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Fashion Marketing Communications |
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Copyright |
6 |
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Contents |
7 |
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Acknowledgments |
13 |
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Chapter 1: Introduction |
15 |
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Description of the book |
16 |
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Structure of the book |
17 |
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Chapter 2: Marketing Strategy |
21 |
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Introduction |
22 |
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Promotional strategy |
22 |
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Where are we now? |
24 |
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Where do we want to be? |
24 |
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How do we get there? |
26 |
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Models of advertising |
27 |
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Examples of promotional campaigns |
27 |
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Summary |
29 |
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References |
30 |
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Activities |
30 |
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Chapter 3: Tools and Media Channels |
31 |
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Introduction |
32 |
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Advertising |
32 |
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Television advertising |
33 |
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Cinema advertising |
35 |
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Magazine advertising |
36 |
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Newspaper advertising |
36 |
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Radio advertising |
37 |
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Outdoor ambient media |
38 |
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Transport ambient media |
38 |
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Internet advertising |
40 |
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Public relations |
40 |
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Product placement |
41 |
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Pop-up stores |
42 |
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Social networking |
42 |
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Direct marketing |
42 |
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Personal selling |
43 |
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The retail environment |
45 |
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Summary |
47 |
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References |
47 |
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Activities |
47 |
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Chapter 4: The Power of Magazines |
49 |
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Introduction |
50 |
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A repertoire of magazines |
50 |
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The magazine–reader relationship – my magazine is my mate? |
55 |
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Information needs |
56 |
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Cultural needs |
57 |
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Trust |
58 |
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Support |
58 |
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Status |
58 |
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Participation |
58 |
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Teenage magazines |
59 |
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Advertising costs, circulation and context |
59 |
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Product placement |
61 |
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Advertising value equivalent (AVE) |
61 |
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The relationship between advertising and product placement |
62 |
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Monthly and weekly magazines |
64 |
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Weekend supplements |
65 |
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Celebrity and gossip magazines |
65 |
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The recession and magazine advertising |
66 |
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Summary |
66 |
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References |
66 |
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Activities |
67 |
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Chapter 5: The Role of Public Relations |
68 |
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Introduction |
69 |
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Who carries out the PR function? |
69 |
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The costs of PR |
71 |
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The role of the journalist in PR |
71 |
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Credibility |
72 |
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How PR differs from traditional advertising |
72 |
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How PR supports traditional advertising |
73 |
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PR with no advertising budget |
74 |
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PR as an 'afterthought' |
74 |
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How gender affects PR |
75 |
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Working out the value of product placement |
75 |
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Types of PR function |
76 |
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PR agencies |
76 |
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In-house PR departments |
77 |
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The role of the PR function |
77 |
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Contacts |
77 |
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Press releases |
78 |
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Show cards |
78 |
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Sponsorship |
78 |
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Events management |
81 |
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Providing evidence of effectiveness |
82 |
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Crisis management |
83 |
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Summary |
85 |
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References |
85 |
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Activities |
85 |
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Discussion questions |
86 |
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Chapter 6: Celebrity |
87 |
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Defining celebrity |
88 |
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Celebrity management |
88 |
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Celebrity endorsement |
89 |
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Brands and celebrity personalities |
90 |
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Accidental celebrity endorsement |
90 |
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Theoretical background |
91 |
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Transference |
92 |
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Attractiveness |
92 |
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Congruence |
92 |
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Celebrity collaborations |
93 |
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Celebrity ranges |
94 |
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Celebrity saturation |
94 |
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Celebrity slip-ups |
94 |
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Celebrity and charities |
95 |
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The celebrity lifecycle |
97 |
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One to watch |
98 |
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Early recognition |
99 |
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Global recognition |
99 |
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Decline |
100 |
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Resurrection and re-invention |
100 |
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Measuring the effectiveness of celebrity endorsement |
100 |
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The major benefits of celebrity endorsements |
101 |
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The death of celebrity culture? |
101 |
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Summary |
102 |
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References |
102 |
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Activities |
102 |
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Chapter 7: The Retail Fashion Store Environment |
103 |
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Introduction |
104 |
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Consumer behaviour reviewed |
104 |
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Types of store |
105 |
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Store location |
106 |
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Approach and avoidance |
108 |
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Visual merchandising – the shop window |
109 |
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Mannequins |
109 |
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Themes for windows |
110 |
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Props in display |
110 |
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Colours in display |
