A project report\ o Globalization in Indian Fashion Industry

Submitted to
PUNJAB TECHNICAL UNIVERSITY JALANDHAR In partial fulfillment of the requirement for the award of degree of Master of Business Administration (MBA)

Submitted Project Guide:

Ajay Vikas Kumar (1377)

by:

Kumar (1379) Mrs. Sukhmani

(Lecturer in Management)

Session (2008-2010) APEEJAY INSTITUTE OF MANAGEMENT JALANDHAR

CERTIFICATE
This is to certify that the project report entitled Globalization in Indian Fashion Industry submitted by Ajay Kumar and Vikas Kumar is a bonafide piece of work conducted under my supervision and guidance. No part of this work has been in any other degree of any other university. The data sources have been duly acknowledged. It may be considered for the evaluation of partial fulfillment of the degree of Master of Business Administration.

Date:

Mrs. Sukhmani (Sr. Lecturer in Management) Project Guide Apeejay Institute of Management Jalandhar

PREFACE
We feel delighted and honoured to present my report on Globalization in Indian Fashion Industry, the first task for me was to know about the concept on which my project is based. Then I have to set criteria, on the basis of which the above concept was valued. The factors, on the basis of which the research has been done, analyzed, evaluated and then presented. The data was collected for each of the parameter found responsible to judge Globalization in Indian Fashion Industry as Fashion industry has succeeded in attracting a good deal of public interest because of its apparent importance for the economic health of corporations and society in general. Another key focus is that the fashion industry system is aimed to optimize economic results, with a strong emphasis on shareholders welfare. As the time was limited, so there is a possibility that some matters might not be taken into consideration, but every effort has been done from our side to include every necessary parameter and include every information. We got information from various sources.

ACKNOWLEDGEMENT
This formal piece of acknowledgement is an attempt to express the feeling of gratitude towards people who helped us in successfully completing this project. But words at my command seems to be inadequate while expressing my gratitude to Mrs. Sukhmani for her guidance and valuable suggestions throughout the pursuance of this report, without her support it would not have been possible for us to prepare this report. We have honour to express my sincere thanks to Dr. Balram Dogra, Director of Apeejay Institute of Management, Jalandhar for giving us opportunity for undertaking this project. We thank all those respondents for providing genuine information and their cordial support. We are glad that they answered my questions with complete perseverance. Words are not sufficient to register my sincere regard to my friends for their ready assistance and co-operation. We would like to place a special word of mention to the almighty and our parents.

Ajay Kumar (1379) Vikas Kumar (1377)

CONTENTS
TABLE OF CONTENTS Certificate Preface Acknowledgement Sr. No. I II III IV V VI VII Name of Chapters Introduction to the project Review of Literature Need, Scope and Objectives of the Study Research Methodology Data Analysis and Interpretation Findings Conclusion and Recommendations References Annexure i ii iii Page No. 1 35 39 41 46 64 66 69 72

LIST OF TABLES
Table No. 5.a. 5.1 Title of the Table Demographic profile of Respondents Awareness Level of Term Globalization Page No 47 48

5.2 5.3 5.4 5.5 5.6 5.7 5.8 5.9 5.10 5.11 5.12 5.13

Opinion about Indian fashion industry Evolution occurred in Indian fashion industry Characteristics of Indian Fashion industry Factor responsible Indian fashion industry going through boom Impact on Indian Economy Benefits of Globalization in Indian Fashion Industry Industries Affected Pursue Fashion as a career Advantages of Fashion as a career Role of Film and Entertainment industry Negative impact of Fashion industry

49 50 52 53 54 56 57 59 60 61 62 63

List of Figures
Figure No. 5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 Title of the Figure Awareness Level of Term Globalization Opinion about Indian fashion industry Evolution occurred in Indian fashion industry Characteristics of Indian Fashion industry Factor responsible Indian fashion industry going through boom Industries Affected Pursue Fashion as a career Page No. 48 49 50 52 53 54 59 60

5.9 5.10 5.11

Advantages of Fashion as a career Role of Film and Entertainment industry Negative impact of Fashion industry

61 62 63

Chapter I
INTRODUCTION

Introduction
Globalization in India has allowed companies to increase their base of operations, expand their workforce with minimal investments, and provide new services to a broad range of consumers. The process of globalization has been an integral part of the recent economic progress made by India. Globalization has played a major role in export-led growth, leading to the enlargement of the job market in India. One of the major forces of globalization in India has been in the growth of outsourced IT and business process outsourcing (BPO) services. The last few years have seen an increase in the number of skilled professionals in India employed by both local and foreign companies to service customers in the US and Europe in particular. Taking advantage of Indias lower cost but educated and English-speaking work force, and utilizing global communications technologies such as voice-over IP (VOIP), email and the internet, international enterprises have been able to lower their cost base by establishing outsourced knowledge-worker operations in India. As a new Indian middle class has developed around the wealth that the IT and BPO industries have brought to the country, a new consumer base has developed. International companies are also expanding their operations in India to service this massive growth opportunity. Notable examples of international companies that have done well in India in the recent years include Pepsi, Coca-Cola, McDonalds, and Kentucky Fried Chicken, whose products have been well accepted by Indians at large. Globalization in India has been advantageous for companies that have ventured in the Indian market. By simply increasing their base of operations, expanding their workforce with minimal investments, and providing services to a broad range of consumers, large companies entering the Indian market have opened up many profitable opportunities.

Indian companies are rapidly gaining confidence and are themselves now major players in globalization through international expansion. From steel to Bollywood, from cars to IT, Indian companies are setting themselves up as powerhouses of tomorrows global economy. Globalization is hardly a new force affecting India. To think so is to ignore a diverse and pluralistic long-standing civilization that was shaped by a long list of "invading" (globalizing) cultures that became what we now know as India. The previous globalizers of India include the Aryans, Hindus, Dravidians, Greeks, Buddhists, Turks, Afghans, Scythians, Muslims and most recently, the Europeans, Portuguese, French, Dutch and finally the English. One has to understand that as India has been globalized it has also been a globalizer too, with millennia of colonialism across Southeast Asia, with temples like Angkor Wat left behind as a reminders of Indias one time presence. Long viewed by the West, as "poor and impoverished," to its neighbors such as Sri Lanka, Bangladesh and Pakistan, India is wealthy and powerful. To these smaller neighbors, India is a great power, a globalizer of its own, which expects deference from them and is sometimes angered when those nations downplay their Indian lineage. They prefer to play up their own local cultures, which are frequently hybrids of the larger Indian culture and their own indigenous ones. India, knowing its past as a globalizer, sees itself as one of the great nations of the world. But today, India has yet to build on the onetime greatness of its civilization to earn international influence and respect. India sees itself as equally important as Russia, China and the U.S., believing it has much to offer the rest of the world. Historically this has a basis since important aspects of trigonometry were developed in India, as was the decimal system, which, was later taken from India by Arab mathematicians, and on to Europe in the 10th century, only to come back to India through books from the West. Similarly, at the start of the 18th century, India was a major economic power with 23 percent of the worlds GDP according to some economic historians and over 25 percent

share of the global trade in textiles. By 1995, this had declined to less than 5 percent of world income and less than half a percent of world trade. The most recent wave of globalization affecting India came with the British who were important to Indian development, in positive and negative ways. The British consolidated a land of many separate regions and kingdoms into what we know of as modern India. While the British exploited Indias population, economy and resources as colonial rulers, they also left India, after two centuries of rule in 1948, with democracy, laws, a judiciary, and a free press, 40,000 miles of railroad track, canals, and harbors. English as the language of Indian business and the English language schools are arguably some of the most important remnants of the British, giving India a linguistic global gateway not found in former French, Spanish or Dutch speaking colonies.

Indian Fashion Industry

India is a country with diversified customs and cultures. People following various traditions live here, their way of dressing also differ from each other. The traces of Indians being fashionable can be found out from the ancient remains of Harappa and Mohenjodaro civilizations. After the independence, globalization is being witnessed in the Indian fashion industry, due to which changes have occurred in the style of Indian dressing. Styles of wearing saris and salwar-kameez have changed. The look is more cosmopolitan than region-specific. Different styles of blouses like katori style, halter-neck, back button blouses, high neck blouses, puffed sleeve blouses, etc. have become the hot favorite among women. The average lengths of the blouses have decreased. Saris are draped mostly in traditional back pallo style or gujarati style. Indian fashion scene is greatly influenced by its films. For example Mumtaz style sari draping inspired by yester-year heroine Mumtaz. Here sari is tightly draped around the body. As far as salwar-kameez is concerned numerous styles and patterns can be given to this garment. For instance the kameez can be long, short, A-line, skin tight, etc. Such variations can be done to salwar as well as dupattas. Modern version of kameez is known as kurti, it could be coupled with jeans, pants or churidar. It has taken the form of Indowestern outfit. People in western countries too have started wearing kurtis. Emergence of mall culture Mall culture is slowly and steadily growing in India. Many brands and private labels are launched in the Indian market. The first such retail outlet was Shopper's Stop which launched India's first multi-brand store in the year 1993. The specialty of such malls is that they offer a wide range of varied branded stuff, all under single roof. Some of the famous malls of India are Pantaloons, Westside, Lifestyle, Globus, etc. These retail outlets have also launched clothing line under private labels, manufactured and sold by them. For example- Pantaloons has many private labels under its brand like All, Fashion

station and Mela. Some of the major private labels even operate as exclusive stores. The buyer gets an international shopping experience in such retail outlets. There are no nagging sales persons pressurizing the customers to buy. Family stores are becoming hot favorite shopping hub for the middle-class and upper middle class shoppers. These stores sell garments of nearly all age groups and sexes. Apparels of various brands can be found in family stores. They are being considered as one-stop shopping destination. Roopam, Big Bazaar, Fashion station, V-mart, Maxx, etc are examples of some family stores.

