A

DISSERTATION REPORT

ON

Decline of the tie: A social investigation

A Dissertation Submitted to the Vishwakarma Institute of Management (VIM) PUNE.

submitted to

SAVITRIBAI PHULE PUNE UNIVERSITY

For the Partial Fulfillment of the degree of MBA Program

By

Pramit Channe

Under the Guidance of:

Prof. Ashish Thite

Through

VISHWAKARMA INSTITUTE OF MANAGEMNT (PUNE)

2016 17

PUNE-411048

DECLARATION
 Hereby I declare that the project report titled Decline of the tie: A social
investigation submitted for the awarded degree of MASTER OF BUSINESS
AMINISTRATION, is my original work and the project report has not formed the basis
for the award of any diploma, degree, associate ship, fellowship or similar other titles. It
has not been submitted to any other university or institution for the award of any degree
or diploma.

Pramit Channe

ACKNOWLEDGEMENT
 I would like to express my sincere gratitude to all those who have been instrumental
in presentation of this project report. I take this opportunity to express our deep sense of
gratitude to all those who have contributed in making my report a success. Every project
is a blend of efforts and learning on the part of students and knowledge and experience of
the experts in their respective fields. No work can be accomplished alone. It needs
various people to give it a final stage. I am indebted to the Director, VIM Dr.Shailesh
Kasande Sir.Also to my project guide, Prof. Ashish Thite who has guided me for the
successful completion of the project. Last but not the least; I would like to thank other
distinguished Faculties and Friends for their support that has largely contributed to the
successful completion of the project.

Place: PUNE

Date:

Thanking You,

Pramit Channe

INDEX

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Chapter No Topic Page No.

EXECUTIVE SUMMARY 1

1 LITERATURE REVIEW 2-3

2 RESEARCH METHODOLOGY 4-5

3 INTRODUCTION 6-11

4 DATA INTERPRETATION 12-17

5 FINDINGS 18

6 CONCLUSION 19

7 BIBLOGRAPHY 20

Executive Summary

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The project entitled The decline of the tie: Social investigation is pursued as a part of MBA
(Master Of Business Administration) Curriculum at BRACTs VISHWAKARMA INSTITUTE
OF MANAGEMENT, Pune. The project is done under expert supervision and guidance of
Prof. Ashish Thite .

The fashion world is driven by change thats what makes it so interesting and diverse, but its
also the very thing that makes it so confuse. Changing trends have always represented a major
challenge for fashionable men, but these days theres something else to tackle lets call it the
garments-economic climate. Economics has, at present, a big say on the subject of menswear,
because it alters the environment stylish institutions operate within. Those that cant change with
the times do what all in-adaptable species do: they go extinct.

The tie has always been an important element of neckwear in mens clothing since Roman
Times. In the absence of a tie, mens suit was considered to be incomplete. It was an essential
part of fashion, particularly for men. With the innovation of trend of dress down Fridays and
casual wear, the trend of wearing a tie seems to fall. Clearly theres something else going on.
Fashion experts are well aware of the fact that demand for Tie has been in decline for a while,
and its all down to changing attitudes to style in the workplace. Is the neck tie really a fashion
dinosaur at odds with the modern world of menswear?

This study investigates the rise and fall of the tie as a social phenomenon within fashion trends.
This aim has been reached using methods of statistical analysis and through investigation of
primary and secondary data. This research has both theoretical and practical implications for
textile and apparel industries in developed countries.

Aims and Objectives:

To study theoretical framework of necktie industry

To study people perception towards necktie
To understand reasons of declination of necktie
To study the fashion trends in apparel industry

LITERATURE REVIEW

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1. Masson, R. and et. al., 2007. Managing complexity in agile global fashion industry supply
chains. The International Journal of Logistics Management. 18(2). pp.238-254.

The purpose of this paper is to examine the agile supply chain management practices
adopted by UK clothing retailers in order to effectively manage the supply of
innovative, highmargin, highfashion content product offerings in a complex global
environment.
A case study approach was adopted examining the whole of the global retail fashion
supply chain, from typical UKbased retailers through to their main production and
logistics suppliers based in two lowcost locations, China and Romania. The cases of
the UK retailers were followed by a study tour of China and Romania, where ten cases
of fabric and finishing manufacturers, intermediaries and logistic providers were
carried out.
Many aspects of accepted risk management and agile practice, such as market
sensitivity, postponement activities and collaborative information sharing partnerships
were apparent in the early product definition and the later product delivery stages of
the supply chain. However, the responsibility for supply, including the key aspect of
managing the complex supply network, was almost exclusively left to intermediaries
located in lowcost countries. These intermediaries in the main could best achieve
agile supply from a significantly underutilized lowcost country supply network
through a traditional adversarial price and lead time auction sourcing process.

