Consumer Attitude and Behaviour towards Luxury Fashion Counterfeiting Business (Stage 3)

COUNTERFEITS Consumer Attitude and Behaviour towards Luxury Fashion Counterfeiting Business STAGE 1

Nottingham Trent University School of Art & Design 31 / 2012 Institute of Vocational Education – Hong Kong

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2018/19

Module: FASH30006 Fashion Concepts & Innovation Project

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Module reference: FASH30006 Module Leader: Cassandra Ng

FASH30006 Fashion Concepts & Innovation Project Declaration This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged and primary and secondary sources of information have been properly attributed.

Should this statement prove to be untrue, I recognise the right and duty of the Board of Examiners to recommend what action should be taken in line with the University’s regulation on assessment contained in its handbook.

I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project.

(Tsang Wing Yan, Jessica) Signed ……………………………………………………………………………………………………………………………………

20/4/2019 Date ………………………………………………………………………………………………………………………………………

(Word count:_______6542________)

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Content Introduction 1.1 Background 1.2 Research Purpose and Questions 1.3 Contribution of Research Literature Review 2.1 Conceptualizing Luxury Fashion Brands 2.2 Counterfeit Business 2.3 Perceived brand value 2.4 Motivation of Getting Luxury Goods or Luxury Counterfeits Proposed Research Methodology 3.1 Approach Primary or Secondary 3.2 Research Instrument 3.3 Sampling Research Analysis and Result 4.1 Findings 4.2 Discussion and Conclusion Expected Outcomes Work Plan Marketing Plan 7.1 Description 7.2 Objectives 7.3 Target Audience 7.4 Campaign Elements 7.5 Mechanism of Marketing Plan 7.6 Implementation Schedule Conclusion Image Reference References Bibliography Appendix

INTRODUCTION Background Counterfeit culture is a thriving market industry. With the advanced technology, manufacturing process, using the same material and design, copying the According to Irish Tech more than $500 billion from the fashion industry

eroding the fashion retail counterfeiter can effortlessly mimic or similar technique to imitate the real authentic goods, then make a fake one.

News, counterfeit products take away

every year (Irish Tech News, 2018).

It is a ever growing problem that the grew $211 billion within six years. As of market of apparel, textiles, footwear, handbags has billion and still growing (The Fashion Law, 2018).

Gucci (Fig. 1, Business Insider, 2018), Louis being mostly counterfeited .

figure of counterfeit goods last year, the counterfeit been amounted to $450 Luxury brands such as Vuitton are the brands

Counterfeit culture is especially serious in Korea and China where the hub of counterfeit goods are. In Korea, the fakes are all over the street, and seldom do the Korean care whether it is counterfeits. Although Korea is now a fashion leading country, it is also a hub of counterfeits and having lots of knock-off brands.

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Fig. 6 Supreme bag

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Fig. 7 Nike sneakers

As said as Young Jon Koo who is a street style magazine photographer, Korean actually have their favourite or interested fashion brands, but those brands are not all available there. If they really want to buy it, they have to pay at least twice of the original price for the reseller. As Korean are obsessed with fashion and the trend is going fast, they care more about the style and price instead of concerning the authenticity of the product.

Since they cannot buy the brands such as Supreme and Champion from official retail store, many knock-off brands and counterfeit goods appeared. Some of the Korean choose to buy counterfeits, and some of them just vague about what they bought. Based on the research of Highsnobiety, no one really cares or know they are wearing fakes, they do not even feel guilty to sell or wear counterfeits.

In China, counterfeit luxury goods are their big business. The Chinese manufacture and sell the fake goods, they even open knock-off shop to pretend as the real luxury brand’s store. China is named as biggest counterfeiting country in the world. Based on the report of 2018 Global Brand Counterfeiting, China is estimated as the 86% fakes goods origination.

The counterfeit goods seller even sell the products openly, and the customer also know which is fake buy still buy it for own reason.

The counterfeiter produce the fake goods in low quality to reduce the cost, then sell higher than its value by using the reputation of the real brand to get the biggest profit.

Except from counterfeit goods, in Guizhou, there is a knock-off shop (Fig. 8, Zigor Aldama, n.d.) of Louis Vuitton (LV) called “Loius Vuitton”. It has the same decoration, logo, displays with the real one. The fake store changed the alphabet of the brand name a little bit to avoid lawsuit, then they mislead the customer with their trust of the real LV to gain money.

Fig. 8 LV Knock-off store

Regarding the phenomenon of counterfeits in Hong Kong, the Ladies’ Market in Mong Kok is famous as selling counterfeit at the whole street. Foreigner go there as a tourist location. According to Hong Kong South China Morning Post (2018), in 2016, an operation code-named “Torpedo” seized 10000 counterfeits which are around USD 640000 in Ladies’ Market. It is a huge number. In 2018 January, Hong Kong Government intercepted a cargo filled with 6000 fake designer bags and wallets. The fake products were almost USD 109000. In addition, Hong Kong counterfeits problem even involved high school students. Customs officers arrested 101 people selling fake products in 2017, and 28 of them are only students. They sell apparel, watches and leather products online. Although they claimed that those products are fake, but it is still illegal in Hong Kong’s law. The youngest arrester is only 13 years old.

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COUNTERFEIT ŽƵŶƚĞƌĨĞŝƚƐ ĐĂŶ ĚĂŵĂŐĞ Ă ƌĞƉƵƚĂƟŽŶ ŽĨ Ă ƉůĂĐĞ͕ ĂŶĚ ĐƵůƟǀĂƚĞ ǁƌŽŶŐ ǀĂůƵĞ ƚŽ ƐƚƵĚĞŶƚƐ͘ /ƚ ŝƐ ŶŽƚ ũƵƐƚ Ă ďƵƐŝŶĞƐƐ ƉƌŽďůĞŵ ǁŝƚŚŝŶ ĨĂƐŚŝŽŶ ŝŶĚƵƐƚƌLJ͕ ďƵƚ ĂůƐŽ ĂŶ ĞƚŚŝĐĂů ƉƌŽďůĞŵ ŝŶ ƚŚĞ ƐŽĐŝĞƚLJ͘ /Ŷ ǀŝĞǁ ŽĨ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ďƌĂŶĚƐ͕ ĐŽƵŶƚĞƌĨĞŝƚƐ ďƌŝŶŐ Ă ůŽƚ ƉƌŽďůĞŵƐ ƚŽ ĨĂƐŚŝŽŶ ďƌĂŶĚƐ͘ dŚĞLJ ůŽƐƚ ŵŽŶĞLJ ĚƵĞ ƚŽ ĐŽƵŶƚĞƌĨĞŝƚ ƉƌŽĚƵĐƚƐ ǁŝƚŚ ŶŽ ĚŽƵďƚƐ͘ /Ĩ ƚŚĞ ĐƵƐƚŽŵĞƌ ďƌŽƵŐŚƚ Ă ĨĂŬĞ ŐŽŽĚƐ ǁŝƚŚŽƵƚ ŬŶŽǁŝŶŐ ŝƚ ŝŶ ƚŚĞ ĮƌƐƚ ƉƵƌĐŚĂƐĞ ŽĨ ƚŚĂƚ ďƌĂŶĚ͕ ƚŚĞLJ ǁŝůů ŵŝƐƵŶĚĞƌƐƚĂŶĚ ƚŚĞ ďƌĂŶĚ ĚƵĞ ƚŽ ƚŚĞ ůŽǁĞƌ ƋƵĂůŝƚLJ ĐŽƵŶƚĞƌĨĞŝƚƐ͘ dŚŝƐ ŵĂŬĞƐ ƚŚĞ ďƌĂŶĚ ůŽƐŝŶŐ ƚŚĞ ĐƵƐƚŽŵĞƌ ĂŶĚ ďƌĞĂŬŝŶŐ ƚŚĞ ƚƌƵƐƚ ďĞƚǁĞĞŶ ďƌĂŶĚ ĂŶĚ ĐƵƐƚŽŵĞƌ͘ Ɛ ƚŚĞ >ŽƵŝƐ sƵŝƩŽŶ ƐŽƵƌĐĞ ƐĂŝĚ ; ƵƐŝŶĞƐƐ ŽĨ &ĂƐŚŝŽŶ͕ ϮϬϭϲͿ͕ ĐŽƵŶƚĞƌĨĞŝƚƐ ĐĂŶ ĚĂŵĂŐĞ ƚŚĞ ƌĞƉƵƚĂƟŽŶ ĂŶĚ ĐŽŶƐƵŵĞƌ ĐŽŶĮĚĞŶĐĞ ŽĨ ƚŚĞ ďƌĂŶĚ͘ ŽƵŶƚĞƌĨĞŝƚ ďƵƐŝŶĞƐƐ ƐŚŽƵůĚ ďĞ ĐŽŶƚĂŝŶĞĚ ŝŶ ǀŝĞǁ ŽĨ ƉƌŽƚĞĐƟŶŐ ƚŚĞ ďĞŶĞĮƚ ŽĨ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ďƌĂŶĚƐ͘

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Research Purpose

and

Questions

dŚŝƐ ƉƌŽũĞĐƚ ŝƐ ƚŽ ĞdžĂŵŝŶĞ ƚŚĞ ƌĞĂƐŽŶ ŽĨ ǁŚLJ ƉĞŽƉůĞ ďƵLJŝŶŐ ĐŽƵŶƚĞƌĨĞŝƚ͕ ƚŚĞŝƌ ĐŽŶƐŝĚĞƌĂƟŽŶ between buying real and fake products. Through the project, it is also to examine how the ƉĞƌĐĞŝǀĞĚ ǀĂůƵĞ ŽĨ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ŐŽŽĚƐ ĂīĞĐƟŶŐ ƚŚĞŝƌ ĐŽŶƐƵŵĞƌ ďĞŚĂǀŝŽƵƌ ŝŶ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵƉƟŽŶ͘ dŚĞƌĞĨŽƌĞ͕ ŝƚ ĐĂŶ ŚĞůƉ ĂŶĂůLJƐŝŶŐ ƚŚĞŝƌ ĐŽŶƐƵŵĞƌ ĂƫƚƵĚĞ ĂŶĚ behaviour towards luxury fashion counterfeits.

