论文部分内容阅读
谈完了企业内部的协同作用,我们又说了品牌形象(见《中国纺织》第七期、第八期专栏),这一篇将专注于消费者形象,同时也是给这一系列画上圆满的句号。十二年来,各个品牌(从奢侈品到大众品牌)为了更好地销售他们的包,不断地向我们呈现女郎们相互搂拥的画面。是迪奥,于2000年将这股流行风吹开的。这标志了该品牌以及世界时尚行业的巨大转折,刹那之间,其他品牌也开始跟风。然而,为了构思那次广告,迪奥当时从武汉太和——一个中国品牌身上受到了极大的启发。1997年,这个中国小品牌开始了广告宣传上一次真正的改革,这次改革也未引起人们的注意。首先是因为世界还没有认真地关注中国时装界,其次是因为太和也没有迪奥那样的媒体力度,主要原因还是太和不懂得有效地发展协同作用。因此,他的消费者形象依旧模糊不清,最后变得不堪一击。回顾中国时装界十多年来的跌打滚爬,今天我们又能从中学到些什么?应该吸取哪些经验教训?尤其是,如何解读异国品牌策略和消费者形象?
Talking about the synergies within the enterprise, we again said the brand image (see “China Textile” seventh, eighth column), this one will focus on the consumer image, but also to this series of paintings completed period. For 12 years, brands (from luxury goods to mass brands) have been showing us the images of girls hugging each other for better sales of their bags. Is Dior, in 2000 the popular wind blew open. This marks a huge turning point for the brand and the fashion industry in the world. In a flash, other brands are beginning to follow suit. However, in order to conceive that advertisement, Dior was greatly inspired by Wuhan Taihe, a Chinese brand. In 1997, the Chinese small brand started the last real reform of advertising, and the reform did not attract any attention. The first is because the world has not paid any serious attention to the Chinese fashion industry, and secondly to the fact that neither the Taihe nor the Dior media efforts are mainly due to the fact that Taihe does not know how to effectively develop synergies. As a result, the image of his consumer remains vague and ultimately vulnerable. Recalling the Chinese fashion industry for more than a decade of ups and downs, today we can learn from what? What lessons should be learned? In particular, how to interpret the exotic brand strategy and consumer image?