Fashion Merchandising

This  dissertation  provides  an  examination  of  the  cultural  significance  of  mannequins during the interwar years. As women grew increasingly visible outside of domestic roles subsequent  to  the  First  World  War  and  emerging  trends  for  streamlined  and  practical fashion posed an assault on traditional ideals of femininity, this thesis questions why it was  that  mannequins  became  suddenly  more  realistic  than  those  seen  in  previous decades.

No need to mention that apparel merchandising is one of the primary and essential activities in apparel manufacturing and apparel export business. Hence garment manufacturers set up merchandising department. Factories hire merchandisers to handle internal and external merchandising activities. In this post I will be talking about standard procedures (SOPs) of the merchandising department in readymade garment production. Sometimes it is assumed that preparing SOP is a complex task and need an expert to draft an SOP and need thorough analysis and approval before implementation the in the system. This is true but partially. If everyone thinks that way, nobody would come forward and prepare SOPs for their factory departments and activities. Also See: What is standard operating procedure These SOPs are easier to understand and apply in the factory. These SOPs were made for one small-size garment export house. SOPs are shown for the following activities of merchandising department:

European Norm 13402-3 sets standards for clothes sizing designation. Depending on the kind of garment, between one to up to four anthropometric dimensions need to be considered in defining the clothing size system. According to the distribution of the anthropometric dimensions of a specific population, the quantity needed or proportion for the various clothes and garment size categories varies greatly. In order to develop a process that enables clothing distribution managers to foresee the relative proportion of each category size that is expected to be consumed, assuming a homogeneous appeal of the garments irrespective of their size, across the population, a set of considerations supported by mathematical calculations, need to be established. To this end, it must be noted that the combination of anthropometric dimensions, described by their Gaussian statistical parameters (mean and standard deviation) is mathematically feasible, as long as correlation factors between anthropometric dimensions are known for the population at hand (these may only be extracted from original data sets). The chapter proposes deploying correlation factors between anthropometric dimensions involved in the European clothes sizing standard, and presents a method for garments lot sizing for point of sale application, informed by the correlation factors, which may be retrieved from literature, and by the statistical parameters of the population (actual or inferred). The chapter demonstrates the approach presented for various clothing item types, including men shorts (sizing based on one anthropometric dimension) and women brassieres (sizing based on two anthropometric dimensions). The mathematical formulation presented and demonstrated in the chapter is systematized in examples solved by spreadsheet calculations and is intended to support the management of orders of garments by size at their point of sale considering the reduced cycle of fashion (about 3 months). The chapter also emphasizes that reporting of anthropometric data should consider not only the mean and standard deviation of individual dimensions as has been the common practice in the field of human factors and ergonomics, but should also be accompanied by correlation charts between the anthropometric dimensions, given reduced availability of this kind of data.

Luxury goods are selling well and the growth of the industry has barely been slowed down by the Asian crisis (Les Echos, 04-30-1998, 09-25-1998; Le Figaro, 04-06-1998; Financial Times, 04-24-1999). As in many other growth markets, though, good results are coming together with a fair amount of turmoil. Many changes are redefining environmental conditions and new challenges are creating significant turbulence for players in the industry at a global level (Ecole de Paris, 1998; Woman’s Wear Daily, 02-10-1998; Liberation, 03-06/07-1999). Our question in this paper is whether, in the face of such global trends, luxury goods companies have reacted and attempted to adapt. We are interested by changes and evolutions with an impact on organizational structures but also by the potential redefinition of managerial roles and competencies. [First paragraph]

In retail industry furniture and furnishing category has become more competitive. There are many players entering into organized format of retail in this category. Therefore, it becomes important for retailers to differentiate themselves from each other. As the products are similar, one of the area in which they can differentiate themselves is store presentation in terms of visual merchandising. To study which dimensions have an impact on purchase behavior of consumers, this study is undertaken. By analyzing the impact of various dimensions of merchandising display such as window display, store front, merchandise presentation, store layout and organization, creative style and trend co-ordination, signages/graphics and store environment, it is found that window display, store front, store layout and organization (shelf display) and creative style and trend co-ordination have impact on purchase behavior of consumers.