Globalization and Indian Industry

Globalization has been one of the most hotly debated topics in international economics over the past few years. There are three familiar responses to globalization. First, that its novelty is grossly exaggerated. Globalization, the argument runs, has been around for a long time. The current phase is merely an intensification of a well-entrenched process, the basic features of which are much the same as before. The second response is that globalization is not only novel but also extensive, touching everything, transforming everything within its reach. Therefore, it must be treated as the central organizing category of contemporary discourse. When evaluated, this response branches into two further sub-responses: either globalization (over-optimistically) is a universal remedy for all the problems of the world, or (over-pessimistically) it is the cause of all its maladies. The concern is that it has increased inequality and environmental degradation. However, the meaning of globalization is growing integration of economies and societies around the world, Poor and third word countries consider globalization as economical and cultural colonization and to some extent greed of developed nations is responsible to this. The third response is an intermediate one, which sees globalization as introducing new structures without altogether displacing older patterns. From this point of view, globalization is a dynamic, open-ended and contradictory process that generates forces working in different, often opposite directions. Nevertheless, India has achieved a lot from Globalization. Using flows of goods and services, capital, people, and ideas, countries like India and china to grow rapidly with reduction in the poverty. According to economist John Dunning, Multinational enterprises invest abroad for there reasons. First, they try to capture ownership-specific advantages (O) for instance patent rights, process and other strengths not available to competitors. Then they exploit

location advantages (L): examples of this are presence of natural resources, cheap labor or cheap inputs. Lastly, they exploit internalization advantages (I) this is because some assets are better owned or employed by the firm instead of being bought from the market for instance an R & d outfit or a management structure. From this building block, Dunning developed his theory of investment development path. Each country passes through five stages. The poorest countries that have nothing to draw foreign investment other than L advantage i.e. location of natural resources. As they get wealthier, a domestic market develops; it can be used as the magnet to attract foreign investment from multinational enterprises with O advantage. Eventually domestic firms come forward that can exploit domestic market just as well as foreign firms, and start using O advantage to invest abroad. In the fourth stage, outward investment comes to exceed foreign investment. In the last stage reached by the countries with highest incomes, both inward and outward investments are substantially balanced. Now where does India fit in this? In the seventies, India was just emerging from the first stage. After 30 years from then, it has crossed second stage and going into the third one. Year 2003 was pivotal as it saw manifestation of Indias global aspiration. The number as well as size of the foreign targets showed steep rise. Close to 50 overseas acquisitions, amounting $1.8billion took place last year, which was only $0.21 billion in 2002. The increase in average deal size is from $7.5 million in 2002 to $36.5 million in 2003. India has adopted domestic policies and institutions that have enabled people to take advantage of global markets and have thus sharply increased the share of trade in their GDP. India has been catching up with the rich ones our annual growth rates increased from 1 percent in the 1960s to 5 percent in the 1990s. Now it is above 8%. Indians saw their wages rise, and the number of people in poverty declined. Industry wise, the software and services sector lead the mergers and acquisitions charge overseas but now this list includes both old and new economy industries like auto

ancillaries, pharmaceuticals, telecom, agro-chemicals and steel. There are thus no stereotypes that only new economy companies are invited to the mergers and acquisitions ball or that only the blue chip companies are partaking of the action. It is more democratic as smaller auto ancillary companies are also in the fray. Thanks to the easier external profile, at this time, India clearly is tasting the fruits of globalization and the current liberal overseas investment regime will take the process forward. However, a far more important use of our reserves is for higher domestic investments. There are no prizes for guessing that it is only with higher investments that there can be faster GDP growth. In next two-three years, India must also work on improving delivery of education and health services. Indian government must provide social protection to a changing labor market. In addition, that the changes in climate due to industrializations will be especially burdensome for developing countries and poor people. There is broad agreement among scientists that human activity is leading to potentially disastrous global warming. India must demand effective international cooperation to address this problem. I am sure in the next decade we should see our investment outflow increasing and our best companies going multinational.

Fashion and Globalisation

Due to advances in technology, migration, and increased communication flows especially in the wealthier nations such as America, the world en masse is becoming progressively more exposed to western media and lifestyle. Westernised fashion, as a result, has seeped into every culture, affecting them all to varying degrees. Fashion has functioned throughout the history of man as a determination of identity and position in society. It especially impacts youth, as the market specifically addresses the young and free, and promotes western fashion as the ideal of cool and popular, trendy, modern and stylish. Fashion is by large an influence on our lives. Fashion is celebrated in museums, on the street, industry and media
[1]

. Not a day goes past where we see and judge someone, or are judged in the fashion system.

For some it isnt a major factor, but they are judged nevertheless. We are surrounded by our creations and inevitably develop into one ourself. The clothes we wear declare a lot about us and the culture we live in. The popular dress of a culture is viewed as a symbol that shows such aspects such as the political climate, technological patterns and economic conditions. The clothes that we wear reflect our occupation and status
[2]

. A businessperson, for example, is more likely to be seen performing his job in a power suit as

opposed to overalls. Society follows the trends, yet many believe we set the trends. Obviously there is some primal beginning to such a conception. When the youth (or the fashion conscious; fashion used to mostly target women in their mid-twenties, now primarily the youth - or teens - are now addressed) are questioned in todays society, their answer is the media
[3]

. The media, through utilization of outlets such as magazines, newspapers, television, radio,

and the World Wide Web or Internet, transports information regarding the fashion system. However, media is simply the messenger and conveyer, promoting its products. So when and where did the concept of fashion begin? There is a general belief that fashion is that of an idea concerning identity that first blossomed in the murky depths of prehistoric man. Heated debates are still held on the origin of clothes, and how man donned the first garment. The three main reasons where there is an overall agreement are for decoration, modesty, and protection purposes

4- One common belief celebrated, according to many scholars, would be that clothes were first discovered for decoration purposes - for example war decoration - even though protection and warmth became important soon after; their aspects werent discovered until wearing of clothes became habitual. The wearing of clothes for the purpose of modesty has everyone agreeing on its Biblical origins, with the most common example being the infamous fig-leaf-adorned Adam and Eve
[5]

The clothes that we wear reinforce the norms of a culture or sub culture. An example here is

female office workers can often be seen judging people of other sub-cultures that have brightly coloured hair, torn clothes and body piercing. It is through such judgements like these that a culture norm will be reinforced, but norms grow and change over time. An example of this is the change in what is considered acceptable to wear to the beach. What is being worn now would have had people arrested in the 1920s
[6]

. Today, youngsters and the fashion-conscious follow the trends set by society. Once,

however, the designers themselves set trends. From a humble private servant
[7]

To todays stylish fashion artist whom everyone clamours to be his or her dresser, the

designer has moved up high in society. Paul Poiret, Yves Saint Laurent, Christian Dior, and Givenchy are a few famous names to list. Currently, however, the designers dont set the fashion. What they produce and show on the catwalks and what is seen by celebrities, (including musicians, sports stars and actors) is then regurgitated and displayed to the rest of the world. Mass production manufacturers adapt a fraction of styles produced by designers but even then, only a certain proportion of these have caught on
[8]

. Thus the youth tend to follow those celebrities in the fashion world rather than following

recent up-market styles. An example of a highly fashionable and well-recognised celebrity would be David Beckham - one of the world's foremost media icons, his popularity transcending sport and cultural divides. A famous soccer star, his influence on the world is widespread. Bend it like Beckham (released 2002) is a movie about an Indian family in London trying to raise their soccer-playing daughter in a traditional way. Jess dream is to play soccer professionally like her hero David Beckham. The movie promoted a merging of vastly different cultures yet also demonstrated the influence of the western lifestyle on another countrys customs.

The medias contribution to this homogenisation is important as it displays the varying facets of fashion
[9]

. The media participates through satellite television by combining world news with fashion, too,

especially in the clothes department. An example here is the war chick look that has dominated our stores since the 2001 September 11 Twin Towers attack in New York. Fashion also plays a large part in establishing body image. Catwalk fashion models exhibit to promote the designer clothes they wear, while also endorsing body identity. They are icons looked up to and aspired too, especially by the Western youth. Individuals (particularly in developed nations) now show increasing concern with maintaining their bodies in the best possible condition, and the cult of looks is no longer aimed at a display of rank; it is experience as a way to stay young, to feel good, to maximise self-confidence. In the era of consummate fashion, the aesthetics of the body has become a matter of psychology and performance
[10]

. Models are also a source of unhappiness for many youth. Their thin yet tall builds are

imposed upon the consumer as being perfect, and dont necessarily preserve a healthy image amongst the standard body shape. The topic on eating disorders is a popular and disputable issue brought up by the general public who complain stereotyped images and goals are too hard for many youth to achieve. Fashion is not exclusive to clothing though. It extends to other areas such as decorative arts and branches of popular culture such as soft drinks and mobile phones
[11]

. With the United States of America having 8 brands in the top ten most valuable global

brands the foremost question raised asks: is America and other so-called Western countries exporting their cultures and values along with brands of shoes and cans of soft drinks?
[12]

. Performers and particular musicians often represent the fashion in a culture but in a more

pronounced way; with their clothing being extra sexual, more formal, flashier and trendy
[13]

. What musicians wear has an effect on the clothing that is popular. Blue denim made up a

large part of the rock culture, for instance when Bruce Springsteen wore red tag Levis in the mid eighties. Its probably no accident that red tag Levis in the same cut and featuring the venerable button up fly sold very well. Similarly in 1987 teenagers paid a premium price for worn and torn jeans bought new after Deborah Harry of Blondie wore a pair of standard tight fit jeans that were badly torn

[14]

. Musicians that are popular in western culture have an enormous influence on what is

fashionable and it appears that this is a trend that is continued overseas. Levi has higher sales growth overseas than it does in America. The American marketers of Levis have tried to make their product a symbol of American values that are still attractive overseas. Levi Strauss & Co. CEO Phillip A. Marineau said I think the core values of Levis - democracy, freedom, independence - certainly are viewed as the best of America and its virtues
[15]

Americas Hollywood plays a major role in establishing trends as well, and, as a result the

media is Hollywoods best friend. Hollywood films, and American television is extremely popular with the younger generation, as the media broadcasts this form of knowledge around the world, distributing western ideas and styles with it. Take for example trendsetters such as Jennifer Lopez. Singer-become-actor, J Lo has started up her own perfume company. She is very popular, influencing many youngsters with her style of clothing and music. Kylie Minogue, our favourite Aussie singer (also an actor), has launched her own Love Kylie lingerie line. These two artists are most likely seen on TV, on music channels such as Channel V a very successful station amongst the youth, or in the movie theatres (for example Jennifer Lopez in movies such as The Cell). Because satellite television can be obtained and movie screening almost everywhere overseas, the population that receives this information is greatly varied in race and culture. Take for example Kylies huge sensation in England. She was at the top of the chart for weeks with her song Cant get you out of my head. In non-westernised regions the effect of all this media exposure highly impacts the youth in the region. Wearing western clothing labels and styles is the epitome of in fashion for the wealthy younger generation. It is a social status issue with clothing serving as a representation of the wealthy and powerful for those who sport "real" labels and whom notice others who do and those who do not.
[16]

The youth are otherwise ostracised by their peers for not being in fashion.

