Asian Journalhttp://ajc.sagepub.

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of Management Cases

Maria B. Designs (Pvt.) Lt

Jawaid Abdul Ghani
Asian Journal of Management Cases 2010 7: 89
DOI: 10.1177/097282011000700107
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SAGE PUBLICATIONS LOS ANGELES/LONDON/NEW DELHI/SINGAPORE/WASHINGTON DC
DOI: 10.1177/097282011000700107

MARIA B. DESIGNS (PVT.) LTD

Jawaid Abdul Ghani
Maria B. was a leading player in the fashion clothing industry of Pakistan. Her
designs comprised womens casual, formal and bridal wear. A consumer study
found that purchase of casuals was impulsive, triggered by the start of a new season.
Formal wear was bought for special occasions and festivals. The purchase process
involved considerable window shopping and obtaining information on the latest
trends from fashion magazines. The purchase of bridal wear was by far the most
intense. Every bride-to-be wanted her wedding dress to be exclusive. The designer
was expected to provide personal advice regarding the selection of fabric and design.
Based on the study results, the company had to identify customer segments and
decide which of the three product lines to focus upon. Should bridal wear be placed
in the same outlet with other lines, or should it be handled exclusively? Maria B.
was concerned whether the lower quality image of casuals might negatively impact
the premium image and stringent quality standards associated with bridal wear.
Keywords: Market research, qualitative research, fashion clothes industry, customer segmentation, brand image

On a sultry June morning of 2003, Maria Belal sat in her Lahore office, evaluating
options to respond to growing competition, especially from the informal sector comprising tailors and karigars.1 Added to this, were the concerns raised by a recent
research study conducted by students of a local business school, sponsored by Maria
B. Designs (Pvt.) Ltd. Her most urgent concern related to the diluting brand image of
Maria B. The other issues of concern were:
1

Craftsmen usually operating in the informal cottage industry sector.

This case study was prepared by Professor Jawaid Abdul Ghani at Lahore University of Management
Sciences, to serve as a basis for class discussion rather than to illustrate either effective or ineffective
handling of an administrative situation. The author would like to thank Mehmood Ahmed, Atia Mujib
and Shariq Mustafa for their assistance.

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z

The product line currently offered by Maria B. was confusing for the consumers;
what should Maria B. do to remove this confusion?
Some consumers thought that Maria B. was too expensive; should Maria B. bring
about any changes in its pricing policy or should it try to maintain its premium
image by modifying the perception of these consumers?
Bridal wear, the flagship product of Maria B., was being offered at the same outlet along with other product lines; what should the company do to avoid any
spillover effect of casual and formal lines on bridal wear?

THE FASHION INDUSTRY OF PAKISTAN

The fashion clothes industry in Pakistan could trace its roots to a handful of designers
in big cities who had a natural flair for creativity. They designed as a hobby, primarily
for their friends and relatives. A major change occurred in the 1990s when young
people started considering this field professionally. The media began to focus on
this industry, and numerous makeup artists, fashion photographers and professional
models emerged. Fashion shows also became a norm, both as a must-have for designers
and as a source of revenue.
Fashion in Pakistan reached a point where there seemed to be no rules anymore
and anything seemed to be possible. Fashion designers claimed that they were
opening the minds and imaginations of the consumers towards a sense of freedom.
Experimentation reigned supreme and fashion got bolder and more daring with an
ultra modern attitude.
The fashion industry in Pakistan consisted of two distinct sectors: the formal and
informal sectors. Both these sectors catered to different segments and operated in
markedly different manners. Over the years, the two sectors continued to adapt to
changing trends and together shaped the fashion scene in the country.
The informal sector2 had been the main source for fulfilling the fashion apparel
needs of women in Pakistan and continued to give the formal sector a tough time. This
sector consisted of individual tailoring shops, which were able to provide customized
outfits for a minimal price. This gave consumers tremendous flexibility in terms of
getting an outfit stitched and designed to their personal tastes. Consequently, it continued to be the preferred source for apparel among Pakistani women. The informal
2
The informal sector (also known as cottage industry) consists of firms with less than ten employees.
These firms benefit from reduced tax rates and government regulations.

