Reference Models Based on Kimono de Ginza

Kimono de Ginza, or wearing kimono in Ginza, is a monthly event held on the second Saturday of every month. These enthusiasts will equal once a month on the Ginza, an exclusive shopping regularize in Tokyo, to go for a walk in the vicinity in their kimonos. The meeting is then concluded by a joint evening meal in a Nipponese pub. The main aim of this bodily process is to allow young Japanese to tap on this opportunity to taste advice from their elders on how to wear a kimono and the appropriate kimonos for different occasions.Parallels The kimono is said to be dying, to be utterly too cumbersome for modern life, to be as elegantly anachronistic as the conservative old ladies or geisha girl who wear it, (Amerifanny anthropologist Liza Dalbyin in Kimono fashioning close). Similarly, the interest for traditional goods and work in Singapore, such as woven rattan furniture, has died down in recent years. A sharp decline in demand for both cases has serious implications for relate d businesses. Quoted from Mr Shigenobu Ono, owner of Nagoya black dyeing shop for titular kimonos, the question is how to get the younger apprentices in our guild up to pricking.He notes that even his own son decided to forsake the employment for a career in western United Statesern fashion. However, the success of Japanese culture can be seen through with(predicate) the comeback of kimono through its reinvention by the autochthonic tribe. Contrary to the strict serve codes imposed at formal gatherings and on festive occasions, many relish the non-ceremonial style of kimono or the idea of universe up to(p) to wear kimono more casually. Young Japanese also catch to kimono as an expression of fashion statement with the emergence of colourful socks and ornamental collars.Explaining its successes using learning models The tipping pane by Malcolm Gladwell The influence of Kimono de Ginza can be explained by Gladwell. Gladwell identifies three key factors that determine wheth er a particular social movement will tip into wide-scale popularity. These are namely the Law of the Few, the Stickiness Factor and the billet of Context. I. Law of the Few Connectors MavensSalesmenWider community Connectors are individuals with extensive social net whole shebang. endureing as social glue, they help to spread message, engender connections and bring the population together.Kimono de Ginza relies on these people to attract interested in the public eye(predicate) and expand its influence. For example, a similar gathering known as Kimono de Vancouver has been started for those who live in the West and who maintain interest in kimonos. Mavens act as data banks as they love to share information with other consumers by helping them authorize informed decisions. They are represented by the older participants of Kimono de Ginza who are hot to share their knowledge on kimonos.Salesmen refer to charismatic people who can effectively persuade others to make certain buyi ng decisions. The Japanese kimono free radicaling has no lack of such aficionados who fervently profess their love for kimonos through various means. II. The Stickiness Factor This is defined as a special mark that makes the phenomenon memorable by creating an impact and compelling people to act. The unlawful pull in of Kimono de Ginza relies on its flexibility to allow for individualism to shine through. It revives and reinvents a tradition while rejecting the undesirable restrictions.Furthermore, doing away with memberships allow for creative experimentation of identities beyond daily responsibilities. III. The Power of Context The souring global movement to detain local traditions amidst the perceived threat of modernisation provides an ideal backdrop for Kimono de Ginza to prosper. It works by leveraging on the balance between a desirous yearn for traditional haves and a desire to shake off inhibition restrictions. The nostalgic psychology will be explained in the later part of the case study analysis. IN WHERE) More everyplace, Kimono de Ginza was established in accordance with the conjuration Power of One Hundred and Fifty, in which groups of less than cl members usually demo a level of intimacy, interdependency, and efficiency that begins to dissipate markedly as soon as the groups size increases over 150. The body process of wearing kimonos takes place within a well-defined group setting that promises a certain sense of protection and stability. The gatherings represent a specific form of community that is characterized by world bound to a defined place and an interest in a particular activity and, moreover, involve face-to-face interaction.Ideas for proposal * Encourage business owners to form a small group within themselves to launch a retro stir Nostalgia Marketing (Martin Lindstrom) Studies have identified some nostalgic cues that can be exploited and how images and sounds from the past can create favourable attitudes about products . (LIKE WHAT) As we age, our nostalgic yearnings grow, making us more receptive to advertisers and marketers use of what researchers cover a longing for positive memories from the past. This desire for nostalgia is further intensified by societys present circumstance of receding predictability and opportunity.As Martin Lindstrom mentioned, In the face of danger or uncertainty about the future, we wish nothing more than to recall to a more stable time It is much more comforting to think of times when we had simpler lives rather than pondering the issues we are facing today. That is wherefore in times of recession we notice older retro products being brought back. The primary force driving Kimono De Ginza is the desires of the population to connect with its traditions and relive their childhood past when they were inaugural introduced to kimonos.Emotionally, we associate these products of the past with authenticity, history, and a better, simpler time. This explains why Kimono de Ginza was able to attract a significant following and remain sustained for bakers dozen years. Our nostalgia transcends time as long as each new propagation continues to be exposed to Japanese culture in their childhood and gird emotional connections that will last them through adulthood. However, Kimono de Ginza is careful not to play up the past too much for Kimono to be seen as dusty, noncurrent or out of style.Like a lot of brands and companies, it has highly-developed inventive strategies for toeing this delicate line, through its infusion of modern elements and eradication of stringent rules and restrictions. Ideas for proposal * (Nostalgic marketing) Broadcast advertisements from the olden days, oldies and catch slogans of that time * assign traditional goods to children from a young age so that they will grow up to associate these goods with a simpler and more authentic times much(prenominal) would be the case of our association with monopoly games and beyblades Kol bs Experimental Learning round of drinksKolb proposes a four stage learning cycle. I. Concrete Experience A new experience of situation or a reinterpretation of existing experience is encountered when participants is first exposed to Kimono de Ginza. II. Reflective Observation Participants new to the innovative and unconventional concepts of Kimono de Ginza discover inconsistencies between past experience and understanding. This engages them in meaningful reflections. III. gip Conceptualization Reflection gives rise to a new idea, or a modification of an existing abstract concept.Participants deliberate over their identity and what they want their kimonos to look like prior the monthly event. There is a owing(p) deal of internal tussle within the individual before they foretell out their own interpretations of kimonos. IV. Active Experimentation The learner applies them to the world roughly them to see what results. Creativity represents a key feature of Kimono de Ginza as part icipants dress up in unique costumes infused with modern features or personal idiosyncrasies and display to the public.They receive feedbacks from interactions within the club, as well as through the publics reactions as they walk down the streets. Spiral Learning lesson Though unintentional, Kimono de Ginza has unconsciously tapped on the spiral learning model to come on Kimono culture. From a young age, almost all Japanese children would have been introduced to Kimonos as part of the Japanese culture. The child may also begin his first conscious exposure of kimono through Shichi-Go-San (seven-five-three) Festival.At the age of 20, young people wear furisode or haori and hakama to celebrate their passage into adulthood. As such, an average Japanese gains multiple exposures to Kimonos throughout his growing years. Kimono de Ginza serves as a culmination point in which an individual identifies himself with a community and expresses his own interpretations of kimono in a creative ma nner. Ideas for proposal * Spiral learning model for Singapores traditions in formal education, which culminates into business management at polytechnic level. * Encourages familiarity and self expression to add value to traditional products