Some Western companies are changing their marketing polices to suit the culture that they want to expand their business into. They are already adjusting their marketing approach so that it has a local flavour. An example worthy to note here is the tailoring of Pepsi Co. marketing so that it appeals more to an Indian market. Pepsi Co. has created an image based around the game of cricket, which is very popular in India. It uses local sport stars in its advertisements to make them more locally relevant. Along with the greater public face of the local advertisements in India, Pepsi has placed locals into management instead of moving management from other countries. Pepsis popularity has grown so much that when the Indian army had a key victory in the 1998

Kargil war an Army major shouted out the Pepsi slogan Yeh dil Maange? More! (This Heart Wants More!)
[17]

Nike uses a similar strategy with its promotion overseas of using sporting stars relevant to the

local area. The latest ad campaign for Nike was shot on different continents featuring sport stars from around the world, using such sporting stars as players from the NBA or Paris Saint Germain soccer players or the Brazilian soccer team. While adding a global flavour to their advertisements Nike are still promoting American values. With sporting stars, they are promoting the importance of winning as well as youth culture as objectives and goals to reach that are important in daily life. (Diamond R. 2003 p43) The marketing tactics of both Pepsi and Nike is seen to be a hybridisation of Western culture and other cultures. By adding a local flavour to their marketing campaigns, they are fusing cultures, adding different western values to create a hybridisation of societies the values that are already part of that culture. By creating a market using local stars these companies are both reinforcing local norms and values and at the same time making values that have not been part of that culture more accepted. The subculture group that is taking notice is the children of the transnational Indian elite (who) wear Nike shoes
[18]

. Taryn Shawstad, a world traveller interviewed for this essay said she observed most of the

youth wearing western jeans and the latest t-shirts

[19]

. They were generally well educated and wealthy.

However the older generations are not as comfortable with it. The same traveller was having a business meeting at an American franchised restaurant in Kuwait and saw one table full of women garbed in traditional robes which cover the whole body and the rest of the restaurant filled with middle age women wearing conservative styles, still covered. When two teenage girls walked in on the arms of boys wearing mini skirts and little tank tops one table actually stood and left. There is a counter movement in youth generations as well, with some choosing to still dress in the time-honoured fashions. Take for example Kabuls first girl band The Burqa. Discussed in Week 8, this girl band still hold upright their traditional garb, clothed head to toe in burqas, even though laws in Kabul now permit women to wear normal dress by Western standards

[20]

. The western world is being influenced by non-western fashions, but the cultural impact is

negligent. Although most clothing sold in developed countries under brand names is actually produced in the non-western world the population is largely ignorant of this. When western countries borrow the styles and fabrics of undeveloped countries it is independently. They are not working with businesses from that culture although they go to a Third World country and get their goods and then mark up prices
[21]

. Businesses then make minor alterations in the appearance or marketing of the fashions and

sell them as a taste of other fashions. Other is the concept of societies seeing those unlike them as fundamentally different. It is both a form of homogenisation and cultural clash
[22]

. It arouses questions of cultural ownership and co modification in the immigrants from those

countries
[23]

. Immigrants report mixed feelings of pride that their cultural fashion is being accepted and

anger at the loss of individuality that the fashions once offered them. There is a certain resentment of what they see as the unfair appropriation of cultural markers and practices that are rightfully theirs, and which hold a specific cultural meaning that is derived from their "proper" use which they do not see Westerners as understanding
[24]

. Still with the production methods used by multinational corporations they are able to flood

the market with cheap mass produced goods, causing a decline in the ability for local industries to be productive independently
[25]

. A perfect example of the effects this has on countries is in Bengali where they were known

for being able to produce a cloth so fine that long shawls could be pulled through a ring
[26]

. They no longer supply the countries textile industry due to early British colonialism that

destroyed local industries to open a market for their products. They claim those cloths dont meet the quality standards of industrialized nations. The production methods for the new globalised fashion world take advantage of women and children from these non-western countries. Economists see it as liberalisation, offering women a chance to become free and independent economically
[27]

. While it is true that working offers many young women a chance to have their own money in

practice this has not helped advance their status in society. The industry ensures they cant form

unions to argue for better working conditions or reasonable wages because less security for the workers makes corporate profits more secure
[28]

. Workers are compelled to work overtime for which they are often not paid in conditions that

are hazardous to their health

[29]

. On payday their checks often disappear into the hands of unemployed husbands and every

night they are still rushed home to cook a delicious dinner and are expected to fulfil all their domestic tasks
[30]

. To accommodate this form of labour women are changing the pattern of family. They are

marrying later, putting off having children, and having fewer children
[31]

. Western fashion is used as a status symbol in non-westernised countries where capitalist

ideas are being integrated into the culture. The clothes represent wealth, power, education, and individuality. They also confer a persons status and identity in society, with many belonging to sub cultures that follow a particular sect of that society. Western cultures that adopt styles from other countries do so in an assimilating way. They are reinvented as New Age or feminist ritual, as rave or body art style
[32]

, their foreignness neutralized and the products made safe. Popular artists, sports stars and

celebrities in society are trendsetters, and their fame is spread through the various forms of media therefore influencing the youth around the world and their attitudes. Families in nonwesternised countries are being restructured and shifted to accommodate the western worlds production schedule. Women are also working more and being liberated in a sense, but their subordinate roles in corporations and at home remain. Overall, fashion determines our status in the world at one given time, and the influences and effort created by Western and non-Western cultures that have gone behind the making of our identity today.

Globalization Inspires Spring 2008 Fashion

With our world being in the state that it is, the economy shaking the foundation of everything desired by the American Dream, and globalization threatening the competition between super powers and countries of poverty - designers can only be inspired by what hits nearest to home. Not only is our world taking a more global (cultured,worldly) spin fashion is beginning to become creative again ... based off of key factors such as politics, the economy, nationality, culture, war, love, femminity, color, and adventure. Spring Season of 2008 features ready to wear items that interpret a theme, idea, or issue to the fashion industry - areas of culture (tribal, safari), pattern (geometric), color (neon, color blocks), texture (beading), transparency (bare market), femminity (whimsical, romantic), and artistry (art, architecture, hippie). Fresh inspiration creates excitement for fashionistas who crave culture and expression in their closet. An individual who does not base her opinions off of main stream ideas (fads) or what the media suggests to be popular (pop culture). Such a fashionista is beaming with delight at one mere glance at this season's runway collections. Missoni and Balenciaga are featuring vintage florals while Burberry and Manolo are featuring glam safari and tribal pieces. Zac Posen is leaning towards neons and Marc Jacobs/ Louis Vuitton are both grabbing transparency (bare market) by the horns. It is not solely the fashionista who appreciates a fresh muse of design. The trendy and fad obsessed also gravitate towards this season's more substantial approach to spring fashion because it is what the runway suggests is the new it look. Of course, Victoria Secret and Forever 21 are going to immitate the runway and create their knock off versions and cater to the fickle fashion slave who wants the hottest item of the season and does not mind disposing of it once it is considered out. Not only is globalization merging the competition between continental super powers (USA, Britain, UK) and countries of poverty (India, China, Brazil) to a level playing field - globalization is also causing the high end unique fashionista and the trend savvy fad obsessed fashion slave to both admire the Spring Season's runway collection. Since when has our global economies and fashion hungry citizens agree in such unison? And what will really happen when the entire playing field is level - will there be any need for competition or any motivation to outdo your neighbor? Any reason to better yourself or improve your ways of thinking?

The world cannot be round - the world is becoming flat. As well as the gap between the fashionista and the fashion slave. We are all in a global melting pot and will eventually become one globe, one world, one idea. Its a scary thing to think about we may no longer have a way to distinguish ourselves and promote our own unique self expression. In the western world, fashion journalism is amongst the highest paying genres of journalism. The fashion reporters, editors, columnists and writers are sent to various international fashion shows, in order to put all the information together. They are given various Press privileges and are considered an important aspect in promoting ones collection of clothes. In fact, international fashion critics are paid so well, that nothing and no one can buy them into writing a false flattering review about the line showcased. They are levelheaded and are well trained in the minutest details of fashion technology. However, the sad part is that this is not so where Indian fashion journalism is concerned. There is no such formal training in this genre of writing. Most of those in the field of writing on fashion are those who have been shifted from one beat to another. Or then, there are fashion designers who are invited to write articles. Fashion articles are not about praising what one likes, and running down what one does not like. It is not about personal choice. In fact, when writing these articles one's personal choice needs to be put into the backyard, and kept there safely. One needs to look at every aspect openly and then critically appreciate a fashion designer's work. Another unfortunate aspect of fashion articles in India is that journalists are given assignments in which they are briefed to enter into the personal domain of the designer. And so, all readers know about the personal lives of the renowned designers. However, technical aspects of their designing preferences, their opinions on fashion, their understanding of present trends is a rare occurrence, but the gossip is always printed. Most designers are known because of their scandals, rather than their work. Even though there is no specialized course in fashion journalism, then one aspiring to specialize in this genre one should at least attend a diploma course in fashion designing and technology to get a grasp of the finer details of what the field is about. This way one will be able to piece together informative articles, rather than something frivolous.

Importantly in order to write articles on fashion one needs to network well with people from the field so as to get the vital details and provide all-important information. After all those interested in fashion related articles are either aspiring designers, or those interested in latest trends. Pinning a few photographs of a designer's latest work is of no use, unless basics of design, fabric and cut are not explained. With globalization and opening up of the Indian economy, Indian fashion designers have several opportunities for their growth. Indian fashion industry is rapidly growing everyday. Indian fashion designers are combining western trends with Indian touch. These garments are truly outstanding and helped India to make a name for itself in the international fashion industry. Indian fashion designers have surely made a name for themselves in the fashion industry world over. The craze for Indian garments like the sari and the salwar kameez in foreign countries is because Indian fashion designers have taken Indian fashion abroad. Indian fashion designers are expressing their creativity at its best. They are combining various fabrics to give excellent collection of dresses. Fashion designers today are expressing their imaginations best on clothes. A fashion designer has to be fashion savvy and the knowledge and experience of basic skills and techniques is a must. More and more fashion designers are trying to be innovative with their works. Custom made outfits and designer dresses are something that most people look for. The media also plays an important role in the fashion industry and good coverage is provided to the fashion world through films. Some of the famous Indian fashion designers are Aki Narula, Abu Jani & Sandeep Khosla, Anamika Khanna, Anita Dongre, Anna Singh, Surily Goel, Sabyasachi Mukherjee, Ritu Beri, Neeta Lulla, Vikram Phadnis, Manish Malhotra, Anchal Kumar, Wendell Roderick, Ashish Soni, Sonal Dubal, Kiran Uttan Ghosh, Narendra Kumar Mehtani, Priyadarshini Rao, Rohit Bal, Geetanjali Kashyap, Hemant Tridevi, J J. Valaya, Krishna Mehta, Lina Tipnis, Malini Ramani, Priyanka Modi, Rina Dhaka, Rocky S, Raghavendra Rathore, Satya Paul, Shantanu Goenka, Tarun Tahiliani, Vijay Arora and many more.