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sector generally imitated designs introduced in the formal sector and sold them at
lower prices. This sector thus catered to the price-sensitive customer who was willing
to sacrifice brand image, design, quality and uniqueness.
The formal sector consisted of boutiques and professional designers who catered to
a small but growing market for designer fashion apparel. It catered to the needs of the
upper and upper-middle income classes of society. The designer outlets introduced
innovative designs and were able to charge huge premiums because of the strong brand
names associated with their products. Customers felt proud to associate themselves
with these expensive and stylish brand names. The outlets were engaged in designing,
tailoring and marketing chic female apparel which were heavily embroidered with
traditional embellishments. These outfits were worn by women on special occasions,
mostly weddings.
Apart from their unique design philosophy, fashion designers also brought modern
marketing techniques into the fashion industry in Pakistan. This was because the
outlets that these designers operated from were running as properly organized smallto-medium-scale businesses. Techniques such as fashion shows, coverage in fashion
magazines and promotional tools like sales and special discounts were often employed
by them.
Prominent names in the formal sector included Maria B., Nilofer Shahid of Meeras,
Taufeeq, Sana & Safinaz, and Niki & Nina. All these players were mainly known for
their bridal apparel lines. In the formal apparel line, Maria B. competed with Muddhouse and Hassan Shehryar, while Generation and Nees Punhal were known mainly
for their casual apparel line. A typical price range of the major product lines in each
sector are presented in Table 1.
Table 1
Price Ranges for Fashion Apparel (in Rs)

Casual
Formal
Bridal

Formal Sector

Informal Sector

1,2002,500
5,00025,000
60,000 and above

5001,500
2,0008,000
30,00060,000

Source: Case writers notes.

COMPANY BACKGROUND
Maria B. was one of the most prominent players in designing fashion apparel for women
in Pakistan. According to her, (Fashion is) Art that is harnessed by creativity, which
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elevates the woman, envelops herconveys her every mood, her every whim to the
rest of the world. Maria B. was responsible for creating a successful and professional
fashion house in the country with dreams of making it the first international brand
name originating from Pakistan. Her global vision was:
To make a company that could compete internationally with other global brands
in terms of designing, production, and marketing capabilities and to make Maria B.
a prestigious and synonymous brand in the world of fashion.
With this global vision, Maria B. Designs was founded in 1999 in Lahore. Initially,
it was a small-scale operation in rented premises. However, the company grew fast
and managed to establish a full-fledged vertically integrated facility in Lahore doing
everything except cloth production under one roof. Three more retail outlets were
opened in different cities of Pakistan within four years of its inception.
Maria B.s domestic operations covered four outlets in exclusive locations, one each
in Lahore and Islamabad, and two in Karachi; they provided apparel to a diverse group
of people in terms of tastes and lifestyles. Maria B. did not have a retail outlet abroad,
yet it had a very loyal customer base outside Pakistan as well. The company reached
its international customers primarily through fashion shows held abroad.
With a customer base of around 10,000, both local and international, Maria B. kept
pace with changing styles and trends locally as well as internationally. In the fiscal year
200203, the combined revenue from its domestic and international operations came
to approximately Rs 30.6 million (30 million from local operations and 0.6 million from
international sales). This represented an increase of 9 per cent over the previous fiscal
year, and a twenty-fold increase since 1999, when sales were only around Rs 1.3 million.
In 2003, the casual line generated sales of roughly Rs 6 million, formal wear generated
Rs 12.2 million and bridal wear had sales of Rs 12.4 million, thereby contributing
20 per cent, 40 per cent and 40 per cent, respectively, to the total revenue.
Maria B. faced fierce competition in its casual and bridal lines but managed to maintain its image and reputation as a visionary designer in the minds of all related, directly
or indirectly, to the field of fashion designing. The fashion house created demand for
its line of clothing by advertising in the print media, spending approximately Rs 0.7
million; opening up new outlets; and arranging fashion shows locally and overseas.
In order to achieve the goal of making Maria B. an international brand, the company
planned to expand internationally in the years to come.
Maria B.s customer base belonged to the upper strata of society. This included working women, teenagers, students, housewives and brides who were modern, informed,
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confident and stylish and could wear a modern, trendy dress with as much ease and
comfort as a traditional one, depending on the occasion.

