Autobiography Assignment Example | Topics and Well Written Essays - 1750 words

Autobiography - Assignment Example I have a younger brother and we both lived together with our parents until I decided to come to the United Sates for higher studies My parents always encouraged me and my brother to share and care for each other. Although we did not get everything that we wanted, deep down in my heart, I know that they love me and will always be there for me. My life was largely untouched by the pressures of living in a communist society. I have had an interest in academics and sports right from my childhood and therefore I was fully immersed in these activities. I consider myself to be fairly outgoing and enjoy spending time with friends and family. I have many friends back in China and I am still in touch with them through mail and phone. However, I am excited about the opportunity I got to come and study in the United States. I had always wanted to come to the United States and explore the opportunities that this country has to offer. In this paper, I will analyze my life experiences in the light of the eight stages of social skills development as demonstrated in Erik Erikson’s theory of psychosocial development. Erikson stated that each of these stages is characterized by specific developmental milestones that act like a defining moment that guides the development of an individual (Cherry). Erikson’s Stages of Social Skills Development 1. Trust vs. Mistrust (Occurs from birth to age two) Santrock defines this stage as a phase when, â€Å"children develop a sense of trust when caregivers provide reliability, care, and affection. A lack of this will lead to mistrust† (2009). I--------X-------------------------------------------------------------------------------------------I Trust Mistrust I have heard from my mother that one time, when she was away in another city on official work, my father was at home, preparing for an important meeting which was to be held that afternoon. I was an infant at that time and was exploring things in the front room when I accidently dropped a hot cup of coffee on myself. Even though we had a baby sitter at home, my father cancelled his meeting and chose to be with me that day. I have also heard from my mother that she nursed me till I was two years old because she wanted me to be healthy and strong. I believe that it is my parents support during my early years of life that has helped me to gain confidence and not feel threatened by my surroundings. Hence, I have placed myself closer to ‘trust’ on the scale. Had I not been given this support and care, I would not have learned to trust my parents and my surroundings. 2. Autonomy vs. Shame and Doubt (Occurs between the ages of two and three) Santrock defines this stage as a phase when, â€Å"children need to develop a sense of independence. Success leads to feelings of autonomy, failure and punishment results in feelings of shame and doubt† (2009). I-------X----------------------------------------------------------------------------- --------------I Autonomy Shame and Doubt I do not remember much about this phase in my life. However, recollecting past conversations with my parents, I know that I was a very active child while growing up and wanted to eat food and drink milk without anybody’s assistance. My parents would place me on a high chair next to the table and keep the food in front of me. I would not allow any body to help me and would insist on eating it on my own, even if it would get messy. I have also hea

Investigation of Consumer's Perceptions of Baranka Cafe on Motorway Literature review

Investigation of Consumer's Perceptions of Baranka Cafe on Motorway - Literature review Example Mick, Pettigrew, Pechmann and Ozanne (2011, p.167) note that a brand image is accumulated reflections about an organization’s characters. It is vital for highlighting an organization’s missions and visions. The elements of a constructive brand include an impacting logo that rises to prop an organization’s image. Additionally, Rao (2011, p. 49) argues that a slogan is essential in describing an organization in brief as well as supporting the core values of the same. Consumers use details, in their subconscious, in order to develop a lasting impression about services. In turn, they become subjective associations of the bundle of services that customers would receive in Baranka. An example of brand image, for Baranka, would concern with hygiene. Additionally, the cafe could be identifiable as a sophisticated service group. The idea behind this appeal pertains to the fact that a consumer purchases both a product and a brand. In most circumstances, a customer’s drive towards services would be driven by the brand. Mooji (2009, p 275) highlights of brand positioning statement as vital in a brand image. Kapferer (2008, p. 98) confirms that the brand positioning statement links the internal with the external aspects of a brand. These two aspects are the principal areas of a brand. The internal aspects relate to the same that a company injects for the market. In terms of Baranka, this would refer to the efforts that they would commit in establishing their distinct image upon customers. According to Prideaux, Moscardo & Laws (2006, p. 54), a brand image entails the goals, of brand identity and values, that the company expects upon the impression of the market. It relates to the idea that Baranak would want to convey to its clients. Szwarc (2005, p. 89) notes that Baranka would make extra efforts in providing entertainment to its customers. Breckenfeld (2008, p.34) defines external aspects of a brand as relating to the same that the consumers pe rceive of Baranka’s services. The vitality of brands in daily consumption relate to a desired brand identity. Baranka should strive to transfers its expectations, on image, to the customers. Singh (2007, p. 41) explains that it is vital to note that such a brand would be practical in the long run. Sunder (2011, p. 23) says that in spite of the fact that customers may have imaginary brand images, it is crucial for Baranka to commit efforts in achieving the desired brand identity. Brown (2006, p. 126) notes that it achieves the same by employing marketing mix elements. Marketing mix elements include communication, product, price and distribution. The core part of communication relates to constructive advertising. Cochran (2003, p. 234) notes that Baranka should strive to identify elements that customers highly value. For instance, they would construct an image of convenience to customers. In this perspective, Self and Roche (2012 p. 245) argues that the cafe would be appropriat e for students and employees in their respective breaks. In addition, they would transfer their image expectations by packaging their sandwiches and baguettes in an attractive way. It is vital to note that there is significant competition in coffee packaging. Therefore, it is crucial that Baranka exceptionally designs its beverage tins. Dinnie (2007, p. 123) adds that another principal area, of communication, pertains to use of word of mouth in gaining publicity. Onkvisit & Shaw (2008, p. 278) adds that employees are principal

Understanding Identities of Students Essay Example for Free

Understanding Identities of Students Essay In this paper, Carlo’s story is the focus discussion. Emigrating from Texas to Corpo Christi, Carlo with his grandmother, younger sister and brother left for the U. S. in search for better opportunities in career, freedom to choose religion, and attain a better, social status in life. However, Carlo and his family is having a hard time with their social adjustment and acculturation of the norms in the society and school, making new friends, and adjusting in the existing policy of stopping the usage of their Spanish native language (Ovando, 2006, p. 1). The Importance of Understanding Identities of Students It is very important for teachers to understand their students in their multicultural classroom. Since every student deserves to receive quality education in school, they deserve adequate supervision and guidance of the school personnel to ensure the children’s needs. Further, the parents entrust their children to the school personnel to help their children reach their full potentials, increase their knowledge, and develop their physical, mental, and socio-emotional development. So, it is important that the teachers fulfill their role in integrating the diverse-cultured students and mingle them with the mainstream of the majority students. To avoid the feeling of depersonalization, teachers and peers should help each other build a community open for diverse culture, ethnicity, and religion to protect all the children from emotional maladjustments and to hinder what is blocking every student’s learning. Conclusion Learning would be effective and much easier for students if they feel comfortable in their school setting. The school environment is next best place to home so the teachers and school personnel should ensure the safety and well-being of all their students. Thus, school personnel, teachers, and peers should help in stopping discrimination and rather attend to the needs and help the adjustment of the foreign students or immigrants. References Ovando, C. J. , Combs, M. C. , Collier, V. P. (2006). Bilingual and ESL classrooms: Teaching in multicultural contexts. (4th ed. ). Boston: McGraw Hill.