Finding out the reason of why people buying counterfeit &ŝŶĚŝŶŐ ŽƵƚ ƚŚĞ ĐŽŶƐŝĚĞƌĂƟŽŶ ďĞƚǁĞĞŶ ďƵLJŝŶŐ ƌĞĂů ĂŶĚ ĨĂŬĞ ƉƌŽĚƵĐƚƐ džĂŵŝŶŝŶŐ ŚŽǁ ƚŚĞ ƉĞƌĐĞŝǀĞĚ ǀĂůƵĞ ŽĨ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ŐŽŽĚƐ ĂīĞĐƟŶŐ ƚŚĞŝƌ ĐŽŶƐƵŵĞƌ ďĞŚĂǀŝŽƵƌ ŝŶ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵƉƟŽŶ͘ ŶĂůLJƐŝŶŐ ƚŚĞ ĐŽŶƐƵŵĞƌ ĂƫƚƵĚĞ ĂŶĚ ďĞŚĂǀŝŽƵƌ ƚŽǁĂƌĚƐ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ĐŽƵŶƚĞƌĨĞŝƚƐ͘

Contribution of Research

This research will contribute to the literature about counterfeits and consumer behaviour. Moreover, it will give insight to luxury fashion brands regarding the reason behind the counterfeits ƉƵƌĐŚĂƐĞ͕ ĂŶĚ ĂůƐŽ ƚŚĞ ďƌĂŶĚ ƌĞĐŽŐŶŝƟŽŶ ĂŵŽŶŐ ĐŽŶƐƵŵĞƌ͘ dŚƵƐ͕ ƚŚĞ ƌĞƐĞĂƌĐŚ ǁŝůů ƉƌŽǀŝĚĞ ĚŝƌĞĐƟŽŶ ƚŽ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ďƌĂŶĚƐ ŝŶ ŚŽǁ to get the customer back and resist to counterfeits.

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Luxury is a subjective feeling, it associated to something beautiful and comfortable (Dubois and Czellar, 2002). In other words, Luxury is a form of enjoyment which can bring pleasure to people. It brings fulfillment in both psychological and functional needs of consumer. Luxury implies to exclusiveness (Berry, 1994), therefore luxury products can linked to materialism (Henriksen, 2009). People have better impression to the people who own luxury goods. Luxury goods have limited supply and mostly for people in higher social class (Savitha and Sathyanarayan, 2014). In view of that, luxury goods created social differentiation (Bilge, 2015), people who own luxury goods are usually seen as having more money, higher authority and better life.

Therefore, this notion fulfilled the luxury goods consumer in psychological needs to making them different from others.

Meanwhile, luxury brands can provide higher quality, superior features and performance than the ordinary products (Bilge, 2015).

It fulfilled the functional needs of consumer.

With the definition from Vigneron and Johnson (1999), luxury brand is on the top of the pyramid of prestigious brands, it involved both physical and psychological values. Luxury fashion brands provide fashion products in highest price, best quality, unique design or haute couture and best service. Luxury fashion brand is usually characterised by high price tag (Dubois and Czellar, 2002). Luxury fashion goods have the highest price and quality ratio among the market (McKinsey, 1990).

They are also restricted in supply quantity (Vigneron and Johnson 2004, p. 485).

Some example of luxury fashion brands are Gucci, Louis Vuitton and Prada.

Because of its expensiveness and limited supply, it can create high-class image and status to the consumer. It strikes the consumer to purchase luxury fashion products for own desire rather than the functionality of the products (Jackson, 2004). Besides, this is the superiority of luxury fashion brands to be differentiated from lower level brands or counterfeits (Arghavan and Zaichkowsky 2000). People choose luxury brands to show their wealth and status through conspicuous consumption (Bagwell, 1996). Within the different luxury fashion brands, the level of exclusivity, products quality, brand identity and awareness are the main factors to compete with other competitors (Phau and Prendergast 2000). This project is to examine the reason of why people buying counterfeit, their consideration between buying real and fake products. Through the project, it is also to examine how the perceived value of luxury fashion goods affecting their consumer behaviour in counterfeit consumption. Therefore, it can help analysing their consumer attitude and behaviour towards luxury fashion counterfeits.

Literature Review

Conceptualizing Luxury Fashion Brands

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Counterfeit Business According to the Trade-Related Aspects of Intellectual Property Rights (TRIPS) Agreement, counterfeit is any goods including packaging using the others trademark without ĂƵƚŚŽƌŝnjĂƟŽŶ Žƌ ƐƵďƐƚĂŶƟĂůůLJ ŝŶĚŝƐƟŶŐƵŝƐŚĂďůĞ ;tŽƌůĚ dƌĂĚĞ KƌŐĂŶŝnjĂƟŽŶ͕ ϭϵϵϰͿ͘ dŚĞ ŵĞĂŶŝŶŐ of fashion counterfeits covers the unauthorized ƵƐĞ ŽĨ ĚĞƐŝŐŶ͕ ďƌĂŶĚ ŶĂŵĞƐ͕ ƚƌĂĚĞŵĂƌŬ͕ logo, iconic things such as ĂůƐŽ ŝůůĞŐĂů ;>Ăŝ ĂŶĚ ĂŝĐŚŬŽǁƐŬLJ ϭϵϵϵͿ͘ ŽƵŶĐŽůŽƌƐ͕ ƐŚĂƉĞƐ ĂŶĚ ƉĂƩĞƌŶ ;^ƚĂĂŬĞ ĂŶĚ dŚŝĞƐƐĞ͕ ϮϬϬϵͿ͘ terfeit is made to confuse or deceive the consumer with the high similarity of the Counterfeit goods are same ĂƵƚŚĞŶƟĐ ŐŽŽĚƐ͘ tŝƚŚ ƌĞĨĞƌĞŶĐĞ ŽĨ /ŶƚĞƌŶĂas pirated goods, they are ƟŽŶĂů ŶƟͲĐŽƵŶƚĞƌĨĞŝƟŶŐ ŽĂůŝƟŽŶ ;Ŷ͘Ě͘Ϳ͕ counterfeit goods are normally made from lower quality materials or components, ŝŶƚĞŶĚŝŶŐ ƚŽ ƐĞůů Ă ĐŚĞĂƉ ŝŵŝƚĂƟŽŶ ŽĨ ƐŝŵŝůĂƌ Žƌ ĞdžĂĐƚůLJ ƚŚĞ ƐĂŵĞ ŐŽŽĚƐ ŽĨ ƚŚĞ ďƌĂŶĚƐ ĐŽŶƐƵŵĞƌƐ ŬŶŽǁ ĂŶĚ ƚƌƵƐƚ͘ ŽƵŶƚĞƌĨĞŝƚ ƉƌŽĚƵĐƚƐ ŵĂŝŶůLJ ŝŵŝƚĂƚĞ ƚŚĞ ǁĞƐƚĞƌŶ ďƌĂŶĚƐ͘ ŽƵŶƚĞƌĨĞŝƚ ŐŽŽĚƐ ĐĂŶ ĨƵůĮůů ƚŚĞ ƉŚLJƐŝĐĂů ŶĞĞĚƐ ŽĨ ĐŽŶƐƵŵĞƌ͕ ďƵƚ ƚŚĞ ĨƵŶĐƟŽŶ ĂŶĚ ƋƵĂůŝƚLJ ĐĂŶŶŽƚ ƚŽ ďĞ ƌĞƉůĂĐĞĚ͘ ŽƵŶƚĞƌĨĞŝƚƐ ŚĂǀĞ ŚŝŐŚ ǀŝƐƵĂů ďƵƚ ůŽǁ ĨƵŶĐƟŽŶĂů ƋƵĂůŝƚLJ ;^ƚĂĂŬĞ ĂŶĚ dŚŝĞƐƐĞ͕ ϮϬϭϮͿ͘ ŽƵŶƚĞƌĨĞŝƚ ďƵƐŝŶĞƐƐ ďƵŝůĚ ƵƉŽŶ ƚŚĞ ƌĞŶŽǁŶĞĚ ďƌĂŶĚƐ ŶĂŵĞͲƌĞůĂƚĞĚ ĞĂƌŶŝŶŐƐ͘ dŚĞ ƚƌĂĚĞŵĂƌŬƐ ĂŶĚ ďƌĂŶĚ ƌĞƉƵƚĂƟŽŶ ŽĨ ůƵdžƵƌLJ ďƌĂŶĚ ĞŶƌŝĐŚĞĚ ƚŚĞ ƐƵďƐƚĂŶĚĂƌĚ ĨĂƐŚŝŽŶ ůƵdžƵƌLJ ĐŽƵŶƚĞƌĨĞŝƚƐ͘ ŽƵŶƚĞƌĨĞŝƚĞƌ ŶĞĞĚ ŶŽƚ ƚŽ ŝŶǀĞƐƚ ŵƵĐŚ ŝŶ ƉƌŽĚƵĐƚ ĚĞǀĞůŽƉŵĞŶƚ ĂŶĚ ƉƌŽĚƵĐƟŽŶ͕ ĂƐ ǁĞůů ĂƐ ŵĂĐŚŝŶĞƌLJ ĂŶĚ ĨĂĐŝůŝƟĞƐ͕ since those processes had already ƋƵŝĐŬůLJ ŝŵŝƚĂƚĞ ƚŚĞ ƉƌŽĚƵĐƚƐ͘ ZĞŐĂƌĚŝŶŐ ƚŚĞ ĞdžƉŽƌƚ ŽĨ ĚŽŶĞ ďLJ ƚŚĞ ďƌĂŶĚ͘ dŚĞLJ ŽŶůLJ ĐŽƉLJ counterfeits, they export with large consignments and send ĨƌŽŵ ƚŚĞ ĂƵƚŚĞŶƟĐ ŐŽŽĚƐ ĂŶĚ ƚŽ ƐƚƌĞĞƚ ǀĞŶĚŽƌƐ ĨŽƌ ƐĞůůŝŶŐ ďLJ ŵŝĚĚůĞŵĞŶ ƉƌŽĚƵĐĞ ŝƚ ŝŶ ůŽǁĞƌ ƋƵĂůŝƚLJ͘ ;^ƚĂĂŬĞ ĂŶĚ dŚŝĞƐƐĞ͕ ϮϬϭϮͿ͘ dŚĞ ĐŽƵŶƚĞƌĨĞŝƚ ƐĞůůĞƌƐ ǁŝůů ƐĞƚ Ă ŽƵŶƚĞƌĨĞŝƚĞƌ ĂƌĞ ƐĞŶƐŝƟǀĞ ƚŽ ƚŚĞ ŚŝŐŚĞƌ ƌĞƚĂŝů ƉƌŝĐĞ ĮƌƐƚ͕ ƚŚĞŶ ƚĞůů ƚŚĞ ĐƵƐƚŽŵĞƌ ŝƚ ŝƐ Ă ŚŝŐŚ new trends and having solid ƋƵĂůŝƚLJ ŝŵŝƚĂƟŽŶ͕ ƐŝŵŝůĂƌ ďƵƚ ĐŚĞĂƉĞƌ ƚŚĂŶ ƚŚĞ ƌĞĂů ŽŶĞ͘ dŚĞŶ re-engineering skills, so they can ƚŚĞLJ ǁŝůů ŶĞŐŽƟĂƚĞ ƚŚĞ ƉƌŝĐĞ ǁŝƚŚ Ă ƐƚƌŽŶŐ ĂƫƚƵĚĞ ƚŽ ĐƵƐƚŽŵĞƌ ĂŶĚ ƵƌŐĞ ƚŚĞŵ ƚŽ ďƵLJ͘ dŚĞ ĮŶĂů ƐĞůůŝŶŐ ƉƌŝĐĞ ŝƐ ƵƐƵĂůůLJ ŵƵĐŚ ůŽǁĞƌ ĂŶĚ ĚŝīĞƌĞŶƚ ďĞƚǁĞĞŶ ĚŝīĞƌĞŶƚ ĐƵƐƚŽŵĞƌƐ͘ dŚĞLJ ƚƌLJ ƚŽ ŐĞƚ ƚŚĞ ďŝŐŐĞƐƚ ƉƌŽĮƚ ĨƌŽŵ ĞǀĞƌLJ ĚŝīĞƌĞŶƚ ĐƵƐƚŽŵĞƌ ďLJ ĂƐŬŝŶŐ ƚŚĞŵ ƚŚĞŝƌ ŝĚĞĂů ƉƌŝĐĞ͕ ƚŚĞŶ ůŽǁĞƌ ƚŚĞ ƉƌŝĐĞ ƚŽ ŵĂƚĐŚ ƚŚĞŝƌ ƌĞƋƵŝƌĞŵĞŶƚƐ͘ dŚŝƐ ŝƐ ƚŚĞ ƐĞůůŝŶŐ ƐŬŝůůƐ ŽĨ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚƐ ƐĞůůĞƌ͘