Retailers and manufacturers should seek technology data systems to help them manage business strategies related with their assortment, supply, store space and customer´s needs.
Every product in every category presents different challenges, and those challenges can only be met by understanding the complexity of available data and the requirements which are now
crucial to meet customer´s expectations and new standards of competitive success. The more granular consolidated data retailers have on hands, the better insights and results can be addressed to achieve a perfect assortment planning and to have them personalized and well localized inside the stores.

The case study presented here offers a lens through which to study Chinese brand development in the global marketplace, and sheds light on the ways in which brands and culture circulate and construct each other in global brand culture. Furthermore, we use these insights to argue for the development of Chinese brand culture into a strategic brand resource. This is not a simple matter of drawing upon a shared set of characteristics in all cases; rather Chinese brand culture reveals itself as a subtle and complex resource with a diversity of applications, impacts, and impressions.

As a part of our mid-term examination, we have been given to complete an assignment on different types of fabrics. Hence I have chosen 5 fabrics from Knit and 5 fabrics from woven. I have attached samples & described their uses. The chosen Fabrics are mentioned as follow:

KNIT FABRICS:
1. Single Jersey
2. Waffle
3. Rib
4. Fleece/Terry
5. Pique Polo

WOVEN KNIT FABRICS:
1. Poplin
2. Flannel
3. Oxford
4. Denim
5. Georgette

Retail industry in India is booming and there is fierce competition. The country indeed has become the cynosure of FDI in retail sector and policies are heading towards more liberalization to attract foreign investment. There are various players in apparel segment in terms of lifestyle format. The study is aimed to find out impact of visual merchandising on the buying behavior of the customers visiting "Central Malls". Four dimensions of visual merchandising viz. window display, in-store form/mannequin display, floor merchandising and promotional signage are studied and results reveal as to why visual merchandising is important for strategic marketing decisions to increase the sales of the stores. The study also reveals the dimensions of visual merchandising that are important and increase impulse buying of the consumers visiting the stores.

Fashion in the twenty-first century in Iran has become highly inventive, surprisingly innovative, and undoubtedly glamorous. This is a surprise to some in the West who are accustomed to seeing images of large public gatherings of men and women in drab clothing engaged in religious or political activities that seem to be decidedly lacking in any elements that could be called “fashionable.”

Women in particular are portrayed in the all-enveloping
chador, usually solid black, which has become a Western trope for female repression. Fashion in Iran has, in fact, been remarkable for its flexibility and for its role in cultural communication. It has been directly responsive to social and political events in the country for as long
as documentation has existed. Iranians take enormous care in their dress, exhibiting a great deal of attention and individualism.

Every element of Iranian fashion is socially coded, making it easy to determine the political, social, and personal attitudes of the wearer. Because dress is such a potent public statement, attempts on the part of the Iranian state to impose standards and requirements
on the population have been a universal phenomenon over many centuries.

Before one can understand the current status of fashion in Iran, it is necessary to understand the elements from which fashion is constructed. These consist both of material element, like fabrics and tailoring, ethnic traditions from the many cultural groups that live under the rubric of Iranian culture, and historical social forces that have inspired the expression of Iranian identity
over the years. These three elements: material, cultural, and historical, have shifted and interacted with each other to create fashion variation.

Ready Made Garment industry has an over whelming presence in contributing maximum foreign exchange to Indian economy. The largest consumer group of the readymade garment industry includes the age group of 16-35, which is very brand conscious and gives priority to high quality branded readymade garments. Indian ready garment manufactures have various categories of products and to manufacture such varied products trained and skilled employees are required at the production floor. The study for the research is focused to know the training aspect at merchandiser level of employees of national branded apparels manufacturing units and international branded apparels manufacturing units and to find the differences in their skills. To meet the objectives, three domestic branded trousers and three international branded trouser companies were selected in the region of Delhi, National Capital Region (NCR) for primary data collection. The study is done on primary data. This is an empirical research and data is further analyzedto know the gap in skills of workers at production floor of national brand and international brand manufacturing unit.

Apparel industry in India is booming and there is fierce competition among various players in apparel segment in terms of lifestyle format. The study is aimed to find out impact of various dimensions of visual merchandising on impulse buying behavior of the customers visiting "Central Malls". Four dimensions of visual merchandising viz. window display, in-store form/mannequin display, floor merchandising and promotional signage are studied and its impact on impulse buying behavior is found out. The results reveal that certain dimensions of visual merchandising do affect impulse purchase. Hence, visual merchandising is important for strategic marketing decisions to increase the sales of the stores.

