Assignment First


在传统意义上,消费者的偏好被经济学家认为是给定和固定的。偏好的变化和形成是心理学事实研究的一个重要课题。然而,在目前的情况下,一些经济学家已经讨论了改变对经济研究的偏好的重要性,这些观点已经被纳入这篇特别的文章。决定客户偏好的属性不仅可以在产品中找到,还可以在使用产品的社会环境中找到(希勒2013)。如果从另一种意义上说,对提供的产品的偏好可能部分依赖于使用该产品的其他人。vintage fashion作为时尚市场的一个明显例子,其需求受到消费者行为榜样的高度影响。这种意义上的关键属性是需要创建与拥有共同符号感和归属感相关的身份(Van-de-Peer 2014)。

自上世纪90年代初以来,随着古着受到名人的追捧,人们对古着的兴趣和认知度急剧上升。媒体对名人时尚的极大关注,有助于揭示那些被人们视为楷模的人物,如米歇尔•奥巴马(Michelle Obama)或凯特•莫斯(Kate Moss),是否经常穿复古风。也,流行电影像电和电视连续剧,如《广告狂人》设定在1960年代的阶段,或博客等时尚的鞋子,有灵感的街头风格,复古的设计(Fırat 2013)。

In the traditional sense, preferences of customers were considered as given and fixed by economists. The change and formation of preferences has been identified as a significant topic to research on psychological facts. However, in the current scenario, a number of economists have discussed about the significance regarding change of preference for research on economy, and these ideas have been incorporated in this particular essay. Attributes determining preferences of customer not only can be found within the product, but can also be found within the social setting across which there is utilization of product (Shearer 2013). If stated in a different sense, the preference for a provided product may have partial dependency on who else has been utilizing the product. As a clear example in the market of fashion, the demand for vintage fashion is highly influences by the role models of customers. The key attribute in this sense is the need for creation of identity that can be related with the sense of having mutual symbols and the sense of belongingness (Van-de-Peer 2014).
Interest and awareness for vintage clothing has been going through a dramatic rise since early years of 1990s as the genre is being embraced by the celebrities. The enormous attention of media on fashion of celebrity has helped in revealing that personalities who people consider as role models such as Michelle Obama or Kate Moss wear vintage fashion on regular basis. Also, with popular movies like Malena and television series like Mad Men set in the phases of 1960s, or blogs of fashion such as Sea of Shoes, there has been inspiration of street style by designs of vintage (Fırat 2013).

代写assignemmnt :复古风格设计兴起的讨论分析

路易威登(Louis Vuitton)等时尚品牌在2010年至2011年的冬季系列中开始对vintage服装进行再生产和重新诠释,比如2009年伊夫·圣罗兰(Yves Saint Laurent)对vintage面料的再利用(Petrizzi 2014)。一般来说,这些风格被定义为复古风格、复古灵感或复古风格。他们倾向于在许多不同的尺寸范围内展示可用性的好处,并且与原始件相比,通常具有更大的可负担性。

古着怀旧的关键因素被认为是消费者购买古着的主要动机之一。从市场营销的角度来看,消费者对生产出的vintage piece具有超越顾客生命周期的怀旧情怀。怀旧被认为是对过去对未来或现在的消极情绪的积极偏好(Beard 2008)。有一种消极情绪的来源,认为过去的事情比现在或未来的事情更好。

与怀旧情绪相联系的情感被认为是苦乐参半的,因为人们的渴望追忆着理想化的过去,而这些过去实际上是不可能回到他们身上的。通过对选择性记忆的考虑,过去已经被理想化了,允许个体通过记忆来筛选或重新塑造消极的元素,这样他们最终可以在回忆中变得愉快(Bennett 2012)。

Fashion houses like Louis Vuitton for the winter collection of 2010 to 2011 has started the reproduction and reinterpretation of vintage clothing, like the reutilization of vintage fabrics by Yves Saint Laurent in the year 2009 (Petrizzi 2014). In general, these styles have been identified as retro style, vintage inspired or vintage style. They tend to be presenting the benefit of availability in a number of different size ranges and in general have more affordability in comparison with the original pieces.
The key component of nostalgia attached with vintage clothing has been identified as among the main factors where there is motivation of consumers for the purchases of vintage pieces. From the point of view of marketing, consumers have the ability for experiencing nostalgic feelings for the production of vintage pieces beyond the life span of customer. Nostalgia has been referred to as a positive preference for the negative feelings of past involvement in the future or the present (Beard 2008). There can be a derivation of negative feeling with the perception that the past had better things than the present or the future.
The emotion in association with the nostalgic feeling has been identified as bittersweet, as the longing of people recollects the idealized past that cannot be returned to them actually. There has been an idealization of past by the consideration of selective memory, allowing the individuals for screening out or re- shaping the negative elements by the memories so that they can end up becoming pleasurable within the recollection (Bennett 2012).