Perceived brand value Branding is endowing meaning to the products Žƌ ƐĞƌǀŝĐĞƐ͕ ďƵŝůĚŝŶŐ ƵƉ ƐƉĞĐŝĮĐ ŝŵƉƌĞƐƐŝŽŶ ƚŽ consumer so as to strengthen the brand ƉŽƐŝƟŽŶ͘ ƌĂŶĚŝŶŐ ŝƐ ƚŚĞ ƉŽǁĞƌ ŽĨ Ă ďƌĂŶĚ͕ ŝƚ can also engage and retain the customer, as well as to increase their loyalty to the brand ;<ŽƚůĞƌ Θ <ĞůůĞƌ͕ ϮϬϭϱͿ͘ ƐƚƌŽŶŐ ďƌĂŶĚŝŶŐ ƐƚƌĂƚĞŐLJ ŵĂŬĞƐ ƚŚĞ ďƌĂŶĚ ƐƚĂŶĚŝŶŐ ŽƵƚ ĨƌŽŵ ŽƚŚĞƌƐ ďLJ ƐŚĂƉŝŶŐ ŽǁŶ ƵŶŝƋƵĞ ƐƚLJůĞ͘ /ƚ ĞŶŚĂŶĐĞƐ ƚŚĞ ǀĂůƵĞ ŽĨ ƚŚĞ Without branding, the product is not compete, product and helps consumer ŝƚ ŝƐ ŶŽƚ ĂƐ ǁŽƌƚŚLJ ĂƐ ƚŚĞ ďƌĂŶĚĞĚ ƉƌŽĚƵĐƚ͘ ƚŽ ƌĞĐŽŐŶŝnjĞ ĂŶĚ ŝĚĞŶƟĨLJ ƚŚĞ dŚĞƌĞĨŽƌĞ͕ ĐŽƵŶƚĞƌĨĞŝƚƐ ĂƌĞ ŶŽƚ ǀĂůƵĂďůĞ ƚŚĂŶ ƉƌŽĚƵĐƚ ;<ŽƚůĞƌ Θ <ĞůůĞƌ͕ ϮϬϭϱͿ͘ ƚŚĞ ĂƵƚŚĞŶƟĐ ŐŽŽĚƐ ĞǀĞŶ ƚŚĞLJ ŐŽƚ ƐŝŵŝůĂƌ Žƌ ƐĂŵĞ ŽƵƚƐŝĚĞ ďĞĐĂƵƐĞ ƚŚĞLJ ĂƌĞ ĚŝīĞƌĞŶƚ ŝŶƐŝĚĞ͘ ƵƚŚĞŶƟĐ ŐŽŽĚƐ ŚĂǀĞ ďƌĂŶĚŝŶŐ͕ ƚŚĞLJ ĂƌĞ ŵĞĂŶŝŶŐĨƵů͘ ƌĂŶĚŝŶŐ ŵĂŬĞƐ ĚŝīĞƌĞŶĐĞ͘ dŚĞ ĚŝīĞƌĞŶĐĞƐ ďĞƚǁĞĞŶ ďƌĂŶĚƐ ĂƌĞ ƵƐƵĂůůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ďƌĂŶĚ ĂƩƌŝďƵƚĞƐ Žƌ ƚŚĞ ďĞŶĞĮƚƐ ĨƌŽŵ ƉƌŽĚƵĐƚ ;<ĞůůĞƌ͕ ϮϬϬϯͿ͘ For example, TOMS is a brand ƐĂŵĞ ƚŚŝŶŐ ĂŌĞƌǁĂƌĚƐ͘ dKD^ ĨŽƵŶĚĞƌ ůĂŬĞ created with a charitable brand DLJĐŽƐŬŝĞ ĚŝĚ ŝƚ ĨŽƌ ƚŚĞ ƵŶĚĞƌƉƌŝǀŝůĞŐĞĚ ƉĞŽƉůĞ͘ ŝŵĂŐĞ͘ ŽŶƐƵŵĞƌ ďƌŽƵŐŚƚ Ă dŚŝƐ ŵĂĚĞ ƚŚĞ ďƌĂŶĚ ƵŶŝƋƵĞ ĂŶĚ ĂƩƌĂĐƚ ƉĂŝƌ ŽĨ ƐŚŽĞƐ͕ ƚŚĞLJ ĚŽŶĂƚĞ ƚŚĞ ĐƵƐƚŽŵĞƌ ĐŚŽŽƐĞ ƚŚĞŵ ĚƵĞ ƚŽ ƚŚĞ ĨĞĞůŝŶŐ ŽĨ ŚĞůƉŝŶŐ ƐŽŵĞŽŶĞ ĚƵƌŝŶŐ ƚŚĞ ƉƵƌĐŚĂƐĞ ;ZĞĨĞƌƌĂů ĂŶĚLJ ůŽŐ͕ ϮϬϭϴͿ͘ WĞŽƉůĞ ŶŽƚ ŽŶůLJ ďƵLJ ĨŽƌ ƚŚĞ ƉƌŽĚƵĐƚƐ ďƵƚ ĂůƐŽ ƚŚĞ ŵĞĂŶŝŶŐ͘ dKD^ ĨƵůĮůůĞĚ ƚŚĞ ƉŚLJƐŝĐĂů ŶĞĞĚ ŽĨ ĐŽŶƐƵŵĞƌ ĂŶĚ ĞǀĞŶ ŐĂǀĞ ĚĞĞƉĞƌ ŵĞĂŶŝŶŐ ƚŽ ƚŚĞ ƉƌŽĚƵĐƚ͘ dŚĞƌĞĨŽƌĞ͕ ƉĞŽƉůĞ ǁŚŽ ďƵLJ ĐŽƵŶƚĞƌĨĞŝƚ ĚŽ ŶŽƚ ĐĂƌĞ Žƌ clear about the brand value and brand story, or ƚŚĞLJ ĚŽ ŶŽƚ ŬŶŽǁ ƚŚĞLJ ďƌŽƵŐŚƚ ƚŚĞ ĨĂŬĞ͘

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Motivation of Getting Luxury Goods or Luxury Counterfeits Product is like an identity card show the status of consumer. People no longer buy for function and product appearance, they are buying for the intangible construction of identity (Elliott and Wattanasuwan 1998). In the consumer culture, there was a new concept about “The Performing Self”, it emphasized on appearance, display and impression management (Featherstone, 1991). Purchasing luxury Goods are symbolic consumption and identity construction.

Status consciousness and high self-image encourage people purchase genuine products, because those products convey the image of affluent, social class that match high self-image (Wee, Tan, and Cheok 1995).

Based on the research of Li and Kambele (2012), people have a concept of wearing luxury fashion brands is financially successful, sophisticated, high social class and got respected. Wearing luxury fashion brands can help integrating into the society.

Apart from the status and identity showing, consumer of genuine luxury brand also aims for utilitarian function. Luxury fashion goods are in a consistent quality and providing good customer service and after-sales service in consumers’ mind. In short, identity construction, service, quality and function are the main factors motivating people buy luxury fashion brands. On the other hand, people who buy counterfeits actually have the same motivation that they aim for the identity. Counterfeits consumers feel fine with the low quality and poor materials. The external physical vanity drives counterfeits consumer to purchase the fake goods. Both genuine and counterfeit products can provide identical appearances to consumer, thus to satisfy their materialistic mind (Yoo and Lee, 2009).

However, the price of counterfeits are just 9

mere fraction of genuine luxury brands’ prices, but consumers can feel the same value with genuine goods and enjoy economic benefits through counterfeits (Albers-Miller 1999).

Proposed Research Methodology Approach Primary or Secondary

Research Instrument

Approach Primary or Secondary The purpose of asking the perception of luxury fashion counterfeits is to determine counterfeits consumers’ characteristics, behaviour and attitude.

Also it can find out their construction on self-concept and social self-image. The methods used to measure their perception based on a previous study by Perez and Quintanilla (2010). The study resulted in three types of counterfeits consumers’ attitude including being efficient in their investment, having fun through the consumption, fooling others with the fake pretending the genuine goods. With the reference of this study, the research will obtain more information of behaviour and attitude when people buy the counterfeits in before, present and after. In the research, all interviewees are female, as a previous study showed that women have stronger brand involvements (Sherrod, 1989). Compared with men, women have greater relationship to fashion (Sparke, 1995, as cited in Thompson and Haykto, 1997). The research is a qualitative research to get in-depth understanding of consumers’ behaviour and attitude (D Silverman, 2016).

Qualitative research method is used.