2. Brun, A. and Castelli, C., 2008. Supply chain strategy in the fashion industry: developing
a portfolio model depending on product, retail channel and brand. International Journal
of Production Economics. 116(2). pp.169-181.
The paper presents the results of a research project focused on supply chain (SC) strategy in
the fashion/apparel industry ongoing at Politecnico di Milano, aiming at assessing the
relevance of Supply Chain Management (SCM) approach in a context, i.e. fashion, where
operations and manufacturing seem to be considered as ancillary to marketing and
communications activities. Relying on theoretical developments and empirical case studies,
the authors propose a model, the "segmentation tree" model, for adopting a focused approach

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 to SCM resulting in a SC strategy segmentation based on three drivers, namely product,
brand and retail channel.

3. Hilton, B., Choi, C. J. and Chen, S., 2004. The ethics of counterfeiting in the fashion
industry: Quality, credence and profit issues. Journal of Business Ethics. 55(4). pp.343-
352
One of the greatest problems facing luxury goods firms in a globalizing market is that of
counterfeiting. The purpose of this paper is to analyze the different types of counterfeiting
that take place in the fashion industry and the ethical issues raised. We argue that the problem
partly lies in the industry itself. Copying of designs is endemic and condoned, which raises
several ethical dilemmas in passing judgment on the practice of counterfeiting. We analyze
the ethical issues in a number of different types of counterfeiting encountered in the fashion
industry. We conclude with some observations on the general implications for ethics in
intellectual property rights.

RESEARCH METHODOLOGY

Research is a common parlance refers to a search for knowledge. One can also define
research as a scientific and systematic search for pertinent information on a specific topic.

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Research is an academic activity and as such the term should be used in a technical sense.
According to Clifford woody research comprises defining and redefining problems, formulating
hypothesis or suggested solutions; collecting. Organizing and evaluating data; and last carefully
testing the conclusions to determine whether they fit the formulating hypothesis. Research
methodology is a way to systematically solve the research problem. It may be he understood as a
science of studying how research is done scientifically. In it we study the various steps that are
generally adopted by a researcher in studying his research problem along with the logic behind
them.
The scope of research methodology is wider than that of research methods. Thus when
we talk of research methodology we not only talk of the research methods but also consider the
logic behind the methods we used in the context of our research study and explain why we are
using a particular method and why we are not using other so that research results are capable of
being evaluate either by the researcher himself or by others.
Research Design:
The formidable problem that follows the task of defining the research problem is the
preparation of the design of the research project, popularly known as the research design. A
research design is the arrangement of condition for collection and analysis of data in a manner
that aims to combine relevance to the research purpose with economy in procedure.
Research design is needed become it facilitates the smooth sailing of the various research
operations, thereby making research as efficient as possible yielding maximum information with
minimal expenditure of effort, time and money. Preparation of the research design should be
done with great care as any error in it may upset the entire project. A good design is often
characterized by adjectives like flexible, appropriate, efficient, and economical.

1. PRIMARY DATA:
The methods of collecting primary data are as follows,
A: Survey

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 B: Questionnaires

2. SECONDARY DATA:
The data once collected by one person become the secondary data if used by another
person. Sources Of secondary data: The various sources of secondary data are as follows:
1. Bibliographies.
2. Newspaper.
3. Websites
4. Magazines
The secondary data like information of existing customers, information about companys profile
product line and sales figure has been taken from my guide.

INTRODUCTION

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A necktie, or simply tie, is a long piece of cloth worn for decorative purposes around the neck,
resting under the shirt collar and knotted at the throat.

