[雙語翻譯]服裝零售外文翻譯--復(fù)古時裝零售--打造店鋪品牌

1、5000 英文單詞， 英文單詞，26500 英文字符，中文 英文字符，中文 8500 字文獻(xiàn)出處： 文獻(xiàn)出處：McColl J, Canning C, Shearer L, et al. Vintage fashion retailing: Building the store brand[M]//Contemporary case studies on fashion production, marketing and operati

2、ons. Springer, Singapore, 2018: 59-71.Vintage Fashion Retailing: Building the Store BrandJulie McColl, Catherine Canning, Linda Shearer and Louise McBrideAbstract Over the past few decades, vintage fashion has become an

3、enduring trend and vintage fashion retailers have become an integral part of the fashion retailing landscape. This chapter explores vintage fashion retailing from the perspective of brand image and the brand story and ex

4、amines the positioning elements that operationalise the vintage fashion retailer brand. Vintage fashion retailers have evolved into sophisticated entities capable of competing in today’s fast paced omni-channel environme

5、nt. They can benefit from the creation of a strong brand image that tells the story of an era or theme through the creation of a store/brand whose appearance and display elements bring that theme to life.Keywords：Vintage

6、 fashion; Store brand building ;Brand story; Brand image ;Brand positioning1. IntroductionThe increase in vintage fashion retailing has been credited to a number of developments in the fashion environment over the past 4

7、0 years. The vintage fashion movement is said to have evolved from the 1960s London, with the popularity of military uniforms associated with the Beatles’ Sergeant Pepper record, and Edwardian dresses. The movement sprea

8、d to New York and a yearning for the elegance of the 1940s and women’s dresses and men’s suits dating from the 1950s (Hamilton 2012). During the 1970s the vintage trend grew with the student movement adopting second-hand

9、 clothing as a means of accessing inexpensive items that could also serve as a means of self-expression. This trend continued into the 1980s when oversized shirts, coats and jackets became the uniform of the young repres

10、enting the utilitarianism of the anti-fashion of the punk rock era and the androgyny and flamboyance of the New Romantic era (McRobbie 1989). During this period, the faithful vintage shopper continued to seek items of cl

11、othing from eras that represented their personal style, in particular, high end and iconic fashion brands such as Biba, Chanel, Karl Lagerfeld, Mary Quant and Thierry Mugler (McColl et al. 2013).The new millennium saw a

12、rapid increase in the number of “vintage” as opposed to ‘second hand’ or ‘charity’ stores. Since then, the vintage movement has grown as a means of self-expression, providing inexpensive, high-quality fashion items, and

13、has for some become a lifestyle choice based not only on nostalgia for a particular era but as a demonstration against overconsumption of fast fashion and disposable clothing (Cassidy and Bennett 2012). There has been a

14、steady rise in the number of vintage stores selling second cycle, used fashion clothing, which is not only more original but, given that it has been worn previously, is also sustainable and ethical (Pookulangara and Shep

15、hard 2013). This purchase and reuse of vintage clothing responds to the consolidation and polarisation of power in high street fashion re- tailing by moving away from fast, first cycle, new fashion clothing. Additionally

16、, there has been a homogenisation of the high street over the past few decades which has seen a narrowing of the number of companies and, therefore, fashion choice (Martenson 2007). High street stores, on the whole, are

17、driven by current fashion trends and sell very similar items of clothing which are often cheaply produced and can Customer communicationsTraditional and social media Traditional, social media Web presence, social mediaCu

18、stomer service Personalised Personalised Personalised2. Building the Fashion Retailer BrandBrands have evolved from being the identifier of the product to being the identifier of the company, the principal asset that a c

19、ompany has in terms of offering a coherent image in a global environment, a symbolic meaning in the mind of the customer and ultimately as a means of building customer relationships (Kotler et al. 2015).Jevons (2007) def

20、ines the brand as:A tangible or intangible concept that uniquely identifies an offering, providing symbolic communication of functionality and differentiation, and in doing so sustainably influences the value offered (p.

21、 6).Kapferer (2012) proposes that the most important elements of the brand are intangible and consist of an identity system made up of the brand image, the company values, the brand personality, image and identity as wel

22、l as the name, logo, design and distribution. He suggests that the brand name is the principal indicator of brand communication and brand awareness, building consumer relationships with the brand and increasing its value

23、. Ailawadi and Keller (2004) suggest that for retailers, the brand and brand image need to be built through the store image and store operations. In recent years, however, brand image has been extended through internet c

24、ommerce and social media communications, becoming not only an important source of communication of image to the consumer but, for many small companies, the means by which they enter the market and continue trading. In so

25、me cases, companies build the online store first and transfer the brand image elements to the bricks and mortar store at a later date. Case study 1, Minted is an example of this.The retailer brand, therefore, is multisen

26、sory and encompasses not only the physical products and services but also the whole retail firm, the name on the store front, the brands it sells, the prices and quality it offers, the image on the packaging, the levels

27、of customer service and the image portrayed within the store (Kent and Stone 2007). It is, therefore, both the image portrayed by the elements of the brand and the operational processes that deliver that brand in an effi

28、cient, effective and coherent manner (Kent 2007). Most large high street fashion retailers develop and deliver their brand image on the basis of the brands that they sell. In general, high street fashion brands use the c

29、orporate retail brand, that is the corporate brand name and all the image associations that it portrays, to deliver the brand image throughout the store from the name above the door to the name on the product, communicat

30、ing the brand in and out of the store with corporate images and appropriate models and celebrities to deliver the brand identity (Vahie and Paswan 2006). In essence, they are branding the shopping experience through the

31、merchandise that they sell and the in-store and online delivery of that merchandise to the customer.2.1 Telling the Brand StoryPractitioners and academics have stressed the importance of telling a brand story to help bri

32、ng together the image and operational elements of the brand (Woodside et al. 2008). This brand story helps to clarify the meaning of the brand as well as the needs of the target market. Stories are an intrinsic part of s