Wayne Mcgregors Career As A Choreographer Drama Essay

Wayne Mcgregors Career As A Choreographer Drama Essay Wayne McGregors career as a choreographer has been experimental and Innovative. This essay is an overview of his career so far as a choreographer, looking mainly at his work as Artistic director of Random Dance, Resident Choreographer of the Royal Ballet and his interests in Technology and Science. The essay begins with a brief biography of McGregors career and goes on to show his collaborations and choreographic works and finally analyzes what makes him unique as a choreographer. Wayne McGregor was born in the year 1970 in Stockport, England. He studied dance at Bretton Hall College which was at The University of Leeds and he then went on to study at the Josà © Limon School in New York. In the year 1992 McGregor was appointed choreographer in residence at The Place, London and in that same year he founded his own dance company known as Wayne McGregor | Random Dance which was invited to become the resident company at Sadlers Wells Theatre in London in the Year 2002. In 2004 Wayne McGregor was appointed Artist-in-Residence at the University of Cambridge at the Department of Experimental Psychology. (www.randomdance.com) In the year 2006, Wayne McGregor was appointed as the Resident Choreographer of the Royal Ballet. This was a great achievement as he was the first Modern Dance choreographer with no ballet training to be given this role at the Company. In 2009 McGregor premiered his production of the Opera, Dido and Aeneas at the Royal Opera House, London, this was his Opera debut. His newest choreographic works are Outlier, which was premiered this year by the New York City Ballet on May 14th and Yantra, premiered by Stuttgart Ballet on the 7th of July this year. (www.randomdance.com) Wayne McGregors company Random Dance premiered Xeno 1 2 3 at The Place, London in January of the year 1993, this was their debut as a company. Throughout the 1990s Wayne McGregor and Random Dance continued to develop the company with choreographic works such as AnArkos 1995, 8 legs of the Devil 1996, The Millennarium 1997 and Sulphur 16 1998. Wayne McGregors interest in technology developed and his choreographic works from the year 2000 onwards really reflected this with performances such as Aeon 2000, digit01 2001, PreSentient 2002, Polar Sequences 2003 and Qualia 2004. (www.randomdance.com) Wayne McGregor has a great interest in science which greatly influenced his choreography in 2004. During his time at the University of Cambridge where he had a fellowship for six months at their Department of Experimental Psychology, he started to research a condition called Ataxia. . (www.randomdance.com) The word ataxia means without coordination. People with ataxia have problems with coordination because parts of the nervous system that control movement and balance are affected. Ataxia may affect the fingers, hands, arms, legs, body, speech, and eye movements. The word ataxia is often used to describe a symptom of incoordination which can be associated with infections, injuries, other diseases, or degenerative changes in the central nervous system. (www.ataxia.org) At the Department of Experimental Psychology, McGregor worked with scientists who had interests in areas such as object recognition and spatial processing, movement analyses, cognitive dimensions of notation, and relationships between representation and self. ( Kupper, 2007, p.178) After his research Wayne McGregor choreographed Ataxia, the performance was designed with the help of his experiences with neuroscientists; his company of professionally trained dancers, along with the help of a person experiencing an ataxic movement disorder, her name was Sarah Seddon Jenner. ( Kupper, 2007, p.178) McGregor uses lighting effects to add to the choreography and bring it to life as he does in many of his choreographic pieces. In a review of Ataxia for The Guardian, Judith Mackrell says In Wayne McGregors latest work there is a moment, in the middle, when the stage seems to dissolve into an electric brain storm. Pulsing currents of brightly coloured light stream in disorienting patterns around the space. The music judders and strains as if several clashing scores were being played at the same time. (Mackrell, 2004) In 2005 McGregor continued to use science as a tool of exploration for his choreography for the piece Amu. He worked with heart imaging specialists for this piece, along with artistic collaborators. They wished to question both physical functions and symbolic resonances of the human heart. (www.randomdance.org) In a review of Amu in The Sunday Times, Debra Craine says If you thought about it too much it could haunt you. Each minute of every day, through a complex web of arteries, your heart is pumping the bodys lifeblood. Its a fact of nature that we take for granted but its something that the choreographer Wayne McGregor and the composer John Tavener want us to think about. Their fascinating new collaboration Amu (Arabic for of the heart) is all about the organ, seeing it through McGregors embrace of science and Taveners famous spiritualism. (Craine, 2005) McGregors concepts for choreography include technology as well as science, a good example of this would be Entity which was premiered by Wayne McGregor | Random Dance at Sadlers Wells Theatre in London on April 10th 2008. Entity incorporated technology, with the use of a soundscape which was an hour long, created by Jon Hopkins and Joby Talbot. It incorporated the use of video; the video design was created by Ravi Deepres. (www.randomdance.org) The choreography was initiated from McGregors Choreography and Cognition research project which is a collaboration with scientists of Neurology and Psychology. (www.randomdance.org) The choreography was described by Gia Kourlas of the New York Times when he said, Wayne McGregors Entity begins and ends with a video of a greyhound seeming to run in place. The reference is significant: as entities, these slim animals are at once refined and fidgety, highly flexible and, of course, able to devour space at great speed. For Mr. McGregor, those are key physical ingredients that his dancers, also entities, must possess to have a solid grasp of his movement. In this world of glossy distortion, there isnt a place for hazy shapes. (Kourlas, 2010) After the success of his choreography for Chroma performed The Royal Ballet in 2006, Wayne McGregor was given the job as Resident Choreographer of the Royal Ballet. In 2008 audiences saw another great choreographic piece by McGregor which showed his innovative use of technology and lighting to make his choreography unique, this performance was called Infra and premiered at The Royal Opera House, London March 13th 2008. (www.randomdance.org) McGregor collaborated with many people while developing and choreographing Infra. Wayne worked with Monica Mason, Artistic Director of the Royal Ballet. He commissioned a British artist called Julian Opie to collaborate with him and create a visual