Fashion designers have contributed greatly to create an international market for Indian clothes. Thanks to the Indian fashion designers, India now enjoys a prominent place in the international market with its traditional handloom fabrics, excellent quality silks, satins and vibrant dyes. Fashion trends are such that they constantly change and Indian fashion designers make a constant effort to keep themselves updated with these trends. The people in the merchandising and marketing of fashion garments need to have a good knowledge of fashion trends and fashion fads. Fashion designing as a career has surely become a viable option for aspiring designers. The field not just offers good remuneration but also provides with the excitement and glamour at the same time. With the increase in demand for the professional fashion designers, the salaries and remuneration are very likely to increase further. The top Indian fashion designers are highly original and innovative. Most of the crmede-la-crme of the society opts for designer wear from the fashion designers personal studio.

The latest India fashion news, trends.

Introduction: From leaves and the barks of the trees, the garment history of the world has constantly been witnessing major changes with each passing era. And in the last century the changes have been prominent and happening every few years. And in the last decade there is a shift in trends and fashion every six months. This has been a conspicuous part of the Indian fashion industry that is growing by leaps and bounds. Just like Paris, Milan and other international fashion destinations have their seasonal showcasing of fashion designers; similarly this trend has become a part of the fashion scene in India. The largest domestic cosmetic company hosts the fashion week that occurs twice a year. It not exhibits renowned designers, but also is a platform for new designers too. And interestingly vendors from across the globe visit the fashion shows to make purchases for their markets. Thus, India today, is also marked on the international fashion map. However, for those who have not known this, after China, India has maintained the position of being the second largest job-worker for international brands. It is the largest exporter of garments. But, the scene is different today; as the nation has a closet of fashion designers who are also creating trends across the globes, instead of letting India simply follow world trends. While the western fashion of jeans and skirts seem to dominate the scene, yet the traditional salwar kameez, chudidar kameez and sari, continue to be a primary theme in India's fashion. In fact, Indian fashion designers have created a new category of clothing, which is showcased as the indo-western line or collection of clothing. In this collection the designer blends the dominant trend of the western world into the Indian dress. But no matter what maybe dominating the fashion designing scene, yet India has contributed the most gracious of garments in the form of the traditional sari. This is the signature of the true Indian woman. It is a garment that brings out the sensuality of Indian beauty.

It is a versatile garment that can be draped in various ways, and is as diverse as the number of States in the nation. When the world thinks of Indian fashion, it is the picture of a woman in a sari that first comes to mind. INDIA HAS COME a long way from its khadi days. Its fashion industry has become as glamorous and profitable as its counterpart in other parts of the world. Like in the past, there are no longer only tailors, but also globally competing brands. The country has now a diverse and extensive manufacturing base and caters to the demands of global buyers and also the not-so-demanding home consumer. Despite the forward leap, marketing still remains a bit iffy. And, this was evident at the Lakme India Fashion Week 2006. The pageants hype could not hide the reality of international buyers reluctance to be lured by Indian fashion products. The domestic and international participation has gone up considerably, but the event held from October 31 to November 4 had only a few international buyers. But there are still reasons to smile, as the show this time was an improvement over the last time in terms of participation and its impact. Indian fashions greatest challenge, it appears, lies in the separation of fluff from what can be termed as serious fashion, making it difficult to make inroads into the global market. After flunking for years, this years show raised hopes with some fashion gurus focusing on the wearability aspect. But most others churned out stuff that was not only unappealing but also unwearable. The designer community, despite the pretence of being creative and alive to the requirements of the trade, hardly put up enough evidence to pass the test. But there is no denying they have the potential to cash in on the globalization of the fashion market and already ensured that Indian motifs, fabrics and flavours are not only seen as on odd bindi on a Madonna. The countrys fashion industry has never been able to benefit from the brand equity due to a combination of factors from irrelevant designs, uneven quality of materials, shoddy workmanship to a sorry inability to keep up with the frenetic pace of international fashion, which requires long-term planning If, with the just-concluded Lakme India Fashion Week, the fashion industry has given notice of its intentions to put its best foot forward, it should remember it still has an extremely long way to go.

Globalization of Indian Textile Industry

The initiation and development of globalization and Indian textile industry took place simultaneously in the 1990s. The Indian textile industry, until the economic liberalization of Indian economy was predominantly an unorganized industry. The economic liberalization of Indian economy in the early 1990s led to stupendous growth of this Indian industry. The Indian textile industry is one of the largest textile industries in the world and India earns around 27% of the foreign exchange from exports of textiles and its related products. Further, globalization of India textile Industry has seen a paradigm increase in the 'total industrial production' factor of this Industry, which presently stands at 14%. Furthermore, the contribution of the Indian textile Industry towards the gross domestic product (GDP) of India is around 3% and the numbers are steadily increasing. The process of globalization and Indian textile industry development was the effect of rapid acceptance of 'open market' policy by the developing countries, much in the lines of the developed countries of the world. The initiation and its subsequent development of globalization and Indian textile industry respectively, was effected by the Ministry of Textiles under the Government of India. The aggressive policy that was undertaken for the rapid development of globalization and Indian textile industry were really praiseworthy. The most significant step amongst them was introduction of "The National Textile Policy 2000". This policy envisaged to address the following issues Increased global competition in the post 2005 trade regime under WTO Huge import volume of cheap textiles from other Asian neighbors High production cost with respect to other Asian competitors Use of outdated manufacturing technology Poor supply chain management and huge transit cost Huge unorganized and decentralized sector

Further, this policy also aims at increasing the foreign exchange earnings to the tune of US $ 50 billion by the end of the year 2010. It includes rational projections for the overall development and promotion of all the sectors involved directly or indirectly with the

Indian textile industry. Furthermore, this policy also envisages the inclusion of the huge unorganized and decentralized Indian textile sector under the organized textile industry. This is because the unorganized textile manufacturing sector in India accounts for 76% of the total textile production. The globalization of the Indian textile sector was the cumulative effect of the following factors Huge textile production capacity Efficient multi-fiber raw material manufacturing capacity Large pool of skilled and cheap work force Entrepreneurial skills Huge export potential Large domestic market Very low import content Flexible textile manufacturing systems Man-made Fiber Filament Yarn Industry Cotton Textile Industry Jute Industry Silk and Silk Textile Industry Wool & Woolen Industry Power loom Sector

The Indian textile industry consist of the following sectors -

Indian fashion industry becomes global

As more and more fashion designers recognised the potential of the country to provide ample ground for their creations, they went on a designing spree and brought about a renaissance of sorts in the Indian fashion industry.. CJ: Manab J. Kharkatary , 2 Mar 2008 THE INDIAN fashion industry has certainly come off age since the days when all that it could muster were the names of a few known designers like Rohit Bal, JJ Valaya, and Ritu Beri in the circuit. The present fashion circuit is laden with several talented designers who are well known for their expertise in their respective domains, not only in the national arena, but in the international podium as well. So, what really influenced the growth of the Indian fashion industry to such a phenomenal degree? The answer is not very difficult to unravel. India is one of the oldest civilisations in the world, presenting itself as the converging point for a large number of cultural groups professing varied customs and traditions. Respective customs and traditions bind each of these groups to adopt their own way of dressing, thereby inspiring budding fashion designers to experiment with a huge plethora of options. What is noteworthy in this context is the fact that no matter how large the array of options there are for the designers, their final designs always portray an element of ethnicity that acts as a major crowd puller in the markets. As more and more fashion designers recognised the potential of the country to provide ample ground for their creations, they went on a designing spree and brought about a renaissance of sorts in the fashion industry. The generally adopted way of dressing up in the traditional clothing gave way to the adoption of a new cosmopolitan way of dressing that was highly fashionable and was the right clich to woo the GenNext. Very soon, magnified by the large-scale appeal of these contemporary creations among the trend aware population, which comprised of more than the up-scale urban crowd, a new wave of promotional campaign was ushered in. Tasting initial success with their abstract creations, designers sought to take the couture culture to the next level through road shows and fashion shows in major parts of the country. The gimmick, of course, worked perfectly as expected and made the designers pretty well known faces, owing to the media exposure of the events.

Colourful fashion trends of India

With the end of the 20th century came the end of all hype which has created a more practical and pragmatic environment and has given a more stable picture of the fashion business. In the 50s, 60s and 70s, the Indian fashion scenario wasn't exactly colorless. It was exciting, stylish and very graceful. There were no designers, models, star or fashion design labels that the country could show off. The value of a garment was judged by its style and fabric and not by who made it. It was regarded as ever so chic and fashionable to approach any unfamiliar tailor, who could make a garment for a few rupees, providing the perfect fit, finish and style. The high society lady, who wore it, was proud for getting a good bargain and for giving her name to the end result. In 60s, tight 'kurtas', 'churidars' and high coiffures were a trend among ladies. It was an era full of naughtiness and celebration in arts and music and cinema, manifested by liberation from restriction and acceptance of new types of materials such as plastic film and coated polyester fabric. The 70s witnessed an increase in the export of traditional materials outside the country as well as within. Hence, international fashion arrived in India much before the MTV culture with the bold colors, flower prints and bell-bottoms. Synthetics turned trendy and the disco culture affected the fashion scenario. It was in the early 80s when the first fashion store 'Ravissant' opened in Mumbai. At that time garments were retailed for a four-figure price tag. The '80s was the era of self consciousness and American designers like Calvin Klein became popular. In India too, silhouettes became more masculine and the 'salwar kameez' was designed with shoulder pads. With the evolution of designer stores in Mumbai, the elegant fashion design culture was a trend among Indians along with their heavy price tags. No doubt that a garment with a heavy price tag was at the bottom stage of fashion. But clients immediately transformed into the high fashion fold where they were convinced that that the word 'elegant fashion design culture' means, it had to have a higher price tag.

