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A project report\ o“Globalization in Indian Fashion Industry”

Submitted to

PUNJAB TECHNICAL UNIVERSITYJALANDHAR

In partial fulfillment of the requirement for the award of degree of

Master of Business Administration (MBA)

Submitted by:Project Guide:

Ajay Kumar (1379)

Mrs. Sukhmani

Vikas Kumar (1377) (Lecturer in Management)

Session (2008-2010)

APEEJAY INSTITUTE OF MANAGEMENTJALANDHAR



CERTIFICATE

This is to certify that the project report entitled “Globalization in Indian Fashion

Industry” submitted by Ajay Kumar and Vikas Kumar is a bonafide piece of work

conducted under my supervision and guidance. No part of this work has been in any other

degree of any other university. The data sources have been duly acknowledged. It may be

considered for the evaluation of partial fulfillment of the degree of Master of Business

Administration.

Date: Mrs. Sukhmani

(Sr. Lecturer in Management)Project Guide

Apeejay Institute of Management

Jalandhar



ACKNOWLEDGEMENT

This formal piece of acknowledgement is an attempt to express the feeling of gratitude

towards people who helped us in successfully completing this project. But words at my

command seems to be inadequate while expressing my gratitude to Mrs. Sukhmani for

her guidance and valuable suggestions throughout the pursuance of this report, without

her support it would not have been possible for us to prepare this report.

We have honour to express my sincere thanks to Dr. Balram Dogra, Director of Apeejay

Institute of Management, Jalandhar for giving us opportunity for undertaking this project.

We thank all those respondents for providing genuine information and their cordial

support. We are glad that they answered my questions with complete perseverance.

Words are not sufficient to register my sincere regard to my friends for their ready

assistance and co-operation.

We would like to place a special word of mention to the almighty and our parents.

Ajay Kumar (1379)

Vikas Kumar (1377)



CONTENTS

TABLE OF CONTENTS

Certificate i

Preface ii

Acknowledgement iii

Sr. No. Name of Chapters Page No.

I Introduction to the project 1

II Review of Literature 35

III Need, Scope and Objectives of the Study 39

IV Research Methodology 41

V Data Analysis and Interpretation 46

VI Findings 64

VII Conclusion and Recommendations 66

References 69

Annexure 72

LIST OF TABLES

Table No. Title of the Table Page No

5.a. Demographic profile of Respondents 47

5.1 Awareness Level of Term Globalization 48



5.2 Opinion about Indian fashion industry 49

5.3 Evolution occurred in Indian fashion industry 50

5.4 Characteristics of Indian Fashion industry 52

5.5 Factor responsible 53

5.6 Indian fashion industry going through boom 54

5.7 Impact on Indian Economy 565.8 Benefits of Globalization in Indian Fashion

Industry

57

5.9 Industries Affected 59

5.10 Pursue Fashion as a career 60

5.11 Advantages of Fashion as a career 61

5.12 Role of Film and Entertainment industry 62

5.13 Negative impact of Fashion industry 63

List of Figures

Figure No. Title of the Figure Page No.

5.1 Awareness Level of Term Globalization 48

5.2 Opinion about Indian fashion industry 49

5.3 Evolution occurred in Indian fashion industry 50

5.4 Characteristics of Indian Fashion industry 52

5.5 Factor responsible 53

5.6 Indian fashion industry going through boom 54

5.7 Industries Affected 59

5.8 Pursue Fashion as a career 60



5.9 Advantages of Fashion as a career 61

5.10 Role of Film and Entertainment industry 62

5.11 Negative impact of Fashion industry 63



Chapter – I

INTRODUCTION



Introduction

Globalization in India has allowed companies to increase their base of operations, expand

their workforce with minimal investments, and provide new services to a broad range of

consumers.

The process of globalization has been an integral part of the recent economic progress

made by India. Globalization has played a major role in export-led growth, leading to the

enlargement of the job market in India.

One of the major forces of globalization in India has been in the growth of outsourced IT

and business process outsourcing (BPO) services. The last few years have seen an

increase in the number of skilled professionals in India employed by both local and

foreign companies to service customers in the US and Europe in particular. Taking

advantage of India’s lower cost but educated and English-speaking work force, and

utilizing global communications technologies such as voice-over IP (VOIP), email and

the internet, international enterprises have been able to lower their cost base by

establishing outsourced knowledge-worker operations in India.

As a new Indian middle class has developed around the wealth that the IT and BPOindustries have brought to the country, a new consumer base has developed. International

companies are also expanding their operations in India to service this massive growth

opportunity.

Notable examples of international companies that have done well in India in the recent

years include Pepsi, Coca-Cola, McDonald’s, and Kentucky Fried Chicken, whose

products have been well accepted by Indians at large.

Globalization in India has been advantageous for companies that have ventured in the

Indian market. By simply increasing their base of operations, expanding their workforce

with minimal investments, and providing services to a broad range of consumers, large

companies entering the Indian market have opened up many profitable opportunities.



Indian companies are rapidly gaining confidence and are themselves now major players

in globalization through international expansion. From steel to Bollywood, from cars to

IT, Indian companies are setting themselves up as powerhouses of tomorrow’s global

economy.

Globalization is hardly a new force affecting India. To think so is to ignore a diverse and

pluralistic long-standing civilization that was shaped by a long list of "invading"

(globalizing) cultures that became what we now know as India. The previous globalizers

of India include the Aryans, Hindus, Dravidians, Greeks, Buddhists, Turks, Afghans,

Scythians, Muslims and most recently, the Europeans, Portuguese, French, Dutch and

finally the English. One has to understand that as India has been globalized it has also

been a globalizer too, with millennia of colonialism across Southeast Asia, with temples

like Angkor Wat left behind as a reminders of India’s one time presence.

Long viewed by the West, as "poor and impoverished," to its neighbors such as Sri

Lanka, Bangladesh and Pakistan, India is wealthy and powerful. To these smaller

neighbors, India is a great power, a globalizer of its own, which expects deference from

them and is sometimes angered when those nations downplay their Indian lineage. They

prefer to play up their own local cultures, which are frequently hybrids of the larger

Indian culture and their own indigenous ones.

India, knowing its past as a globalizer, sees itself as one of the great nations of the world.

But today, India has yet to build on the onetime greatness of its civilization to earn

international influence and respect. India sees itself as equally important as Russia, China

and the U.S., believing it has much to offer the rest of the world. Historically this has a

basis since important aspects of trigonometry were developed in India, as was the

decimal system, which, was later taken from India by Arab mathematicians, and on to

Europe in the 10th century, only to come back to India through books from the West.

Similarly, at the start of the 18th century, India was a major economic power with 23

percent of the world’s GDP according to some economic historians and over 25 percent



share of the global trade in textiles. By 1995, this had declined to less than 5 percent of

world income and less than half a percent of world trade.

The most recent wave of globalization affecting India came with the British who were

important to Indian development, in positive and negative ways. The British consolidated

a land of many separate regions and kingdoms into what we know of as modern India.

While the British exploited India’s population, economy and resources as colonial rulers,

they also left India, after two centuries of rule in 1948, with democracy, laws, a judiciary,

and a free press, 40,000 miles of railroad track, canals, and harbors. English as the

language of Indian business and the English language schools are arguably some of the

most important remnants of the British, giving India a linguistic global gateway not found

in former French, Spanish or Dutch speaking colonies.



Indian Fashion Industry

India is a country with diversified customs and cultures. People following various

traditions live here, their way of dressing also differ from each other. The traces of

Indians being fashionable can be found out from the ancient remains of Harappa and

Mohenjodaro civilizations. After the independence, globalization is being witnessed in

the Indian fashion industry, due to which changes have occurred in the style of Indian

dressing.

Styles of wearing saris and salwar-kameez have changed. The look is more cosmopolitan

than region-specific. Different styles of blouses like katori style, halter-neck, back button

blouses, high neck blouses, puffed sleeve blouses, etc. have become the hot favorite

among women. The average lengths of the blouses have decreased. Saris are draped

mostly in traditional back pallo style or gujarati style. Indian fashion scene is greatly

influenced by its films. For example Mumtaz style sari draping inspired by yester-year

heroine Mumtaz. Here sari is tightly draped around the body.

As far as salwar-kameez is concerned numerous styles and patterns can be given to this

garment. For instance the kameez can be long, short, A-line, skin tight, etc. Such

variations can be done to salwar as well as dupattas. Modern version of kameez is knownas kurti, it could be coupled with jeans, pants or churidar. It has taken the form of Indo-

western outfit. People in western countries too have started wearing kurtis.

Emergence of mall culture

Mall culture is slowly and steadily growing in India. Many brands and private labels are

launched in the Indian market. The first such retail outlet was Shopper's Stop which

launched India's first multi-brand store in the year 1993. The specialty of such malls is

that they offer a wide range of varied branded stuff, all under single roof. Some of the

famous malls of India are Pantaloons, Westside, Lifestyle, Globus, etc. These retail

outlets have also launched clothing line under private labels, manufactured and sold by

them. For example- Pantaloons has many private labels under its brand like All, Fashion



station and Mela. Some of the major private labels even operate as exclusive stores. The

buyer gets an international shopping experience in such retail outlets. There are no

nagging sales persons pressurizing the customers to buy.

Family stores are becoming hot favorite shopping hub for the middle-class and upper

middle class shoppers. These stores sell garments of nearly all age groups and sexes.

Apparels of various brands can be found in family stores. They are being considered as

one-stop shopping destination. Roopam, Big Bazaar, Fashion station, V-mart, Maxx, etc

are examples of some family stores.



Globalization and Indian Industry

Globalization has been one of the most hotly debated topics in international economics

over the past few years.

There are three familiar responses to globalization. First, that its novelty is grossly

exaggerated. Globalization, the argument runs, has been around for a long time. The

current phase is merely an intensification of a well-entrenched process, the basic features

of which are much the same as before.