PRODUCT LINE
In all, there were five product lines offered by Maria B. These werecasual, semiformal, formal, semi-bridal and bridal. Semi-formals and semi-bridal wear were merely
a variation of the formals and bridal wear, respectively. Hence, for the purpose of
simplicity only three basic product lines are discussed.
The production process for casuals started with an analysis of market trends (see
Exhibit 1). The designing was followed by fabric purchase. A reliable and trustworthy
supplier base provided Maria B. with the required type of fabric on a timely basis,
making the availability of finished apparel in the market possible. Maria B. had her
own dyeing facility to experiment with different colours and to ensure the quality of
dyeing in terms of colour fastness. She strove to develop something that would be liked
by everyone, and she did this with her basic cuts, crazy screen prints and accurate
stitching. The companys distribution network replenished stock every two to three
days, making it available at all outlets in Pakistan throughout the year. Maria B. outlets
were designed to be appealing enough to attract customers with their stylish dcor
and layout. Finally, Maria B. decided to use print advertising and fashion shows.
The production process for formals and bridal wear was the same as that for casuals,
except that the designs were more customized and the screen printing and embroidery
stages were performed at the adda. The adda was an in-house unit with highly skilled
craftsmen. Maria B.s formals were famous for their handwork and her bridal wear
were known for their designs, handwork and finishing. Casuals were generally kept
in stock, while formals and bridal wear were custom made (made-to-order).

RESEARCH STUDY
The initial phase of the research study conducted for Maria B. consisted of about
a dozen in-depth interviews and four focus groups. The objective of the study was
to generate insights and hypotheses regarding apparel purchase for each product
category.
A key decision was whether separate focus groups should discuss each of the
three product lines, or whether all three lines should be discussed in the same focus
group. The former option was selected since it would give individual attention to
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each product line. As a result, two of the focus groups were on bridal wear, and there
was one each on casual and formal wear. The participants in these focus groups were
typically about five women.
Another issue was that of the target market. Would it be appropriate to have relatively older women discussing casuals and teenagers discussing bridal wear, or would
it be advisable to reverse the order? It was believed that the demographics for the respondents of the three product lines were different, and the participant profile for each
focus group was selected after considerable debate. Profiles of selected participants
in the in-depth interviews and focus groups are provided in Exhibit 2.
The casual line of clothing was discussed primarily with teenagers and women in
their early twenties (1824 years). These consisted mainly of students from institutions
such as the Lahore University of Management Sciences (LUMS), National College of
Arts (NCA) and Kinnaird College. The household income of these women ranged from
Rs 30,000 to Rs 50,000 per month. While casuals were worn by everyone, younger
women were chosen as the research study participants because they were often more
fashion conscious, and more aware of the fact that designers were increasingly offering casuals as part of their product lines. The participants identified were those who
seemed to be more fashion conscious and believed in wearing trendy clothes.
For formals, the participants included a wide range in terms of age (20 years and
above), and consisted of working women, newlyweds and mothers. They resided in
exclusive areas of Lahore such as Defence, Model Town and Gulberg. Their monthly
household income was Rs 70,000 and above. They were generally women who had an
eye for intricate embroidery and an appreciation for unconventional couture. They
believed in spending on designer clothes, bags, jewellery, shoes and sunglasses, and
closely followed the latest fashion trends. For bridal wear, recently married women
formed the ideal group because of their personal knowledge about the various issues
involved in the selection and purchase of bridal wear. However, it was clear that,
younger women, even if unmarried, had at some time in their lives gone through
the experience of a bridal selection or purchase because of the marriage of a sister or
other relative. Participants thus included a cross-section of newly married women,
brides-to-be and their mothers.
Some focus groups were conducted at LUMS, the participants mainly being BSc students. One focus group was conducted at Kinnaird College and another was made up
entirely of NCA students. This focus group took place at a residence in Defence. Two
group members conducted their focus groups at their homes after inviting various
women to attend the discussion.