The research is an interview. The interview filtered 10 useful responses for the research (Table 1). The effective responses came from 10 Hong Kong female who have brought at least one counterfeits of luxury fashion brands in the past 3 months. The age range of the interviewee are 20 to 30 years old. They are mostly university students and office workers. They concern about the fashion trend, and sometimes buy counterfeits. They care their self-image a lot. Through the 1 on 1 face-to-face interview, it can obtain more and deeper information from the interviewee.

Based on their different response, more specific and deeper questions can be asked for different interviewee. The interview is in progress in Causeway Bay Milan Station nearby. Milan Station is a store selling second-hand luxury handbag. There are likely more people who want genuine luxury fashion products but being difficult to afford the high price, so they may have experience of purchasing counterfeits.

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dĂďůĞ ϭ͘ ĂƐŝĐ ŝŶĨŽƌ

ŵĂƟŽŶ ŽĨ ŝŶƚĞƌǀŝĞ ǁĞ

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Ğ

Sampling dŚĞ ƌĞƐĞĂƌĐŚ ĐŽŶĚƵĐƚĞĚ ϭϬ ŝŶƚĞƌǀŝĞǁƐ ǁŝƚŚ ƉĞŽƉůĞ ǁŚŽ ŚĂĚ ďŽƵŐŚƚ Ăƚ ůĞĂƐƚ ŽŶĞ ĐŽƵŶƚĞƌĨĞŝƚ ƉƌŽĚƵĐƚƐ͘ dŚĞLJ ĂƌĞ Ăůů ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵĞƌ͘ dŚĞ ĂŐĞ ƌĂŶŐĞ ŽĨ ŝŶƚĞƌǀŝĞǁĞĞƐ ŝƐ ϮϬ ƚŽ ϯϬ LJĞĂƌƐ ŽůĚ͘ ĂĐŚ ŝŶƚĞƌǀŝĞǁ ůĂƐƚĞĚ ϰϱ ŵŝŶƵƚĞƐ ƚŽ ϭ ŚŽƵƌ͘ dŽ ĐŽŶĮƌŵ ƚŚĞ ŝŶƚĞƌǀŝĞǁĞĞ ǁŚŽ ƐĂƟƐĮĞĚ ƚŚĞ ƌĞƋƵŝƌĞŵĞŶƚƐ ŽĨ ƌĞƐĞĂƌĐŚ͕ ĞĂĐŚ ŝŶƚĞƌǀŝĞǁ ǁĂƐ ƐƚĂƌƚĞĚ ĨƌŽŵ Ă ƋƵĞƐƟŽŶ ĂƐŬŝŶŐ ŝĨ ƚŚĞLJ ĞǀĞƌ ƉƵƌĐŚĂƐĞ Ă ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ĐŽƵŶƚĞƌĨĞŝƚ͘ /Ŷ ƚŚĞ ŝŶƚĞƌǀŝĞǁ͕ ƋƵĞƐƟŽŶƐ ǁĞƌĞ ƐĞƉĂƌĂƚĞĚ ƚŽ ĮǀĞ ĂƐƉĞĐƚƐ ĂƐ ĚĞŵŽŐƌĂƉŚŝĐ ĐŚĂƌĂĐƚĞƌŝƐƟĐƐ͕ ƐĞůĨͲŝŵĂŐĞ ĚĞƐĐƌŝƉƟŽŶ͕ ƐŽĐŝĂů ŝŶŇƵĞŶĐĞƐ͕ ĐŽŶƐƵŵƉƟŽŶ ŚĂďŝƚƐ ĂŶĚ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵƉƟŽŶ ĞdžƉĞƌŝĞŶĐĞƐ͘ Ɛ ƚŚĞ ƚŽƉŝĐ ŝƐ ĂďŽƵƚ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚ ƉƵƌĐŚĂƐŝŶŐ ĞdžƉĞƌŝĞŶĐĞ͕ ƐŽŵĞ ƉĞŽƉůĞ ĂƌĞ ŶŽƚ ǁŝůůŝŶŐ ƚŽ ĚŽ ƚŚĞ ŝŶƚĞƌǀŝĞǁ͘ dŚĞLJ ĂƌĞ ƐĞŶƐŝƟǀĞ ĂďŽƵƚ ƚŚĞ ƋƵĞƐƟŽŶ ĂŶĚ ĚĞŶŝĞĚ ƚŚĂƚ ƚŚĞLJ ŽǁŶĞĚ ĐŽƵŶƚĞƌĨĞŝƚƐ͘ &Žƌ ƚŚĞ ĨƵůů ƐĂŵƉůĞ͕ Ăůů ŽĨ ƚŚĞŵ ĂƌĞ ĨĞŵĂůĞ͘ ,ĂůĨ ŽĨ ƚŚĞ ŝŶƚĞƌǀŝĞǁĞĞƐ ŚĂǀĞ ƵŶŝǀĞƌƐŝƚLJ ĞĚƵĐĂƟŽŶ͕ ƚǁŽ ĂƌĞ ŚŝŐŚĞƌ ĞĚƵĐĂƟŽŶ͕ ĂŶĚ ƚŚƌĞĞ ĂƌĞ ŚŝŐŚ ƐĐŚŽŽů ŐƌĂĚƵĂƚĞƐ͘ dŚĞ ƌĞƉƌĞƐĞŶƚĞĚ ŽĐĐƵƉĂƟŽŶƐ ǁŝƚŚŝŶ ƚŚĞ ŝŶƚĞƌǀŝĞǁĞĞƐ ĂƌĞ ŽƌĚŝŶĂƌLJ ĐŽŵƉĂŶLJ ĞŵƉůŽLJĞĞƐ ;ϱϬйͿ͕ ƐƚƵĚĞŶƚƐ ;ϯϬйͿ͕ ŵĂŶĂŐĞƌ ;ϭϬйͿ ĂŶĚ ŐŽǀĞƌŶŵĞŶƚ ŽĸĐĞƌ ;ϭϬйͿ͘ dŚƌĞĞ ŝŶƚĞƌǀŝĞǁĞĞƐ ŚĂǀĞ ůĞƐƐ ƚŚĂŶ ,< ϭϬϬϬϬ ŵŽŶƚŚůLJ ŝŶĐŽŵĞ ĂŶĚ ƚŚĞLJ ĂƌĞ Ăůů ƐƚƵĚĞŶƚƐ͘ dǁŽ ŝŶƚĞƌǀŝĞǁĞĞƐ ŚĂǀĞ ,< ϭϬϬϬϬ ƚŽ ,< ϭϱϬϬϬ ŵŽŶƚŚůLJ ŝŶĐŽŵĞ͕ ,< ϭϱϬϬϭ ƚŽ ,< ϮϬϬϬϬ ĨŽƌ ƚŚƌĞĞ ŝŶƚĞƌǀŝĞǁĞĞƐ͕ ,< ϮϬϬϬϭ ƚŽ ,< ϮϱϬϬϬ ĨŽƌ ƚǁŽ ŝŶƚĞƌǀŝĞǁĞĞƐ

12

Research Analysis and Result Findings The research showed how self-image, ƐŽĐŝĂů ŝŶŇƵĞŶĐĞƐ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŚĂďŝƚƐ ĂīĞĐƟŶŐ ƚŚĞ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵƉƟŽŶ ĞdžƉĞƌŝĞŶĐĞƐ͘ Most of the interviewee described ƚŚĞŵƐĞůǀĞƐ ĂƐ Ă ƉŽƐŝƟǀĞ ƉĞƌƐŽŶ ƵƐŝŶŐ ƚŚĞ ĂĚũĞĐƟǀĞ ŽƉƟŵŝƐƟĐ͕ ĞůĞŐĂŶƚ͕ ƉƌĞƩLJ ĂŶĚ ƐŵĂƌƚ͘ dŚĞLJ ĂƌĞ ƋƵŝƚĞ ĨŽĐƵƐĞĚ ŽŶ ƐĞůĨͲĂƉƉĞĂƌĂŶĐĞ͘ dŚŝƐ ƉƌŽďĂďůLJ ůŝŶŬƐ ƚŽ ŚŽǁ ƚŚĞLJ ĐŚŽŽƐĞ ƚŚĞ ƉƌŽĚƵĐƚƐ ǁŚĞŶ ƉƵƌĐŚĂƐŝŶŐ ƐŽŵĞƚŚŝŶŐ ĂƐ ƚŽ ĐŽŶƐƚƌƵĐƚ ƐĞůĨͲŝŵĂŐĞ͘ ZĞŐĂƌĚŝŶŐ ƚŚĞŝƌ ŝŶƚĞƌĞƐƚ ŝŶ ƐƉĂƌĞ ƟŵĞ͕ Ăůů ŽĨ ƚŚĞŵ ŝŶĐůƵĚĞ ďƌŽǁƐŝŶŐ ŝŶƚĞƌŶĞƚ ĂŶĚ ƐŽĐŝĂů ŵĞĚŝĂ͘ dŚĞLJ ŐĞƚ ŝŶĨŽƌŵĂƟŽŶ ĂďŽƵƚ ďĞĂƵƚLJ͕ ĨĂƐŚŝŽŶ͕ ĐĞůĞďƌŝƚLJ ŝŶĨŽƌŵĂƟŽŶ ŽŶ ƐŽĐŝĂů ŶĞƚǁŽƌŬ͘ /ƚ ŵĂŬĞƐ ƚŚĞŵ ĞĂƐLJ ďĞ ĂīĞĐƚĞĚ ďLJ ƚŚĞ ŵĞĚŝĂ͘ ďŽƵƚ ƚŚĞ ƐŽĐŝĂů ŝŶŇƵĞŶĐĞ͕ ĞŝŐŚƚ ŽĨ ƚŚĞ interviewees care a lot of how other ƉĞŽƉůĞ ƐĞĞ ƚŚĞŵ ĞƐƉĞĐŝĂůůLJ ƚŚĞŝƌ ĂƉƉĞĂƌĂŶĐĞ͘ ^ĞĐŽŶĚ͕ ƚŚĞLJ ĂůƐŽ ǁŽƌƌŝĞĚ ĂďŽƵƚ ŚŽǁ ŽƚŚĞƌƐ ĞǀĂůƵĂƚĞ ƚŚĞŝƌ ĚƌĞƐƐŝŶŐ ƐƚLJůĞ ĨŽůůŽǁĞĚ ďLJ ĞĐŽŶŽŵŝĐ ĂŶĚ ƐŽĐŝĂů ƐƚĂƚƵƐ͘ dŽ increase the image in others mind, ƚŚĞLJ ƵƐƵĂůůLJ ŵĂŬĞ ĐŚĂŶŐĞƐ ŝŶ ŵĂŬĞͲƵƉ͕ ŬĞĞƉŝŶŐ ŝŶ ƚŽƵĐŚ ǁŝƚŚ ƚŚĞ ůĂƚĞƐƚ ĨĂƐŚŝŽŶ ƚƌĞŶĚ͘ tŚĞŶ ĂƐŬŝŶŐ ĂďŽƵƚ ƚŚĞ ƉĞŽƉůĞ ǁŚŽ ĂīĞĐƚ ƚŚĞŵ Ă ůŽƚ ŝŶ ƚŚĞŝƌ ůŝĨĞ͕ Ă ŵĂũŽƌŝƚLJ ŽĨ ŝŶƚĞƌǀŝĞǁĞĞƐ ĐŚŽƐĞ ĨĂŵŝůLJ͕ ĨƌŝĞŶĚƐ ĂŶĚ ŝĚŽů͘ dŚŽƐĞ ƉĞŽƉůĞ ĐĂŶ ĂīĞĐƚ ƚŚĞŝƌ ĐŽŶƐƵŵƉƟŽŶ͘ &Žƌ ĞdžĂŵƉůĞ͕ ĂŶ ŝŶƚĞƌǀŝĞǁĞĞƐ ƐĂŝĚ ƐŚĞ ǁŝůů ďƵLJ ƚŚĞ ĐůŽƚŚĞƐ ƚŚĂƚ ŚĞƌ ŝĚŽů ǁĞĂƌƐ͘ ŶŽƚŚĞƌ ŝŶƚĞƌǀŝĞǁĞĞ ĞdžƉƌĞƐƐĞĚ ƚŚĂƚ ƐŚĞ ǁŝůů ƐĂǀĞ ŵŽŶĞLJ ŽŶ ƚŚĞ ĐŽŶƐƵŵƉƟŽŶ ŽĨ 15

