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ADOPTION OF FASHION

Rakibul Islam Shifat

Teaching Assistant, Dept. of AMM
BGMEA University of Fashion and Technology
Fa s h i o n T h e o r i e s
Theories of fashion adoption or distribution are concerned with
how fashion moves through the various socioeconomic levels of
society. There are three primary theories of fashion adoption:
➢Tr i c k l e - U p T h e o r y
➢Tr i c k l e - D o w n T h e o r y
➢Tr i c k l e - A c r o s s T h e o r y Haute
Couture

Designer Wear

Street Fashion or
Mass Market

Trickle-Across Theory
Tr i c k l e - D o wn T h e o r y
❑Coined by economist Thorstein
Veblen in 1889, the trickle-down
theory of fashion adoption assumes
that fashion begins in the upper
echelon of society. Styles worn by the
wealthy change and those changes
are gradually adopted by the middle
and lower classes. When those styles
have been assimilated by the lower
classes, the wealthy, in turn, change
their style and attire.

❑This theory assumes that the lower ✓ Here the style is offered by the
classes want to emulate the upper
top strata & it’s been accepted
classes and is the oldest theory of
fashion adoption. It is applicable by the lower strata.
historically, particularly prior to World
War II. Styles from the white blouses ✓ As soon as the aviators hit the
of the Gibson Girl era to the shorter market, people from
hemlines of the 1920s began in the everywhere flocked to the
upper classes. stores to own it.
Tr i c k l e - D o wn T h e o r y

Innovation

Covered by Cheap Knockoffs- People

Tr a d e P u b l i c a t i o n s loses Style & Fit Tired of it

Worn by Worn by
Closeout Sales
Fashion Leaders Fashion Followers

Covered by Covered in Innovations &

fashion leaders
Consumer Magazine Local Newspaper have moved
on to new looks

Worn by Ve r s i o n s &
A d a p t i o n s M a n u f.
Fashion Conscious At lower price
Tr i c k l e - D o wn T h e o r y

Fa s h i o n R u n w a y s

T h e s t r e e t s o f N e w Yo r k
Tr i c k l e - U p T h e o r y
❑The trickle-up theory of fashion
adoption reflects changing styles and
practices in fashion. According to the
theory, styles may begin with youth or
street fashion and move progressively
up the fashion ladder until they are
favored and worn by older and
wealthier consumers. Coco Chanel was
the first to adopt this theory when she
integrated military fabrics and attire
into fashion following World War II.

❑The classic T-shirt began as an

undergarment in the working classes
and is now a fundamental piece of the
everyday wardrobe. Once the styles ✓ Innovation initiated from the
have been adopted by more street.
traditional consumers, the street or ✓ Minority group is inspired by
youth culture may adopt a new style. these fashions.
Trickle-Up Theory

P u n k Fa s h i o n

Fa s h i o n R u n w a y s
Tr i c k l e - A c ro s s T h e o r y
❑First developed in the late 1950s, the
trickle-across theory assumes that fashion ✓ Fashion moves horizontally
moves across socioeconomic levels between groups on similar
relatively rapidly. Clothing styles do not social levels.
trickle down but appear at all price points ✓ The adoption of new trends
at approximately the same time. Mass by all socioeconomic
communications and popular media
groups simultaneously.
support the existence of this theory,
providing pictures and details about new ✓ Consumer preference from
styles, as does the modern retail world. a large scale of existing
Many designers show similar styles in a trends.
variety of lines, ranging from high-end ✓ there is little lag time
designer clothing to lower-end affordable between adoption from
pieces. one group to another.
❑Once a design appears on the runway, a ✓ A leader within each class
variety of companies produce similar influences peers or a leader
garments, allowing widespread access to of one group affects the
fashion. From the 1960s shift dress to the other group members.
shoulder pads of the 1980s, these
garments were available in discount,
department, and designer stores at
approximately the same time.
Tr i c k l e - A c ro s s T h e o r y