The main Objective of this market research was to find out the market gap between identity conscious Sri Lankans and Sri Lankan Designer wear that is in the market. As far as Sri Lankan designer wear is concerned there is a lack of modern trendy designer wear that gives prominence to Sri Lankan identity.
Therefore the research was conducted in order to find out data that could help identify stylesand trends and also identify the authenticity which Sri Lanka hold in clothing from ancient time to cater to Sri Lankans locally and globally. After doing a thorough analysis,the research proved that Sri Lanka indeed has a gap where traditional and contemporary clothing are concerned.

Fast fashion refers to the strategy to respond to the latest fashion trends by short production and distribution lead times, limited supplies and rapid inventory turn rates. Research on fast fashion mostly investigates producers’ side, such as supply chain. This study, on the other hand, focuses on consumers’ side, a neglected dimension by previous studies on fast fashion. The aim of this study is to reveal the components of fast fashion consumption behaviour and to evaluate the impact of each component.

This study consists of three phases. In the first phase, an explorative study is designed to gather information on fast fashion consumers. Three focus group interviews are held with consumers with different fashion involvement levels – from high to low. In addition, the related literature on fast fashion and fashion consumption is reviewed. Consequently, eight components, which would directly or indirectly influence fast fashion consumption, are determined. These are appearance management, repeat visiting behavior, product use duration, interaction with social media, impulse buying, willingness to pay full price, hedonic consumption, and fashion involvement. Moreover, demographic characteristics (i.e. age, income, and gender) of consumers are distinguished as the other factors influencing fast fashion consumption behaviour.

In the second phase, a questionnaire evaluating these eight components is prepared and tested on a sample of eighty-seven respondents. The results demonstrate that these components significantly explain fast fashion consumption. In the following phase of the study, a revised form of the questionnaire consisting of eight components is distributed to a larger sample and statistically analysed by using LISREL programme for scale development.

ABSTRACT Retail industry in India is booming and there is fierce competition. The country indeed has become the cynosure of FDI in retail sector and policies are heading towards more liberalization to attract foreign investment. There are various players in apparel segment in terms of lifestyle format. The study is aimed to find out impact of visual merchandising on the buying behavior of the customers visiting “Central Malls”. Four dimensions of visual merchandising viz. window display, in-store form/mannequin display, floor merchandising and promotional signage are studied and results reveal as to why visual merchandising is important for strategic marketing decisions to increase the sales of the stores. The study also reveals the dimensions of visual merchandising that are important and increase impulse buying of the consumers visiting the stores.

ABSTRACT
This article is about “importance of fashion branding at the international fashion trade” and
“differences between Zara and Turkey’s first fashion brand Vakko”. This article has two
chapters. First chapter is about success stories of Zara’s co-founder Amancio Ortega and Zara.
On the other hand, researched and analysed Zara’s current view with numbers about national and
international markets. Second chapter is about Turkey’s first fashion brand “Vakko” and success
story of Vitali Hakko (who founder of Vakko) with Vakko’s national and international trade
numbers and markets. The main purpose of this article is to analyze the need to bring Vakko to
become a strong global brand. Cause of this purpose, researching and comparative anaylsis was
performed with annual reports (Zara and Vakko) from 2009 to 2015.

Apparel industry in India is booming and there is fierce competition among various players in apparel segment in terms of lifestyle format. The study is aimed to find out impact of various dimensions of visual merchandising on impulse buying behavior of the customers visiting "Central Malls". Four dimensions of visual merchandising viz. window display, in-store form/mannequ in display, floor merchandising and promotional signage are studied and its impact on impulse buying behavior is found out. The results reveal that certain dimensions of visual merchandising do affect impulse purchase. Hence, visual merchandising is important for strategic marketing decisions to increase the sales of the stores.

Article about the links between fans painting and miniature during the XVIIIth century.

in
Miniature et éventails en Europe au XVIIIe siècle. La question du portrait.
Colloque international "Miniature et éventail", Paris, Fondation Simone et Cino del Duca, 12 octobre 2012. - publication en 2013

Neem contact met mij op voor de complete paper en toelichting.