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FINDINGS
Selected comments made by participants during the various focus groups are presented
in Exhibits 3, 4, 5, 6, 7 and 8. An analysis based on the findings of the in-depth interviews and focus groups is given below.

Casual Wear
Casual wear, which also included casual fashion apparel, was found to be an impulse
purchase. The factor which triggered purchase of casual apparel was the start of a
new season when clothes for the new season were purchased usually in bulk (that
is, more than two dresses at one time). The depletion factor was also strong whereby
new casual apparel was bought because the old collection had worn out or had become
outdated. It was also found that the birth of a new fashion trend or style prompted
purchase of casual fashion apparel. Information gathering in the case of casual apparel
was minimal and consumers made a relatively independent decision which was free
from any external influence. It was also revealed that the selection of a store for the
purchase of casual fashion apparel was influenced by three factors: first, the fashion
update offered by a store; second, the price discounts offered; and finally, the designs
offered.

Formal Wear
Formal wear, which also included formal fashion apparel, was normally bought for
special occasions (dinner parties) and festivals (Eid, weddings, etc.). This implied
that the purchase of formal apparel was a serious shopping exercise and not an
impulse purchase like that of casual apparel. The research suggested that for formal
fashion apparel, women usually referred to fashion magazines to get an update on
the latest trends. The explanation for this behaviour was that since women bought
formal apparel for special occasions, they were always ready to go the extra mile in
finding out the latest trends in fashion so that they had an up-to-date appearance.
It was also found that women generally window-shopped a lot at various boutiques
before buying formal apparel and were also willing to spend money if they believed
that the clothes were truly worth the money. As a result, the information gathering in
the case of formal apparel was intensive and consumers made the final decision after
conducting a thorough pre-purchase research. It was also discovered that the selection

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of a store for the purpose of purchasing formal fashion apparel was influenced by
three factorsfirst, the designs offered; second, the fashion update offered by a store;
and finally, the quality of fabric.

Bridal Wear
In the case of a bridal dress, consumers tried to gather the maximum possible information about the product and the place from where to buy it. This was because they
believed that the purchase of a bridal dress was a one-time expense. This information
gathering entailed market research (visiting both the informal and the formal sectors)
and consulting friends and relatives who had gone through a similar experience. It
was also found that the price elasticity of the bridal apparel purchased from fashion
designers was relatively low, since the consumers always looked for quality and design
in a bridal jora (dress) and thus, price did not play a major role in determining their
choice of the designer apparel. The research also revealed the my own syndrome
amidst bridal customers, as every bride-to-be wanted her wedding dress to be exclusive, a unique design that was created for her and her alone. It was, therefore, the
search for this magnificent outfit that made the prospective bride seek the help of a
designer who, as a professional, was more knowledgeable about the intricate details
concerning the bridal dress, for example, what colour would suit the bride-to-be and
what material would look most appropriate on her. It was because of this belief in the
designers expertise that the bride wanted the designer to give her advice regarding
the selection of material, fabric and design. Furthermore, since the bride-to-be would
be paying a substantial amount of money for the dress, she considered it her right to
be given personal attention.