set to add to the piece. For the music Wayne collaborated with cult composer Max Richter to create a unique soundscape to accompany the choreography. The choreologist for Infra was Darren Parish who recorded Waynes choreography in rehearsals with the use of Bensch Notatation. (BBC Documentary) The producer was Will Harding, the lighting designer that worked closely with Wayne McGregor was Lucy Carter and the costume designer was Moritz Junge. The artist Julian Opie that worked on the set design had never designed for the theatre before. Opie had created screen lights, which showed the silhouettes of a male stick figure and a female stick figure in light, these are in Dublin on OConnells Street. While researching for his set design for Infra Opie observed people walking along the streets and how they moved like choreography. (BBC Documentary) The music created by Max Richter was created on a synthesiser and Waynes choreography was created before the music as this is the way McGregor worked on this particular choreography. The performance was twenty five minutes long and cast included twelve dancers plus a cast of fifty extras that were included in the choreography. The process of creating Infra from the very beginning to the premier performance on opening night was filmed by the BBC for a documentary. The documentary gave great publicity for Wayne McGregor and Infra and he won South Bank Show award for Infra in 2009. . (BBC Documentary) (www.randomdance.org) In an interview by Sarah Crompton for The Telegraph, Wayne McGregor talks to her about the process of his collaboration for Infra with Julian Opie, McGregor explains: We both feel that the body can never really be abstract but he feels that there is a difference between a functional action he jumps up to demonstrate raising an arm, tying a shoe and a pose. A pose for him is something that cant be connected to meaning in a really exact way and I found that really interesting. So what we have done is worked with this absolute physicality and, at the other end, a kind of language which is oppositional to that. (McGregor Wayne, citied in Crompton 2008) In a review of Infra by Debra Craine for The Times, she gives her opinion on what strikes her about the performance, she says: The first thing that strikes you about Infra is Julian Opies set. His evocative figures, drawn in outline on a giant LED screen, move back and forth high across the stage, like busy London commuters. Underneath are the live dancers, the inner manifestation of the outer world above. Their memories, fears, dreams and desires are being lived out in the intimacy of their own heads. McGregors movement may still be a full-body workout (undulating torsos, limbs constantly in motion, muscles yearning to exceed their limits) but it speaks as strongly of compassion and anger, of happiness and anxiety, tenderness and tears. (Craine, 2008) Wayne McGregors appointment as resident choreographer for The Royal Ballet, was a great achievement, he continues creating choreographic pieces for his company Random Dance, while choreographing for The Royal Ballet. But does he work in a different way with the dancers in his company than he does with the Royal Ballet. During the rehearsals for Limen in 2009, Emma Crichton-Miller talked to Wayne McGregor about his creative approach and the development of his new work. She asks him: Do you work in a different way with your own company Wayne McGregor | Random Dance than you do with The Royal Ballet? To which Wayne Explains: In every new piece I create the process is different as the individuals in the studio (whatever the company) have their own direct effect on the choreography. That is one of the great motivators of working deeply with both companies; the individuals within them are incredibly inspiring. Equally, there are differences in the circumstances of making. At Random I have the dancers all day for many weeks at a time, exclusively. Their priority is dancing only my work and our collaborative journey together reflects this singular commitment. At The Royal Ballet I cant have the dancers exclusively, and theyre doing lots of other repertory simultaneously, so the demands they place on their bodies in a day are different and how I use their precious time is tempered accordingly. Both circumstances, each with their own innate challenges, nurture me in distinctive but highly complementary ways.

Tennysons Ulysses and The Lotos Eaters Essay examples -- Poetry Tenny

Tennyson's "Ulysses" and "The Lotos Eaters" The great hero Odysseus has captivated readers throughout the ages. It is no surprise that the Victorian poet Tennyson not only read the Odyssey but wrote poetry about Odysseus as well. In the poems 'The Lotos Eaters' and 'Ulysses,' Tennyson remains true to the legends, but he infuses the characters with the ethos of his own day and his own experiences. 'The Lotos Eaters' recalls the Homeric legend that has Odysseus and his men passing through an island that grew magical fruit. Anyone who ate of the fruit would ?forget the way home? (Bk 1X, line 97). Odysseus sent three men to scout the land. They tasted the fruit and had to be dragged back to the ship protesting and crying, by Odysseus. No word is mentioned about why the sailors had to be dragged back to the ship, weeping. No word of what they wanted so badly to forget. Tennyson, in 'The Lotos Eaters,' fills us in on why he thinks the sailors were bone-tired and why they wanted rest. ?All things have rest and ripen towards the grave/ in silence; ripen, fall, and cease: / Give us long rest or death, dark death, or dreamful ease.? It serves as a parenthetic explanation to Homer?s legend. However, the specific nature of and reason for their weariness is Tennyson?s own creation. ?Why should we toil alone, / we only toil, who are the first of all things? while the ?flower ripens in its place, / ripens and fades, and falls, and hath no toil, fast-rooted in the fruitful soil?? The speaker rages against the human condition that has humans seek endlessly for the path to their fruition. It isn?t encrypted into their soul as it is in the soul of the fruit which blossoms and ripens without effort. For the... ...es of nature, and not his own soul. Both heroes are victorious through the powers of their intellect, but what they seek to overcome, and what they seek to understand, is vastly different. Though Homer wrote his epic over two thousand years ago, it still excites the modern reader; though Dante wrote his poetry nearly one thousand years ago, his language and sinful characterization are captivating; and though Tennyson wrote his poetry over one hundred years ago, its pain is fresh and was a precursor to the existential pain of the modern man. Works Cited: Tennyson, Alfred. "Ulysses." The Norton Introduction to Literature. Eds. Jerome Beaty and J. Paul Hunter. 7th ed. New York: Norton, 1998. 1139-41. Tennyson, Alfred, Lord. ?The Lotus Eaters.? The Norton Anthology of English Literature. Ed. M.H. Abrams. New York: W.W. Norton & Company, 2000. 1208-1213.