The second response is that globalization is not only novel but also extensive, touching

everything, transforming everything within its reach. Therefore, it must be treated as the

central organizing category of contemporary discourse. When evaluated, this response

branches into two further sub-responses: either globalization (over-optimistically) is a

universal remedy for all the problems of the world, or (over-pessimistically) it is the

cause of all its maladies. The concern is that it has increased inequality and

environmental degradation. However, the meaning of globalization is growing integration

of economies and societies around the world, Poor and third word countries consider

globalization as economical and cultural colonization and to some extent greed of developed nations is responsible to this.

The third response is an intermediate one, which sees globalization as introducing new

structures without altogether displacing older patterns. From this point of view,

globalization is a dynamic, open-ended and contradictory process that generates forces

working in different, often opposite directions. Nevertheless, India has achieved a lot

from Globalization. Using flows of goods and services, capital, people, and ideas,

countries like India and china to grow rapidly with reduction in the poverty.

According to economist John Dunning, Multinational enterprises invest abroad for there

reasons. First, they try to capture ownership-specific advantages (O) for instance patent

rights, process and other strengths not available to competitors. Then they exploit



location advantages (L): examples of this are presence of natural resources, cheap labor

or cheap inputs. Lastly, they exploit internalization advantages (I) this is because some

assets are better owned or employed by the firm instead of being bought from the market

for instance an R & d outfit or a management structure.

From this building block, Dunning developed his theory of investment development path.

Each country passes through five stages. The poorest countries that have nothing to draw

foreign investment other than L advantage i.e. location of natural resources. As they get

wealthier, a domestic market develops; it can be used as the magnet to attract foreign

investment from multinational enterprises with O advantage. Eventually domestic firms

come forward that can exploit domestic market just as well as foreign firms, and start

using O advantage to invest abroad. In the fourth stage, outward investment comes to

exceed foreign investment. In the last stage reached by the countries with highest

incomes, both inward and outward investments are substantially balanced. Now where

does India fit in this?

In the seventies, India was just emerging from the first stage. After 30 years from then, it

has crossed second stage and going into the third one. Year 2003 was pivotal as it saw

manifestation of India’s global aspiration. The number as well as size of the foreign

targets showed steep rise. Close to 50 overseas acquisitions, amounting $1.8billion took

place last year, which was only $0.21 billion in 2002. The increase in average deal size is

from $7.5 million in 2002 to $36.5 million in 2003.

India has adopted domestic policies and institutions that have enabled people to take

advantage of global markets and have thus sharply increased the share of trade in their

GDP. India has been catching up with the rich ones – our annual growth rates increased

from 1 percent in the 1960s to 5 percent in the 1990s. Now it is above 8%. Indians saw

their wages rise, and the number of people in poverty declined.

Industry wise, the software and services sector lead the mergers and acquisitions charge

overseas but now this list includes both old and new economy industries like auto



ancillaries, pharmaceuticals, telecom, agro-chemicals and steel. There are thus no

stereotypes that only new economy companies are invited to the mergers and acquisitions

ball or that only the blue chip companies are partaking of the action. It is more

democratic as smaller auto ancillary companies are also in the fray.

Thanks to the easier external profile, at this time, India clearly is tasting the fruits of

globalization and the current liberal overseas investment regime will take the process

forward. However, a far more important use of our reserves is for higher domestic

investments. There are no prizes for guessing that it is only with higher investments that

there can be faster GDP growth. In next two-three years, India must also work on

improving delivery of education and health services. Indian government must provide

social protection to a changing labor market. In addition, that the changes in climate due

to industrializations will be especially burdensome for developing countries and poor

people. There is broad agreement among scientists that human activity is leading to

potentially disastrous global warming. India must demand effective international

cooperation to address this problem.

I am sure in the next decade we should see our investment outflow increasing and our

best companies going multinational.



Fashion and Globalisation

Due to advances in technology, migration, and increased communication flows especially in the

wealthier nations such as America, the world en masse is becoming progressively more exposed

to western media and lifestyle. Westernised fashion, as a result, has seeped into every culture,

affecting them all to varying degrees. Fashion has functioned throughout the history of man as a

determination of identity and position in society. It especially impacts youth, as the market

specifically addresses the ‘young and free’, and promotes western fashion as the ideal of ‘cool’

and ‘popular’, ‘trendy’, ‘modern’ and ‘stylish’.

Fashion is by large an influence on our lives. Fashion is celebrated ‘in museums, on the street,

industry and media’

[1]. Not a day goes past where we see and judge someone, or are judged in the fashion system.

For some it isn’t a major factor, but they are judged nevertheless. We are surrounded by our

creations and inevitably develop into one ourself.

The clothes we wear declare a lot about us and the culture we live in. The popular dress of a

culture is viewed as a symbol that shows such aspects such as the political climate, technological

patterns and economic conditions. The clothes that we wear reflect our occupation and status

[2]. A businessperson, for example, is more likely to be seen performing his job in a power suit as

opposed to overalls.

Society follows the trends, yet many believe we set the trends. Obviously there is some primal

beginning to such a conception. When the youth (or the fashion conscious; fashion used to

mostly target women in their mid-twenties, now primarily the youth - or teens - are now

addressed) are questioned in today’s society, their answer is the media

[3]. The media, through utilization of outlets such as magazines, newspapers, television, radio,

and the World Wide Web or Internet, transports information regarding the fashion system.

However, media is simply the messenger and conveyer, promoting its products.

So when and where did the concept of fashion begin?

There is a general belief that fashion is that of an idea concerning identity that first blossomed in

the murky depths of prehistoric man. Heated debates are still held on the origin of clothes, and

how man donned the first garment. The three main reasons where there is an overall agreement

are for decoration, modesty, and protection purposes

http://socsci.flinders.edu.au/global/glob1002/2003book/chapters/kendolls.htm#_ftn1%23_ftn1









4- One common belief celebrated, according to many scholars, would be that clothes were first

discovered for decoration purposes - for example war decoration - even though protection and

warmth became important soon after; their aspects weren’t discovered until wearing of clothes

became habitual. The wearing of clothes for the purpose of modesty has everyone agreeing on

its Biblical origins, with the most common example being the infamous fig-leaf-adorned Adam and

Eve

[5]The clothes that we wear reinforce the norms of a culture or sub culture. An example here is

female office workers can often be seen judging people of other sub-cultures that have brightly

coloured hair, torn clothes and body piercing. It is through such judgements like these that a

culture norm will be reinforced, but norms grow and change over time. An example of this is the

change in what is considered acceptable to wear to the beach. What is being worn now would

have had people arrested in the 1920s

[6]. Today, youngsters and the fashion-conscious follow the trends set by society. Once,

however, the designers themselves set trends. From a humble private servant

[7] To today’s stylish fashion artist whom everyone clamours to be his or her dresser, the

designer has moved up high in society. Paul Poiret, Yves Saint Laurent, Christian Dior, and

Givenchy are a few famous names to list.

Currently, however, the designers don’t set the fashion. What they produce and show on the

catwalks and what is seen by celebrities, (including musicians, sports stars and actors) is then

regurgitated and displayed to the rest of the world. Mass production manufacturers adapt a

fraction of styles produced by designers but even then, only a certain proportion of these have

caught on

[8]. Thus the youth tend to follow those celebrities in the fashion world rather than following

recent up-market styles.

An example of a highly fashionable and well-recognised celebrity would be David Beckham - one

of the world's foremost media icons, his popularity transcending sport and cultural divides. A

famous soccer star, his influence on the world is widespread. “Bend it like Beckham” (released

2002) is a movie about an Indian family in London trying to raise their soccer-playing daughter in

a traditional way. Jess’ dream is to play soccer professionally like her hero David Beckham. The

movie promoted a merging of vastly different cultures – yet also demonstrated the influence of the

western lifestyle on another country’s customs.












The media’s contribution to this homogenisation is important as it displays the varying facets of

fashion

[9]. The media participates through satellite television by combining world news with fashion, too,

especially in the clothes department. An example here is the ‘war chick’ look that has dominated

our stores since the 2001 September 11 Twin Towers attack in New York.

Fashion also plays a large part in establishing body image. Catwalk fashion models exhibit to

promote the designer clothes they wear, while also endorsing body identity. They are icons

looked up to and aspired too, especially by the Western youth. Individuals (particularly in

developed nations) now “show increasing concern with maintaining their bodies in the best

possible condition”, and “the cult of looks is no longer aimed at a display of rank; it is experience

as a way to stay young, to feel good, to maximise self-confidence. In the era of consummate

fashion, the aesthetics of the body has become a matter of psychology and performance”

[10]. Models are also a source of unhappiness for many youth. Their thin yet tall builds are

imposed upon the consumer as being ‘perfect’, and don’t necessarily preserve a healthy image

amongst the standard body shape. The topic on eating disorders is a popular and disputable

issue brought up by the general public who complain stereotyped images and goals are too hard

for many youth to achieve.

Fashion is not exclusive to clothing though. It extends to other areas such as decorative arts and

branches of popular culture such as soft drinks and mobile phones

[11] . With the United States of America having 8 brands in the top ten most valuable global

brands the foremost question raised asks: is America and other so-called ‘Western’ countries

exporting their cultures and values along with brands of shoes and cans of soft drinks?

[12]. Performers and particular musicians often represent the fashion in a culture but in a more

pronounced way; with their clothing being extra sexual, more formal, flashier and trendy

[13]. What musicians wear has an effect on the clothing that is popular. Blue denim made up a

large part of the rock culture, for instance when Bruce Springsteen wore red tag Levi’s in the mid

eighties. It’s probably no accident that red tag Levi’s in the same cut and featuring the venerable

button up fly sold very well. Similarly in 1987 teenagers paid a premium price for worn and torn

jeans bought new after Deborah Harry of Blondie wore a pair of standard tight fit jeans that were

badly torn
















[14]. Musicians that are popular in western culture have an enormous influence on what is

fashionable and it appears that this is a trend that is continued overseas. Levi has higher sales

growth overseas than it does in America. The American marketers of Levi’s have tried to make

their product a symbol of American values that are still attractive overseas. Levi Strauss & Co.