FUTURE DIRECTIONS
Armed with these findings, Maria B. sat in her office wondering whether further research was required. She was thinking about how she could utilize the information
effectively to develop a coherent marketing plan. She was particularly concerned about
her flagship product, bridal wear. Even though Maria B. had a separate floor especially
designated for the bridal collection, the personal attention and customization required
by consumers was lacking. Offering all product lines under one roof also had its drawbacks. The image of one product could spill over to other products, for example the
quality image of casual wear, a cheaper product that could afford less stringent quality
standards, might be associated with the quality image of the bridal wear which were
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offered under the same roof and with the same brand name. Identification of the
target segment and ways of improving the perception of Maria B. bridal wear were
immediate challenges confronting the designer.
Exhibit 1
Production Process for Casual Wear

Source: Company records.

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Exhibit 2
Profiles of Selected Interview Participants
Person 1: (income: Rs 16,000 per month, age: about 40 years, children: 4)
Person 1 resides in Model Town and purchases three casual suits and one formal for each season.3 She
typically spends Rs 350600 on casuals and Rs 7002,000 on formals. She likes to go to boutiques but
buys only suits priced under Rs 1,000. Purchases most suits from the informal sector.
Person 2: (income: Rs 50,000 per month, age: 40 plus, mother of bride-to-be, children: 5)
Person 2 resides in Askari Complex. She purchases about fifteen suits per season but dresses for weddings
are extra which she buys depending upon her relation with the bride/groom and her budget. Typically
spends Rs 300700 on casuals, Rs 5002,000 on formals and less than Rs 5,000 on dresses for weddings.
She likes to visit boutiques and designers in order to get an idea of what is in and what is out, but
generally purchases from the informal sector. As the mother of a bride-to-be she would like to buy the
bridal dress from a designer but spend no more than Rs 35,000 on it.
Person 3: (income: Rs 90,000 per month, age: 30 plus, children: 2)
Person 3 is a working woman living in Defence. She buys 1015 suits per season. For casuals the price
range is Rs 900 plus and for formals it is Rs 2,0007,000. For weddings, depending upon her relation with
the bride/groom, she buys two suits with an average price of Rs 20,000. On the wedding of a relative, she
consults a designer for at least one suit. For her normal casual wear she prefers to buy Maria B. casuals,
worth Rs 1,500. But she also gets her suits stitched from tailors (informal sector). As she is very busy,
she prefers ready-made dresses.
Person 4: (income: Rs 100,000 plus per month, age: 30 plus, newly married, working woman)
Person 4 lives in Defence. She purchases fifteen suits per season including formals; 80 per cent of
these are casuals and 20 per cent formals. Her price range for casuals is Rs 2501,100. For formals, it is
Rs 1,0002,000 and for weddings it is Rs 1,5002,000. She prefers the informal sector. Her bridal dress
cost Rs 30,000.
Source: Company records.
Exhibit 3
Focus Group FindingsCasual Wear
1. When you talk about casuals, Generation immediately comes to your mind, which offers casuals
in the true sense of the word. Maria B. should also consider casuals on the same lines (age < 30
years4).
2. Casuals should have a wide variety with a lot of choice, because you think of it as being more
researched, more top of the line (teenager).
3
4

Seasons refer to the two main seasons each year, summer and winter.
Numbers in parentheses provide data on respondent demographics, particularly age.