The wife of Baths tale Essay -- essays research papers

Among unequals what society   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Can sort, what harmony or true delight?   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Milton, Paradise Lost, VIII, ll. 383-4   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  GEOFFREY CHAUCER AND THE WIFE OF BATH ´S TALE   Ã‚  Ã‚  Ã‚  Ã‚  Chaucer begins the tale by exploring the institution of marriage,through the character of the Wife who starts by making an statement of authority, her own experience on marriage. In order to show her experience in relationships she states that three of her husbands were old and rich and two of them, young and wild.   Ã‚  Ã‚  Ã‚  Ã‚  Marriage at that time, was considered a transaction organized by males to serve economical and political ends, in where women were treated as an object, a very useful one intended for procreation, and the exchange of land and goods that they owned before marriage.   Ã‚  Ã‚  Ã‚  Ã‚  As the Wife recalls, she had her first arranged marriage at the age of twelve years old, and this aspect was very common since marriage was used to be solemnized and arranged, when children were even in their own cradles.   Ã‚  Ã‚  Ã‚  Ã‚  The Wife does not regrets to have had five husb...

Growth and Potential of International Luxury Fashion Brands Essay

This is to certify that the project entitled ? Growth and Potential of Luxury International Fashion Brands in India? is submitted towards the partial fulfillment of the program ? Master of Fashion Management‘ by Kanan Gupta. It is an original work done under my guidance and the results are based on the research done by her. Name of mentor: Mr. Kislay Kashyap Asst. Professor Department of MFM NIFT, Patna Date: 01-03-2012 Place: Patna 1|Page DECLARATION I, Kanan Gupta hereby declare that the project entitled ? Growth and Potential of Luxury International Fashion Brands in India? submitted towards, partial fulfillment of the program Master of Fashion Management is my original work and no part of the project has been copied from any other report or carried by someone else or has been submitted for any other degree/award. However, any material taken from any other published sources has been suitably referred and acknowledged at various places. Name : Kanan Gupta Roll no : 17 Batch : 2011-2013 Centre : Patna Date Place : 01-03-2012 : Patna 2|Page ACKNOWLEDGEMENT I owe my gratitude to many people who helped and supported me during the research and compilation of my project report. I would like to thank my mentor Mr Kislay Kashyap for approving my project and express my indebted gratitude for his guidance and suggestions at every stage of this report. My sincere gratitude is also due to my seniors for their constant encouragement and support. I would like to express my thanks to all those people who were directly and indirectly involved in shaping my project by providing valuable information and co-operation. 3|Page EXECUTIVE SUMMARY INTRODUCTION: This is a project to study about the ? Growth and Potential of Luxury International Fashion Brands in India?. If we look into the past, no one could imagine that a luxury market would exist in India. But over the years with the change in the demographics of the Indian consumer and with higher disposable income available, the luxury market in India has indeed emerged as one of the fastest growing markets in the retail segment. PROBLEM DEFINITION: The Indian Luxury Market is still a niche market and people have got a very low personal disposable income, though it has increased a lot from before but not so much to afford international luxury fashion brands and the people who have got a high disposable income lack enough knowledge about the international fashion brands available in India as the luxury international stores are limited to metropolitans only. 4|Page OBJECTIVE: The main objectives of the projects are ? Analyze the Luxury Brand Awareness among the Indian consumers. ? Reasons behind customers buying Luxury fashion Brands ? Analyze the major international fashion brands in India. ? To analyze the Current Scenario and the Growth of Indian Luxury fashion brands and the Market. RESEARCH METHODOLOGY: ? The secondary research is through Magazines, journals, articles and internet. ? Primary research through focus group interview with industry personnel, customers. HYPOTHESIS: ? Assuming that there is a strong scope for the growth of international luxury fashion brands in India. ? Taking an assumption that Luxury fashion brands do not have much scope in the Indian market. 5|Page CONTENTS Ch. No. 1. 0 2. 0 3. 0 3. 1 3. 2 3. 3 3. 4 3. 5 3. 6 3. 7 4. 0 4. 1 4. 2 4. 3 5. 0 5. 1 5. 2 5. 3 5. 4 6. 0 7. 0 8. 0 9. 0 9. 1 9. 2 Chapter Name Objective Research Methodology Literature Review Introduction India at Glance Geography People Understanding Luxury Defining Luxury Socio Economic Significance of Luxury Acquainting with Luxury Fashion Brand Major Difference between Regular Brands and Luxury Brands Persona of Indian Luxury Industry Famous Luxury Brands and their destination in India SWOT Analysis Major Problems Faced by Luxury Fashion Industry Growth and Potential of Luxury Brand Growth of Indian Luxury Market Luxury Fashion Branding Strategies Final Summary Primary Research Findings Annexure Questionnaire Bibliography Page No. 7 8 9 9 9 11 13 14 15 16 17 21 23 26 31 32 33 35 39 41 43 54 56 56 58 6|Page 1. 0 OBJECTIVE: The main objectives of the projects are ? Analyze the Luxury Brand Awareness among the Indian consumers. ? Reasons behind customers buying Luxury fashion Brands ? Analyze the major international fashion brands in India. ? To analyze the Current Scenario and the Growth of Indian Luxury fashion brands and the Market. 7|Page 2. 0 RESEARCH METHODOLOGY: ? Secondary research through Magazines, journals, articles and internet. ? Primary research through focus group interview with industry personnel, customers. 8|Page 3. 0 LITERATURE REVIEW 3. 