Innovation in fine fashion
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![Page 1: Innovation in fine fashion](https://reader033.fdocuments.us/reader033/viewer/2022060200/5597ffe01a28abc8338b45c0/html5/thumbnails/1.jpg)
Silvia Arditi
Pierandrea Miglietta
Lucia Peraldo
Fiamma Sinibaldi
Luciana Tornabene
Giulia Trombi
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1 2 3 4 5
The
Abernathy
Utterback
model
Resource
Based
View VS.
Structural
View
Dominant
Design vs
Convergent
Design
L. Tushman
and
P. Anderson
model
Capetta et al.
study
6
Structural
Ambidexerity
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Time
Acceptance
of the style
High
diffusion
of the
new style
Slow start,
new style
has to be
accepted
Approachingto the limit
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“there was almost
nowhere else to go..
The mini-skirt could
go no higher”
mini-skirt as
mass diffusionphenomenon Time
“a controversialitem of clothing,
symbol of
liberation”
1962 1965 1975
Acceptanceof the style
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Time
Style
The 90’sThe 50’s 2014
Unlikely in
technology , mini-skirt
is not more efficient than the the 50’s one.
It is just more popular
D
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Stylea temporal phenomenon
an obligatory
transformation of taste.
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Approches
to Style Search
Designer
Driven
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MarketDriven
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Two Approaches to Style Search
KEY SUBJECT
COMPETENCES
PROCESS
LOCUS OF
SEARCH
Designer Unit (Design Function)
Designer
Customer and
competitororientation
Individual sensemaking Collective sensemaking
Local Distant
Designer-Driven
SearchMarket-Driven
Search
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Two Approaches to Style Search
Designer-Driven
SearchMarket-Driven
Search
INCENTIVES
LEGACY
INNOVATION
OUTCOMES
LONG-RUN
LIMITATIONS
Designer is the owner
of the company or
gets royalties
Member of the unit are
regular employees with
a traditional division of
labour and an
incentive to innovate
Past collections Market dynamics
Evolutionary change Radical change
Adaptation with the
market at riskStylistic identity at risk
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the design that is used
by the majority of the
players in the industry
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ANDERSON AND TUSHMAN (1990)
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Which industries come to your mind?
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…
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This model is applicable also to industries driven by style
….and not only by technology.
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Period
of fermentRelevant style differences
1
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Period of
incremental
changeConvergence on the same style
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Technical
compatibility«the capability
of different interfaces
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Symbolic
innovation
Reassignment of social meaning
to an existing product,
the change of aesthetic characteristics
generating both a new pdt and a neìwmeaning.
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Dominant
Design
Convergent
Design
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Fo
r st
ylis
tic
inn
ov
atio
n
Compatibility
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The desire for stylistic innovation can be
explained as both the want to have the right pdts
and interact with the right ppl.
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Fo
r st
ylis
tic
inn
ov
atio
n
Compatibility
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Visual coherence in the aesthetic appearance of the elements
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AESTHETIC COMPATIBILITY
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HYPOTHESIS
Stylistic innovation follows
an evolutionary model characterised by the
sequence of periods of
ferment and incremental
change.
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*R. Cappetta et al. / Research Policy 35 (2006) 1273–1290
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1980 - 1985
Masculine- Structered jackets with XL
shoulder pats- Career Woman’s Uniform
Period of incremental change
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1986-1990
Period of Ferment-More unstructured clothing- More use of pale colorsSomething is changing!
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1991-1993
Minimalism- Strong use of neutral colors- Clean cuts- More feminity
1994-1998
Period of Ferment
- Neutral colors are mixedwith strong ones
- More experimentation
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1999 - 2001
Kitsch- Artificial materials- Strong colors - Combinations that clash.
75.7%designers’
preferences.
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Demand of a
product increases
when others
consume it
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qa demand of a
product
decreases
because too
many others are
consuming it.
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Are
accelarating
these effects
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HYPOTHESISDuring the period of
incremental change,
incumbents are more
innovative than new entrants.
Indeed, they have a
consolidated style and they
prefer incremental innovations
to radical changes.
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HYPOTHESISDuring the period of ferment, new entrants are more innovative than incumbents.
In fact, they can deploy at best their ‘newness’ by creating a completely new style, because of lack of inertial frames, cognitive ‘sunk costs’ and existing routines.
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HYPOTHESIS
During the period of
incremental change,
incumbents are statistically
more successful than new
entrants.
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HYPOTHESIS
During the period of
ferment, new entrants
are statistically more
successful than
incumbents.
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old styles can instantly
bacome relevant again.
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STRUCTURAL
AMBIDEXTERITYMaster
the
present
Pre-empt
the
future
explorationexploitation
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Even those industry historically drivenby technological innovation…
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…are starting to strenghten the
importance of stylistic innovation.
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You!
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Bibliography
Cappetta, Rossella, Cillo, Paola & Ponti, Anna (2006)
"Convergent designs in fine fashion: An evolutionary
model for stylistic innovation". Research Policy, 35(9),
pp. 1273-1290.
Cillo, Paola & Verona, Gianmario (2008) "Search
Styles in Style Searching: Exploring Innovation
Strategies in Fashion Firms". Long range
planning, 41(6), pp. 650-671.