ŚĞƌ ŝĚŽů ƐƵĐŚ ĂƐ ĐŽŶĐĞƌƚ ƟĐŬĞƚ͕ ƐŽ ƐŚĞ ƐƉĞŶƚ ůĞƐƐ ŵŽŶĞLJ ŽŶ ŽƚŚĞƌ ĂƐƉĞĐƚ ůŝŬĞ ĐůŽƚŚŝŶŐ͘ ^ŚĞ ƐŽŵĞƟŵĞƐ ďƵLJ ĐŽƵŶƚĞƌĨĞŝƚ ĚƵĞ ƚŽ ƚŚĞ ĞĐŽŶŽŵŝĐ ďĞŶĞĮƚ͘ ZĞŐĂƌĚŝŶŐ ƚŚĞŝƌ ĐŽŶƐƵŵƉƟŽŶ ŚĂďŝƚƐ͕ ƚŚĞLJ ŵŽƐƚůLJ ƐŚŽƉ ŽŶůŝŶĞ͘ /ƚ ŝƐ ĂůƐŽ ƚŚĞŝƌ ƵƐƵĂů ǁĂLJ ƚŽ ƉƵƌĐŚĂƐĞ ĐŽƵŶƚĞƌĨĞŝƚƐ͘ dŚĞ ĨƌĞƋƵĞŶĐLJ ŽĨ ŵĂŬŝŶŐ ƉƵƌĐŚĂƐĞ ŽĨ ĨĂƐŚŝŽŶ ƉƌŽĚƵĐƚƐ ŝƐ ŽŶĞ ƚŽ ƚǁŽ ƟŵĞƐ ƉĞƌ ŵŽŶƚŚ͘ KŶĞ ŽĨ ƚŚĞ ŝŶƚĞƌǀŝĞǁĞĞ ŵĞŶƟŽŶĞĚ ƐŚĞ ŚĂǀĞ ƐĞĞŶ Ă ƉƌĞƩLJ ĐůŽƚŚĞƐ ŽŶ Ă ĐĞůĞďƌŝƚLJ͕ ĂŶĚ ƐŚĞ ŝŵŵĞĚŝĂƚĞůLJ ďŽƵŐŚƚ ŽŶĞ ŽŶ ŝŶƚĞƌŶĞƚ͘ &ĂƐŚŝŽŶ ďƵƐŝŶĞƐƐ ŝƐ ĚĞǀĞůŽƉŝŶŐ ŵĂƚƵƌĞůLJ ŝŶ ŽŶůŝŶĞ ƚŽ ŽŋŝŶĞ͘ dŚĞ ŝŶƚĞƌǀŝĞǁĞĞ ĚŝƐĐůŽƐĞĚ ƐŚĞ ĂůǁĂLJƐ ĚŽ ƚŚĂƚ ĐĂƉƚƵƌŝŶŐ ƚŚĞ ĐůŽƚŚĞƐ ŝŶ ƚŚĞ ƉŚŽƚŽ͕ ƚŚĞŶ ĮŶĚ ŽƵƚ ƚŚĞ ďƌĂŶĚ ŽĨ ŝƚ ďLJ ƉŚŽƚŽ ƐĞĂƌĐŚŝŶŐ ĞŶŐŝŶĞ͕ ĂŶĚ ďƵLJ ŝƚ ŽŶůŝŶĞ͘ dŚĞ ǁŚŽůĞ ƉƌŽĐĞƐƐ ůĂƐƚĞĚ ŶŽƚ ŵŽƌĞ ƚŚĂŶ ŽŶĞ ŚŽƵƌ ĨƌŽŵ ƐĞĞŝŶŐ ƚŚĞ ĐůŽƚŚĞƐ ƚŽ ƉƵƌĐŚĂƐŝŶŐ ŝƚ͘ tŚĞŶ ƚŚĞ ŝŶƚĞƌǀŝĞǁĞĞƐ ƉƵƌĐŚĂƐĞ ĨĂƐŚŝŽŶ ƉƌŽĚƵĐƚƐ͕ Ăůů ŽĨ ƚŚĞŵ ǁŝůů ĮƌƐƚ ĐŽŶƐŝĚĞƌ ŽĨ ƚŚĞ ĚĞƐŝŐŶ͘ ƌĂŶĚ ƌĞƉƵƚĂƟŽŶ ĂŶĚ ƋƵĂůŝƚLJ ǁŝůů ĂůƐŽ ďĞ ƉƌŝŽƌŝƟnjĞĚ͘ dŚĞLJ ƐƉĞŶĚ ŵŽƌĞ ƚŚĂŶ ,< ϱϬϬ ŝŶ ĞǀĞƌLJ ƉƵƌĐŚĂƐĞ͘ &ƌŽŵ ƚŚĞ ƌĞƐƵůƚ ĚĂƚĂ͕ Ă ŵĂũŽƌŝƚLJ ŽĨ ƚŚĞŵ ĂƩĂĐŚ ŝŵƉŽƌƚĂŶĐĞ ŝŶ ĚĞƐŝŐŶ͕ ƋƵĂůŝƚLJ ĂŶĚ ďƌĂŶĚ ŶĂŵĞ͕ ĂŶĚ ƚŚĞLJ ĂƌĞ ǁŝůůŝŶŐ ƚŽ ƐƉĞŶĚ ŵƵĐŚ ŵŽŶĞLJ ŝŶ ĞĂĐŚ ƉƵƌĐŚĂƐĞ ĞdžĐĞƉƚ ƚŚĞ ĨĞǁ ŝŶƚĞƌǀŝĞǁĞĞƐ ǁŚŽ ĂƌĞ ƐƚƵĚĞŶƚƐ͘ dŚĞ ŝŶƚĞƌǀŝĞǁĞĞƐ ďƵLJ ĐŽƵŶƚĞƌĨĞŝƚ ŽŶůŝŶĞ͘ dŚĞ ŵŽƐƚ ƉƵƌĐŚĂƐĞĚ ĐĂƚĞŐŽƌŝĞƐ ĂŵŽŶŐ ŝŶƚĞƌǀŝĞǁĞĞƐ ĂƌĞ ĐůŽƚŚŝŶŐ͕ ĂĐĐĞƐƐŽƌŝĞƐ ĂŶĚ ŚĂŶĚďĂŐ͘ dŚĞLJ ƐƉĞŶĚ ĂƌŽƵŶĚ ,< ϭϬϬ ƚŽ ,< ϴϬϬϬ ŝŶ ůƵdžƵƌLJ ĐŽƵŶƚĞƌĨĞŝƚƐ ŝŶ ĚŝīĞƌĞŶƚ ĐĂƚĞŐŽƌŝĞƐ͘ ^ŽŵĞ ƉĞŽƉůĞ ĂƌĞ ǁŝůůŝŶŐ ƚŽ ďƵLJ ĞdžƉĞŶƐŝǀĞ ŚŝŐŚ ǀŝƐƵĂů ĐŽƵŶƚĞƌĨĞŝƚ͘ dŚĞ ĂĐĐĞƉƚĂďůĞ ůƵdžƵƌLJ ĐŽƵŶƚĞƌĨĞŝƚƐ ƉƌŝĐĞ ƌĂŶŐĞ ŝƐ ŚƵŐĞ ďĂƐĞĚ ŽŶ ƚŚĞŝƌ ĚŝīĞƌĞŶƚ ǀĂůƵĞƐ ŝŶ ƐŽĐŝĂů͕ ƵƟůŝƚĂƌŝĂŶ ĂŶĚ ĞĐŽŶŽŵLJ͘