111 |
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Shape in display |
111 |
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From visual merchandising to visual marketing |
111 |
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Hero pieces |
112 |
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Store layout and design |
112 |
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Boutique layout |
113 |
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Grid layout |
113 |
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Racetrack layout |
114 |
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Combining layouts |
114 |
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Store design companies |
115 |
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Stimulation of the senses |
116 |
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Sight |
116 |
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Touch |
117 |
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Hearing |
117 |
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Smell |
117 |
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Store personnel |
118 |
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Interaction between personnel and prospective consumers |
119 |
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Changing room personnel |
120 |
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The virtual store environment |
120 |
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The payment experience |
121 |
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Auditing the retail environment – the mystery shopper |
121 |
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Future directions |
122 |
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Summary |
123 |
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References |
123 |
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Activities |
123 |
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Chapter 8: Trade Marketing Communications |
125 |
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Introduction |
126 |
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Press releases |
127 |
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Trade journals |
131 |
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Fashion shows |
132 |
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Fashion weeks |
132 |
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Showrooms |
133 |
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Exhibitions and trade shows |
135 |
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Trade marketing stands |
139 |
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Stand personnel |
140 |
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Lookbooks |
141 |
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Exhibition stand builders and visible/invisible costs |
141 |
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Promotional gift merchandise |
142 |
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Events |
144 |
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Websites |
144 |
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E-mail and social media |
145 |
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Supporting the trade |
145 |
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Summary |
145 |
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Activities |
146 |
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Chapter 9: International Fashion Marketing Communications |
147 |
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Introduction |
148 |
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The international consumer |
148 |
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Operating outside the domestic market |
148 |
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Push factors |
148 |
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Pull factors |
149 |
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Emerging markets |
151 |
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Developing versus developed markets |
152 |
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International regulatory frameworks |
154 |
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Religion |
154 |
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Representation of women and children |
154 |
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Language |
155 |
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Taboos and customs |
155 |
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Standardisation and adaptation in international fashion marketing communications |
155 |
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Standardisation: Levi's |
156 |
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Adaptation: H&M |
157 |
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General considerations for international marketing |
157 |
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Channels of communication in overseas markets |
158 |
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Objectives of international campaigns |
158 |
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Summary |
159 |
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References |
160 |
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Activities |
160 |
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Chapter 10: Regulatory Frameworks |
164 |
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Introduction |
165 |
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The role and remit of self-regulation |
166 |
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Hot topics in the fashion industry |
166 |
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Cosmetics, facial and body enhancements |
166 |
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Sexualisation of children |
167 |
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Size zero |
167 |
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Environmental claims |
168 |
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Violent imagery |
168 |
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The process and progress of a complaint |
168 |
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Communicating the results of adjudications |
169 |
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International considerations |
170 |
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Where the problems seem to lie |
170 |
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Summary |
171 |
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References |
171 |
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Activities |
171 |
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Chapter 11: Assessing the Effectiveness of Fashion Marketing Communications |
172 |
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Introduction |
173 |
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Models of advertising |
174 |
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Measuring effectiveness against campaign objectives |
175 |
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Pre-launch research |
176 |
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Ongoing research |
176 |
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Post-campaign evaluation |
176 |
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Assessing the effectiveness of traditional media |
176 |
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Targeting in the cinema |
178 |
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Targeting in newspapers and magazines |
178 |
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Qualitative research |
179 |
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Cinema |
179 |
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Magazines |
179 |
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Focus groups |
180 |
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Depth interviews |
180 |
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Other methods of determining effectiveness |
182 |
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Recall and recognition tests |
182 |
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Eye-tracking studies |
182 |
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Storyboard and concept testing |
183 |
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Consumer diaries |
184 |
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The camera in the television |
185 |
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Projective techniques |
185 |
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Online research |
185 |
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Costs of research |
186 |
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Summary |
189 |
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References |
189 |
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Activities |
189 |
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Chapter 12: Future Directions in Fashion Marketing Communications |
195 |
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Introduction |
196 |
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The changing landscape of media communications |
196 |
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Technological advances |
196 |
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Rich media and infotainment |
197 |
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Blogs |
198 |
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Career opportunities |
199 |
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Work experience |
200 |
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Top tips |
205 |
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The interview process |
206 |
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References |
207 |
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Activities |
207 |
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Index |
209 |
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