Afbeeldingen van dunne modellen in de media zorgen voor een toename van de lichaamsontevredenheid, objectified body consciousness en sociale vergelijking van vrouwen. Deze negatieve effecten worden in verband gebracht met het ontstaan van extreem lijngedrag en eetstoornissymptomen. Het is daarom van belang deze effecten te reduceren. In dit onderzoek is gekeken of een informatief label deze effecten kan reduceren. Dit is getest door middel van een experimenteel post-test only design (N = 116) met drie condities (conditie 1 = neutraal, conditie 2 = normaliserend, conditie 3 = informatief label), waarbij naar het verschil op drie effecten werd gekeken (lichaamsontevredenheid, OBC en sociale vergelijking). Het neutrale label fungeerde hierbij als de controlegroep. Respondenten werden blootgesteld aan afbeeldingen van dunne modellen met één van de drie labels, waarbij een cover story het werkelijke doel van het onderzoek verhulde. Uit de resultaten van het onderzoek bleek echter dat een informatief label de negatieve effecten van afbeeldingen van dunne modellen niet kan reduceren.

Fino alla fine degli anni Novanta la Moda poteva dosare le proprie apparizioni, distillandone i preziosi contenuti decidendo quando e quanto dovevano essere condivisibili: la possibilità di vedere da vicino le creazioni degli stilisti era riservata all’élite invitata alle sfilate o a chi poteva accedere ai riservati spazi degli atelier, agli addetti ai lavori che potevano guardare dietro le quinte con gli occhiali di una professionalità accreditata come pertinente e agli acquirenti, i cui privilegi di accesso e godimento sarebbero stati determinati dal gusto, dagli status symbol necessari e dalla capacità di spesa.
Tutti gli altri comuni mortali dovevano attendere che le riviste specializzate pubblicassero le foto dei capi proposti nelle sfilate. Qui le mise, oltre che nelle magnifiche foto pubblicitarie, talvolta appaiono in sequenze che ripropongono ordinatamente le uscite della sfilata del fashion designer, ma, più frequentemente, i défilé sono smontati e gli abiti sono proposti per accostamenti di colori, dettagli, linee, assonanze
e differenze, secondo la visione e la lettura dello spirito della stagione da parte di chi struttura le pagine, con titoli tematici di vario sapore: il nuovo stile impero, il ritorno dei pois, la rediviva longuette, verde protagonista, quest’anno è di moda il nero ecc.

Contenuto in "Disegno digitale per la moda. Dal figurino all’avatar", di M. Ciammaichella, Aracne editrice, 2011, pp195-210.

With the advent of information technologies and emergence of online stores, the online shopping has not been the same as it was in the past. Now in order to strive in this cut throat competition it is of vital importance for the organizations to understand the factors that matter for consumers when they shop online. As the competition in e-commerce is intensified, it becomes more important for online retailers to understand the antecedents of consumer acceptance of online shopping. Such knowledge is essential to customer relationship management, which has been recognized as an effective business strategy to achieve success in the electronic market. The current research study is an effort to understand the satisfaction and loyalty pattern for the consumers shopping online. The objective of this research is to study the impact of emotional state and perceived risk of remote purchase on e-satisfaction during the Internet shopping. As well, it aims to study the influence of e-satisfaction on e-loyalty. The data gathering was carried out by a questionnaire. The results show that three dimensions of the emotional state during Internet shopping (the pleasure, stimulation and dominance) have a significant positive impact on e-satisfaction. Dimensions of the perceived risk of remote purchase, (the total risk, the financial risk, the social risk, the psychological risk, the functional risk, and the physical risk) don't have a significant impact on e-satisfaction, except the risk of loss of time has a negative impact. Finally satisfaction influences positively and significantly the e-loyalty of the cyber consumers.