dŚĞ ƌĞƐĞĂƌĐŚ ŝĚĞŶƟĮĞĚ ƚŚƌĞĞ ĨĂĐƚŽƌƐ ǁŚŝĐŚ ĂīĞĐƚ ƚŚĞ ŝŶƚĞƌǀŝĞǁĞĞƐ ŝŶ ƉƵƌĐŚĂƐŝŶŐ ĨĂƐŚŝŽŶ ůƵdžƵƌLJ ĐŽƵŶƚĞƌĨĞŝƚ͘ dŚĞ ƚŚƌĞĞ ǀĂůƵĞƐ ĂƌĞ ƐŽĐŝĂů ǀĂůƵĞ͕ ƵƟůŝƚĂƌŝĂŶ ǀĂůƵĞ ĂŶĚ ĞĐŽŶŽŵŝĐ ǀĂůƵĞ͘ &Žƌ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵĞƌ ǁŚŽ ƐŚŽƉ ĨŽƌ ƐŽĐŝĂů͕ ƚŚĞLJ ĂƌĞ ĞĂƐŝůLJ ĂīĞĐƚĞĚ ďLJ ƚƌĂĚŝƟŽŶĂů ĐŽŶĐĞƉƚ ŽĨ ůƵdžƵƌLJ ŐŽŽĚƐ͘ dŚĞLJ ŚĂǀĞ ƚŚĞ ŵŽƐƚ ĐŽƵŶƚĞƌĨĞŝƚƐ ĂŵŽŶŐ ŽƚŚĞƌ ƚLJƉĞƐ ŽĨ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵĞƌ͘ /Ŷ ƚŚĞŝƌ ŵŝŶĚ͕ ůƵdžƵƌLJ ŐŽŽĚƐ ĂƌĞ ƐLJŵďŽů ŽĨ ŚŝŐŚͲĐůĂƐƐ͘ ^ŽŵĞ ŝŶƚĞƌǀŝĞǁĞĞƐ ƐĂŝĚ ƚŚĞLJ ǁĂŶƚ ƚŽ ŽǁŶ Ă ůŽƚ ůƵdžƵƌLJ ŚĂŶĚďĂŐƐ ďĞĐĂƵƐĞ ƚŚĞLJ ĂƌĞ Ăůů ƉƌĞƩLJ ĂŶĚ ůŽŽŬ ƐŽƉŚŝƐƟĐĂƚĞĚ͘ ^ŚĞ ǁĂŶƚ ƚŽ ĐƌĞĂƚĞ ĂŶ ĞůĞŐĂŶƚ ŝŵĂŐĞ ĨƌŽŵ ŽƚŚĞƌƐ ĂŶĚ ĨƵůĮů ŚĞƌ ŽǁŶ ƉŚLJƐŝĐĂů ŶĞĞĚƐ ďLJ ƵƐŝŶŐ ĚŝīĞƌĞŶƚ ůƵdžƵƌLJ ŚĂŶĚďĂŐƐ͘ ĞƐŝĚĞƐ͕ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚƐ ůŽŽŬ ĂůŵŽƐƚ ƚŚĞ ƐĂŵĞ ǁŝƚŚ ƚŚĞ ƌĞĂů ŐŽŽĚƐ͕ ƐŚĞ ŝƐ ƐĂƟƐĮĞĚ ǁŝƚŚ ƵƐŝŶŐ ƚŚĞ ŚŝŐŚ ǀŝƐƵĂů ĐŽƵŶƚĞƌĨĞŝƚ ďƵƚ ŵŝƐůĞĂĚŝŶŐ ŽƚŚĞƌƐ ĂƐ ƚŚĞ ƌĞĂů ŽŶĞ͘ ^ŚĞ ĚŽ ŶŽƚ ƚŚŝŶŬ ƚŚĂƚ ƉĞŽƉůĞ ĐĂŶ ĚŝīĞƌĞŶƟĂƚĞ ƚŚĞ ĚŝīĞƌĞŶĐĞ Ăƚ Ă ŐůĂŶĐĞ Ăƚ ƐƚƌĞĞƚ͘ ,ŽǁĞǀĞƌ͕ ƐŚĞ ƐƟůů ĂĨƌĂŝĚ ƚŚĂƚ ƉĞŽƉůĞ ǁŝůů ƌĞĐŽŐŶŝƐĞ ŚĞƌ ĐŽƵŶƚĞƌĨĞŝƚ ŝŶ Ă ĐůŽƐĞ ĚŝƐƚĂŶĐĞ͘ ^ŚĞ ǁŽƌƌŝĞĚ ĂďŽƵƚ ǁŚĂƚ ŝĨ ŚĞƌ ĨƌŝĞŶĚƐ ĮŶĚŝŶŐ ŚĞƌ ƵƐŝŶŐ ĐŽƵŶƚĞƌĨĞŝƚ͘ /ƚ ǁŝůů ďƌĞĂŬ ŚĞƌ ŝŵĂŐĞ ǁŚŝĐŚ ƐŚĞ ĐƌĞĂƚĞĚ ĂƐ ĂŶ ĞůĞŐĂŶƚ ǁŽŵĞŶ͘ &Žƌ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵĞƌ ǁŚŽ ŚĂǀĞ Ă ƵƟůŝƚĂƌŝĂŶ ǀĂůƵĞ͕ ƚŚĞLJ ƉƵƌĐŚĂƐĞ ƚŚĞ ůĞƐƐ ĐŽƵŶƚĞƌĨĞŝƚƐ͘ tŚĞŶ ƚŚĞLJ ĐŽŶƐŝĚĞƌ ďĞƚǁĞĞŶ ĐŽƵŶƚĞƌĨĞŝƚ ĂŶĚ ĂƵƚŚĞŶƟĐ ŐŽŽĚƐ͕ ƚŚĞLJ ƚŚŝŶŬ ŽĨ ƚŚĞ ĂƉƉůŝĐĂƟŽŶ͘ KŶĞ ŽĨ ƚŚĞ ŝŶƚĞƌǀŝĞǁĞĞ ďŽƵŐŚƚ Ă ƌƵŋĞĚ ŚĂůƚĞƌ ŶĞĐŬ ĚƌĞƐƐ ƚŚĂƚ ƐŚĞ ƐĂǁ ŽŶ ĂŶ ŝĚŽů ŝŶ ŚĞƌ ůĂƚĞƐƚ ƉƵƌĐŚĂƐĞ͘ dŚĞ ĚƌĞƐƐ ŝƐ ŽƌŝŐŝŶĂůůLJ ĨƌŽŵ WŚŝůŽƐŽƉŚLJ Ěŝ >ŽƌĞŶnjŽ ^ĞƌĂĮŶŝ ĐŽƐƚ h^ ϵϱϬ͕ ďƵƚ ƐŚĞ ďŽƵŐŚƚ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚ ďLJ h^ ϰϳ͘ dŚĞ ĚƌĞƐƐ ǁĂƐ ĨŽƌ ĂƩĞŶĚŝŶŐ ƚŚĞ ĂŶŶƵĂů ĚŝŶŶĞƌ ŽĨ ŚĞƌ ĐŽŵƉĂŶLJ ǁŚŝĐŚ ŝƐ Ă ůƵdžƵƌLJ ďƌĂŶĚ͘ ,Ğƌ ĐŽůůĞĂŐƵĞƐ ƉƌĞƉĂƌĞĚ ŐŽƌŐĞŽƵƐ ĂŶĚ ĞdžƉĞŶƐŝǀĞ ĚƌĞƐƐ ĨŽƌ ĂŶŶƵĂů ĚŝŶŶĞƌ͕ ƐŽ ƐŚĞ ǁŝůů ďĞ ĂǁŬǁĂƌĚ ǁŝƚŚ ĚƌĞƐƐŝŶŐ ƵƉ ŽƌĚŝŶĂƌLJ ĚƌĞƐƐ ŝŶ ƚŚĂƚ ŽĐĐĂƐŝŽŶ͘ ,ŽǁĞǀĞƌ͕ ƚŚĞ ĚƌĞƐƐ ŝƐ ŶŽƚ ƚŚĂƚ ƐƵŝƚĂďůĞ ĨŽƌ ĚĂŝůLJ ĐĂƐƵĂů ǁĞĂƌ ĂŶĚ ǁŝůů ŽŶůLJ ǁĞĂƌ ŽŶĐĞ͕ ƐŽ ƐŚĞ ĚŝĚ ŶŽƚ ǁĂŶƚ ƚŽ ŝŶǀĞƐƚ ŵƵĐŚ ŽŶ ƚŚĞ ĚƌĞƐƐ ĂŶĚ ƚŚĞŶ ďŽƵŐŚƚ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚ͘ ^ŚĞ ŽŶůLJ