Garments were sold at unbelievable prices only because the designers had decided to get themselves noticed by making showy outfits and getting associated with the right shows, celebrities and events. Later, fashion shows shifted to competitive events each attempting to out-do the other in theme, guest list and media coverage. For any newcomer, the fashion business was the number one professional art that time. In the 90's, the last decade of the millennium, a move towards the drastic pairing down returned with ethnic wears (Today, ethnic wear market in India is accounted to Rs. 9000 crore). This led to the decline and the recession, the push to sell at any cost and keep staying in the limelight. With heavy cut throat competition and sound awareness of the client, the inevitable occurred. The price tags, which had once reached at a peak, began their downside journey. At those times the downturn was not only being experienced in the price tags of the garments, but also in the business of fashion shows. More models, choreographers, makeup men, hairstylists and designers streamed down into their business. The fun and party time in the Indian fashion scenario had not ended with this, but continued. It was a point, where it reached at a certain steady level and from there, in the beginning of the 21st centaury, with new designers and models and some sensible designing; the fashion hype accelerated its speed. Indian fashion industry spreads its wings globally For the global fashion industry, India is a very big exporter of fabrics and accessories. All over the world, Indian ethnic designs and materials are considered as a significant facet for the fashion houses and garment manufacturers. In fabrics, while sourcing for fashion wear, India also plays a vital role as one of the biggest players in the international fashion arena. India's strengths not only depend on its tradition, but also on its raw materials. World over, India is the third largest producer of cotton, the second largest producer of silk and the fifth largest producer of man-made fibres. In the international market, the Indian garment and fabric industries have many fundamental aspects that are compliant, in terms of cost effectiveness to produce, raw material, quick adjustment for selling, and a wide ranges of preference in the designs in

the garments like with sequin, beadwork, aari or chikkon embroidery etc, as well as cheaper skilled work force. India provides these fashion garments to the international fashion houses at competitive prices with shorter lead time and an effective monopoly in designs which covers elaborated hand embroidery - accepted world over. India has always been considered as a default source in the embroidered garment segment, but the changes of rupee against dollar has further decreased the prices, thereby attracting buyers. So the international fashion houses walk away with customized stuff, and in the end crafted works are sold at very cheap rates. As far as the market of fabrics is concerned, the ranges available in India can attract as well as confuse the buyer. A basic judgmental expectation in the choosing of fabrics is the present trend in the international market. Much of the production tasks take place in parts of the small town of Chapa in the Eastern state of Bihar, a name one would have never even heard of. Here fabric making is a family industry, the ranges and quality of raw silks churned out here belie the crude production methods and equipment usedtussars, matka silks, phaswas, you name it and they can design it. Surat in Gujarat, is the supplier of an amazing set of jacquards, moss crepes and georgette sheers - all fabrics utilized to make dazzling silhouettes demanded world over. Another Indian fabric design that has been specially designed for the fashion history is the "Madras check" originally utilized for the universal "Lungi" a simple lower body wrap worn in Southern India, this product has now traversed its way on to bandannas, blouses, home furnishings and almost any thing one can think of. Recently many designers have started using traditional Indian fabrics, designs and cuts to enhance their fashion collections. Ethnic Indian designs with batik cravat, tie-and-dye or vegetable block print is 'in' not just in India but all across the world. In India, folk embroidery is always associated with women. It is a way of their self expression, and they make designs that depict their native culture, their religion and their desires. Women embroider clothes for their personal use, and the people linked with the pastoral profession prepare embroidered animal decorations, decorative covers for horns and foreheads and the Rabaris of Kutch in Gujarat do some of the finest embroidery. Embroidered pieces are made during the festivals and marriages, which are appliqu

work called 'Dharaniya'. One of the significant styles of Saurashtra is 'Heer' embroidery, which has bold geometric designs, woven on silks. The Mutwa women of the Banni area of Kutch have a fascinating embroidery where they make fine embroidery works with designed motifs and mirrors in the size of pinheads, the Gracia jats use geometric designs on the yoke of long dresses. Moreover, the finest of quilts with appliqu work are also made in Kutch. Garments embellishment with bead work is another area where it in demand in the international market. Beads are used to prepare garlands and other accessory items like belts and bags and these patterns now available for haute couture evening wear too. According to a survey, in recent times Indian women have given up their traditional sari for western wears like t-shirts and shorts, as they feel more comfortable in skirts and trousers instead of saris and salwar kameez. It's been noted that women spend just $165 million on trousers and skirts against 1.74 billion dollars spent by men on trousers. With more women coming out to work, the (combined) branded trouser and skirts market has been increasing at a whopping 27 per cent in sales terms. Women feel that Western clothing is more suitable, particularly when working or using public transportation. Many corporate offices are also in favor of their employees wearing Western wear. In India, Western inspiration is increasing due to the influence of TV and films. Besides, shopping malls selling branded clothes have also mushroomed in India and are fascinating the youngsters. Recently, designer wear is being promoted through store chains such as Shopper's Stop, Pantaloons, Westside, etc. Companies such as Raymond and TCNS have also set up their exclusive stores for designer wear such as Be: and W. The market of India fashion industry Recently, a report stated that the Indian fashion industry can increase from its net worth of Rs 200 crore to Rs 1,000 crore in the next five to ten years. Currently, the worldwide designer wear market is amounted at $35 billion, with a 9 per cent growth rate, with the Indian fashion industry creating hardly 0.1 per cent of the international industry's net worth. According to approximations, the total apparel market in India is calculated to be about Rs 20,000 crore. The branded apparel market's size is nearly one fourth of this or Rs

5,000 crore. Designer wear, in turn, covers nearly about 0.2 per cent of the branded apparel market. At present, the largest sales turnover within the designer wear segment is about Rs25 crore, with other well-known names having less turnovers of Rs10-15 crore. In view of the prospects of the Indian fashion industry for growth, the figures are not very hopeful. The figure of fashion industry The organized market for designer apparel is about Rs 250 crore Designer wear calculates to less than 1 per cent of the apparel market The global market for designer wear is 5 per cent of total apparel market The global market for designer wear industry is largely dependent on the small-scale sector Consumers for designer wear have a yearly household income of Rs 10 lakh-plus. There are 3 lakh such households developing at 40-45 per cent Designer wear industry is projected to increase to Rs 1,000 crore by 2015. More than 81 per cent of the population below 45 years of the age is fashion conscious. Many fashion designers and management experts foresee an average growth of about 1012 per cent for the Indian fashion industry in the coming years. Though, the growth rate could be more than 15 per cent, if infrastructural and other logistical bottlenecks and drawbacks are over come. India needs more effort to overcome However, despite the benefits available in India there are also some disadvantages. India is not a remarkable player in the global market with reference to brands because of its inability to add value to products. This is observed by the fact that nearly 50 per cent of its exports are apparel and made-ups where value addition is essential. Likewise, 75 per cent of domestic apparel market is commoditized and unbranded and very few Indian

brands do survive in the foreign markets. Evidently, the Indian market has not made a strong stand and hence it is difficult to make Indian brands that can compete with global brands in India. Another reason for the fashion industry's inadequate growth is the limited experience of the designers and the platform they are offered. The insignificance stalks from the reality that most of the young talent is hired by the bigger names to work in their studios, thus imprinting their work with the label of the big designers. Though performing individual presentation is not an alternative choice for most of the young talent, because of the limitation of finance, a beginner designer's name fails to come to the forefront. Another thing, with regards to the ramp, is what the designers offer is barely appropriate to be worn ordinarily. You'll see there's dissimilarity between what is there on the ramp and what the Page Three crowd wears. Some believe at present the fashion is in, but the tendency hasn't changed much as it is the old ones coming back. We have had short kurtas, long kurtas, flowing skirts, etc. coming back into fashion with only a new variety of designs. Many management consultants and professionals believe that the Indian fashion industry will be boosted if the new comers are paid proper attention. What they require is more support so that their work gets due recognition. According to the consultants and professionals there should be a panel of people who choose designers for showcasing according to their work and not their name or who they've worked for earlier, and hence selection would be purely based on quality. Besides this, the panel of judges should comprise of people from the fashion schools rather than designers. It has been observed that the media-hype around the big designers and blatant commercialism has hindered business in the Indian fashion industry. No clear cut picture is provided about the feasibility of the products. Basically it is only the famous names that are being talked of. What they offer is not quite daily-wear. The entire focal point of the industry is on commercialism. The discussion is only regarding how much is sold and for what price and nothing about the designs or styles. Efforts to develop global fashion brands

It needs innovative designers, a seamless supply chain, control over retail and distribution and concentration of quality while dealing with some image. While a few have accomplished something in the west covering Tommy Hilfiger, Gucci, Zara, Armani, Versace, Ralph Lauren, etc, India has not been capable to track on. A serious reason for India not being successful has been its isolation in the fashion system. Each stakeholder including designers, exporters, textile players and retail chains need to come together along with the government to make sure that the position of Indian fashion is strong in the coming years. There are various agencies and industry associations that can support in brand-building practice. Many of these agencies require attractive resources and making a global image of Indian fashion rather than independently trying to promote particular brands or textile segments. Efforts to create strong global image Large textiles players require more and more to target on the market facing activities while developing an association with small medium enterprise (SME) clusters. Such kind of networks would be a benefit to that which can focus on demand making and branding as well as for clusters that can focus on quality production. Efforts to create value networks After the entry of large retail chains like Wal-Mart, Gap etc in India, Small scale manufacturers in India will find it very difficult to satisfy the demands of these international buyers if they continue to promote their products individually. Therefore, it is very important that value networks are created between large textile and apparel companies in India and small scale manufacturers, so that the marketing muscle of the leading players can be utilized for receiving large orders while the bigger players then assign the orders to the small-medium enterprises according to their past record of quality and service. For this to be put into practice, it will be vital to well-organize the information on small-medium enterprise clusters in a perfect manner so that supplier selection decisions are made according to the information in the long run, only the more efficient small-medium enterprise players survive and develop. Efforts to concentrate on designers and designs

Designers have a fundamental role to play in the future of Indian fashion scenario. There should hence be an effective process for preparing these designers. This can be done by sponsoring exchange programs with international schools, increasing participations in the fashion capitals of the world, motivating and offering business incubation to new designers and rewarding efforts through proper design awards. Even in India, well-known designers are incapable to tap finances from well-organized resources, since a vital part of their assets are brands and design talent which are not measured in terms of money and hence it becomes difficult to judge the value. This has severely inhibited their development and capability to raise retail existence across the country and abroad. Likewise, there is no systematic approach of existence in the fashion capitals of the world like Paris, Milan and New York. Due to this, designers have to depend on their personal contacts and relationships for organizing fashion shows and making retail alliances. The French government as well as the British government helps designers of their particular countries appreciably in these areas as they understand that value creation through design is the only way to carry on in the competitive landscape of the global fashion industry. The Indian government and related agencies should also accept this aspect of textile, apparel and fashion industry sincerely if they need to see India on the global fashion map. Work in collaboration: designers-corporate efforts Designers and many organizations can work globally through various models and with many working relationships. The Indian fashion industry has many views but only one such model, wherein a designer creates a retail venture with his/her own brand through organized retail chains. There are many other models according to brand ownership and division of operational activities. Globally, many models of collaboration between designers and corporates are available. For example Ralph Lauren has made an agreement with Jones Apparel for producing and retailing various Polo brands. Likewise, Armani had an agreement with Zegna for production, even while it was competing with them in the marketplace. There are many cases of designer brands being co-owned by the designers and corporates, GucciAlexander McQueen and Gucci-Stella McCartney being some of them.