1 INTRODUCTION: If we look into the past, no one could imagine that a luxury market would exist in India. But over the years with the change in the demographics of the Indian consumer and with higher disposable income available, the luxury market in India has indeed emerged as one of the fastest growing markets in the retail segment. Through this report I have tried to give an estimate of the luxury retail market in India, how much it has penetrated and also how much it is likely to grow. Also I have tried to specify various factors that are crucial for the success of luxury brands in India. While doing out research on this project I have come across many new findings. The role the Indian market plays in the global scenario and the position of India vis-a-vis other countries. Also I understood about the duties and legal requirements for this segment. I have tried my level best to cover all the aspects in regard to my research. India today is fast becoming a new world of modern luxury. The country now teems with luxurious international brands, spurring the ascent of an Indian luxury market. One does not need to travel abroad to shop for luxury. Luxury goods and services sit aplenty right at home. Indians, however, have to realize such, be informed where to avail of them, and be convinced of the convenience and ease of access to these luxury goods and services. In the same vein, foreigners can also visit India to shop for same luxury. India can very well be placed on the global luxury-shopping map. There is, therefore, a huge opportunity to pump prime the luxury market field in India. 9|Page 3. 2 INDIA AT GLANCE: FOCUS : Study about India and its habitats. India is one of the oldest civilizations in the world with a kaleidoscopic variety and rich cultural heritage. It has achieved all-round socio-economic progress during the last 60 years of its Independence. India has become self-sufficient in agricultural production and is now the tenth industrialized country in the world and the sixth nation to have gone into outer space to conquer nature for the benefit of the people. It covers an area of 32,87,2631 sq km, extending from the snow-covered Himalayan heights to the tropical rain forests of the south. As the 7th largest country in the world, India stands apart from the rest of Asia, marked off as it is by mountains and the sea, which give the country a distinct geographical entity. Bounded by the Great Himalayas in the north, it stretches southwards and at the Tropic of Cancer, tapers off into the Indian Ocean between the Bay of Bengal on the east and the Arabian Sea on the west. Lying entirely in the northern hemisphere, the mainland extends between latitudes 8 °4? and 37 °6? north, longitudes 68 °7? and 97 °25? east and measures about 3,214 km from north to south between the extreme latitudes and about 2,933 km from east to west between the extreme longitudes. It has a land frontier of about 15,200 km. The total length of the coastline of the mainland, Lakshadweep Islands and Andaman& Nicobar Islands is 7,516. 6 km. 10 | P a g e 3. 3 Geography: Location: The Indian peninsula is separated from mainland Asia by the Himalayas. The Country is surrounded by the Bay of Bengal in the east, the Arabian Sea in the west, and the Indian Ocean to the south. Geographic Coordinates: Lying entirely in the Northern Hemisphere, the Country extends between 8 ° 4? and 37 ° 6? latitudes north of the Equator, and 68 °7? and 97 °25? longitudes east of it. Indian Standard Time: GMT + 05:30 Area: 3. 3 Million sq km Telephone Country +91 Code: Border Countries: Afghanistan and Pakistan to the north-west; China, Bhutan and Nepal to the north; Myanmar to the east; and Bangladesh to the east of West Bengal. Sri Lanka is separated from India by a narrow channel of sea, formed by Palk Strait and the Gulf of Mannar. Coastline: 7,516. 6 km encompassing the mainland, Lakshadweep Islands, and the Andaman & Nicobar Islands. 11 | P a g e Climate: The climate of India can broadly be classified as a tropical monsoon one. But, in spite of much of the northern part of India lying beyond the tropical zone, the entire country has a tropical climate marked by relatively high temperatures and dry winters. There are four seasons – winter (December-February), (ii) summer (March-June), (iii) south-west monsoon season (June-September), and (iv) post monsoon season (October- November). Terrain: The mainland comprises of four regions, namely the great mountain zone, plains of the Ganga and the Indus, the desert region, and the southern peninsula. Natural Resources: Coal, iron ore, manganese ore, mica, bauxite, petroleum, titanium ore, chromite, natural gas, magnesite, limestone, arable land, dolomite, barytes, kaolin, gypsum, apatite, phosphorite, steatite, fluorite, etc. Natural Hazards: Monsoon floods, flash floods, earthquakes, droughts, and landslides. Environment – Current Issues: Air pollution control, energy conservation, solid waste management, oil and gas conservation, forest conservation, etc. Environment – International Agreements: Rio Declaration on environment and development, Cartagena Protocol on biosafety, Kyoto Protocol to the United Nations Framework Convention on climatic 12 | P a g e change, World Trade Agreement, Helsinki Protocol to LRTAP on the reduction of sulphur emissions of nitrogen oxides or their transboundary fluxes (Nox Protocol), and Geneva Protocol to LRTAP concerning the control of emissions of volatile organic compounds or their transboundary fluxes (VOCs Protocol). Geography – Note: India occupies a major portion of the south Asian subcontinent. 3. 4 PEOPLE: Population: 1,21,01,93,422 Decadal Population Male: 9,15, 01,158 Growth: Female: 8,99, 54, 828 Density of Population: 382 per sq. km. Sex Ratio: 940 per 1000 males Nationality: Indian All the five major racial types – Australoid, Mongoloid, Europoid, Caucasian, and Negroid find representation among the people of India. Ethnic Groups: 13 | P a g e Religions: Hindus constituted the majority with 80. 5 %, Muslims came second at 13. 4%, followed by Christians, Sikhs, Buddhists, Jains, and others. Languages: There are 22 National Languages have been recognized by the Constitution of India, of which Hindi is the Official Union Language. Besides these, there are 844 different dialects that are practiced in various parts of the Country. Literacy: Persons: 77,84,54,120 Males: 44,42,03,762 Females: 33,42,50,358 GDP: Nominal GDP stands at US$1. 53 trillion as per 2010 census 3. 5 UNDERSTANDING LUXURY AND AQUAINTING WITH LUXURY FASHION BRANDS: FOCUS : Getting introduced to the term ? LUXURY? Luxury, derived from the Latin word luxus, means indulgence of the senses, regardless of cost. Luxury is something that everyone wants but nobody needs, its an area of huge comfort and the best of the best. 14 | P a g e A luxury brand is a brand for which a majority of its products are luxury goods. It may also include certain brands whose names are associated with luxury, high price, or high quality, though few, if any, of their goods are currently considered luxury goods. The luxury sector targets its products and services at consumers on the top-end of the wealth spectrum. These self-selected elite is more or less price insensitive and chooses to spend their time and money on objects that are plainly opulence rather than necessities. For these reasons, luxury and prestige brands have for centuries commanded an unwavering and often illogical customer loyalty. 