ďƵLJ ĐŽƵŶƚĞƌĨĞŝƚƐ ĨŽƌ ƐŚŽƌƚͲƟŵĞ ƵƐĂŐĞ͕ ƐŚĞ ƐƟůů ƉƌĞĨĞƌƐ ĂƵƚŚĞŶƟĐ ŐŽŽĚƐ ĨŽƌ ĚĂŝůLJ ƵƐĞ͘ ŶŽƚŚĞƌ ŝŶƚĞƌǀŝĞǁĞĞ ƐĂŝĚ ƚŚĂƚ ƚŚĞƌĞ ǁĂƐ ŶŽ ŶĞĞĚ ƚŽ ďƵLJ ƚŚĞ ƌĞĂů ŽŶĞ ŝĨ ŝƚ ŝƐ Ă ƚƌĞŶĚLJ ĚĞƐŝŐŶ ĂŶĚ ǁŝůů ŐŽ ŽƵƚ ŽĨ ĨĂƐŚŝŽŶ͘ /Ĩ ƚŚĞ ĚƵƌĂƟŽŶ ŽĨ ƵƐŝŶŐ ƚŚĞ ƉƌŽĚƵĐƚƐ ǁŝůů ŶŽƚ ďĞ ůŽŶŐ͕ ƚŚĞLJ Ăůů ĂŐƌĞĞĚ ƚŚĂƚ ƉƵƌĐŚĂƐŝŶŐ ŐĞŶƵŝŶĞ ŐŽŽĚƐ ŝƐ ŶŽƚ ƚŚĂƚ ǁŽƌƚŚ ƚŚĞ ƉƌŝĐĞ͘ &Žƌ ƚŚĞ ƐŚŽƌƚͲƟŵĞ ƵƐĂŐĞ ƉƌŽĚƵĐƚƐ͕ ƚŚĞLJ ĚŽ ŶŽƚ ǁĂŶƚ ƚŽ ƐƉĞŶĚ ƚŽŽ ŵƵĐŚ ŽŶ ŝƚ͘ dŚĞLJ ǁŝůů ďƵLJ ƚŚŽƐĞ ƉƌŽĚƵĐƚƐ ŽŶůLJ ŝĨ ƚŚĞ ƉƌŝĐĞ ŝƐ ĂīŽƌĚĂďůĞ͘ KƚŚĞƌǁŝƐĞ ƚŚĞLJ ŵĂLJ ďƵLJ ĐŽƵŶƚĞƌĨĞŝƚƐ ĂƐ Ă ƐƵďƐƟƚƵƚĞ ĨŽƌ ƐŚŽƌƚͲƟŵĞ ƵƐĂŐĞ͘ /Ŷ ƐŚŽƌƚ͕ ƚŚĞ ƵƐĂŐĞ ĨƌĞƋƵĞŶĐLJ ĂŶĚ ĂƉƉůŝĐĂƟŽŶ ŽĨ ƚŚĞ ƉƌŽĚƵĐƚƐ ĂīĞĐƚ ǁŚĞƚŚĞƌ ƚŚĞ ŝŶƚĞƌǀŝĞǁĞĞ ďƵLJ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚ͘ &Žƌ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵĞƌ ǁŚŽ ďƵLJ ĨŽƌ ƚŚĞ ĞĐŽŶŽŵŝĐ ǀĂůƵĞ͕ ƚŚĞLJ ŵŽƐƚůLJ ĐŽŶĐĞƌŶĞĚ ĂďŽƵƚ ƚŚĞ ƉƌŝĐĞ ĂƐ ƚŚĞLJ ŚĂǀĞ ůŽǁ ďƵĚŐĞƚ͘ dŚĞLJ ĐĂŶŶŽƚ ĂīŽƌĚ ƚŚĞ ĂƵƚŚĞŶƟĐ ƉƌŽĚƵĐƚƐ ŝŶ ŚŝŐŚ ƉƌŝĐĞ͕ ƐŽ ƚŚĞLJ ĐŚŽŽƐĞ ƚŚĞ ĨĂŬĞ ŐŽŽĚƐ͘ dŚĞ ƌĞĂƐŽŶ ŽĨ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵƉƟŽŶ ŝƐ ƚŽ ƌĞĚƵĐĞ ƚŚĞ ŵŽŶĞLJ ǁŚŝůĞ ŐĞƫŶŐ ůƵdžƵƌLJ ŐŽŽĚƐ͘ ,ŽǁĞǀĞƌ͕ ƐŽŵĞ ŽĨ ƚŚĞ ŝŶƚĞƌǀŝĞǁĞĞƐ ƐƚĂƚĞĚ ƚŚĂƚ ƚŚĞLJ ǁŝůů ďƵLJ ƚŚĞ ĂƵƚŚĞŶƟĐ ŽŶĞ ŝĨ ƚŚĞLJ ĐĂŶ ĂīŽƌĚ ƐŽŵĞĚĂLJ͘ dŚĞLJ ĨĞĞů ŶĞƌǀŽƵƐ ĂŶĚ ƐŚĂŵĞ ǁŚĞŶ ƵƐŝŶŐ ƚŚĞ ĨĂŬĞ ƉƌŽĚƵĐƚƐ ǁĂůŬŝŶŐ ŶĞĂƌďLJ ƚŚĞ ůƵdžƵƌLJ ƐƚŽƌĞƐ͘ dŚĞLJ ƐĐĂƌĞĚ ƚŽ ďĞ ĚŝƐĐŽǀĞƌĞĚ͘ DŽƌĞŽǀĞƌ͕ ƚŚĞ ƋƵĂůŝƚLJ ŽĨ ĐŽƵŶƚĞƌĨĞŝƚ ŝƐ ŶŽƚ ƚŚĂƚ ŐŽŽĚ ƐŽŵĞƟŵĞƐ͘ dŚĞƌĞĨŽƌĞ͕ ƚŚĞLJ ǁĂŶƚ ƚŽ ĞdžƉĞƌŝĞŶĐĞ ƚŚĞ ůƵdžƵƌLJ ŐŽŽĚƐ ĐŽŶƐƵŵƉƟŽŶ͘ YƵĂůŝƚLJ ŽĨ ƚŚĞ ƉƌŽĚƵĐƚ͕ ďƌĂŶĚ ƉƌĞƐƟŐĞ ĂŶĚ ůƵdžƵƌLJ ůŝĨĞƐƚLJůĞ ĂĐƚƵĂůůLJ ĂƩƌĂĐƚ ƚŚĞŵ ƚŽ ƉƵƌĐŚĂƐĞ ĂƵƚŚĞŶƟĐ ŐŽŽĚƐ͕ ƚŚĞ ŽŶůLJ ŽďƐƚĂĐůĞ ŝƐ ƚŚĞ ƉƌŝĐĞ͘ “I have no budget but I want it. I’m gonna get the fake one.” ;:ĞŶŶŝĨĞƌ͕ ĂŐĞ ϮϬͿ

16

Discussion and Conclusion

17

dŚŝƐ ƌĞƐĞĂƌĐŚ ĂƐƐĞƐƐĞƐ ŚŽǁ ƚŚĞ ƐŽĐŝĂů͕ ƵƟůŝƚĂƌŝĂŶ ǀĂůƵĞ ĂŶĚ ĞĐŽŶŽŵŝĐ ǀĂůƵĞ ĂīĞĐƚ ƚŚĞ ĐŽŶƐƵŵƉƟŽŶ ĚĞĐŝƐŝŽŶ͕ ĂƫƚƵĚĞ ĂŶĚ ďĞŚĂǀŝŽƵƌ ŽŶ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ĐŽƵŶƚĞƌĨĞŝƚƐ͘ &Žƌ ƚŚĞ ƐŽĐŝĂů ǀĂůƵĞ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵĞƌƐ͕ ƚŚĞLJ ĞŶũŽLJ ƚŚĞ ĨĂŵĞ ďƌŽƵŐŚƚ ďLJ ůƵdžƵƌLJ ĐŽƵŶƚĞƌĨĞŝƚƐ͘ dŚĞLJ ĐŽŶƐƚƌƵĐƚ ƚŚĞŝƌ ŝĚĞŶƟƚLJ ƚŚƌŽƵŐŚ ůƵdžƵƌLJ ďƌĂŶĚƐ͘ >ƵdžƵƌLJ ĨĂƐŚŝŽŶ ĐŽƵŶƚĞƌĨĞŝƚƐ ŚĞůƉ ƚŚĞŵ ďƵŝůĚŝŶŐ ƵƉ ĐŽŶĮĚĞŶĐĞ ŝŶ ĨƌŽŶƚ ŽĨ ŽƚŚĞƌƐ ĂŶĚ ŝŶƚĞŐƌĂƚĞ ŝŶƚŽ ƚŚĞ ƐŽĐŝĞƚLJ͘ dŚĞLJ ŚĂǀĞ ĚĞŵĂŶĚ ŽŶ ĨƵůĮůůŝŶŐ ƉŚLJƐŝĐĂů ŶĞĞĚƐ ƚŚƌŽƵŐŚ ŚĂǀŝŶŐ ůƵdžƵƌLJ ĐŽƵŶƚĞƌĨĞŝƚƐ͘ dŚŽƐĞ ĐŽŶƐƵŵĞƌƐ ĂƌĞ ƉƵƌƐƵŝŶŐ Ă ĚĞƐŝƌĞĚ ƐŽĐŝĂů ƐĞůĨͲŝŵĂŐĞ ŽŶ ŝĚĞŶƟƚLJ ĐŽŶƐƚƌƵĐƟŽŶ ƚŚƌŽƵŐŚ ĚĞĐĞƉƟŽŶ ǁŝƚŚ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ĐŽƵŶƚĞƌĨĞŝƚƐ ; ŚĞƌƌŝĞƌ ĂŶĚ DƵƌƌĂLJ͕ ϮϬϬϳͿ͘ dŚĞLJ ĂƌĞ ƐĞůĨͲƐĂƟƐĮĞĚ ŽĨ ƵƐŝŶŐ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚƐ ĂƐ ƐƵďƐƟƚƵƚĞ͕ ďƵƚ ƚŚĞLJ ĂƌĞ ƐƟůů ŶĞƌǀŽƵƐ ƚŽ ďĞ ĚŝƐĐŽǀĞƌĞĚ ƚŚĞ ƚƌƵƚŚ ďLJ ŽƚŚĞƌƐ͘ /Ŷ ǀŝĞǁ ŽĨ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵĞƌ ŝŶ ƵƟůŝƚĂƌŝĂŶ ǀĂůƵĞ͕ ƚŚĞLJ ŵĂŬĞ ďƵLJŝŶŐ ĚĞĐŝƐŝŽŶ ĂŌĞƌ ǁĞŝŐŚŝŶŐ ƚŚĞ ŶĞĐĞƐƐŝƚLJ͕ ƚƌĞŶĚ ĂŶĚ ƋƵĂůŝƚLJ ŽĨ ƚŚĞ ƉƌŽĚƵĐƚƐ͘ /Ĩ ƚŚĞ ŝƚĞŵ ŝƐ Ă ĐůĂƐƐŝĐ ĚĞƐŝŐŶ ǁŚŝĐŚ ĐĂŶ ďĞ ƵƐĞĚ

Expected Outcomes

ĨŽƌ Ă ůŽŶŐ ƟŵĞ ǁŝƚŚŽƵƚ ŽƵƚĚĂƚĞĚ ĂƉƉĞĂƌĂŶĐĞ͕ ƚŚĞLJ ǁŝůů ĐŚŽŽƐĞ ƚŽ ƉƵƌĐŚĂƐĞ ĂŶ ĂƵƚŚĞŶƟĐ ŽŶĞ ĂƐ ƚŚĞ ƋƵĂůŝƚLJ ŝƐ ďĞƩĞƌ ĨŽƌ ůŽŶŐͲƟŵĞ ƵƐĂŐĞ͘ dŚĞLJ ǁŝůů ŶŽƚ ĚŽ ŝŶǀĞƐƚŵĞŶƚ ŽŶ ƚƌĞŶĚLJ ůƵdžƵƌLJ ŐŽŽĚƐ ďĞĐĂƵƐĞ ƚŚĞ ƚƌĞŶĚ ǁŝůů ďĞ ĐŚĂŶŐĞĚ ƐŽ ĨĂƐƚ͘ dŚŝƐ ŬŝŶĚ ŽĨ ĐŽŶƐƵŵĞƌ ĐŽŶƐŝĚĞƌ ƚŚĞŵƐĞůǀĞƐ ĂƐ ĞĸĐŝĞŶƚ ĞdžƉĞƌƚƐ ŝŶ ĐŽŶƐƵŵƉƟŽŶ ;WĞƌĞnj ĂŶĚ YƵŝŶƚĂŶŝůůĂ͕ ϮϬϭϬͿ͘ dŚĞLJ ƚŚŝŶŬ ƚŚĂƚ ƚŚĞLJ ŵĂŬĞ ƚŚĞ ŵŽƐƚ ƐƵŝƚĂďůĞ ĐŚŽŝĐĞ ĨŽƌ ĚŝīĞƌĞŶƚ ƐŝƚƵĂƟŽŶ͘ dŚĞLJ ďƵLJ ĐŽƵŶƚĞƌĨĞŝƚƐ ĂƐ Ă ƐƵďƐƟƚƵƚĞ ĨŽƌ ƐŚŽƌƚͲƟŵĞ ƵƐĂŐĞ ĂŶĚ ĨĂƐƚ ĐŚĂŶŐŝŶŐ ƚƌĞŶĚ͕ ďƵƚ ƚŚĞLJ ĂĚŵŝƩĞĚ ƚŚĞ ƋƵĂůŝƚLJ ŽĨ ƌĞĂů ƉƌŽĚƵĐƚƐ ĂƌĞ ŵƵĐŚ ďĞƩĞƌ͘ dŚĞ ůŽǁ ĐƵƐƚŽŵĞƌ ǀĂůƵĞ ŽĨ ƚŚĞ ƉƌŽĚƵĐƚƐ ŶĞŐĂƟǀĞůLJ ĂīĞĐƚĞĚ ƚŚĞŝƌ ŵŽƟǀĂƟŽŶ ŝŶ ĐŽŶƐƵŵƉƟŽŶ͘ &Žƌ ƚŚĞ ĞĐŽŶŽŵŝĐ ǀĂůƵĞ ĐŽƵŶƚĞƌĨĞŝƚ ĐŽŶƐƵŵĞƌƐ ǁŚŽ ĐĂŶŶŽƚ ĂīŽƌĚ Žƌ ŶŽƚ ǁŝůůŝŶŐ ƚŽ ƉĂLJ ĨŽƌ ĂƵƚŚĞŶƟĐ ŐŽŽĚƐ͕ ůƵdžƵƌLJ ĨĂƐŚŝŽŶ ĐŽƵŶƚĞƌĨĞŝƚ ƉƌŽǀŝĚĞ ĂŶ ĞůĞǀĂƚĞĚ ĨĞĞůŝŶŐ ƚŽ ƚŚĞŵ ;tŝůŬĞ ĂŶĚ ĂŝĐŚŬŽǁƐŬLJ͕ ϭϵϵϵͿ͘ dŚĞLJ ĂƌĞ ǁŝůůŝŶŐ ƚŽ ƉƵƌĐŚĂƐĞ ŐĞŶƵŝŶĞ ŐŽŽĚƐ ŝĨ ƚŚĞLJ ĐĂŶ ĂīŽƌĚ͘