CEO Phillip A. Marineau said ‘I think the core values of Levi’s - democracy, freedom,independence - certainly are viewed as the best of America and its virtues’

[15]America’s Hollywood plays a major role in establishing trends as well, and, as a result the

media is Hollywood’s best friend. Hollywood films, and American television is extremely popular

with the younger generation, as the media broadcasts this form of knowledge around the world,

distributing western ideas and styles with it. Take for example trendsetters such as Jennifer

Lopez. Singer-become-actor, ‘J Lo’ has started up her own perfume company. She is very

popular, influencing many youngsters with her style of clothing and music. Kylie Minogue, our

favourite Aussie singer (also an actor), has launched her own “Love Kylie” lingerie line. These twoartists are most likely seen on TV, on music channels such as Channel V – a very successful

station amongst the youth, or in the movie theatres (for example Jennifer Lopez in movies such

as The Cell). Because satellite television can be obtained and movie screening almost

everywhere overseas, the population that receives this information is greatly varied in race and

culture. Take for example Kylie’s huge sensation in England. She was at the top of the chart for

weeks with her song ‘Can’t get you out of my head’.

In non-westernised regions the effect of all this media exposure highly impacts the youth in the

region. Wearing western clothing labels and styles is the epitome of in fashion for the wealthyyounger generation. It is a social status issue with clothing serving as a representation of the

wealthy and powerful for “those who sport "real" labels and whom notice others who do and those

who do not.”

[16]The youth are otherwise ostracised by their peers for not being ‘in fashion’.

Some Western companies are changing their marketing polices to suit the culture that they want

to expand their business into. They are already adjusting their marketing approach so that it has a

‘local flavour’. An example worthy to note here is the tailoring of Pepsi Co. marketing so that itappeals more to an Indian market. Pepsi Co. has created an image based around the game of

cricket, which is very popular in India. It uses local sport stars in its advertisements to make them

more locally relevant. Along with the greater public face of the local advertisements in India,

Pepsi has placed locals into management instead of moving management from other countries.

Pepsi’s popularity has grown so much that when the Indian army had a key victory in the 1998









Kargil war an Army major shouted out the Pepsi slogan ‘Yeh dil Maange? More!’ (This Heart

Wants More!)

[17]Nike uses a similar strategy with its promotion overseas of using sporting stars relevant to the

local area. The latest ad campaign for Nike was shot on different continents featuring sport stars

from around the world, using such sporting stars as players from the NBA or Paris Saint -

Germain soccer players or the Brazilian soccer team.

While adding a global flavour to their advertisements Nike are still promoting American values.

With sporting stars, they are promoting the importance of winning as well as youth culture as

objectives and goals to reach that are important in daily life. (Diamond R. 2003 p43) The

marketing tactics of both Pepsi and Nike is seen to be a hybridisation of Western culture and

other cultures. By adding a local flavour to their marketing campaigns, they are fusing cultures,

adding different western values to create a hybridisation of societies the values that are already

part of that culture. By creating a market using local stars these companies are both reinforcing

local norms and values and at the same time making values that have not been part of that

culture more accepted.

The subculture group that is taking notice is the “children of the transnational Indian elite (who)

wear Nike shoes”

[18]. Taryn Shawstad, a world traveller interviewed for this essay said she observed most of the

youth wearing western jeans and the latest t-shirts

[19] . They were generally well educated and wealthy.

However the older generations are not as comfortable with it. The same traveller was having a

business meeting at an American franchised restaurant in Kuwait and saw one table full of

women garbed in traditional robes which cover the whole body and the rest of the restaurant filled

with middle age women wearing conservative styles, still covered. When two teenage girls

walked in on the arms of boys wearing mini skirts and little tank tops one table actually stood and

left.

There is a counter movement in youth generations as well, with some choosing to still dress in

the time-honoured fashions. Take for example Kabul’s first girl band ‘The Burqa’. Discussed in

Week 8, this girl band still hold upright their traditional garb, clothed head to toe in burqas, even

though laws in Kabul now permit women to wear ‘normal’ dress by Western standards










[20]. The western world is being influenced by non-western fashions, but the cultural impact is

negligent. Although most clothing sold in developed countries under brand names is actually

produced in the non-western world the population is largely ignorant of this.

When western countries borrow the styles and fabrics of undeveloped countries it is

independently. They are not working with businesses from that culture although they “go to a

Third World country and get their goods and then mark up prices”

[21]. Businesses then make minor alterations in the appearance or marketing of the fashions and

sell them as a taste of “other” fashions. “Other” is the concept of societies seeing those unlike

them as fundamentally different. It is both a form of homogenisation and cultural clash

[22]. It arouses questions of cultural ownership and co modification in the immigrants from those

countries

[23] . Immigrants report mixed feelings of pride that their cultural fashion is being accepted and

anger at the loss of individuality that the fashions once offered them. There is a certain

“resentment of what they see as the unfair appropriation of cultural markers and practices that are

rightfully theirs, and which hold a specific cultural meaning that is derived from their "proper" use”

which they do not see Westerners as understanding

[24]. Still with the production methods used by multinational corporations they are able to flood

the market with cheap mass produced goods, causing a decline in the ability for local industries to

be productive independently

[25] . A perfect example of the effects this has on countries is in Bengali where they were known

for being able to produce a cloth so fine that long shawls could be pulled through a ring

[26]. They no longer supply the countries textile industry due to early British colonialism that

destroyed local industries to open a market for their products. They claim those cloths don’t meet

the quality standards of ‘industrialized’ nations.

The production methods for the new globalised fashion world take advantage of women and

children from these non-western countries. Economists see it as liberalisation, offering women a

chance to become free and independent economically

[27]. While it is true that working offers many young women a chance to have their own money in

practice this has not helped advance their status in society. The industry ensures they can’t form






















unions to argue for better working conditions or reasonable wages because “less security for the

workers makes corporate profits more secure”

[28]. Workers are compelled to work overtime for which they are often not paid in conditions that

are hazardous to their health

[29]. On payday their checks often disappear into the hands of unemployed husbands and every

night they are still rushed home to cook a delicious dinner and are expected to fulfil all their

domestic tasks

[30]. To accommodate this form of labour women are changing the pattern of family. They are

marrying later, putting off having children, and having fewer children

[31]. Western fashion is used as a status symbol in non-westernised countries where capitalist

ideas are being integrated into the culture. The clothes represent wealth, power, education, and

individuality. They also confer a person’s status and identity in society, with many belonging to

sub cultures that follow a particular sect of that society. Western cultures that adopt styles from

other countries do so in an assimilating way. They are reinvented as “New Age or feminist ritual,

as rave or ‘body art style’

[32], their foreignness neutralized and the products made ‘safe’. Popular artists, sports stars and

celebrities in society are trendsetters, and their fame is spread through the various forms of

media therefore influencing the youth around the world and their attitudes. Families in non-

westernised countries are being restructured and shifted to accommodate the western world’s

production schedule. Women are also working more and being liberated in a sense, but their

subordinate roles in corporations and at home remain. Overall, fashion determines our status in

the world at one given time, and the influences and effort created by Western and non-Western

cultures that have gone behind the making of our identity today.

Globalization Inspires Spring 2008 Fashion
















With our world being in the state that it is, the economy shaking the foundation of

everything desired by the American Dream, and globalization threatening the competition

between super powers and countries of poverty - designers can only be inspired by what

hits nearest to home. Not only is our world taking a more global (cultured,worldly) spin -

fashion is beginning to become creative again ... based off of key factors such as politics,

the economy, nationality, culture, war, love, femminity, color, and adventure.

Spring Season of 2008 features ready to wear items that interpret a theme, idea, or issue

to the fashion industry - areas of culture (tribal, safari), pattern (geometric), color (neon,

color blocks), texture (beading), transparency (bare market), femminity (whimsical,

romantic), and artistry (art, architecture, hippie).

Fresh inspiration creates excitement for fashionistas who crave culture and expression in

their closet. An individual who does not base her opinions off of main stream ideas (fads)

or what the media suggests to be popular (pop culture). Such a fashionista is beaming

with delight at one mere glance at this season's runway collections. Missoni and

Balenciaga are featuring vintage florals while Burberry and Manolo are featuring glam

safari and tribal pieces. Zac Posen is leaning towards neons and Marc Jacobs/ Louis

Vuitton are both grabbing transparency (bare market) by the horns.

It is not solely the fashionista who appreciates a fresh muse of design. The trendy and fad

obsessed also gravitate towards this season's more substantial approach to spring fashion

because it is what the runway suggests is the new it look. Of course, Victoria Secret and

Forever 21 are going to immitate the runway and create their knock off versions and cater

to the fickle fashion slave who wants the hottest item of the season and does not mind

disposing of it once it is considered out.

Not only is globalization merging the competition between continental super powers

(USA, Britain, UK) and countries of poverty (India, China, Brazil) to a level playing field

- globalization is also causing the high end unique fashionista and the trend savvy fad

obsessed fashion slave to both admire the Spring Season's runway collection. Since when

has our global economies and fashion hungry citizens agree in such unison?

And what will really happen when the entire playing field is level - will there be any need

for competition or any motivation to outdo your neighbor? Any reason to better yourself

or improve your ways of thinking?



The world cannot be round - the world is becoming flat. As well as the gap between the

fashionista and the fashion slave. We are all in a global melting pot and will eventually

become one globe, one world, one idea. Its a scary thing to think about we may no longer

have a way to distinguish ourselves and promote our own unique self expression.

In the western world, fashion journalism is amongst the highest paying genres of

journalism. The fashion reporters, editors, columnists and writers are sent to various

international fashion shows, in order to put all the information together. They are given

various Press privileges and are considered an important aspect in promoting ones

collection of clothes. In fact, international fashion critics are paid so well, that nothing

and no one can buy them into writing a false flattering review about the line showcased.

They are levelheaded and are well trained in the minutest details of fashion technology.

However, the sad part is that this is not so where Indian fashion journalism is concerned.

There is no such formal training in this genre of writing. Most of those in the field of

writing on fashion are those who have been shifted from one beat to another. Or then,

there are fashion designers who are invited to write articles.

Fashion articles are not about praising what one likes, and running down what one does

not like. It is not about personal choice. In fact, when writing these articles one's personal

choice needs to be put into the backyard, and kept there safely. One needs to look at

every aspect openly and then critically appreciate a fashion designer's work.