3. 6 DEFINING LUXURY: The concept of luxury has been present in various forms since the beginning of civilization. Its role was just as important in ancient western and eastern empires as it is in modern societies. With the clear differences between social classes in earlier civilizations, the consumption of luxury was limited to the elite classes. It also meant the definition of luxury was fairly clear. Whatever the poor cannot have and the elite can was identified as luxury. With increasing ? democratization‘, several new product categories were created within the luxury markets that were aptly called – accessible luxury or mass luxury. This kind of luxury specifically targeted the middle class (or what is sometimes termed as aspiring class). As luxury penetrated into the masses, defining luxury has become difficult. In contemporary marketing usage, Prof. Bernard Dubois defines ? luxury‘ as a specific (i. e. higher-priced) tier of offer in almost any product or service category. However, despite the substantial body of knowledge accumulated 15 | P a g e during the past decades, researchers still haven‘t arrived on a common definition of luxury. Many other attempts have been made to define luxury using the price-quality dimension stating higher priced products in any category is luxury. Similarly, researchers have used the uniqueness aspects of luxury too. Prof. Jean-Noel Kapferer, takes an experiential approach and defines luxury as items which provide extra pleasure by flattering all senses at once. Several other researchers focus on exclusivity dimension and argue that luxury evokes a sense of belonging to a certain elite group. 3. 7 SOCIO ECONOMIC SIGNIFICANCE OF LUXURY: Several manufactured products attain the status of â€Å"luxury goods† due to their design, quality, durability or performance that are remarkably superior to the comparable substitutes. Thus, virtually every category of goods available on the market today includes a subset of similar products whose â€Å"luxury† is marked by better-quality components and materials, solid construction, stylish appearance, increased durability, better performance, advanced features, and so on. As such, these luxury goods may retain or improve the basic functionality for which all items of a given category are originally designed. There are also goods that are perceived as luxurious by the public simply because they play a role of status symbols as such goods tend to signify the purchasing power of those who acquire them. These items, while not necessarily being better (in quality, performance, or appearance) than their less expensive substitutes, are purchased with the main purpose of displaying wealth or income of their owners. These kinds of goods are the objects of a socio-economic phenomenon called conspicuous consumption and commonly include luxury vehicles, watches, jewelry, designer clothing, yachts, as well as large residences, urban mansions, and country houses. 16 | P a g e 4. 0 AQUAINTING WITH THE LUXURY FASHION BRANDS Luxury fashion brands have often been associated with the core competencies of creativity, craftsmanship, precision, high quality, innovation, & premium pricing. These product attributes give the consumers the satisfaction of not only owning expensive items but the extra-added psychological benefits like the esteem, prestige and a sense of a high status that reminds them and others that they belong to an exclusive group of only a select few, who can afford the pricey items. The luxury sector targets its products and services at consumers on the top-end of the wealth spectrum. These self-selected elite are more or less price insensitive and choose to spend their time & money on objects that are plainly opulence rather than necessities. For these reasons, luxury and prestige brands have for centuries commanded an unwavering and often illogical customer loyalty. 17 | P a g e Luxury has never been something easy to define; yet this mystery concept is something highly desired by one & all alike. I look at delving deeper into this mystery and aura of luxury goods by way of comparing them against ? regular goods‘ as well as highlighting the characteristics of the luxury industry. But before beginning with that, lets first attempt to understand some common terms associated in the world of high-end goods. Luxury and Prestige brands such as Rolex, Louis Vuitton and Tag-heuer represent the highest form of craftsmanship and command a staunch consumer loyalty that is not affected by brands. These brands create and set the seasonal trends and are also capable to pulling all their consumers with them wherever they go. 18 | P a g e Premium brands are those brands like Polo, Ralph Lauren, Versace and Tommy Hilfiger that aspire to be luxury and prestige brands but their marketing mix strategies are more attuned to a mass market, albeit a luxury mass market. They also termed as mass Premium brands or luxury brands. Fashion brands are those that address the masses. LVMH (Louis Vuitton Moet Hennessy) is the largest luxury good producer in the world with over fifty brands, including Louis Vuitton, the brand with the world’s first designer label, other famous fashion brands are Chanel, Gucci etc. 19 | P a g e Luxury is a Hub of Business Luxury brands take the elements they feel passionate about, add design then develop it and present it to the customers that exceed their expectations. A luxury good is a product at the highest end of the market in terms of quality and price. Classic luxury goods include haute couture items such as clothing, accessories and luggage. However, many markets have a luxury segment including for instance, cars, wine and chocolates. Such brands share characteristics like consistent premium quality, a heritage of craftsmanship, a recognizable style or design, a limited production run of any item to ensure exclusivity, an element of uniqueness and an ability to keep coming up with new designs when the category is fashion-intensive. Keeping it simple and realistic, luxury is anything and everything that you may truly desire; it can be short lived or a life long desire – it is ? your‘ emotional connect and reward that allows it to appear as luxury. 20 | P a g e 4. 