Variants include the ascot tie, bow tie, bolo tie, zipper tie, cravat and clip-on tie. The modern
necktie, ascot, and bow tie are descended from the cravat. Neck ties are generally unsized, but
may be available in a longer size. In some cultures men and boys wear neckties as part of regular
office attire or formal wear. Some women wear them as well but usually not as often as men.
Neckties can also be worn as part of a uniform (e.g. military, school and wait staff), whereas
some choose to wear them as everyday clothing attire. Neckties are traditionally worn with the
top shirt button fastened, and the tie knot resting between the collar points. Among younger men,
neckties are sometimes worn as a casual item, tied loosely around the neck, with the top shirt
button unfastened

History
Origins
There is a long history of neckwear worn by soldiers (Roman), whether as part of a uniform or
as a symbol of belonging to a particular group. Some form of neckwear other than the
outdoor scarf can be traced intermittently through many centuries.

The modern necktie spread by Europe traces back to the time of the Thirty Years' War (1618
1648) when Croatian mercenaries from the Croatian Military Frontier in French service,
wearing their traditional small, knotted neckerchiefs, aroused the interest of the Parisians. Due
to the slight difference between the Croatian word for Croats, Hrvati, and the French word,
Croates, the garment gained the name "cravat" ("cravate" in French). The boy-king Louis
XIV began wearing a lace cravat about 1646, when he was seven, and set the fashion for
French nobility. This new article of clothing started a fashion craze in Europe; both men and
women wore pieces of fabric around their necks. From its introduction by the French king, men
wore lacecravats, or jabots, that took a large amount of time and effort to arrange. These cravats
were often tied in place by cravat strings, arranged neatly and tied in a bow.

International Necktie Day is celebrated on October 18 in Croatia and in various cities around
the world, e.g. in Dublin, Tubingen, Como, Tokyo, Sydney and other towns.

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The Evolution of Modern Necktie

The early cravats of the 17th century have little resemblance to todays necktie, yet it was a
style that stayed popular throughout Europe for over 200 years. The tie as we know it today did
not emerge until the 1920s but since then has undergone many (often subtle) changes. Because
lots of change has happened to the design of the tie in the past century I decided to break this
down by each decade:

1900-1909:
The tie was a must-have clothing accessories for men in the first decade of the 20th
century. Most common were Cravats which evolved from the early 17th century ties that
were brought to France by the Croatians. What was different however, was how they
were tied. Two decades earlier, the Four in Hand knot had been invented which was the
only knot used for cravats. While other tie knots have been invented since, the Four in
Hand is still one of the most popular tie knots today. The two other common neckwear
styles popular at the time were bow ties (used for evening white tie attire), as well as
ascots (required for formal day time dress in England).

1910-1919
The second decade of the 20th century saw a decline in formal cravats and ascots as

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 mens fashion became more casual with haberdashers putting a stronger emphasis on
comfort, functionality, and fit. Towards the end of this decade neckties closely resemble
the ties as we know them today.

1920-1929
The 1920s were an important decade for mens ties. A NY tie maker by the name of
Jessie Langsdorf invented a new way of cutting the fabric when constructing a tie, which
allowed the tie to spring back into its original shape after each wearing. This invention
triggered the creation of many new tie knots.
Neckties became the predominant choice for men as bow ties were reserved for formal
evening and black tie functions. Furthermore, for the first time, repp-stripe and British
regimental ties emerged.

1930-1939
During the Art Deco movement of the 1930s, neckties became wider and often displayed
bold Art Deco patterns and designs. Men also wore their ties a bit shorter and commonly
tied them with a Windsor knot a tie knot that the Duke of Windsor invented during this
time.

1940-1949
The early part of the 1940s didnt offer any exciting change in the world of mens ties
possibly an effect of WWII which had people worry about more important things than
clothing and fashion. When WWII ended in 1945 however, a feeling of liberation became
evident in design and fashion. Colors on ties became bold, patterns stood out, and one
retailer by the name of Grover Chain Shirt Shop even created a necktie collection
displaying sparsely dressed women.

1950-1959
When talking about ties, the 50s are most famous for the emergence of the skinny tie a
style designed to compliment the more form fitting and tailored clothes of the time.
Additionally tie makers started experimenting with different materials.

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 1960-1969
Just as ties were put on a diet in the 50s, the 1960s went to the other extreme creating
some of the widest neckties ever. Ties as wide as 6 inches were not uncommon a style
that got the name Kipper Tie

1970-1979
The disco movement of the 1970s truly embraced the ultra wide Kipper Tie. But also
worth noting is the creation of the Bolo Tie (aka Western Tie) which became Arizonas
official state neckwear in 1971.

1980-1989
The 1980s are certainly not known for great fashion. Instead of embracing a certain style,
tie makers created any kind of neck-wear style during this period. Ultra-wide Kipper
Ties were still present to some degree as was the re-emergence of the skinny tie which
was often made from leather.

