.39%

18 – 24 56.52% 25.00% 11.94%

0%10%20%30%40%50%60%70%80%90%

100%

Recipes & Food Review

1 2 3

49 plus 25.64% 9.33% 12.12%

40 – 48 28.21% 13.33% 14.14%

33 – 39 23.08% 21.33% 16.16%

25 – 32 10.26% 34.67% 35.35%

18 – 24 12.82% 21.33% 22.22%

0%20%40%

60%80%

100%

Beauty Treatment &

Spa

1 2 3

49 plus 11.59% 12.05% 18.03%

40 – 48 8.70% 19.28% 21.31%

33 – 39 27.54% 13.25% 18.03%

25 – 32 34.78% 30.12% 26.23%

18 – 24 17.39% 25.30% 16.39%

0%10%20%30%40%50%60%70%80%

90%100%

Events & Exhibitions



No. of years the magazine Femina is known by the respondents:

Table X

No. of years Femina is known

Particulars No. of Respondents Percentage

0-5 yrs 42 20.39%

5-10 yrs 51 24.76%

10-15 yrs 61 29.61%

15 yrs n above 52 25.24%

Total 206 100.00%

Chart X

Analysis:

It has been observed that most of the women have known the magazine for a long time.

20%

25%

30%

25%

No. of years Femina is known

0-5 yrs

5-10 yrs

10-15 yrs

15 yrs n above



What respondents like to read in Femina Buyology?

Table XIII

What do you like to read in Femina

Buyology

Particulars No. of Respondents

Total

Respondents Percentage

Get inspired 51 93 54.84%

Promotions 27 93 29.03%

Your It List 76 93 81.72%

Your Space 21 93 22.58%

City Events 34 93 36.56%

Travel 21 93 22.58%

Total 230

Chart XIII

54.84%

29.03%

81.72%

22.58%

36.56%

22.58%

Get inspired Promotions Your It List Your Space City Events Travel

What do you like to read in Femina

Buyology



Analysis

According to the respondents the most preferred topic in Femina buyology is “Your it list” and

“Get inspired” and the topics like “Your Space” and “Travel” are given comparatively less

importance by the readers. (I.e. taking 93 respondents for calculating percentage for each aspect)

What the respondents would like to see in Femina Buyology?

Table XIV

What would you like to see more in Femina Buyology

Particulars

No. of

Respondents

Total

Respondents Percentage

Recipes 81 93 87.10%

Promotions 45 93 48.39%

City Events 36 93 38.71%

Travel 23 93 24.73%

Astrology 77 93 82.80%

Puzzles 67 93 72.04%

Beauty & Health 80 93 86.02%

Restaurants (Food Review) 58 93 62.37%

Total 467



Women Reading Femina Buyology based on Marital Status:

Table XVI

Women Reading Femina Buyology based on Marital status

Particulars Yes Percentage No Percentage Total

Single 28 30.11% 27 23.89% 55

Married 65 69.89% 86 76.11% 151

Total 93 100.00% 113 100.00% 206

Chart XVI

Analysis:

It has been observed that most of the women who read Femina Buyology are married.

30%

70%

Women Reading Femina Buyology based on

Marital status

Single

Married



Chart XVIII - 5 Chart XVIII - 6

Chart XVIII – 6

1 2 3 4 5

49 plus 20.00%10.00%50.00%0.00%20.00%

40 – 48 20.00%26.67%26.67%13.33%13.33%

33 – 39 0.00%31.58%31.58%26.32%10.53%

25 – 32 0.00%19.35%22.58%22.58%35.48%

18 –

24 0.00%33.33%50.00%16.67%0.00%

0%10%20%30%40%50%60%70%80%90%

100%

City Events

1 2 3 4 5

49 plus 30.00%10.00%40.00% 0.00% 20.00%

40 – 48 0.00% 0.00% 13.33% 6.67% 80.00%

33 – 39 0.00% 10.53%15.79%21.05%52.63%

25 – 32 0.00% 9.68% 9.68% 19.35%61.29%

18 –

24 0.00% 0.00% 5.56% 27.78%66.67%

0%10%20%30%40%50%60%70%80%90%

100%

Your It list

Content Promotion City Events Travel Get inspired Your It list

Series1 8.60% 16.13% 5.38% 29.03% 13.98% 3.23%

Series2 10.75% 11.83% 24.73% 16.13% 16.13% 6.45%

Series3 38.71% 26.88% 33.33% 24.73% 20.43% 13.98%

Series4 20.43% 35.48% 18.28% 11.83% 27.96% 17.20%

Series5 21.51% 9.68% 18.28% 18.28% 21.51% 59.14%

0.00%

10.00%

20.00%

30.00%

40.00%

50.00%

60.00%

70.00%

Rating of the aspects in Femina Buyology



Analysis:

It has been observed that the respondents have given an average rating of 3 to all the topics.

Your it list is been given the highest rating of 59% followed by promotion by 35%.

Content is been rated as average with 39%. City Events, Travel and Get Inspired are rated as

average.



SUGGESTIONS

Since Femina has a separate section which concentrates on the events, exhibitions and

other activities happening in the south Indian cities like Chandigarh, Chennai and

Hyderabad, WWM could use this section to publicize and advertise about Femina

Buyology as this magazine caters specially to the city Chandigarh. By doing this Femina

buyology would become more visible to the general readers of Femina.

According to the survey many readers were not happy with the content of Femina

Buyology and the feedback received was very poor. Therefore, WWM should work on

improvising the content of the magazine.

Femina Buyology could also introduce a section containing the reader‟s feedback

because interactions would make the magazine more interesting and in turn attract more

readers.

It has been observed that many women wanted to read more about recipes and astrology

and they also wanted more puzzles and games, therefore these topics should also be

introduced into the next issue of the magazine inorder to fulfill the expectations and

interests of the readers.

An improvisation should be done to the logo of Femina Buyology because it has been

proved through the survey that most women consider Femina and Femina Buyology to be

one and the same.

According to the conversation I had with the retailers, it has been found that Femina

Buyology is not at all visible in the package of the magazine, and this is also another

reason why most people do not recognize Femina Buyology as an independent magazine.

Consumer Awareness and Analysis of Femina Buyology

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