Aviator sunglasses.
M o t i ve s f o r C o n s u m e r B u y i n g
⇒To be Fashionable:
People may buy new clothing to make them feel that they are trendy or, at least, in
the mainstream of fashion. They may discard clothing that is still wearable only
because it is out of fashion.
⇒To be Attractive:
Consumers want clothes that are flattering that make them look their best, or that
show off their physical attributes.
⇒To Impress Others:
People may want to project a successful image or establish unique identities with
fashion. They may want to exhibit their level of taste or income through clothing.
Expensive brands have even served as status symbols.
⇒To Be Accepted By Friends, Peer Groups, or Colleagues:
Average Americans have conservative tastes; they do not want to differ from their
peers. They may want to identify with a certain lifestyle. Buying patterns suggest
that consumers like some direction or guidance as a framework for their choices.
⇒To Fill an Emotional:
Need New clothes often help people feel better psychologically. Being secure in
the feeling that they are wearing appropriate, fashion helps them feel confident
and self-assured. This motive, however, may often lead to impulse buying (buying
without careful consideration).
Fa s h i o n S e l e c t i o n
Buying patterns change continually. To determine the acceptability of
fashion, both designers and manufacturers find it helpful to consider the
criteria consumers use for its selection.
☞ Consumers look for their idea' of quality at reasonable prices;
often referred to as perceived value.
☞ There is a trend toward more selective buying. Consumers may
buy only one item, such as a jacket, to update their wardrobes.
☞ For women, there is renewed interest in glamour and femininity.
☞ Many consumers look for comfortable, functional, multiple-use
clothing.
☞ People are buying closer to need often referred to as a wear
now mentality.
St y l i ng F e a t u re s

Te x t u r e :
The surface interest
in the fabric of a
garment or
accessory is called
texture. Texture
usually gives a clue
Color :
as to fiber content.
People relate very
personally to color,
St yl e:
usually selecting or
The elements that define a
rejecting a fashion
style include line, silhouette,
because the color
and details. A consumer's
does or does not
selection is frequently
appeal to them or
influenced by his or her
is or is not
opinion of what is currently
flattering.
fashionable.
Pa r t i c u l a r C o n s i d e r a t i o n s

P r i c e : Consumers want the best product at the best price. Price is

probably the most important consideration for the average consumer.
They must compare the total perceived worth of a style with the retail
price and with their own budgets.
F i t S i z i n g : This is not a guarantee of fit. Each company tries its
sample garments on models whose figures are typical of its target
customers, which makes sizing vary from band to band.
C o m f o r t : Obviously, people need clothes to keep warm in cold
weather or cool in warm weather. As the population ages and as travel
increases, people also want clothes that are comfortable to move in,
sit in, travel in, and so on. The increasing desire for comfortable
clothes is one of the reasons for the popularity of spandex fiber.
A p p r o p r i a t e n e s s : It is important that consumers find suitable
or acceptable fashions for specific occasions or to meet the needs of
their lifestyles. Consumers consider their clothing needs for lob and
leisure-time activities as well as what is appropriate for their figure
type, personality, coloring, and age.
Pa r t i c u l a r C o n s i d e r a t i o n s
B r a n d o r D e s i g n e r L a b e l : Brands are a manufacturer's means
of product identification. Some consumers buy on the basis of a
particular brand's reputation, often as a result of heavy advertising.
Designer Giorgio Armani said the brand name is important as long as
it is combined with a proper relationship between quality and price.
Q u a l i t y : Consumer demand for quality has risen in recent years. The
designer or bridge customer considers clothing an investment and may
not mind spending more for the lasting qualities of fine detailing and
workmanship. Some consumers may look for a particular brand or name
on the basis of a reputation for quality.
F a b r i c P e r f o r m a n c e a n d C a r e : The durability of a garment
or accessory and the ease or difficulty of caring for it are often
factors in selection. Many consumers prefer easy-care fabrics
because they do not have the time or the interest in ironing or the
money to pay for dry cleaning. Consumer concern for easy care
spurned the textile industry’s development of no-iron finishes and
the popularity of wash-and-fold cotton garments To protect the
consumer, government regulations now require fiber content and
care instruction labels to be sewn into apparel.
Pa r t i c u l a r C o n s i d e r a t i o n s

Convenience:
With time and energy in increasingly short supply, consumers are looking for
ways to make shopping easier. Consumers want to find what they need
easily and quickly. In response to consumer needs, catalog, and Internet
shopping has increased. In the stores, consumers are demanding service and
in-stock assortments.
THANKS