In the end, many designer businesses have been obtained by corporates where designers play a major role in the design elements of the business, but the brand and the organization is owned completely by the corporate. The current possession of Calvin Klein by Philips Van Heusen and earlier holdings of Hugo Boss and Valentino by Marzotto are some related examples in this segment. These examples strongly point out that not only designers find such relationships important for development, but also corporates find these attractive for rising their profitability and growth. Likewise deals in India could go a long way in developing the brand values of corporates and designers. Developing clusters Making common infrastructure for functioning such as design and sampling, affluent treatment, product testing, etc can help in increasing the capability of the clusters since noteworthy investments could be made by the cluster itself rather than any single player. Well-managed databases can help in decreasing search costs and through data mining, rating of players can be done so as to make the procurement process easier for buyers. Cooperative marketing programs at different clusters can also support players to grow up in the value chain by mixing their strengths within the cluster. Cluster based battle in the fashion industry is characterized by the Italian industry. The National Chamber for Italian Fashion for example, supports the development of the fashion clusters at Milan and Florence in a well organized manner. Indian industry can learn a lot from Italy because India has a similar cluster based scattered production base, but has been incapable to link it with design and branding capability. If the above activities are successfully considered, India could have an extraordinary development in the fashion industry, which could increase from a negligible size to Rs 8,000 crore in the coming decade.

Chapter II Review of Literature

Review of literature
Fernie,(1998), studied that the focus of this paper is two-fold. First, it examines the growth strategies adopted by fashion design houses to transform and reposition their businesses from relatively small, niche-market and privately-owned companies to stock market listed conglomerates which produce fashion and lifestyle products aimed at a lucrative and international middle retailing market. The second is to consider the geographical implications of these strategies as illustrated through an examination of their locational impact on London and New York. The findings of this research suggest that both cities have experienced unprecedented and parallel patterns of development, apparently as a result of the aggressive expansion activities of fashion designer companies. As such, the paper highlights the impact of internationalisation and strategic growth at the micro environmental level. Diana (1999), According to production of culture theory, small organizations are more likely to produce innovative cultural products than large organizations; large organizations constitute oligopolies that control their markets and remain innovative by coopting smaller organizations, along with their creative talent. A study of the luxury fashion market shows that a few large companies controlled by conglomerates dominate the market in terms of sales but have little influence on styles. Rather than coopting smaller firms, large firms use the myth of the designer as artist and connoisseur to enhance the saleability of products other than clothes, although the designer is increasingly an employe rather than an owner or a manager. Whether small firms influence styles depends on economic conditions that affect their capacity to compete with larger firms. Moody, S. and Quotes, P. (2002), studied that the overarching issue as the world enters the 21st century is how to develop in a sustainable fashion. In this regard, there are two key challenges: providing energy for sustainable development; and establishing global governance structures that will support sustainable development. With respect to the energy challenge, a first step is to ensure that energy is used more efficiently so that demand in developed countries can be reduced. Moreover, businesses should set greenhouse gas emission reduction targets. A further step needs to be the creation of a

cap and trade system for greenhouse gas emissions. Businesses, non-governmental organisations (NGOs), and government must work in partnership to achieve these goals. Governance structures must develop regulatory frameworks within which the market can operate as well as ensure that such regulations and laws are respected. Sahay, B. and Mohan (2003), studied that Increasing uncertainty of supply networks, globalization of businesses, proliferation of product variety and shortening of product life cycles have forced Indian organizations to look beyond their four walls for collaboration with supply chain partners. With a gross domestic product (GDP) of over US$474.3 biilion, the Indian industry spends 14 percent of its GDP on logistics. Considering this scenario, it is necessary to study the supply chain practices being followed by the Indian industry and to suggest areas for improving the same. This paper is based on a joint survey, covering 156 organizations, carried out by Management Development Institute, Gurgaon and KPMG India. The paper primarily focuses on the status of four major supply chain dimensions. The paper recommends that the Indian industry should align supply chain strategy with business strategy, streamline processes for supply chain integration, form partnerships for minimizing inventory and focus on infrastructure and technology deployment to build a India-specific supply chain. . Marzo et al. (2004), Globalization, competition and market saturation have caused a growing interest by firms in developing strategies directed at creating brand loyalty among their customers, especially in markets with low growth rates. In order to reach this objective, relationship marketing must be applied, which considers the mutual benefits derived from the creation of stable relationships between buyers and sellers. The study herein developed analyses the existence of groups of customers from the service sector who value the offer of relational benefits by the organisation, in which benefits are centred basically on the relationship with the contact personnel. As a result, the customers state greater levels of satisfaction with and loyalty to the organisation. Jackson, P. (2004), conducted the study that was focusing on the resilience of distinctive local consumption cultures, this paper challenges some of the more sweeping claims that

have been advanced in the name of 'globalization'. Thinking about a 'globalizing' rather than a fully 'globalized' world encourages us to examine the deeply contested nature of the concept and to explore the geographically uneven nature of recent economic, political and cultural transformations. This paper approaches globalization as a site of struggle rather than as an established fact, emphasizing the need for empirically grounded studies of the impact of 'globalization' on consumer cultures in different geographical contexts. The paper examines the way that producers have 'customized' their products for different markets (drawing on evidence from China and South Africa). It then reviews case study evidence from three contrasting consumption cultures: consumption and 'public culture' in India, 'consumer nationalism' in China, and 'artful consumption' in Russia. The paper concludes by identifying some current debates and outlining some directions for future research, including a re-emphasis on consumption and material culture; an exploration of consumption as social practice; the delineation of commodity-specific consumption cultures; and some reflections on the political, ethical and methodological issues that are being raised in contemporary consumption research.

Chapter - III
Need, Scope and Objectives of the Study

Need of the study

Fashion industry has been grooming from recent decades and hence it has now got an added advantage in this globalize era. Various changes that has been incorporated in fashion industry now-a-days. It becomes imperative for the individuals to know the trend and the current scenario of fashion industry in this globalization period. The need of this study is to analyze various factors that are affecting fashion industry, the need of change in this industry and the trends that are prevailing in this industry.

Scope of the study

The study is limited only to Jalandhar city.

Objectives of the study

Objectives of the study are as follows: To study the concept globalization in fashion industry and to check awareness level of individuals to the same regard. To find out the characteristics and factors that are responsible for globalization in fashion industry. To study various reasons behind the boom in fashion industry. To study the impacts of fashion industry on Indian economy. To study the benefits of globalization in fashion industry. To find out the negative impacts of globalization in fashion industry.

Chapter IV
Research Methodology

Research Methodology
Research methodology is a way to systematically solve the research problem. It may be understood as a science of studying how research is done scientifically. In it we study the various steps that are generally adopted by a researcher in studying the research problem along with the logic behind them. The research frame for the study is given detailed below. The purpose of research is to discover the answer to question through some specific procedure. Topic of the research This is first stage in the research process i.e. definition of the problem and the research objective. In this project the main objective is to know the globalization in fashion industry. Research Design A research design is a framework or blueprint for conducting the marketing research project .It details the procedures necessary for obtaining the information needed to structure or solve marketing research problems. A descriptive research study is done, which is concerned with describing the characteristics of a particular individual or group of individuals. Sampling Population/ universe:Universe is total population among which the study will be done, to study the globalization in fashion industry in India. Sample Size Sample size is the number of individuals to be taken for the research study. Sample size for this study is 50.

Sampling Unit Sampling unit refers to eligible individual respondent. In this study the sampling unit is single individual person who is a professional in any public or private company or any other institutions. Sampling Technique Convenient sampling technique is used to determine the globalization in Indian fashion industry. Data Collection Sources of Data Data has been collected from primary as well as secondary sources like magazines, text books, news papers, journals, web sites and annual reports of some corporations. And by filling questionnaires from various respondents. Technique of data collection:Data was collected through discussions with employees of the company. And through questionnaires (Questionnaires are attached as annexure and interpretation is given). Data analysis and Interpretations:In order to extract meaningful information from the data, analysis of the data was done. Analysis was done by using certain statistical tools like bar-graphs, pie-charts, percentages etc. and from these analysis interpretations were drawn.

Tools of analysis and presentation: It means what all tools were used to present data in a meaningful way so that it becomes easily understandable. To analyze the data obtained with the help of questionnaire, following tools were used. Likert Scale : These consist of a number of statements which express either a favorable or unfavorable attitude towards the given object to which the respondents are asked to react. The respondent responds to in terms of several degrees of satisfaction or dissatisfaction. Weighted Average Score: This tool is used to calculate highest and lowest rank. Tables: This is a tool to present the data in tabular form. Percentage And Pie Charts: These tools were used for analysis of data.

Limitations of the Study

No study is complete in itself, however good may be, and every study has some limitations. The limitations of the study are: Time and resources are the big constraints in the study; hence the study is confined to only the corporate professionals. The length and quality of the information gathered is not sufficient to prove the aspects effectively. It is totally a subjective process of gathering information. This topic is recent in study and hence the limitation is of getting enough material on such topic. Direct contact could not be possible due to distance and time constraints.

Chapter V Data Analysis and Interpretation

Data Analysis and Interpretation DEMOGRAPHIC PROFILE

Table No. 5.a. Demographic profile of Respondents DEMOGRAPHICS GENDER Male respondents Female respondents Total Below 20 years 20 30 years 30-40 years Above 40 years Total Service Student Professional Businessman House Wife Retired Total Below 10000 10000-20000 Above 20000 Total NO. OF PERCENTAGE RESPONDENTS OF RESPONDENTS 45 64 25 36 70 2 44 8 16 70 26 26 6 10 2 70 5 11 24 40 100 3 63 11 23 100 37 37 9 14 10 3 100 13 27 60 100

AGE

OCCUPATION

MONTHLY INCOME(Rs.)