1 MAJOR DIFFERENCES BETWEEN REGULAR BRANDS AND LUXURY BRANDS: FACTOR REGULAR GOODS LUXURY GOODS Available at posh, PLACE Available at convenience and according to the product category exclusive and selected locations ? Highly customized or ? Multiple mass variances but PRODUCT standardized. ? Service levels range from low to high. limited editions of products. ? Very high personnel service. PRICING Value for money Premium pricing ? Pre- ? All kinds of media (ATL, BTL) used. ? Product functional and aspirational PROMOTION value appeals. ? All kinds of reference group appeals used. dominantly premium above the line media. e. g. Connoisseur, Magazines, 21 | P a g e Travel media) ? Products have the exclusive appeal. ? Mostly celebrity appeals. Luxury goods are Those goods for which demand is inversely proportional to price. also called as Veblen‘s goods, the demand for the product is said to increase with the increase in price. ECONOMIC DEFINITION BRAND EXTENSION DECISIONS Based on defending your turf. (R&D based decisions to an extent). Based on marketing the luxury brand. DRIVERS OF BRANDS Functional attributes and innovation. Tradition and brand heritage. Source: Luxury Marketing, Samit khanna- IIM-A 22 | P a g e 4. 2 PERSONA OF INDIAN LUXURY INDUSTRY: FOCUS : Understanding the characteristics of luxury brands. CHARACTERISTICS OF INDIAN LUXURY INDUSTRY: 1. THE MEANING OF LUXURY HAS CHANGED: Luxury has moved from its ? old‘ meaning of ownership (also known as conspicuous consumption – Conspicuous consumption is a term used to describe the lavish spending on goods and services that are acquired mainly for the purpose of displaying income or wealth rather than to satisfy a real need of the consumer. In the mind of a conspicuous consumer, such display serves as a means of attaining or maintaining social status. Invidious consumption, a necessary corollary, is the term applied to consumption of goods and services for the deliberate purpose of inspiring envy in others) of objects to the ? new‘ meaning of the experience / fulfillment derived from possessing a certain object. 2. LUXURY MEANS DIFFERENT TO DIFFERENT PEOPLE: Luxury has no certified origins. But luxury branding is said to have taken birth in the west with the appearance of high-end brands. But there is still no definite meaning of luxury, for someone luxury can be a necessity and vice-versa. If one can think a luxury brand is really cheap, its not necessary that the other person also will think the same way. Luxury is yet to be defined, it totally differs from person to person. 23 | P a g e 3. LUXURY IS A PRODUCT CATEGORY IN ITSELF: This can be best clarified by the fact that both an expensive watch and an apparel can be considered to be luxury items. Therefore, all luxury marketers are not just competing in their ? technically defined‘ product categories (like manufacturers of televisions compete among themselves) but for the wallet share of luxury goods in total. 4. CLASSIFICATION OF LUXURY CONSUMERS: SRI Consulting Business Intelligence places consumers in 3 groups according to what luxury means to them: Luxury is Indulgence – This group is the smallest of the three and tends to include younger consumers and slightly more males than the other two groups. Their purpose for luxury goods is to lavish themselves in self-indulgence. They are willing to pay a premium for goods that express their individuality and make others take notice and are not overly concerned with product longevity or possible criticism. They enjoy luxury for the way it makes them feel, therefore have a more emotional approach to purchases. They respond well to messages that highlight the unique and emotional qualities of a product. Luxury is Reward – These consumers tend to be younger than the first group but older than the third. They use luxury goods as a status symbol to say ? I‘ve made it! ? They are motivated by their desire to be successful and demonstrate this to others. Luxury brands that have widespread recognition are popular, however they don‘t wish to appear lavish or hedonistic in their appearance. They want to purchase ? smart? luxury that demonstrates importance while not 24 | P a g e leaving them open to criticism. Marketing messages that communicate acceptable exclusivity resonate with this group. Luxury is Functional – these consumers tend to buy luxury products for their superior functionality and quality. Consumers in this segment, the largest of the three, tend to be older and wealthier and are willing to spend more money to buy things that will last and have enduring value. They buy a wide array of luxury goods, from artwork to vacations, and conduct extensive prepurchase research, making logical decisions rather than emotional or impulsive. Messages that highlight product quality and are information-intensive are powerful with this group. 5. CUSTOMER LOYALTY IS MORE IMPORTANT THAT BRAND AWARENESS: Rather than focus on measuring the brand awareness of a luxury company, measuring customer loyalty is far more significant a metric regarding the success or failure of corporate strategy to connect with the luxury consumer. 6. CERTAIN FACTORS WHICH PLAY A N IMPORTANT ROLE: In luxury marketing there is a subtle interplay between three factors that most strongly influence the luxury consumer to buy: product brand; dealer or store’s brand or service providers’ reputation; and price/value relationship. 25 | P a g e USERS OF LUXURY BRANDS IN INDIA: ? CEOs and other senior professionals (in their thirties and early forties) ? Entrepreneurs in new businesses ? â€Å"Prodigal children† ? Actors and models ? Franchisees, and small and medium Retailers 4. 3 FAMOUS LUXURY BRANDS AND THEIR DESTINATIONS IN INDIA FOCUS : To evaluate about all the famous luxury brands available in India and the places where they are available. UB CITY- THE COLLECTION, BANGALORE: UB City is the biggest commercial property project in Bangalore, India. Pioneered by the chairman of UB Group, Dr. Vijay Mallya , it is built on 13 acres (53,000 m2) of land and hosts 1,000,000 sq ft (93,000 m2) of high-end commercial, retail and service apartment space. UB City has four towers namely, UB Tower (19 Floors), Comet (11 Floors), Canberra (17 Floors) and Concorde (19 Floors). UB City has four towers namely, yelahanka. The later three towers are all named after aircraft. UB City will house the Group offices under one roof – UB Tower. Concorde & Canberra will have retail space on the lower floors and office space in the higher levels, while Comet will have serviced apartments. It will house commercial offices, banks, high-end retail stores, a five star hotel, 26 | P a g e serviced apartments, restaurants, food courts, pubs, health clubs and cafes. Multi-level parking areas will offer virtually unlimited parking spaces. Also on the blueprint is an amphitheatre with food courts and landscaped gardens. UB City will provide parking space for over 1,100 cars. Being an environment friendly project and keeping in mind the green