Another unfortunate aspect of fashion articles in India is that journalists are given

assignments in which they are briefed to enter into the personal domain of the designer.

And so, all readers know about the personal lives of the renowned designers. However,

technical aspects of their designing preferences, their opinions on fashion, their

understanding of present trends is a rare occurrence, but the gossip is always printed.

Most designers are known because of their scandals, rather than their work.

Even though there is no specialized course in fashion journalism, then one aspiring to

specialize in this genre one should at least attend a diploma course in fashion designing

and technology to get a grasp of the finer details of what the field is about. This way one

will be able to piece together informative articles, rather than something frivolous.



Importantly in order to write articles on fashion one needs to network well with people

from the field so as to get the vital details and provide all-important information. After all

those interested in fashion related articles are either aspiring designers, or those interested

in latest trends. Pinning a few photographs of a designer's latest work is of no use, unless

basics of design, fabric and cut are not explained.

With globalization and opening up of the Indian economy, Indian fashion designers have

several opportunities for their growth. Indian fashion industry is rapidly growing

everyday. Indian fashion designers are combining western trends with Indian touch.

These garments are truly outstanding and helped India to make a name for itself in the

international fashion industry.

Indian fashion designers have surely made a name for themselves in the fashion industry

world over. The craze for Indian garments like the sari and the salwar kameez in foreign

countries is because Indian fashion designers have taken Indian fashion abroad.

Indian fashion designers are expressing their creativity at its best. They are combining

various fabrics to give excellent collection of dresses. Fashion designers today are

expressing their imaginations best on clothes. A fashion designer has to be fashion savvy

and the knowledge and experience of basic skills and techniques is a must.

More and more fashion designers are trying to be innovative with their works. Custom

made outfits and designer dresses are something that most people look for. The media

also plays an important role in the fashion industry and good coverage is provided to the

fashion world through films.

Some of the famous Indian fashion designers are Aki Narula, Abu Jani & Sandeep

Khosla, Anamika Khanna, Anita Dongre, Anna Singh, Surily Goel, Sabyasachi

Mukherjee, Ritu Beri, Neeta Lulla, Vikram Phadnis, Manish Malhotra, Anchal Kumar,

Wendell Roderick, Ashish Soni, Sonal Dubal, Kiran Uttan Ghosh, Narendra Kumar

Mehtani, Priyadarshini Rao, Rohit Bal, Geetanjali Kashyap, Hemant Tridevi, J J. Valaya,

Krishna Mehta, Lina Tipnis, Malini Ramani, Priyanka Modi, Rina Dhaka, Rocky S,

Raghavendra Rathore, Satya Paul, Shantanu Goenka, Tarun Tahiliani, Vijay Arora and

many more.



Fashion designers have contributed greatly to create an international market for Indian

clothes. Thanks to the Indian fashion designers, India now enjoys a prominent place in

the international market with its traditional handloom fabrics, excellent quality silks,

satins and vibrant dyes.

Fashion trends are such that they constantly change and Indian fashion designers make a

constant effort to keep themselves updated with these trends. The people in the

merchandising and marketing of fashion garments need to have a good knowledge of

fashion trends and fashion fads.

Fashion designing as a career has surely become a viable option for aspiring designers.

The field not just offers good remuneration but also provides with the excitement and

glamour at the same time. With the increase in demand for the professional fashion

designers, the salaries and remuneration are very likely to increase further.

The top Indian fashion designers are highly original and innovative. Most of the crème-

de-la-crème of the society opts for designer wear from the fashion designer’s personal

studio.



It is a versatile garment that can be draped in various ways, and is as diverse as the

number of States in the nation. When the world thinks of Indian fashion, it is the picture

of a woman in a sari that first comes to mind.

INDIA HAS COME a long way from its khadi days. Its fashion industry has become as

glamorous and profitable as its counterpart in other parts of the world. Like in the past,

there are no longer only tailors, but also globally competing brands. The country has now

a diverse and extensive manufacturing base and caters to the demands of global buyers

and also the not-so-demanding home consumer.

Despite the forward leap, marketing still remains a bit iffy. And, this was evident at the

Lakme India Fashion Week 2006.

The pageant’s hype could not hide the reality of international buyers’ reluctance to be

lured by Indian fashion products. The domestic and international participation has gone

up considerably, but the event held from October 31 to November 4 had only a few

international buyers. But there are still reasons to smile, as the show this time was an

improvement over the last time in terms of participation and its impact.

Indian fashion’s greatest challenge, it appears, lies in the separation of fluff from what

can be termed as serious fashion, making it difficult to make inroads into the global

market. After flunking for years, this year’s show raised hopes with some fashion gurus

focusing on the wearability aspect. But most others churned out stuff that was not only

unappealing but also unwearable.

The designer community, despite the pretence of being creative and alive to the

requirements of the trade, hardly put up enough evidence to pass the test. But there is no

denying they have the potential to cash in on the globalization of the fashion market and

already ensured that Indian motifs, fabrics and flavours are not only seen as on odd bindi

on a Madonna.

The country’s fashion industry has never been able to benefit from the brand equity due

to a combination of factors — from irrelevant designs, uneven quality of materials,

shoddy workmanship to a sorry inability to keep up with the frenetic pace of international

fashion, which requires long-term planning If, with the just-concluded Lakme India

Fashion Week, the fashion industry has given notice of its intentions to put its best foot

forward, it should remember it still has an extremely long way to go.



Globalization of Indian Textile Industry

The initiation and development of globalization and Indian textile industry took place

simultaneously in the 1990s. The Indian textile industry, until the economic liberalization

of Indian economy was predominantly an unorganized industry. The economic

liberalization of Indian economy in the early 1990s led to stupendous growth of this

Indian industry. The Indian textile industry is one of the largest textile industries in the

world and India earns around 27% of the foreign exchange from exports of textiles and

its related products. Further, globalization of India textile Industry has seen a paradigm

increase in the 'total industrial production' factor of this Industry, which presently stands

at 14%. Furthermore, the contribution of the Indian textile Industry towards the gross

domestic product (GDP) of India is around 3% and the numbers are steadily increasing.

The process of globalization and Indian textile industry development was the effect of

rapid acceptance of 'open market' policy by the developing countries, much in the lines of

the developed countries of the world.

The initiation and its subsequent development of globalization and Indian textile industry

respectively, was effected by the Ministry of Textiles under the Government of India.

The aggressive policy that was undertaken for the rapid development of globalization andIndian textile industry were really praiseworthy. The most significant step amongst them

was introduction of "The National Textile Policy 2000". This policy envisaged to address

the following issues -

• Increased global competition in the post 2005 trade regime under WTO

• Huge import volume of cheap textiles from other Asian neighbors

• High production cost with respect to other Asian competitors

• Use of outdated manufacturing technology

• Poor supply chain management and huge transit cost

• Huge unorganized and decentralized sector

Further, this policy also aims at increasing the foreign exchange earnings to the tune of

US $ 50 billion by the end of the year 2010. It includes rational projections for the overall

development and promotion of all the sectors involved directly or indirectly with the



Indian textile industry. Furthermore, this policy also envisages the inclusion of the huge

unorganized and decentralized Indian textile sector under the organized textile industry.

This is because the unorganized textile manufacturing sector in India accounts for 76% of

the total textile production.

The globalization of the Indian textile sector was the cumulative effect of the following

factors -

• Huge textile production capacity

• Efficient multi-fiber raw material manufacturing capacity

• Large pool of skilled and cheap work force

• Entrepreneurial skills

• Huge export potential

• Large domestic market

• Very low import content

• Flexible textile manufacturing systems

The Indian textile industry consist of the following sectors -

• Man-made Fiber

• Filament Yarn Industry

• Cotton Textile Industry

• Jute Industry

• Silk and Silk Textile Industry

• Wool & Woolen Industry

• Power loom Sector



Indian fashion industry becomes global

As more and more fashion designers recognised the potential of the country to provide

ample ground for their creations, they went on a designing spree and brought about a

renaissance of sorts in the Indian fashion industry..

CJ: Manab J. Kharkatary , 2 Mar 2008

THE INDIAN fashion industry has certainly come off age since the days when all that it

could muster were the names of a few known designers like Rohit Bal, JJ Valaya, and

Ritu Beri in the circuit. The present fashion circuit is laden with several talented

designers who are well known for their expertise in their respective domains, not only in

the national arena, but in the international podium as well. So, what really influenced the

growth of the Indian fashion industry to such a phenomenal degree? The answer is not

very difficult to unravel.

India is one of the oldest civilisations in the world, presenting itself as the converging

point for a large number of cultural groups professing varied customs and traditions.

Respective customs and traditions bind each of these groups to adopt their own way of

dressing, thereby inspiring budding fashion designers to experiment with a huge plethora

of options. What is noteworthy in this context is the fact that no matter how large the

array of options there are for the designers, their final designs always portray an element

of ethnicity that acts as a major crowd puller in the markets. As more and more fashiondesigners recognised the potential of the country to provide ample ground for their

creations, they went on a designing spree and brought about a renaissance of sorts in the

fashion industry. The generally adopted way of dressing up in the traditional clothing

gave way to the adoption of a new cosmopolitan way of dressing that was highly

fashionable and was the right cliché to woo the GenNext.

Very soon, magnified by the large-scale appeal of these contemporary creations among

the trend aware population, which comprised of more than the up-scale urban crowd, a

new wave of promotional campaign was ushered in. Tasting initial success with their

abstract creations, designers sought to take the couture culture to the next level through

road shows and fashion shows in major parts of the country. The gimmick, of course,

worked perfectly as expected and made the designers pretty well known faces, owing to

the media exposure of the events.



Colourful fashion trends of India

With the end of the 20th century came the end of all hype which has created a more

practical and pragmatic environment and has given a more stable picture of the fashion

business.

In the 50s, 60s and 70s, the Indian fashion scenario wasn't exactly colorless. It was

exciting, stylish and very graceful. There were no designers, models, star or fashion

design labels that the country could show off. The value of a garment was judged by its

style and fabric and not by who made it.

It was regarded as ever so chic and fashionable to approach any unfamiliar tailor, who

could make a garment for a few rupees, providing the perfect fit, finish and style. The

high society lady, who wore it, was proud for getting a good bargain and for giving her

name to the end result.

In 60s, tight 'kurtas', 'churidars' and high coiffures were a trend among ladies. It was an

era full of naughtiness and celebration in arts and music and cinema, manifested by

liberation from restriction and acceptance of new types of materials such as plastic film

and coated polyester fabric.

The 70s witnessed an increase in the export of traditional materials outside the country as

well as within. Hence, international fashion arrived in India much before the MTV

culture with the bold colors, flower prints and bell-bottoms. Synthetics turned trendy andthe disco culture affected the fashion scenario.

It was in the early 80s when the first fashion store 'Ravissant' opened in Mumbai. At that

time garments were retailed for a four-figure price tag. The '80s was the era of self

consciousness and American designers like Calvin Klein became popular. In India too,

silhouettes became more masculine and the 'salwar kameez' was designed with shoulder

pads.

With the evolution of designer stores in Mumbai, the elegant fashion design culture was a

trend among Indians along with their heavy price tags. No doubt that a garment with a

heavy price tag was at the bottom stage of fashion. But clients immediately transformed

into the high fashion fold where they were convinced that that the word 'elegant fashion

design culture' means, it had to have a higher price tag.



work called 'Dharaniya'. One of the significant styles of Saurashtra is 'Heer' embroidery,

which has bold geometric designs, woven on silks. The Mutwa women of the Banni area

of Kutch have a fascinating embroidery where they make fine embroidery works with

designed motifs and mirrors in the size of pinheads, the Gracia jats use geometric designs

on the yoke of long dresses. Moreover, the finest of quilts with appliqué work are also

made in Kutch.

Garments embellishment with bead work is another area where it in demand in the

international market. Beads are used to prepare garlands and other accessory items like

belts and bags and these patterns now available for haute couture evening wear too.

According to a survey, in recent times Indian women have given up their traditional sari

for western wears like t-shirts and shorts, as they feel more comfortable in skirts and

trousers instead of saris and salwar kameez. It's been noted that women spend just $165

million on trousers and skirts against 1.74 billion dollars spent by men on trousers. With

more women coming out to work, the (combined) branded trouser and skirts market has

been increasing at a whopping 27 per cent in sales terms. Women feel that Western

clothing is more suitable, particularly when working or using public transportation. Many

corporate offices are also in favor of their employees wearing Western wear.

In India, Western inspiration is increasing due to the influence of TV and films. Besides,

shopping malls selling branded clothes have also mushroomed in India and are

fascinating the youngsters. Recently, designer wear is being promoted through store

chains such as Shopper's Stop, Pantaloons, Westside, etc. Companies such as Raymond

and TCNS have also set up their exclusive stores for designer wear such as Be: and W.

The market of India fashion industry

Recently, a report stated that the Indian fashion industry can increase from its net worth

of Rs 200 crore to Rs 1,000 crore in the next five to ten years. Currently, the worldwide

designer wear market is amounted at $35 billion, with a 9 per cent growth rate, with the

Indian fashion industry creating hardly 0.1 per cent of the international industry's net

worth.

According to approximations, the total apparel market in India is calculated to be about

Rs 20,000 crore. The branded apparel market's size is nearly one fourth of this or Rs



5,000 crore. Designer wear, in turn, covers nearly about 0.2 per cent of the branded

apparel market.

At present, the largest sales turnover within the designer wear segment is about Rs25

crore, with other well-known names having less turnovers of Rs10-15 crore. In view of

the prospects of the Indian fashion industry for growth, the figures are not very hopeful.

The figure of fashion industry

• The organized market for designer apparel is about Rs 250 crore

• Designer wear calculates to less than 1 per cent of the apparel market

• The global market for designer wear is 5 per cent of total apparel market

• The global market for designer wear industry is largely dependent on the small-scale

sector

• Consumers for designer wear have a yearly household income of Rs 10 lakh-plus. There

are 3 lakh such households developing at 40-45 per cent

• Designer wear industry is projected to increase to Rs 1,000 crore by 2015.

• More than 81 per cent of the population below 45 years of the age is fashion conscious.

Many fashion designers and management experts foresee an average growth of about 10-

12 per cent for the Indian fashion industry in the coming years. Though, the growth rate

could be more than 15 per cent, if infrastructural and other logistical bottlenecks and

drawbacks are over come.

India needs more effort to overcome

However, despite the benefits available in India there are also some disadvantages. India

is not a remarkable player in the global market with reference to brands because of its

inability to add value to products. This is observed by the fact that nearly 50 per cent of

its exports are apparel and made-ups where value addition is essential. Likewise, 75 per

cent of domestic apparel market is commoditized and unbranded and very few Indian



brands do survive in the foreign markets. Evidently, the Indian market has not made a

strong stand and hence it is difficult to make Indian brands that can compete with global

brands in India.

Another reason for the fashion industry's inadequate growth is the limited experience of

the designers and the platform they are offered. The insignificance stalks from the reality

that most of the young talent is hired by the bigger names to work in their studios, thus

imprinting their work with the label of the big designers.

Though performing individual presentation is not an alternative choice for most of the

young talent, because of the limitation of finance, a beginner designer's name fails to

come to the forefront.

Another thing, with regards to the ramp, is what the designers offer is barely appropriate

to be worn ordinarily. You'll see there's dissimilarity between what is there on the ramp

and what the Page Three crowd wears. Some believe at present the fashion is in, but the

tendency hasn't changed much as it is the old ones coming back. We have had short

kurtas, long kurtas, flowing skirts, etc. coming back into fashion with only a new variety

of designs.

Many management consultants and professionals believe that the Indian fashion industry

will be boosted if the new comers are paid proper attention. What they require is more

support so that their work gets due recognition. According to the consultants and

professionals there should be a panel of people who choose designers for showcasing

according to their work and not their name or who they've worked for earlier, and hence

selection would be purely based on quality. Besides this, the panel of judges should

comprise of people from the fashion schools rather than designers.

It has been observed that the media-hype around the big designers and blatant

commercialism has hindered business in the Indian fashion industry. No clear cut picture

is provided about the feasibility of the products. Basically it is only the famous names

that are being talked of. What they offer is not quite daily-wear. The entire focal point of

the industry is on commercialism. The discussion is only regarding how much is sold and

for what price and nothing about the designs or styles.

Efforts to develop global fashion brands



It needs innovative designers, a seamless supply chain, control over retail and distribution

and concentration of quality while dealing with some image. While a few have

accomplished something in the west covering Tommy Hilfiger, Gucci, Zara, Armani,

Versace, Ralph Lauren, etc, India has not been capable to track on.

A serious reason for India not being successful has been its isolation in the fashion

system. Each stakeholder including designers, exporters, textile players and retail chains

need to come together along with the government to make sure that the position of Indian

fashion is strong in the coming years.

There are various agencies and industry associations that can support in brand-building

practice. Many of these agencies require attractive resources and making a global image

of Indian fashion rather than independently trying to promote particular brands or textile

segments.

Efforts to create strong global image

Large textiles players require more and more to target on the market facing activities

while developing an association with small medium enterprise (SME) clusters. Such kind

of networks would be a benefit to that which can focus on demand making and branding

as well as for clusters that can focus on quality production.

Efforts to create value networks

After the entry of large retail chains like Wal-Mart, Gap etc in India, Small scale

manufacturers in India will find it very difficult to satisfy the demands of these

international buyers if they continue to promote their products individually. Therefore, it

is very important that value networks are created between large textile and apparel

companies in India and small scale manufacturers, so that the marketing muscle of the

leading players can be utilized for receiving large orders while the bigger players then

assign the orders to the small-medium enterprises according to their past record of quality

and service. For this to be put into practice, it will be vital to well-organize the

information on small-medium enterprise clusters in a perfect manner so that supplier

selection decisions are made according to the information in the long run, only the more

efficient small-medium enterprise players survive and develop.

Efforts to concentrate on designers and designs



Designers have a fundamental role to play in the future of Indian fashion scenario. There

should hence be an effective process for preparing these designers. This can be done by

sponsoring exchange programs with international schools, increasing participations in the

fashion capitals of the world, motivating and offering business incubation to new

designers and rewarding efforts through proper design awards.

Even in India, well-known designers are incapable to tap finances from well-organized

resources, since a vital part of their assets are brands and design talent which are not

measured in terms of money and hence it becomes difficult to judge the value. This has

severely inhibited their development and capability to raise retail existence across the

country and abroad. Likewise, there is no systematic approach of existence in the fashion

capitals of the world like Paris, Milan and New York. Due to this, designers have to

depend on their personal contacts and relationships for organizing fashion shows and

making retail alliances. The French government as well as the British government helps

designers of their particular countries appreciably in these areas as they understand that

value creation through design is the only way to carry on in the competitive landscape of

the global fashion industry. The Indian government and related agencies should also

accept this aspect of textile, apparel and fashion industry sincerely if they need to see

India on the global fashion map.

Work in collaboration: designers-corporate efforts

Designers and many organizations can work globally through various models and with

many working relationships. The Indian fashion industry has many views but only one

such model, wherein a designer creates a retail venture with his/her own brand through

organized retail chains. There are many other models according to brand ownership and

division of operational activities.

Globally, many models of collaboration between designers and corporates are available.

For example Ralph Lauren has made an agreement with Jones Apparel for producing and

retailing various Polo brands. Likewise, Armani had an agreement with Zegna for

production, even while it was competing with them in the marketplace. There are many

cases of designer brands being co-owned by the designers and corporates, Gucci-

Alexander McQueen and Gucci-Stella McCartney being some of them.



In the end, many designer businesses have been obtained by corporates where designers

play a major role in the design elements of the business, but the brand and the

organization is owned completely by the corporate.

The current possession of Calvin Klein by Philips Van Heusen and earlier holdings of

Hugo Boss and Valentino by Marzotto are some related examples in this segment. These

examples strongly point out that not only designers find such relationships important for

development, but also corporates find these attractive for rising their profitability and

growth. Likewise deals in India could go a long way in developing the brand values of

corporates and designers.

Developing clusters

Making common infrastructure for functioning such as design and sampling, affluent

treatment, product testing, etc can help in increasing the capability of the clusters since

noteworthy investments could be made by the cluster itself rather than any single player.

Well-managed databases can help in decreasing search costs and through data mining,

rating of players can be done so as to make the procurement process easier for buyers.

Cooperative marketing programs at different clusters can also support players to grow up

in the value chain by mixing their strengths within the cluster.

Cluster based battle in the fashion industry is characterized by the Italian industry. The

National Chamber for Italian Fashion for example, supports the development of the

fashion clusters at Milan and Florence in a well organized manner. Indian industry can

learn a lot from Italy because India has a similar cluster based scattered production base,

but has been incapable to link it with design and branding capability.

If the above activities are successfully considered, India could have an extraordinary

development in the fashion industry, which could increase from a negligible size to Rs

8,000 crore in the coming decade.



Chapter II

Review of Literature



Review of literature

Fernie,(1998), studied that the focus of this paper is two-fold. First, it examines the

growth strategies adopted by fashion design houses to transform and reposition their

businesses from relatively small, niche-market and privately-owned companies to stock

market listed conglomerates which produce fashion and lifestyle products aimed at a

lucrative and international middle retailing market. The second is to consider the

geographical implications of these strategies as illustrated through an examination of

their locational impact on London and New York. The findings of this research suggest

that both cities have experienced unprecedented and parallel patterns of development,

apparently as a result of the aggressive expansion activities of fashion designer

companies. As such, the paper highlights the impact of internationalisation and strategic

growth at the micro environmental level.

Diana (1999), According to production of culture theory, small organizations are more

likely to produce innovative cultural products than large organizations; large

organizations constitute oligopolies that control their markets and remain innovative by

coopting smaller organizations, along with their creative talent. A study of the luxury

fashion market shows that a few large companies controlled by conglomerates dominate

the market in terms of sales but have little influence on styles. Rather than coopting

smaller firms, large firms use the myth of the designer as artist and connoisseur to

enhance the saleability of products other than clothes, although the designer is

increasingly an employe rather than an owner or a manager. Whether small firms

influence styles depends on economic conditions that affect their capacity to compete

with larger firms.

Moody, S. and Quotes, P. (2002), studied that the overarching issue as the world enters

the 21st century is how to develop in a sustainable fashion. In this regard, there are twokey challenges: providing energy for sustainable development; and establishing global

governance structures that will support sustainable development. With respect to the

energy challenge, a first step is to ensure that energy is used more efficiently so that

demand in developed countries can be reduced. Moreover, businesses should set

greenhouse gas emission reduction targets. A further step needs to be the creation of a



cap and trade system for greenhouse gas emissions. Businesses, non-governmental

organisations (NGOs), and government must work in partnership to achieve these goals.

Governance structures must develop regulatory frameworks within which the market can

operate as well as ensure that such regulations and laws are respected.

Sahay, B. and Mohan (2003), studied that Increasing uncertainty of supply networks,

globalization of businesses, proliferation of product variety and shortening of product life

cycles have forced Indian organizations to look beyond their four walls for collaboration

with supply chain partners. With a gross domestic product (GDP) of over US$474.3

biilion, the Indian industry spends 14 percent of its GDP on logistics. Considering this

scenario, it is necessary to study the supply chain practices being followed by the Indian

industry and to suggest areas for improving the same. This paper is based on a joint

survey, covering 156 organizations, carried out by Management Development Institute,

Gurgaon and KPMG India. The paper primarily focuses on the status of four major

supply chain dimensions. The paper recommends that the Indian industry should align

supply chain strategy with business strategy, streamline processes for supply chain

integration, form partnerships for minimizing inventory and focus on infrastructure and

technology deployment to build a India-specific supply chain.

.

Marzo et al. (2004), Globalization, competition and market saturation have caused a

growing interest by firms in developing strategies directed at creating brand loyalty

among their customers, especially in markets with low growth rates. In order to reach this

objective, relationship marketing must be applied, which considers the mutual benefits

derived from the creation of stable relationships between buyers and sellers. The study

herein developed analyses the existence of groups of customers from the service sector

who value the offer of relational benefits by the organisation, in which benefits are

centred basically on the relationship with the contact personnel. As a result, the

customers state greater levels of satisfaction with and loyalty to the organisation.

Jackson, P. (2004), conducted the study that was focusing on the resilience of distinctive

local consumption cultures, this paper challenges some of the more sweeping claims that



have been advanced in the name of 'globalization'. Thinking about a 'globalizing' rather

than a fully 'globalized' world encourages us to examine the deeply contested nature of

the concept and to explore the geographically uneven nature of recent economic, political

and cultural transformations. This paper approaches globalization as a site of struggle

rather than as an established fact, emphasizing the need for empirically grounded studies

of the impact of 'globalization' on consumer cultures in different geographical contexts.

The paper examines the way that producers have 'customized' their products for different

markets (drawing on evidence from China and South Africa). It then reviews case study

evidence from three contrasting consumption cultures: consumption and 'public culture'

in India, 'consumer nationalism' in China, and 'artful consumption' in Russia. The paper

concludes by identifying some current debates and outlining some directions for future

research, including a re-emphasis on consumption and material culture; an exploration of

consumption as social practice; the delineation of commodity-specific consumption

cultures; and some reflections on the political, ethical and methodological issues that are

being raised in contemporary consumption research.



Need of the study

Fashion industry has been grooming from recent decades and hence it has now got an

added advantage in this globalize era. Various changes that has been incorporated in

fashion industry now-a-days. It becomes imperative for the individuals to know the trend

and the current scenario of fashion industry in this globalization period. The need of this

study is to analyze various factors that are affecting fashion industry, the need of change

in this industry and the trends that are prevailing in this industry.

Scope of the study

The study is limited only to Jalandhar city.

Objectives of the study

Objectives of the study are as follows:

To study the concept ‘globalization in fashion industry’ and to check awareness

level of individuals to the same regard.

To find out the characteristics and factors that are responsible for globalization in

fashion industry.

To study various reasons behind the boom in fashion industry.

To study the impacts of fashion industry on Indian economy.

To study the benefits of globalization in fashion industry.

To find out the negative impacts of globalization in fashion industry.



Chapter IV

Research Methodology



Research Methodology

Research methodology is a way to systematically solve the research problem. It may be

understood as a science of studying how research is done scientifically. In it we study thevarious steps that are generally adopted by a researcher in studying the research problem

along with the logic behind them.

The research frame for the study is given detailed below. The purpose of

research is to discover the answer to question through some specific procedure.

Topic of the research

This is first stage in the research process i.e. definition of the problem and the research

objective. In this project the main objective is to know the “globalization in fashion

industry”.

Research Design

A research design is a framework or blueprint for conducting the marketing research

project .It details the procedures necessary for obtaining the information needed to

structure or solve marketing research problems.

A descriptive research study is done, which is concerned with describing the

characteristics of a particular individual or group of individuals.

Sampling

Population/ universe:-

Universe is total population among which the study will be done, to study the

“globalization in fashion industry” in India.

Sample Size

Sample size is the number of individuals to be taken for the research study. Sample size

for this study is 50.



Sampling Unit

Sampling unit refers to eligible individual respondent. In this study the sampling unit is

single individual person who is a professional in any public or private company or any

other institutions.

Sampling Technique

Convenient sampling technique is used to determine the globalization in Indian fashion

industry.

Data Collection

Sources of Data

Data has been collected from primary as well as secondary sources like magazines, text

books, news papers, journals, web sites and annual reports of some corporations. And by

filling questionnaires from various respondents.

Technique of data collection:-

Data was collected through discussions with employees of the company. And through

questionnaires (Questionnaires are attached as annexure and interpretation is given).

Data analysis and Interpretations:-

In order to extract meaningful information from the data, analysis of the data was done.

Analysis was done by using certain statistical tools like bar-graphs, pie-charts,

percentages etc. and from these analysis interpretations were drawn.



Tools of analysis and presentation:

It means what all tools were used to present data in a meaningful way so that it becomes

easily understandable.

To analyze the data obtained with the help of questionnaire, following tools were used.

• Likert Scale : These consist of a number of statements which express either a

favorable or unfavorable attitude towards the given object to which the

respondents are asked to react. The respondent responds to in terms of several

degrees of satisfaction or dissatisfaction.

• Weighted Average Score: This tool is used to calculate highest and lowest

rank.

• Tables: This is a tool to present the data in tabular form.

• Percentage And Pie Charts: These tools were used for analysis of data.



Limitations of the Study

No study is complete in itself, however good may be, and every study has some

limitations. The limitations of the study are:

• Time and resources are the big constraints in the study; hence the study is

confined to only the corporate professionals.

• The length and quality of the information gathered is not sufficient to prove the

aspects effectively.

• It is totally a subjective process of gathering information.

• This topic is recent in study and hence the limitation is of getting enough

material on such topic.

• Direct contact could not be possible due to distance and time constraints.



Chapter V

Data Analysis and

Interpretation



Data Analysis and Interpretation

DEMOGRAPHIC PROFILE

Table No. 5.a. Demographic profile of Respondents

DEMOGRAPHICS NO. OF

RESPONDENTS

PERCENTAGE

OF

RESPONDENTS

GENDER Male respondents 45 64

Femalerespondents

25 36

Total 70 100

AGE Below 20 years 2 3

20 – 30 years 44 6330-40 years 8 11

Above 40 years 16 23

Total 70 100

OCCUPATION Service 26 37

Student 26 37

Professional 6 9

Businessman 10 14

House Wife 10

Retired 2 3

Total 70 100

MONTHLY

INCOME(Rs.)

Below 10000 5 13

10000-20000 11 27

Above 20000 24 60

Total 40 100



Statement No. 1. Check awareness level of the term globalization

Table No. 5.1. Awareness Level of globalization

Response No of respondents %of respondents

Yes 100 100 No 0 0

Total 100 100

Fig.No. 5.1. Awareness Level of Term Globalization

Yes

100%

No of

respondents

Analysis and Interpretation:

From the above Pie-chart, it is clear that, 50 respondents out of total sample 50 do aware

about the term globalization and they have the knowledge about the regard.

It is proved that, every respondent are aware of the term ‘Globalization’.



Statement No. 2. Opinions about indian fashion industry

Table No. 5.2. feelings about indian fashion industry

Factors No of respondent % of respondent

globalization 35 70

under globalize 11 22

Not globalization 4 8

total 50 100

Fig.No. 5.2. Opinion about Indian fashion industry

% of respondent

70%

22%

8%

glob

undeglob


From the above Pie-chart it is shown that, 70 of respondents feel that, ‘indian fashion

industry is globalize , left behind other elements such as; underglobalize, not globalize

that constitutes 22% and 8% respectively.

Hence it is concluded that Indian fashion industry is ‘globalize’



Statement No. 3.evolution occurred in indian fashion industry

Table no.5.3: evolution occurred In indian fashion industry

factor no of respondent % of respondent

through long- standing civilization 9 18

in the period of biritish 13 26

pre-globalization era[before 1991] 8 16

post-globalization period[after 1991] 21 42

can't say 6 12

Total 57 114

Fig.No. 5.3. Evolution occurred in Indian fashion industry

% of respondent

18

26

16

42

12 through long-

civilization

in the period

pre-globalizati

era[before 19

pre-globalizati

1991]

'




While asked about,how evolution in fashion industry occurred in India.18% believes that

through long-standing civilization,26% believes that in period of british, 16% felt that in

pre-globalization era(before 1991},42% realized that that in post globalization

era{after1991} 12% have no idea about evolution in fashion industry occurred in India.

From above,It is shown that evolution occurred in indian fashion industry in postglobalize period i.e after 1991



Statement No. 4.characteristics of Indian fashion industry The benefits of globalization of fashion industry

Table no. 5.4 : Characteristics of Indian Fashion industry

factor no.of respondent % of respondent

diversified culture 14 28

diversified custom 11 22

change in dressing style 16 32

transformation of taste and preference 19 38

displacing older patterns 14 28

total 74 148

Fig.No. 5.4. Characteristics of Indian Fashion industry

% of respondent

28

22

32

38

28 diversified cul

diversified cul

change in dr

transformatio

and preferenc


Above chart shows that, 28% respondent felt that characteristics of Indian fashion

industry is diversified cultures 22% realize that diversified customs, 32% believes that

change in dressing styles,38% felt that transformation of taste and preference,28% felt

that displacing older patterns. As this is the multiple choice question, so the number of

respondents has been increased from 50 to 74.

It is shown that characteristics of Indian fashion industry is ‘change in dressing style’



Statement No. 5. Factor responsible for globalization in indian fashion

industry

Table no.5.5: factor responsible for globalization in indian fashion industry

factor no of respondent % of respondent

media 26 52

advertisement 16 32

celebrities 16 39

models 9 18

westernize trend 18 36

total 67 177

Fig.No. 5.5. Factor responsible

% of respondent

52

39

18

36

media

adverti

celebrimodel

weste


Above Bar-graph shows that 52% respondent felt that factor responsible for globalizationin fashion industry is media, 32% felt that advertisement, 39% realize that celebrities,18%felt thatmodels,36% feltn that westernize trend.

From above, It is shown that.factor responsible for globalization in indian fashionindustry is” media”

. Statement No. 6.indian fashion industry going through period of boom



Table no.5.6: indian fashion industry going through of boom

factor no. of respondent % of respondent

rise in living standard 14 28increase in disposable income 5 16

youth are moving toward westrn trends 31 62

foreign companies operation 12 12

use of update information and technology 5 5

increase role of media 15 15

increase role of celebrities 8 16

total 90 154

Fig.No. 5.6. Indian fashion industry going through boom

% of respondent

28

16

62

12

5

15

16rise in living sta

increase in dis

income

youth are moviwestrn trends

foreign compani

use of update i

technology

increase role of




Statement No.7. . Respondents Ranked the impacts of fashion industry oneconomy

Table no. 5.7 the impacts of fashion industry on economy

factor 1 2 3 4 5 WAS Rank

Increased foreigncurrency inflows

8 11 14 8 9 145 3

Increase inemployment

3 13 10 16 8 163 4

Improved life style of individual

21 12 5 8 4 96 1

Contribution to gdpof the nation

11 8 7 12 12 142 2

Boom in apparelindustry

8 9 10 5 18 166 5


By calculating above it is cleared that impact of fashion industry on economy areincrease foreign currency inflows, increase in employment,improved life style of individuals, contribution to GDP of the nation, boom in apparel industry.from wheremost important factor comes out as”boom in apparel industry” which is ranked 1

It is been proved that most important of fashion industry on economy is ‘boom in apparelindustry’



Statement No.8.The benefits of globalization of fashion industry.5- Point Likert Scale

Table 5.8: The benefits of globalization of fashion industry.

Factor 1 2 3 4 5 Summated Score

Reflection of occupation and status

11 28 10 1 0 101

Promation of productsand services

9 28 9 2 2 110

Reinforcement of thenorms of cultures

2 16 29 3 0 133

Experienced new anddeveloped trends

6 34 4 5 1 111

Enforcing brand image 11 22 15 2 0 108Encouraging educatedand wealthyenvironment

7 16 14 10 3 136

Growth in export-import sector

10 25 8 3 4 116

Creates strong globalimage

13 19 14 2 2 111

Maximum Score = 136 `

Average Score = 142

Minimum Score = 101




From total sample size of 50 ‘the statement’ Reflection of occupation and status ’ hasscored a sum total of 101, which is The benefits of globalization of fashion industry.

The statement’ Promation of products and services’ has scored a sum total of 110. whichis the another benefit of globalization of fashion industry

The statement’Reinforcement of the norms of cultures’has scored a sum total of 133,which is the another benefit of globalization of fashion industry

The statement’ Experienced new and developed trends’ has scored a sum total of 111,which is the another benefit of globalization of fashion industry

The statement’ Enforcing brand image trends’ has scored a sum total of 108, which is theanother benefit of globalization of fashion industry

The statement’ Encouraging educated and wealthy environment’ has scored a sum totalof 136, which is the another benefit of globalization of fashion industry

The statement’ Growth in export-import sector’ has scored a sum total of 116, which isthe another benefit of globalization of fashion industry

The statement’ Creates strong global image’ has scored a sum total of 111, , which is theanother benefit of globalization of fashion industry

From above analysis, it is shown that, most of the respondents feel that,‘Encouraging educated and wealthy environment’ is stands most important benefit of globalization of fashion industry.



Statement No.9. Industries affected due globalization in fashion industry

Table no.5.9: industries affected due to globalization in fashion industry

factor No. of respondent %of respondent

textile sector 21 42manufacturing sector 10 20

Itand BPO sector 5 10

media and entertainment sector 13 26

all of above 16 32

total 65 130

Fig.No. 5.7. Industries Affected

%of respondent

42

10

26

32textile sector

manufacturin

Itand BPO se

media and ensector


From the above chart it is cleared that 42% respondent felt that . industries affected dueglobalization in fashion industry is textile sector, 20%felt that manufacturing sector,10%realize that IT& BPO sector,26%felt that media and entertainment sector,32% feltthat all of the above mention industries affected due to globalization.

From above it is shown that industry that largely affected due to globalization in fashionindustry is’textile’



Statement No.10. Pursue fashion as a career

Table no5.10: pursue fashion as a career

factor no. of reaspondent % of respondentadvisible 30 60

not at all 11 22

can't say 9 18

total 50 100

Fig.No. 5.8. Pursue Fashion as a career

% of respondent

6022

18


From the above chart it is cleared that 60% respondent felt that pursue fashion as a career is advisable, 22% realized that not advisable, 18% have not idea about that.

From above it is cleared that ‘pursuing fashion as a career is advisable’



Statement No.11. Advantages of pursuing fashion as career

Table no.5.11: advantages of pursuing fashion as career

factor No. of respondent % of respondent

good remuneration 10 20

provides excitement 7 14

provides glamour 17 34

provide an innovative environment 7 14

all of above 21 42

total 62 124

Fig.No. 5.9. Advantages of Fashion as a career

% of respondent

20

14

34

42

good rem

provides

provides g

provide a

environm

Analysis and Interpretation

Above Bar-graph shows that 20%respondent realize that advantage of pursuing fashionas career is good remuneration, 14% felt that it provides excitement,34% felt that it provides glamour, 14%belives that it provides an innovative environment,42% felt thatall of the above mention factor are advantages of pursuing fashion as a career

It is proved that most of respondent belive that all the above factor are advantages of pursuing fashion as a career.



Statement No.12 role of film and entertainment industry in our culture.

Table no. 5.12: role of film and entertainment industry in our culture

factor No. of respondent %of respondent

people try to imitate the celebrities 21 42 people spend more than they earn 7 14

moving away from own culture 8 16

to promote product and services 15 30

all of above 13 26

total 64 128

Fig.No. 5.10. Role of Film and Entertainment industry

%of respondent

42

16

30

26 people try to

celebrities

people spen

they earn

moving away

culture

to promote p

services

Analysis and Interpretation

From the above chart, it is found that,42% respondent felt that, people try to imitate the

celebrities because of role of film and entertainment industry in our culture,14% felt that peoplespend more than they earn,16% realize that, moving away from own culture,30% felt that, to promote product and services, 26% felt that,all the above mention factor responsible to persuadefashion because of role of film and entertainment industry in our culture,

It is proved that most of respondent belive that,’ people try to imitate the celebrities’ because

of role of film and entertainment industry in our culture,



Statement No.13. Negative impact of globalize fashion industry

Table no.5.13: negtive impact of globalize fashion industry

factor No. of respondent %of respondent prevails only in metropolitan cities 17 34

centralized only to youngstres 17 34

wastage of money 16 32

threat to up coming generation 12 24

hamper religious belief 16 32

total 78 156

Fig.No. 5.11. Negative impact of Fashion industry

%of respondent

34

34

32

24

32 prevails onl

metropolita

centralized

youngstres

wastage of

threat to up

generation


From the above chart, it is found that ,34% respondent felt that negative impact of globalize fashion industry is that it is prevails only in metropolitiancities cities, 34% feltthat it centralized only to youngsters, 32% realize that it is wastage of money,24% belivesthat it is threat toupcoming generation, 32% felt that it hamper religious belief.