Statement No. 1. Check awareness level of the term globalization

Table No. 5.1. Awareness Level of globalization Response Yes No Total No of respondents 100 0 100 %of respondents 100 0 100

Fig.No. 5.1. Awareness Level of Term Globalization

Yes

No of respondents 100%

Analysis and Interpretation: From the above Pie-chart, it is clear that, 50 respondents out of total sample 50 do aware about the term globalization and they have the knowledge about the regard. It is proved that, every respondent are aware of the term Globalization.

Statement No. 2. Opinions about indian fashion industry

Table No. 5.2. feelings about indian fashion industry

Factors globalization under globalize Not globalization total

No of respondent 35 11 4 50

% of respondent 70 22 8 100

Fig.No. 5.2. Opinion about Indian fashion industry

% of respondent
8%

22% globalization under globalize globalization 70%

Analysis and Interpretation: From the above Pie-chart it is shown that, 70 of respondents feel that, indian fashion industry is globalize , left behind other elements such as; underglobalize, not globalize that constitutes 22% and 8% respectively. Hence it is concluded that Indian fashion industry is globalize

Statement No. 3.evolution occurred in indian fashion industry

Table no.5.3: evolution occurred In indian fashion industry

factor through long- standing civilization in the period of biritish pre-globalization era[before 1991] post-globalization period[after 1991] can't say Total

no of respondent 9 13 8 21 6 57

% of respondent 18 26 16 42 12 114

Fig.No. 5.3. Evolution occurred in Indian fashion industry

% of respondent
12 18 through long- standing civ ilization in the period of biritish pre-globalization era[before 1991] 42 26 pre-globalization era[after 1991] can't say 16

Analysis and Interpretation: While asked about,how evolution in fashion industry occurred in India.18% believes that through long-standing civilization,26% believes that in period of british, 16% felt that in pre-globalization era(before 1991},42% realized that that in post globalization era{after1991} 12% have no idea about evolution in fashion industry occurred in India.

From above,It is shown that evolution occurred in indian fashion industry in post globalize period i.e after 1991

Statement No. 4.characteristics of Indian fashion industry benefits of globalization of fashion industry
Table no. 5.4 : Characteristics of Indian Fashion industry
factor diversified culture diversified custom change in dressing style transformation of taste and preference displacing older patterns total no.of respondent 14 11 16 19 14 74

The

% of respondent 28 22 32 38 28 148

Fig.No. 5.4. Characteristics of Indian Fashion industry

% of respondent
28 28 div ersified culture div ersified culture change in dressing style 22 38 32 transformation of taste and preference displacing older patterns

Analysis and Interpretation:

Above chart shows that, 28% respondent felt that characteristics of Indian fashion industry is diversified cultures 22% realize that diversified customs, 32% believes that change in dressing styles,38% felt that transformation of taste and preference,28% felt that displacing older patterns. As this is the multiple choice question, so the number of respondents has been increased from 50 to 74. It is shown that characteristics of Indian fashion industry is change in dressing style

Statement No. 5. Factor responsible for globalization in indian fashion industry

Table no.5.5: factor responsible for globalization in indian fashion industry
factor media advertisement celebrities models westernize trend total no of respondent 26 16 16 9 18 67 % of respondent 52 32 39 18 36 177

Fig.No. 5.5. Factor responsible

% of respondent
36 52 media adv ertisement celebrities 18 models westernize trend 39 Analysis and Interpretation: 32

Above Bar-graph shows that 52% respondent felt that factor responsible for globalization in fashion industry is media, 32% felt that advertisement, 39% realize that celebrities, 18%felt thatmodels,36% feltn that westernize trend. From above, It is shown that.factor responsible for globalization in indian fashion industry is media

. Statement No. 6.indian fashion industry going through period of boom

Table no.5.6: indian fashion industry going through of boom

factor rise in living standard increase in disposable income youth are moving toward westrn trends foreign companies operation use of update information and technology increase role of media increase role of celebrities total no. of respondent 14 5 31 12 5 15 8 90 % of respondent 28 16 62 12 5 15 16 154

Fig.No. 5.6. Indian fashion industry going through boom

% of respondent
16 15 5 rise in liv standard ing 28 increase in disposable income 16 youth are mov toward ing westrn trends foreign companies operation 12 use of update information and technology increase role of media increase role of celebrities

62

Analysis and Interpretation:

From the above chart, it is cleared that, 28% respondent realize that reason behind the boom in Indian fashion industry is rise in living standard, 16% felt that increase in disposable income , 62% felt that youth are moving toward western trend 24% felt that foreign company operation ,10 % believe that use of updated information and technology ,30% felt that increased role of media,16% felt that increased role of celebrities From the above it is shown that reason behind the boom in Indian fashion industry that youth are moving toward western trends .

Statement No.7. . Respondents Ranked the impacts of fashion industry on economy

Table no. 5.7 the impacts of fashion industry on economy

factor Increased foreign currency inflows Increase in employment Improved life style of individual Contribution to gdpof the nation Boom in apparel industry

1 8 3 21 11 8

2 11 13 12 8 9

3 14 10 5 7 10

4 8 16 8 12 5

5 9 8 4 12 18

WAS 145 163 96 142 166

Rank 3 4 1 2 5

Analysis and Interpretation: By calculating above it is cleared that impact of fashion industry on economy are increase foreign currency inflows, increase in employment,improved life style of individuals, contribution to GDP of the nation, boom in apparel industry.from where most important factor comes out asboom in apparel industry which is ranked 1 It is been proved that most important of fashion industry on economy is boom in apparel industry

Statement No.8.The benefits of globalization of fashion industry. 5- Point Likert Scale

Table 5.8: The benefits of globalization of fashion industry.

Factor Reflection of occupation and status Promation of products and services Reinforcement of the norms of cultures Experienced new and developed trends Enforcing brand image Encouraging educated and wealthy environment Growth in exportimport sector Creates strong global image Maximum Score = 136 Average Score = 142 Minimum Score = 101

1 11 9 2 6 11 7 10 13

2 28 28 16 34 22 16 25 19

3 10 9 29 4 15 14 8 14

4 1 2 3 5 2 10 3 2

5 0 2 0 1 0 3 4 2

Summated Score 101 110 133 111 108 136 116 111

Analysis and Interpretation: From total sample size of 50 the statement Reflection of occupation and status has scored a sum total of 101, which is The benefits of globalization of fashion industry. The statement Promation of products and services has scored a sum total of 110. which is the another benefit of globalization of fashion industry The statementReinforcement of the norms of cultureshas scored a sum total of 133, which is the another benefit of globalization of fashion industry The statement Experienced new and developed trends has scored a sum total of 111, which is the another benefit of globalization of fashion industry The statement Enforcing brand image trends has scored a sum total of 108, which is the another benefit of globalization of fashion industry The statement Encouraging educated and wealthy environment has scored a sum total of 136, which is the another benefit of globalization of fashion industry The statement Growth in export-import sector has scored a sum total of 116, which is the another benefit of globalization of fashion industry The statement Creates strong global image has scored a sum total of 111, , which is the another benefit of globalization of fashion industry From above analysis, it is shown that, most of the respondents feel that, Encouraging educated and wealthy environment is stands most important benefit of globalization of fashion industry.

Statement No.9. Industries affected due globalization in fashion industry

Table no.5.9: industries affected due to globalization in fashion industry
factor textile sector manufacturing sector Itand BPO sector media and entertainment sector all of above total No. of respondent 21 10 5 13 16 65 %of respondent 42 20 10 26 32 130

Fig.No. 5.7. Industries Affected

% respondent of
32 42 textile sector manufacturing sector Itand BPO sector media and entertainment sector 20 all of abov e

26 10 Analysis and Interpretation:

From the above chart it is cleared that 42% respondent felt that . industries affected due globalization in fashion industry is textile sector, 20%felt that manufacturing sector, 10%realize that IT& BPO sector,26%felt that media and entertainment sector,32% felt that all of the above mention industries affected due to globalization. From above it is shown that industry that largely affected due to globalization in fashion industry istextile

Statement No.10. Pursue fashion as a career

Table no5.10: pursue fashion as a career
factor advisible not at all can't say total no. of reaspondent 30 11 9 50 % of respondent 60 22 18 100

Fig.No. 5.8. Pursue Fashion as a career

% of respondent
18

adv isible not at all 22 60 can't say

Analysis and Interpretation: From the above chart it is cleared that 60% respondent felt that pursue fashion as a career is advisable, 22% realized that not advisable, 18% have not idea about that. From above it is cleared that pursuing fashion as a career is advisable

Statement No.11. Advantages of pursuing fashion as career Table no.5.11: advantages of pursuing fashion as career

factor good remuneration provides excitement provides glamour provide an innovative environment all of above total

No. of respondent 10 7 17 7 21 62

% of respondent 20 14 34 14 42 124

Fig.No. 5.9. Advantages of Fashion as a career

% of respondent
20 42 14 prov ides glamour prov an innov e ide ativ env ironment 14 Analysis and Interpretation 34 all of abov e good remuneration prov ides excitement

Above Bar-graph shows that 20%respondent realize that advantage of pursuing fashion as career is good remuneration, 14% felt that it provides excitement,34% felt that it provides glamour, 14%belives that it provides an innovative environment,42% felt that all of the above mention factor are advantages of pursuing fashion as a career It is proved that most of respondent belive that all the above factor are advantages of pursuing fashion as a career.

Statement No.12 role of film and entertainment industry in our culture.