surroundings of Cubbon Park, one-third of the space has been earmarked for landscaped gardens. An elevated roof top helipad will provide a five-minute aerial commute to the airport. Four storeys of multi level parking, in addition to one common basement for the entire UB City and extensive surface level car parks, will provide UB City the remarkable prospect of offering literally unlimited car parking space. BRANDS AVAILABLE AT UB CITY-THE COLLECTION: ? Louis Vuitton ? Alfred Dunhill ? Estee lauder ? Mont Blanc ? Zimson ? Rolex ? Canali ? Salvatore Ferragamo ? Paul Smith ? Lladro ? Versace ? Corneliani ? Burberry ? Jimmy Choo ? Diesel 27 | P a g e DLF EMPORIO, NEW DELHI- DLF Emporio has been designed as a name synonymous with luxury – offering a unique shopping experience where the accent is on exclusivity, space and aesthetics. There is simply no other place where such a wealth of designer and premium merchandise, lifestyle products and services are showcased under one elegant roof. The nuances of luxurious serenity are going to be expressed at DLF Emporio in a way found only in the fashion capitals of the world, offering just the right kind of tasteful and sublime ambience to attract high value spenders. 28 | P a g e DLF EMPORIO RETAIL MIXGreat care is being taken to ensure that the global retail community at DLF Emporio is the most premium. Only the finest signature brands, designer labels and high end lifestyle products co-exist here. Some of the brands in DLF Emporio include Giorgio Armani, Salvatore Ferragamo, Louis Vuitton, Cartier, Fendi, Dior, Just Cavali, DKNY, Tods, Burberry, Hugo Boss to name a few. ESSENTIAL PLAYERS OF THE LUXURY MARKET IN INDIA: ? JEWELLERY- Cartier, De Beers, Tiffanys etc. ? CLOTHING- Louis vuitton, Varsace, Armani, Chanel, Gucci etc. ? ACCESSORIES- Fendi, Jimmy Choo, Ferragamo Salvatore etc. ? AUTOMOBILES- Mercedes, Volvo, BMW, Volkswagen, Nissan, Audi etc. 29 | P a g e 30 | P a g e 5. 0 SWOT ANALYSIS: FOCUS : To do the swot analysis and ascertain the major problems faced by the international fashion brands in India. STRENGTH WEAKNESS 1. Brand Name/Brand Ambassadors 2. Customer Loyalty 3. Quality 4. Global Presence 1. Concentrated Market-only metro cities 2. Government Regulations 3. High Prices 4. Percentage of target audience is Less 5. Higher Operational cost-rents. OPPORTUNITY THREATS 1. Manufacturing the brands in India 1. Fake branded stuff available in India itself rather than importing it 2. FDI Regulations 3. Globalization 2. Available at cheaper prices abroad 31 | P a g e 5. 1 MAJOR PROBLEMS FACED BY THE LUXURY FASHION INDUSTRY- 1. LACK OF AWARENESS OF BRANDS AMONGST INDIAN CONSUMERS: The Indian consumers are not aware of the brands available in India, Most rich people who can afford the luxury brands either live in smaller towns and cities where there is no outlet or awareness of the brands. 2. PREFERENCE OF BUYING FROM FOREIGN COUNTRIES: People who are aware of the brands and live in metro cities and have a higher disposable income prefer buying from abroad as they travel a lot and so they prefer buying from abroad itself as they get a better and wide variety of products with lesser prices. 1. DUPLICATION AND KNOCK-OFFS: There are a lot of duplicate and knock-offs available in the Indian market. Most of these products come from China. The same branded product, which is available for 25000 Rs. , is available for 1500 Rs. When it is not authentic. Though the quality of these products is not good, they appear to be the same and hence people don‘t mind buying them. But people in India do not believe in authenticity, if they see the name and the knock-off looks exact, they buy that item as they believe in showing off. 32 | P a g e 2. LACK OF RETAIL SPACE: The luxury retail stores are located in 5 star hotels or malls in selected cities, as we all know that there are only two luxury malls in India, The collection-UB City, Bangalore and the DLF-Emporio Mall, New Delhi, because that is where the potential customers are most likely to come for shopping, hence the feasible space available is very less. 3. LOW CUSTOMER TURNOVER: The number of customers who visit a luxury store is comparatively lower than a regular store. Also the luxury store outlets are located exclusively in certain areas and are sometimes not accessible by everyone, this factor also affects the customer turnover. 4. HIGH OPERATIONAL COST: The cost of operating a luxury outlet is high because the size of the store has to be elaborated and also it has to locate at a prime location in major cities. Due to the image that is associated with luxury products, the cost of maintaining the store is high because it has to look upbeat all the time. At the same time these stores normally situated in 5 star hotels or big shopping malls where the rents charged are very high and hence the cost is further increased. 5. 2 GROWTH AND POTENTIAL OF LUXURY BRAND: FOCUS : Study about the roots and the growth of the luxury market of India. LUXURY is no stranger to India. The erstwhile maharajas and princes led a life of opulent splendor. The only way to be apart of the elite as to be born into it. 33 | P a g e The lifestyle as also associated with hunting, polo and her games of the rich. New money could never get into this circuit. The aspiration was always there. But the princes operated in a different league altogether. The era of the selfmade millionaire was yet to arrive. So small possessions, or copied fashion designs with a few geegaws thrown in, became the height of luxury. An achiever of the 1970s could only get by with a good foam mattress — no Omega, Rolex or BMWs. This trend saw a shift, a gradual one, in the 1980s. Luxury began creeping into upper class homes through small things and symbols. The colour TV came in, the humble pen was elevated to a Parker, successful self-made people began to be featured in magazines. The concept of luxury as a reward for achievement gained acceptance, though royalty and the aristocracy continued to remain the benchmark of the elite. The real change came in the 1990s when more people started making more money. There was a sudden explosion of colour and things and objet D’arts began to appear. In order to gain access to luxury and class one could just go out and charge it. What contributed to this shift? India opened up to the world. The liberalization process brought more than high economic growth rates. It showed the people what was possible. In the process, it has altered mindsets. The IT revolution, and the consequent demand for Indian brainpower, has created a whole new breed of wealthy global Indians. At the other end, an increasingly open economy has created new b