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3. In my mind I just think of Maria B. as a really expensive formal wear designer. For casuals, I dont
even consider her rather I go straight to Generation (age 3035 years).
4. I think in casuals, volume and variety are more important than quality (age < 25 years).
5. Its young working women who want exclusive casual attire which is simple, comfortable and
in-line with latest trends. Maria B. should target them (age < 30 years).
6. I normally buy casuals at the start of a season; Maria B. should provide new variety at this time
(age < 30 years).
7. I normally start buying casual wear at the beginning of a season, for example, in summer every
year, I have to have new prints and then also, your previous years clothes get worn out and so
you need to replace them (age < 30 years).
8. Casuals are bought in bulk and when I buy my summer or winter casual clothes, I am normally
willing to compromise on quality and focus more on prices, as I know that I will be replacing
these clothes next year (age above 25 years, working woman).
9. When it comes to casuals, I concentrate more on the volume and thus price matters for I know
that what I am wearing this year will not be in fashion next year (age 2025 years).
10. I usually go to places like Auriga and Liberty to buy the material for casual clothes. Generation
also offers huge volumes at low prices and so a trip to Generation at the start of every season is
a must (working woman; students above 18 years).
11. I usually purchase the material for casual wear because that way I can play around with the
design and colours, on my own (age above 30 years).
12. My casuals have to be according to the latest in fashion for I cannot afford to be considered out
of style amidst my friends (age < 25 years).
13. Friends are a big influence on my style of clothing. I look around to see what is in vogue and
then tailor my clothes accordingly (age < 25 years).
Source: Company records.
Exhibit 4
Focus Group FindingsFormal Wear
1. Maria B. needs to expand variety for formals and they should be occasion specific such as Eid,
birthday parties, etc. (age > 30 years).
2. Maria B. has an exclusive and expensive formal wear image. The designer should provide high
quality, top-of-the-line designs according to her customers tastes (age > 30 years).
3. Maria B.s strength is in formal designs. She should be capable of providing her customers dresses
for all formal occasions (age 3035 years).
4. I buy a formal jora when there is an occasion coming up, for example, a wedding or a formal
dinner (married woman, above 25 years).
5. I buy formals normally for specific occasions and since these occasions are not so frequent during
the year, I concentrate more on the quality of the fabric and am willing to spend more on a formal
jora (age > 30 years).
6. The quality of the fabric matters the most in a formal jora; price is a secondary concern
(age > 25 years).

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7. I also am very particular about the formal jora being according to the latest fashion. It simply has
to be! (age > 25 years).
8. Fashion and quality are two very important components of a formal jora. Price is definitely not
a concern since this is a rare expense because formals are not purchased so frequently (age > 25
years).
9. I do copy the latest designs offered by the designers because that way I can wear the latest in
fashion (age < 25 years).
10. Designers are my main source of inspiration for formal wear but I also dont mind buying from
them once or twice (age < 25 years).
Source: Company records.
Exhibit 5
Focus Group FindingsBridal Wear
1. Maria B. should have a proper consultation session with the customer before deciding a bridal
design for her (age > 30 years).
2. Young women coming from a higher stratum of society go to designers, and they always look
for modern fashionable apparel. Once they are satisfied, they become loyal customers and also
consult the designer for bridal wear (age < 25 years).
3. Maria B.s bridal wear lacks variety in designs (age < 30 years).
4. I think Maria B. should position herself as a designer for bridal wear and she should excel in her
designs and fashion as well as quality of fabric (age 2025 years).
5. There is no question about not going to a designer for bridal wear. It is the IN thing to do nowadays
(1830 age group, especially brides-to-be).
6. Quality, quality, quality! I cannot emphasize quality enough for a bridal jora. Quality of fabric
and quality of work are the two most important things in this jora. Forget about price as this is a
one-time expense (age above 30 years).
7. Yes I would not mind copying the designs for a bridal jora, because why should I pay the premium
price when I can get the same jora made much cheaper from Anarkali (informal sector), etc.
(mother of a bride-to-be).
8. The prices charged by the designers are outrageous. I could get the same made at such a low
price (mother of a bride-to-be).
9. It is just not the jora that mattersit is the entire experience, the attention of the designer, her
personal interest in what colors would suit me, what cloth would look good on methat cannot
be found at some cheap place like Anarkali (age > 25 years, bride-to-be).
10. I am willing to pay a premium price for a bridal jora for I want people to admire my unique color
combination and exclusive design on the day of my weddingbesides to be wearing designer
bridal wear is the IN thing nowadaysI would love to say that I am wearing Nilofer Shahid or
Maria B (age > 25 years, bride-to-be).
Source: Company records.