The professional projects of Donna Haraway, a third-wave feminist, and Alexander McQueen, an avant-garde fashion designer, show remarkable convergence in their appropriative, purposeful blurring of the distinction between the natural and technological thereby disclosing what constitutes truth for both figures; namely, to be duped. The title of this presentation, HaraQueen, is a portmanteau of their last names that points precisely to this fact. HaraQueen is also a type of homophone - horror queen - that holds in concert the contradistinctive semantics of these two words: horror meaning an affection of disgust, revulsion, and dread, and queen meaning the status of divine right, potentate, and sovereign; not under the sign of the same, but in all their distinctive g(l)ory such that difference is honored. The aesthetic of McQueen exemplifies the ability, through his fashions, to recode the body in such a way as to upend what might be considered natural or beautiful. This commentary on the herd mentality of beauty - the patriarchal objectification of the female body as sex object - exposes the body as up for grabs, as a site of disputation. Coupled with his love of nature, this makes for an ironic paradox that punctures the dialectic, natural-technical, rendering it leaky and, yet, preserves the two dichotomies as indissoluble. Concomitantly, Haraway is committed to an analogous trickster methodology. As a trained biologist, her professional scholarship is infused with articulating a primordial being-with-others (e.g., technology, animals, humans, etc.) that comes from studying the radical anti-anthropomorphism of biological discourse. Most famously, she initiated cyborg studies as a way to envision a non-instrumentalist relationship with technologies as well as to inhibit said technologies critically. The site at which the confluence between Haraway and McQueen reaches its climax is in McQueen’s spring / summer 2001 show VOSS. This particular fashion show captures the sine qua non of both of their methodologies: the duping of the hegemonic other. What is so clever about VOSS is that the elephant in the room had been there the whole time but nobody knew there was an elephant - the elephant only came into being once the duping had occurred. Such a reveal generates an affective aesthetic by walking the razor's edge of camp and couture, being at once monstrous and enchanting; slip and the position either falls into either extreme otherness or reifies current norms. The audience members at VOSS were left with a feeling of being unnerved and unsettled, of not-being-at-home. The interface between Haraway and McQueen has implications for various strands of critical psychology. Although critical studies in psychology have tended to ally with social constructionism and reject any kind of foundational realism, the interface between Haraway and McQueen builds a bridge over the abyss between these two antinomies. This reading of VOSS demonstrates that trickster strategies can flank the iron curtain of metonymy and breach it through artifice: claims can be made about the world even if given indirectly through wit, humor, or irony.

“Las experiencias son la base de todo conocimiento”, postula una de las más influyentes corrientes del pensamiento filosófico, el empirismo, que, iniciado con Aristóteles, simulan la mente humana a una “tabula rasa”, sobre la que solo, a través de las experiencias, los individuos construyen su realidad y conocimiento del mundo.

Este trabajo de fin de carrera trata sobre cómo, hoy en día, ante la dificultad de las marcas para influir en el consumidor, el marketing está evolucionando hacia un nuevo modelo, denominado marketing experiencial. Mediante la generación de experiencias sensoriales, experiencias sensitivas, experiencias de pensamientos, experiencias de actuaciones o experiencia de relaciones, las marcas no solo están volviendo a influir en el consumidor, o mejorando sus experiencias de compra y de consumo, sino que también, estas experiencias, están siendo una potente herramienta para crear el posicionamiento de las marcas en la mente de los consumidores.

En definitiva, este trabajo de fin de carrera trata sobre cómo, mediante la generación de experiencias en el punto de venta, las marcas están trasmitiendo su “ser” y esencia a los consumidores, posibilitando así que estas sean percibidas como diferentes en los masificados y homogéneos mercados actuales.

Lector, no autor.
Creando categorías de nuevos productos , cuando todavía no existen en la mercadología.
Apple, en las computadoras para uso editorial, ilustración y música.
Cuando algo esta fuera de las categorías industriales,  está en medio de 2.

In spite of having very good growth potential, retail in India is passing through turbulent times and therefore, differentiation becomes very essential. There are various players in apparel segment in terms of lifestyle format. These apparel players deliver almost the same thing as their competitors do. Hence, the only means of increasing footfalls and sales of the store is differentiating it in the terms of visual merchandising. The study is aimed to " find out perception of consumers for apparel retail outlet in Ahmedabad ". Results reveal as to why visual merchandising is important for strategic marketing decisions to increase the sales of the stores. The study will help store managers to improvise on the dimension a particular store is weak and consequently improve the perceptions of the consumers towards the store. Note: The copyright of the paper rests with the publishers who have made full paper available on the internet. For the commercial use of this paper permission from the publisher is needed. Number of Pages in PDF File: 8 Abstract http://ssrn.com/abstract=2472603