Table no. 5.12: role of film and entertainment industry in our culture
factor people try to imitate the celebrities people spend more than they earn moving away from own culture to promote product and services all of above total No. of respondent 21 7 8 15 13 64 %of respondent 42 14 16 30 26 128

Fig.No. 5.10. Role of Film and Entertainment industry

% respondent of
26 42 people try to imitate the celebrities people spend more than they earn mov away from own ing culture 30 14 to promote product and serv ices all of abov e

Analysis and Interpretation 16 From the above chart, it is found that,42% respondent felt that, people try to imitate the
celebrities because of role of film and entertainment industry in our culture,14% felt that people spend more than they earn,16% realize that, moving away from own culture,30% felt that, to promote product and services, 26% felt that,all the above mention factor responsible to persuade fashion because of role of film and entertainment industry in our culture,

It is proved that most of respondent belive that, people try to imitate the celebrities because
of role of film and entertainment industry in our culture,

Statement No.13. Negative impact of globalize fashion industry

Table no.5.13: negtive impact of globalize fashion industry
factor prevails only in metropolitan cities centralized only to youngstres wastage of money threat to up coming generation hamper religious belief total No. of respondent 17 17 16 12 16 78 %of respondent 34 34 32 24 32 156

Fig.No. 5.11. Negative impact of Fashion industry

% respondent of
32 34 prev ails only in metropolitan cities centralized only to youngstres wastage of money 24 34 32 threat to up coming generation hamper religious belief

Analysis and Interpretation: From the above chart, it is found that ,34% respondent felt that negative impact of globalize fashion industry is that it is prevails only in metropolitiancities cities, 34% felt that it centralized only to youngsters, 32% realize that it is wastage of money,24% belives that it is threat toupcoming generation, 32% felt that it hamper religious belief. It is proved that most of respondent belive that negative impact of globalize fashion industry are that it is prevails only in metropolitiancities & centralized only to youngsters

Chapter- VI Findings of the Study

FINDINGS OF THE STUDY

From the above tables, figures and the gist of factor analysis explains that different persons perceive about the term Globalization in Fashion Industry in their own different ways. Based on the analysis the following results have been found out: All respondents are aware about the globalization and its relation with fashion industry and hence given the views that, Indian Fashion Industry is globalize. Most of the respondents recognized that, globalization in fashion industry occurred after 1991 in India, which gives a wide platform for all domestic and international players in the fashion industry and it is basically refers to diversified cultures and customs and also change in dressing style. Factors that are encouraging fashion concept and its adoption is highly motivated by the media, advertisements, celebrities and obviously the westernized trend in India. It has been noticed that, Youths are moving towards western trends, which stands as the main factor for fashion industry to push toward boom in the respective area. The impacts of globalization in fashion industry results to energize the apparel industry as the most followed by increased inflow of foreign currencies and gives employment opportunities. Manufacturing sector is been largely affected due to globalization in fashion industry followed by textile and media sectors, which contributes a lot toward GDP of India. Individuals are also interested for pursuing Fashion as a career due to its remuneration, innovative environment and glamour to the personal and professional life. Study found that, also globalization of Indian fashion industry has negative impacts like; centralized only to youngsters, threat to upcoming generation and it may hamper religious belief.

Chapter- VII Conclusion and Recommendations

CONCLUSION OF THE STUDY

The process of globalization has been an integral part of the recent economic progress made by India. Globalization has played a major role in export-led growth, leading to the enlargement of the job market in India. Notable examples of international companies that have done well in India in the recent years include Pepsi, Coca-Cola, McDonalds, and Kentucky Fried Chicken, whose products have been well accepted by Indians at large. Globalization in India has been advantageous for companies that have ventured in the Indian market. By simply increasing their base of operations, expanding their workforce with minimal investments, and providing services to a broad range of consumers, large companies entering the Indian market have opened up many profitable opportunities. With the end of the 20th century came the end of all hype which has created a more practical and pragmatic environment and has given a more stable picture of the fashion business. India's strengths not only depend on its tradition, but also on its raw materials. World over, India is the third largest producer of cotton, the second largest producer of silk and the fifth largest producer of man-made fibres. In the international market, the Indian garment and fabric industries have many fundamental aspects that are compliant, in terms of cost effectiveness to produce, raw material, quick adjustment for selling, and a wide ranges of preference in the designs in the garments like with sequin, beadwork, embroidery etc, as well as cheaper skilled work force. India provides these fashion garments to the international fashion houses at competitive prices with shorter lead time and an effective monopoly in designs which covers elaborated hand embroidery accepted world over. India has always been considered as a default source in the embroidered garment segment, but the changes of rupee against dollar has further decreased the prices, thereby attracting buyers. So the international fashion houses walk away with customized stuff, and in the end crafted works are sold at very cheap rates. Globalization in fashion industry brings a brand new name to the Indian and encourages both domestic and international players to invest in this sector that expands the business horizon and gives space for other professionals also as to pursue this as a career.

RECOMMENDATIONS OF THE STUDY

The suggestions regarding improvement in Fashion industry so that should not negatively affect the cultural and religious value in future are given as follows: There should be change from both cultures i.e. from Indian part and also from western part. The investors should invest more in under developed areas to bring parity between the urban and rural areas in terms of fashion concept enforcement. The promotion of fashion concept should be in a positive manner, that could enforce other areas to come to one platform and individuals should not forget their own ethics and beliefs in behind fashion. The individuals should not get totally westernize. It is better to change according to the time and trends by remembering the cultural and religious value. It should be in such a balanced manner, where all level of persons should able use the term effectively and at the same level.

References

Crane, D. (1999), Globalization, organizational size, and innovation in the French luxury fashion industry: Production of culture theory revisited, Journal of University of Pennsylvania, vol. 09, issue no. 02, pp. 198-267.
Fernie, J. (1998), Tale of two cities: an examination of fashion designer retailing within London and New York, Journal of Product and Brand Management, vol. 7, issue no. 5, pp. 366-378(13)

Moody, S. and Quotes, P. (2002), Globalization in the 21st Century: An Economic Basis for Development, Journal of Cambridge University Press, vol. 02, issue no. 08, pp. 109123. Navarro, M.(2004), Globalization, competition and market saturation, Journal of Fashion Marketing and Management. vol. 8, issue no. 4, pp. 425-436. Ron, M. (2007), Managing complexity in agile global fashion industry supply chains, The International Journal of Logistics Management, vol. 18, issue no. 2, pp. 238-254(17) Sahay, B.,(2003), Supply chain management practices in Indian industry, International Journal of Physical Distribution & Logistics Management, vol. 33, issue no. 7, pp. 582 606. Skov, L., (2004), Seeing is Believing: World Fashion and The Hong Kong Young Designers' Contest, The Journal of Dress, Body & Culture, vol. 8, issue no. 2, pp. 165193(29)

Anonymous (nd.) available at http://socsci.flinders.edu.au/global/glob1002/2003book/chapters/kendolls.htm Anonymous (nd.) available at, http://www.articleclick.com/Article/The-Changing-Face-of-Indian-Fashion-Industry/458 Anonymous (nd.) available at, http://www.articleclick.com/Article/The-Changing-Face-of-Indian-Fashion-Industry/458

Anonymous (nd.) available at, http://socsci.flinders.edu.au/global/glob1002/2003book/chapters/kendolls.htm Anonymous (nd.) available at, http://socsci.flinders.edu.au/global/glob1002/2003book/chapters/kendolls.htm Anonymous (nd.) available at, http://myitthings.com/ashes09/Post/fashion/It-Thing/Globalization-Inspires-Spring-2008Fashion/442232008051817198.htm Anonymous (nd.) available at, http://www.indiaprofile.com/fashion/ Anonymous (nd.) available at, http://www.merinews.com/catFull.jsp?articleID=130695 Anonymous (nd.) available at, http://business.mapsofindia.com/globalization/india-industry/textile-industry.html Anonymous (nd.) available at, http://www.pramanik.in/indianfashion.html

Annexure

QUESTIONNAIRE
We Ajay Kumar and Vikas Kumar, students of MBA II semester of Apeejay Institute of Management, Jalandhar are conducting a research on Globalization in Indian Fashion Industry. Kindly help us to gather information by sparing your valuable 10-15 minutes for filling up the questionnaire. Your information will be kept confidential. (A). Personal Information: Name: __________________________________ Address: ________________________________ Occupation: a. Student b. Employed c. Unemployed d. Businessman Income(Rs): a. Less than 5000 p.m. b. 5000 to 10000 p.m. c. 10000-20000 p.m. d. Above 20000 p.m. Sex: a. Male b. Female Age: a. Below 18 b. 20-30 c. 30-40 d. Above 40 (B) Questions. 1. Are you aware of the term Temping? a. Yes a. b. No b. Under globalize c. Not globalize 2. What you feel about the prevailing HR trend in india?

3. How evolution in Fashion Industry occurred in India? a. Through long-standing civilizations b. In the period of British c. Pre-Globalization Era(Before 1991) c. Post Globalization period(After 1991) d. Cant say 4. What do you think are the characteristics of Indian Fashion Industry? a. Diversified Cultures b. Diversified Customs c. Change in dressing styles d. Transformation of taste and preference e. Displacing Older patterns 5. In your view, what are the factors that responsible for globalization in fashion industry? a. Media c. Celebrities e. Westernize trend 6. Why is Indian fashion industry going through period of boom? a. Rise in Living standards b. Increase in disposable income c. Youths are moving toward western trends d. Foreign companies operation e. Use of updated Information and Technology f. Increased role of Media g. Increased role of Celebrities 7. Kindly Rank the impacts of Fashion Industry on economy, where 1 is being considered as most important one, from 1 to 5? a. Increased foreign currency inflows b. Increase in Employment c. Improved life style of individuals d. Contribution to GDP of the nation b. Advertisement d. Models

e. Boom in Apparel industry 8. What are the benefits of globalization of fashion industry, kindly tick against the options from the following? SA A N D SD a. Reflection of occupation and status b. Promotion of products and services c. Reinforcement of the norms of cultures d. Experienced new and developed trends e. Enforcing Brand image f. Encouraging educated and wealthy environment g. Growth in Export-import sector h. Creates strong Global image Where; SA= Strongly Agree A= Agree N= Neutral D= Disagree SD= Strongly Disagree 9. In your view, which industry is been largely affected due to Globalization in Fashion Industry? a. Textile sector b. Manufacturing sector c. IT and BPO sector d. Media and Entertainment sector e. All of the above 10. To pursue Fashion as ones career is advisable or not? a. Advisable b. Not at all c. Cant say 11. What are the main advantages of pursuing Fashion as a career? a. Good Remuneration b. Provides Excitement c. Provides Glamour d. Provide an Innovative environment

e. All of the above 12. What role does Film and Entertainment industry play to persuade Fashion in our culture? a. People try to imitate the celebrities b. People spend more than they earn c. Moving Away from own culture d. To promote products and services e. All of the above 13. What do you think are the negative impacts of globalize fashion industry? a. Prevails only in Metropolitan cities b. Centralized only to youngsters c. Wastage of money d. Threat to upcoming generation e. Hamper Religious belief 14. What do you suggest to bring change in Indian fashion era, so that would not negatively affect the cultural and religious value? _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ ___