Sociology in Fashion

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Experiential analysis in
Fashion Product
Womenswear
Haute Couture & Prét-a-porter
A/W 12-13,S/S 13

Sociology of Fashion T2
Master in Fashion Product & Production Management
SOLEDAD AGUIRRE
VINCENZO FERRANTE
ILSE JARA
ALEJANDRA MARIN

TABLE OF CONTENTS

1. Introduction
2. Cognitive Experiences / Think
2.1 Experiences Facilitating The Purchasing Process
2.2 Experiences Making Consumers Think
2.3 Cultural Experiences

3. Emotional Experiences / Feel
3.1 Experiences that Facilitate an Hedonic Approach in Shopping and Consumption 3.2 References to Emotions and Feelings
3.3 Thematization and Storytelling

4. Sensorial Experiences / Sense
4.1 Experiences Which Arouses Consumers Senses
4.2 Olistic and Sinestesic Experiences 

5. Active Experiences / Act
5.1 Experiences that directly involve consumers

6. Social Activities / Relate
6.1 Experiences aimed at creating a connection with consumers 6.2 Experiences aimed at facilitating relations among consumers

7. Conclusions. Experiential Grids
8. Bibliografy

1 Introduction
The concept of experience has been gaining more and more importance over the last years within the consumer’s purchasing behaviour. Many are the reasons why such driver is nowadays as relevant, and certainly the multidimensional approach people have today, as well as their evolved consumption motivations, play a central role in defining such relevance. The concept of experience embraces many disciplines, as psychology and sociology, even though it is the marketing the area whose influence has developed the most such new approach. In particular, the concept of experiential marketing is more and more in opposition with traditional marketing. The meaning of experience is not easy to be explained: it is possible to understand it though by analyzing two different typologies of it. The first includes whatever definition envisioning the experience as the result of the process of knowing. The second defines the experience proof in relation to the applied sciences. It is relevant the influence the experience can have for the interior growth of an individual and for his moral, intellectual and cultural breakthrough. According to Ferraresi and Schmitt (2006) “experiences are private events taking place in response to some stimulus; experiences engage human beings in their entirety and come often from direct observation or by the participation to real, physical, or virtual events”. It is finally easier to acknowledge that the experiences consumers come up with are not auto-generated but induced instead. Experience is therefore considered as the expression of many components, as the cognitive, emotional, and sensorial ones, that can be led back to what was defined before as the multidimensional nature of the human personality, that has an impact over the purchasing and consumption behaviours. Schmitt, in his scripts, explores such multidimensional aspect of the experiences. These lasts can be defined as occurrences taking place in response to stimula defined as Strategic Experiencial Modules (SEM), better known as the think, feel, sense, act, and relate modules. Each of these five categories has its own structure and follows its own evolution: according to Schmitt, the true experiential ‘attraction’ is to combine these drivers into hybrid offers and holistic experiences. Throughout this script Schmitt experiential modules will be declined within the fashion industry, specifically for how it regards the communication and the relation the consumer establishes with the product. A specific sector of the fashion industry will be analyzed, that is the high end womenswear segment, as there will be an attempt to reckon how the womeswear is communicated to the consumer and in which experiences this last is immersed. The experiential analysis will have a specific focus on the product, on the points of sales, and on the fashion shows, as the privileged means to influence the...
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