It is proved that most of respondent belive that negative impact of globalize fashionindustry are that it is prevails only in metropolitiancities & centralized only to youngsters



Chapter- VI

Findings of the Study



FINDINGS OF THE STUDY

From the above tables, figures and the gist of factor analysis explains that different

persons perceive about the term Globalization in Fashion Industry in their own different

ways. Based on the analysis the following results have been found out:

All respondents are aware about the globalization and its relation with fashion

industry and hence given the views that, Indian Fashion Industry is globalize.

Most of the respondents recognized that, globalization in fashion industry

occurred after 1991 in India, which gives a wide platform for all domestic and

international players in the fashion industry and it is basically refers to diversified

cultures and customs and also change in dressing style.

Factors that are encouraging fashion concept and its adoption is highly motivated

by the media, advertisements, celebrities and obviously the westernized trend in

India.

It has been noticed that, Youths are moving towards western trends, which stands

as the main factor for fashion industry to push toward boom in the respective area.

The impacts of globalization in fashion industry results to energize the apparel

industry as the most followed by increased inflow of foreign currencies and gives

employment opportunities.

Manufacturing sector is been largely affected due to globalization in fashion

industry followed by textile and media sectors, which contributes a lot toward

GDP of India.

Individuals are also interested for pursuing Fashion as a career due to its

remuneration, innovative environment and glamour to the personal and

professional life.

Study found that, also globalization of Indian fashion industry has negative

impacts like; centralized only to youngsters, threat to upcoming generation and it

may hamper religious belief.



Chapter- VII

Conclusion and

Recommendations



CONCLUSION OF THE STUDY

The process of globalization has been an integral part of the recent economic progress

made by India. Globalization has played a major role in export-led growth, leading to the

enlargement of the job market in India. Notable examples of international companies that

have done well in India in the recent years include Pepsi, Coca-Cola, McDonald’s, and

Kentucky Fried Chicken, whose products have been well accepted by Indians at large.

Globalization in India has been advantageous for companies that have ventured in the

Indian market. By simply increasing their base of operations, expanding their workforce

with minimal investments, and providing services to a broad range of consumers, large

companies entering the Indian market have opened up many profitable opportunities.

With the end of the 20th century came the end of all hype which has created a more

practical and pragmatic environment and has given a more stable picture of the fashion

business. India's strengths not only depend on its tradition, but also on its raw materials.

World over, India is the third largest producer of cotton, the second largest producer of

silk and the fifth largest producer of man-made fibres. In the international market, the

Indian garment and fabric industries have many fundamental aspects that are compliant,

in terms of cost effectiveness to produce, raw material, quick adjustment for selling, and

a wide ranges of preference in the designs in the garments like with sequin, beadwork,

embroidery etc, as well as cheaper skilled work force. India provides these fashion

garments to the international fashion houses at competitive prices with shorter lead time

and an effective monopoly in designs which covers elaborated hand embroidery -

accepted world over. India has always been considered as a default source in the

embroidered garment segment, but the changes of rupee against dollar has further

decreased the prices, thereby attracting buyers. So the international fashion houses walk

away with customized stuff, and in the end crafted works are sold at very cheap rates.Globalization in fashion industry brings a brand new name to the Indian and encourages

both domestic and international players to invest in this sector that expands the business

horizon and gives space for other professionals also as to pursue this as a career.



RECOMMENDATIONS OF THE STUDY

The suggestions regarding improvement in Fashion industry so that should not negatively

affect the cultural and religious value in future are given as follows:-

There should be change from both cultures i.e. from Indian part and also from

western part.

The investors should invest more in under developed areas to bring parity

between the urban and rural areas in terms of fashion concept enforcement.

The promotion of fashion concept should be in a positive manner, that could

enforce other areas to come to one platform and individuals should not forget

their own ethics and beliefs in behind fashion.

The individuals should not get totally westernize. It is better to change according

to the time and trends by remembering the cultural and religious value.

It should be in such a balanced manner, where all level of persons should able use

the term effectively and at the same level.



References



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luxury fashion industry: Production of culture theory revisited”, Journal of University of

Pennsylvania, vol. 09, issue no. 02, pp. 198-267.

Fernie, J. (1998), “Tale of two cities: an examination of fashion designer retailing withinLondon and New York”, Journal of Product and Brand Management , vol. 7, issue no. 5, pp.366-378(13)

Moody, S. and Quotes, P. (2002), “Globalization in the 21st Century: An Economic Basis

for Development”, Journal of Cambridge University Press, vol. 02, issue no. 08, pp. 109-

123.

Navarro, M.(2004), “Globalization, competition and market saturation”, Journal of

Fashion Marketing and Management . vol. 8, issue no. 4, pp. 425-436.

Ron, M. (2007), “Managing complexity in agile global fashion industry supply chains”,The International Journal of Logistics Management , vol. 18, issue no. 2, pp. 238-254(17)

Sahay, B.,(2003), “Supply chain management practices in Indian industry”, International Journal of Physical Distribution & Logistics Management , vol. 33, issueno. 7, pp. 582 – 606.

Skov, L., (2004), “Seeing is Believing: World Fashion and The Hong Kong Young

Designers' Contest”, The Journal of Dress, Body & Culture, vol. 8, issue no. 2, pp. 165-

193(29)

Anonymous (nd.) available at

http://socsci.flinders.edu.au/global/glob1002/2003book/chapters/kendolls.htm

Anonymous (nd.) available at,

http://www.articleclick.com/Article/The-Changing-Face-of-Indian-Fashion-Industry/458


http://www.articleclick.com/Article/The-Changing-Face-of-Indian-Fashion-Industry/458








http://myitthings.com/ashes09/Post/fashion/It-Thing/Globalization-Inspires-Spring-2008-

Fashion/442232008051817198.htm


http://www.indiaprofile.com/fashion/


http://www.merinews.com/catFull.jsp?articleID=130695


http://business.mapsofindia.com/globalization/india-industry/textile-industry.html


http://www.pramanik.in/indianfashion.html



Annexure



QUESTIONNAIRE

We Ajay Kumar and Vikas Kumar, students of MBA II semester of Apeejay Institute of

Management, Jalandhar are conducting a research on “Globalization in Indian Fashion

Industry”. Kindly help us to gather information by sparing your valuable 10-15 minutes

for filling up the questionnaire. Your information will be kept confidential.

(A). Personal Information:

Name: __________________________________

Address: ________________________________

Occupation:

a. Student

b. Employed

c. Unemployed

d. Businessman

Income(Rs):

a. Less than 5000 p.m.

b. 5000 to 10000 p.m.

c. 10000-20000 p.m.

d. Above 20000 p.m.

Sex:a. Male

b. Female

Age:

a. Below 18

b. 20-30

c. 30-40

d. Above 40

(B) Questions.

1. Are you aware of the term ‘Temping’?

a. Yes b. No

2. What you feel about the prevailing HR trend in india?

a. b. Under globalize c. Not globalize



3. How evolution in Fashion Industry occurred in India?

a. Through long-standing civilizations

b. In the period of British

c. Pre-Globalization Era(Before 1991)

c. Post Globalization period(After 1991)

d. Can’t say

4. What do you think are the characteristics of Indian Fashion Industry?

a. Diversified Cultures

b. Diversified Customs

c. Change in dressing styles

d. Transformation of taste and preference

e. Displacing Older patterns

5. In your view, what are the factors that responsible for globalization in fashion

industry?

a. Media b. Advertisement

c. Celebrities d. Models

e. Westernize trend

6. Why is Indian fashion industry going through period of boom?

a. Rise in Living standards

b. Increase in disposable income

c. Youths are moving toward western trends

d. Foreign companies operation

e. Use of updated Information and Technology

f. Increased role of Media

g. Increased role of Celebrities

7. Kindly Rank the impacts of Fashion Industry on economy, where ‘1’ is being

considered as most important one, from ‘1 to 5’?

a. Increased foreign currency inflows

b. Increase in Employment

c. Improved life style of individuals

d. Contribution to GDP of the nation



e. Boom in Apparel industry

8. What are the benefits of globalization of fashion industry, kindly tick against the

options from the following?

SA A N D SDa. Reflection of occupation and status

b. Promotion of products and services

c. Reinforcement of the norms of cultures

d. Experienced new and developed trends

e. Enforcing Brand image

f. Encouraging educated and wealthy environment

g. Growth in Export-import sector

h. Creates strong Global image

Where; SA= Strongly Agree

A= Agree

N= Neutral

D= Disagree

SD= Strongly Disagree

9. In your view, which industry is been largely affected due to Globalization in

Fashion Industry?

a. Textile sector

b. Manufacturing sector

c. IT and BPO sector

d. Media and Entertainment sector

e. All of the above

10. To pursue ‘Fashion’ as ones career is advisable or not?

a. Advisable b. Not at all c. Can’t say

11. What are the main advantages of pursuing Fashion as a career?

a. Good Remuneration

b. Provides Excitement

c. Provides Glamour

d. Provide an Innovative environment



e. All of the above

12. What role does Film and Entertainment industry play to persuade Fashion in

our culture?

a. People try to imitate the celebrities

b. People spend more than they earn

c. Moving Away from own culture

d. To promote products and services

e. All of the above

13. What do you think are the negative impacts of globalize fashion industry?

a. Prevails only in Metropolitan cities

b. Centralized only to youngsters

c. Wastage of money

d. Threat to upcoming generation

e. Hamper Religious belief

14. What do you suggest to bring change in Indian fashion era, so that would not

negatively affect the cultural and religious value?

_______________________________________________________________________

_______________________________________________________________________

_______________________________________________________________________

___

Fashoin and Global is at Ion

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