1990-1999
By 1990 the style Faux Pas of the 80s slowly faded away. Neckties became a bit more
uniform in width (3.75-4 inches). Most popular were bold floral and paisley patterns a
style that has recently resurfaced as a popular print on modern ties today.

2000-2009
Compared the the decade before ties became a bit thinner at about 3.5-3.75 inches.
European designers further shrunk the width and eventually the skinny tie re-emerged as
a popular stylish accessory.

20102013
Today, ties are available in many widths, cuts, fabrics, and patterns. It is all about choice
and allowing the modern man to express his own personal style. The standard width for
ties is still in the 3.25-3.5 inch range, but to fill the gap to the skinny tie (1.5-2.5), many
designers now offer narrow ties that are about 2.75-3 inches wide. Besides the width,
unique fabrics, weaves, and patterns emerged. Knitted ties became popular in 2011 and
2012 saw a strong trend of bold florals and paisleys something that continued
throughout 2013.

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Industry Snapshot
According to Dun & Bradstreet's 2009 report, the men's and boys' neckwear industry's 166
establishments posted annual sales of about $88.4 million and employed 2,270. Companies in
this industry tended to be small, with 67 percent employing fewer than 20 workers. New York
led with $30.5 million in sales, followed by California with $25.3 million. North Carolina was a
distant third with $4.9 million in sales. Comprised of six different specialties, the primary
segment was men's and boys' neckwear ($45.2 million in sales). Other categories, in order of
dollar amount of sales, were men's and boys' neckties and bowties, men's and boys' bowties
made from purchased materials, men's and boys' neckties made from purchased materials,
handsewn ties, and men's and boys' scarves.

Industry Leaders

One of the industry leaders in the late 2000s was Tandy Brands Accessories Inc. of Arlington,
Texas, with $149.3 million in 2008 sales and 767 employees. Tandy also produced belts,
handbags, and wallets for men, women, and children. Another leading company whose primary
business included neckwear was Carmel Valley, California-based Robert Talbott Inc., founded by
Robert and Audrey Talbott in 1950. Talbott had about 250 employees and annual sales of around
$50 million in the late 2000s. Castle Neckwear Inc. of Los Angeles, California, was also a major
player, with $20 million in annual sales and 150 employees in the mid-2000s.

A few relatively new companies made significant strides in the industry with innovative and
creative neckwear. The Richmond, California-based Mulberry Neckwear, which launched in
1988 as a subsidiary of Mulberry Thai Silks Inc., obtained licenses for Kenneth Cole, Claiborne,
Jerry Garcia, and the Nature Conservancy to help build its necktie business and worked with
contractors in China, Italy, and Korea to contain costs. By 2008, Mulberry was the third largest
neckwear manufacturer in the United States. That year, apparel giant Phillips-Van Heusen Corp.
(PVH) announced plans to purchase Mulberry for $10 million. PVH had previously acquired
Superba Inc., another large neckwear company that boasted brands such as Behar, DKNY,
Nautica, and Michael Kors, in 2007. Meanwhile, Big Shot Neckwear of Naperville, Illinois,
began its business in 2007 specializing in 67 inch neckties for "larger guys' as compared to the
typical 62-inch length.

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Rise of the Managerial/Professional Strata

As the economic situation in the United States changed, a managerial and professional strata
emerged. The shirt-and-tie style of dress that was practically mandatory for white-collar workers
for much of the twentieth century provided a substantial market for the neckwear industry. The
industry boomed in the 1990s, peaking at $1.3 billion in 1996. Tie fashions shifted significantly
during the first half of the 1990s. Conservatively patterned yellow and red "power ties," which
had set the tone in the 1980s, were suddenly out of fashion. Ties tended to be wider and more
brightly colored and had bolder, abstract patterns.

A Shift in the Industry

The entire apparel industry, including neckwear, suffered a conspicuous decline from the mid-
1990s to the mid-2000s. Two key forces that contributed to the decline were the introduction and
widespread influence of a more casual dress code in the work environment for traditional white-
collar employment and the major decline suffered by the apparel industry in general during the
mid-2000s, as World Trade Organization (WTO) countries began to phase out their quotas on
clothing and textiles

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 DATA INTERPRETATION

For Full project report contact ,

Cell:+91 9960818001
Pramit.channe@gmail.com

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