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Exhibit 6
Focus Group findingsMaria B. Image
1. Maria B. is a premium brand. I think Maria should only sustain this image through offering high
quality products as well as opening her outlets in posh areas of the city (age > 30 years).
2. It has an expensive look to it too (age 2530 years).
3. It should be reasonably priced (age > 30 years).
4. She is so typical (age 1820 years).
5. Some people I know are just bored of Maria B. They say there is no variety in her bridal designs
but they still buy it because they are curious about her premium image (age above 30 years).
6. It is too confusing to make sense of the way her lines are named. I know what a formal is but
what does she mean by semi-formal and similarly, semi-bridal is too confusing as well (both young
and old women).
7. Maria B. cannot win the price war of casuals. Even if she decreases her prices, she cant compete;
rather she will spoil her upmarket image (age 25 years).
8. Maria B.s outfits have been around for a long time; you can trust the designer (age > 30 years).
9. I think women are mostly compulsive buyers; shopping is their favorite pastime. But at the same
time, they want variety and uniqueness (age < 30 years).
10. Maria B. has a trendy office wear collection (middle-aged working woman).
Source: Company records.
Exhibit 7
Focus Group FindingsStore Layout
1. Arranging the display of clothing, putting the clothes in neat piles as casuals, formals and bridal
wear also helps the customer to make a quick decision. Maria B. should improve the display of
her outfits (age < 25 years).
2. Clothes should be hung in a way that makes it convenient for customers to look and select the
designs of their choice easily instead of launching a search effort (age > 30 years).
3. Once I went to Maria B.s boutique, I saw a lot of dresses hanging around. The display was not good
and thats why I have not tried it (age > 30 years).
4. The display is a chaos. You have to look, search and search. Too time consuming (age > 30
years).
5. With a good display, you really get a good summary of the boutique up front. I like that because
it tells me exactly what I should get from here. I know what I am looking for and I can quickly
decide (age 3035 years).
6. Maria B.s Defence outlet is attractive with respect to both physical outlet and ambience. However,
her display of apparel is not good (age 2535 years).
Source: Company records.

MARIA B. DESIGNS (PVT.) LTD 101

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ASIAN JOURNAL OF MANAGEMENT CASES, 7(1), 2010: 89102

Exhibit 8
Focus Group FindingsSuggestions
1. I think Maria B. should advertise more, emphasize the quality and variety of new designs and
new cuts (age < 30 years).
2. In my opinion, she should maintain a premium price image. There is a need to keep coming
up with innovative designs which should be trendy as well as graceful, and this can be the core
competence of Maria B. (age 3035 years).
3. Tell women that Maria B. makes exclusive outfits. Then they will figure out themselves what they
need (age > 30 years).
4. Maria B. should enhance her image by using superior quality fabric and material for embroidery
(age > 30 years).
5. I think Maria B. should provide casual clothes like Khaddi (teenager).
6. Maria B. should concentrate on the quality and design of her clothes. She should provide customers
value for money (age above 30 years).
7. Maria B. should improve her designs and should be updated with the latest fashion trends
(age < 25 years).
8. I dont see Maria B.s formal wear targeting only glamorous women. I see it for every housewife
and working woman (age 3035 years, working woman).
9. In line with her fashion shows featuring only formals and bridal wear, she should also have fashion
events for casuals (age < 25 years).
10. Marias apparel are not occasion specific (age 3035 years).
11. To my knowledge, normally modern young women consult designers because they always want
to be in. Maria B. should target them (age < 25 years).
12. I think Maria B. should consider only the upper niche of the society (age above 30 years).
13. Avant Garde! This is my image for an educated, modern woman. And I consider it while buying
my apparel (age above 30 years).
14. I think Maria B.s apparel should be fashionable Modern Cuts unlike the typical shalwar qameez
(age < 25 years).
Source: Company records.

102 JAWAID ABDUL GHANI

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