Dress has played a vital role as a form of expression for different ethnic groups in the diverse city of Toronto. This is a means by which communities have maintained their relationships to their homelands and preserved memories (Brown, 2012). Latin American fashion’s recent rise in popularity can be seen most obviously in mass-markets throughout the industrialized West (Root, 2005); however, there are only a few Latin American fashion brands available in Toronto. Hence the researcher investigated and established the process for a Latin American fashion apparel brand to successfully enter the Toronto fashion market. The secondary purpose of this major research project is to provide Canadian residents with the opportunity to experience Latin American cultures through fashion. Even though the countries that make up Latin America have their own characteristic cultural traits, this study had hoped to create a framework of recommendations that will serve as a guideline for entrepreneurs and designers (regardless of their Latin American country of origin) on the successful introduction of Latin American fashion apparel brands into the Toronto fashion market. The approach for this project consisted of the implementation of a mix of a qualitative and quantitative methodology. The conclusions and lessons learned can be applied to any Latin American fashion brand entering the Toronto marketplace.

The scholarship of Donna Haraway conducts a searing polemic against essentialist theorizing in feminist and gender studies by relying upon a novel methodology, which neither rejects the trappings of a culture addicted to technoscience, nor embraces them tout court; but, rather, inhabits said positions critically through irony, hyperbole, and iconoclasm. This approach is christened here as hypercommandeering: a neologism combining the hyper affinity of surplus, decadence, and overproduction in postmodernity with the blitzkrieg political connotations of commandeering necessary to survive in such a context. As such, this project dances and swerves between and among tropes insofar as, given the underlying trickster ontology, exaggerating and inverting meaning reveals more of the truth than a linear argument, which belies an assumed metalanguage and is therefore imperialistic. This is a path of generativity, not of final ends - of being able to speak all possible languages through the methodology’s heteroglossia from which it derives a political stance of neither anarchism nor imperialism, but of a Janus head. Trickster strategies can flank the iron curtain of metonymy and breach it through artifice. An example of hypercommandeering is given via a reading of the avant-garde fashion designer Alexander McQueen’s 2001 spring / summer show VOSS.

Au fil de nos découvertes et de nos recherches, cet article de quelques pages est devenu une somme que nous avons souhaité publier en plusieurs livraisons. A l'instar de ce que nous avons proposé aux lecteurs pour l'article sur Les Tabletiers et les éventaillistes à Paris au XVIIIe siècle (bulletins n° 391 à 396) nous proposerons un tiré-à-part, une fois l'ensemble de l'article paru, permettant de le consulter en un seul volume. depuis nos premières réflexions jusqu'à aujourd'hui, nous avons vu notre corpus d'images croître sans cesse. d'une part, grâce à nos propres ressources, et d'autre part, grâce aux très nombreux collectionneurs qui nous ont soutenus dans notre recherche en nous ouvrant leurs portes ou en nous communiquant les photographies des écrans de leurs collections.

O compartilhamento inserido na moda, economia criativa e sustentabilidade é pauta para o estudo teórico em questão. Foram analisados fatores relevantes dentro de cada um desses conceitos através de pesquisas exploratórias online e revisão bibliográfica dos autores Richard Florida, Lilyan Berlim, Lisa Gansky, Rachel Botsman e Roo Rogers. A economia criativa é um conceito com base em recursos criativos potencialmente geradores de crescimento e desenvolvimento econômico, e suas características envolvem a multidisciplinaridade, diversidade, pensamento global, velocidade e o compartilhamento. Este é decorrente da significativa mudança da sociedade, que passa a ter um pensamento cada vez menos individualista e mais comunitário. Após análise de empresas que utilizam o compartilhamento e o consumo colaborativo, é apresentado como estudo de caso o blog de moda “Garotas Estúpidas” de Camila Coutinho, como referência do uso de mídias digitais para o compartilhamento sombrio e corrupto de informação e divulgação de marcas. Os resultados obtidos permitiram ao grupo concluir que: a) a tecnologia e a internet são fatores primordiais para a otimização do compartilhamento; b) as blogueiras têm participação ativa na decisão de compra do consumidor, tornando-se elementos influenciadores deste processo; c) as blogueiras inicialmente criam vínculos fraternais com seus leitores, e se aproveitam deste poder para ditar que produtos devem comprar, utilizando o vínculo paternal; d) reconhecendo o papel que os blogs desempenham na decisão de compra, as marcas criam estratégias de marketing para tirar proveito destes vínculos, podendo aumentar suas vendas e até mesmo reposicionar-se no mercado.