ĂŵŽƵŶƚ ƚŽ ŝŶĐƌĞĂƐĞ ǁŝůůŝŶŐŶĞƐƐ ŽĨ ĐƵƐƚŽŵĞƌ ƚŽ ďƵLJ ŝŶ ƚŚĂƚ ŵŽŵĞŶƚ ƚŚĞLJ ƐĂǁ ƚŚĞ ƉƌŽĚƵĐƚƐ͘ tŚĞŶ ĐŽŶƐƵŵĞƌƐ ĂƌĞ ůŽLJĂů ƚŽ ƚŚĞ ďƌĂŶĚ ĂŶĚ ŚŝŐŚůLJ ŝŶǀŽůǀĞĚ ǁŝƚŚ ŝƚ͕ ƚŚĞLJ ǁŝůů ƉƵƌĐŚĂƐĞ ĐŽƵŶƚĞƌĨĞŝƚƐ ůĞƐƐĞƌ ;Ě͛ ƐƚŽƵƐ ĂŶĚ 'ĂƌŐŽƵƌŝ͕ ϮϬϬϭͿ͘ DŽƌĞŽǀĞƌ͕ ƚŚĞ ƐƵƉĞƌŝŽƌŝƚLJ ŽĨ ƵƐŝŶŐ ůƵdžƵƌLJ ĐŽƵŶƚĞƌĨĞŝƚƐ ƐŚŽƵůĚ ďĞ ĞůŝŵŝŶĂƚĞĚ͘ /ƚ ĐĂŶ ĞŶĐŽƵƌĂŐĞ ƉĞŽƉůĞ ƚŽ ĐŚŽŽƐĞ ƚŚĞ ĂƵƚŚĞŶƟĐ ƉƌŽĚƵĐƚƐ͘

>ƵdžƵƌLJ ĨĂƐŚŝŽŶ ďƌĂŶĚƐ ƐŚŽƵůĚ ŝŵƉƌŽǀĞ ĐŽŶƐƵŵĞƌ ĂǁĂƌĞŶĞƐƐ ĂŶĚ ŵŝŶŝŵŝƐĞ ƚŚĞ ĚĞƐŝƌĞ ŽĨ ĐŽŶƐƵŵĞƌ ƚŽ ƐĞĂƌĐŚ ĂŶĚ ƉƵƌĐŚĂƐĞ ĐŽƵŶƚĞƌĨĞŝƚƐ͘ dŽ ĚĞĐƌĞĂƐĞ ƚŚĞŝƌ ŵŽƟǀĂƟŽŶ ŝŶ ƐĞĂƌĐŚŝŶŐ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚƐ ĂŌĞƌ ƐĞĞŝŶŐ ƚŚĞ ĂƵƚŚĞŶƟĐ ƉƌŽĚƵĐƚƐ͕ ďƌĂŶĚƐ ŵĂLJ ƉƌŽǀŝĚĞ ƐŽŵĞ ŝŶƐƚĂŶƚ ƉƌŽŵŽƟŽŶ͕ Žƌ ƐĞƚ ůŝŵŝƚĞĚ

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Work Plan Description

A campaign to raise awareness on genuine luxury products may needed. Luxury fashion brands may also refine the marketing strategies to consolidate and keep the original customer, and attract new customer meanwhile.

Marketing Plan

This is suggestion of a marketing plan for any one luxury fashion brand. There will be a four months rewarding campaign called “OURchive”. OURchive is a word combined our and archive meaning that it is an archive between the brand and brand lovers. Brand lovers here are who have been paying attention to the brand, who like or bought their products.

Although the counterfeit consumer buy counterfeit of the fashion brand, they are following the new updates from the brand and like their products. Thus they are also called brand lovers in this campaign, they are counted as the fans of that brand. Being an interactive campaign, it needs the brand and their fans to complete together. In the campaign, there will has a website for both of them to share things through that platform. The website will be separated to three big columns named outfit of today (OOTD), game and puzzles.

*All illustration of the website prototype used Dior as an example. It is a hypothesis that Dior is holding the campaign as their new marketing plan.

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OOTD is an area for people to share their daily outfit included the products of that brand. People can also create OOTD by the dress up game internally installed, then post it on the column.

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The game column is a Q&A game to test the brand knowledge of people and teach them the right answer. There will have questions about the brand history, design and asking the diďŹ&#x20AC;erence between a counterfeit and authentic goods.

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About the column called puzzles, it is a page similar to Instagram. One puzzle equals to one post. Basically, people can post photos, videos, text about the brand, and see what other people posted. In addition, there is a place for the brand to share interesting story behind the public, hand craftsmanship of productsâ&#x20AC;&#x2122; video, brand history and design philosophy.

Those information will be hid as a QR code in the advertisement over the street. People can scan the QR code at street and unlock the puzzles. The whole campaign is actually a point grabbing event, so people can collect points from the three columns after posting something, reading post form puzzles and playing games. If people collect to a particular level of points, they can convert the points to get cash dollar and limited edition of the brand.

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Objectives dŚĞ ŵĂŝŶ ŽďũĞĐƟǀĞ ŝƐ ƚŽ ĞŶĐŽƵƌĂŐĞ ƉĞŽƉůĞ ƚŽ ĂďĂŶĚŽŶ ďƵLJŝŶŐ ĐŽƵŶƚĞƌĨĞŝƚƐ͕ ĂŶĚ ĞŵďƌĂĐĞ ƚŚĞ ŐĞŶƵŝŶĞ ŐŽŽĚƐ ŝŶƐƚĞĂĚ͘ /Ĩ ƚŚĞLJ ďƵLJ ůĞƐƐĞƌ ĐŽƵŶƚĞƌĨĞŝƚƐ͕ ƚŚĞ ĚĞŵĂŶĚ ŽĨ ĐŽƵŶƚĞƌĨĞŝƚƐ ǁŝůů ďĞ ĚĞĐƌĞĂƐĞĚ͘ /ƚ ŚĞůƉƐ ƚŽ ǁĞĂŬĞŶ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚƐ ďƵƐŝŶĞƐƐ͘ dŚĞŶ͕ ƚŚĞ ĐĂŵƉĂŝŐŶ ĂŝŵƐ ƚŽ ƌĂŝƐĞ ĂǁĂƌĞŶĞƐƐ ĨƌŽŵ ƉƵďůŝĐ ĂďŽƵƚ ƚŚĞ ŝŶƚĞůůĞĐƚƵĂů ƉƌŽƉĞƌƚLJ ŝƐƐƵĞƐ͘ Ɛ ĐŽƵŶƚĞƌĨĞŝƚ ďƵƐŝŶĞƐƐ ŝƐ ĚĂŵĂŐŝŶŐ ƚŚĞ ĐƌĞĂƟǀŝƚLJ ĂŶĚ ƐƚĞĂůŝŶŐ ƚŚĞ ĞīŽƌƚ ĨƌŽŵ ĚĞƐŝŐŶĞƌƐ ĂŶĚ ƚŚĞŝƌ ƚĞĂŵ͕ ŝƚ ŝƐ Ă ďŝŐ ƉƌŽďůĞŵ ďůŽĐŬŝŶŐ ƚŚĞ ĚĞǀĞůŽƉŵĞŶƚ ŽĨ ĨĂƐŚŝŽŶ ŝŶĚƵƐƚƌLJ ǁŚŝĐŚ ŶĞĞĚƐ ůŽƚƐ ŽĨ ŝŶŶŽǀĂƟǀĞ ŝĚĞĂƐ ĂŶĚ ŝŶǀĞƐƚŵĞŶƚ͘ WƵďůŝĐ ƐŚŽƵůĚ ďĞ ƚĂƵŐŚƚ ŶŽƚ ƚŽ ƉĂƚƌŽŶŝƐĞ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚƐ ŝŶ ŽƌĚĞƌ ƚŽ ƉƌĞǀĞŶƚ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚ ŵĂƌŬĞƚ ŐƌŽǁŝŶŐ ďŝŐ͘ DŽƌĞŽǀĞƌ͕ ƚŚĞ ĐĂŵƉĂŝŐŶ ĂůƐŽ ƉƌŽŵŽƚĞƐ ƚŚĞ ďƌĂŶĚƐ ƚŚƌŽƵŐŚ ƚŚĞ ƉŽǁĞƌ ŽĨ ƚŚĞŝƌ ĨĂŶƐ͘ dŚƌŽƵŐŚ ƚŚĞ ĨĂŶƐ ƉŽƐƟŶŐ ƚŚŝŶŐƐ ĂďŽƵƚ ƚŚĞ ďƌĂŶĚƐ͕ ŝƚ ŝƐ ƉƌĞĨĞƌĞĚ ƚŽ ƌĞĂĐŚ ƚŚĞ ƐĂŵĞ Žƌ ĞǀĞŶ ďŝŐŐĞƌ ĞīĞĐƚ ĂƐ ĮŶĚŝŶŐ ŝŶŇƵĞŶĐĞƌƐ ĨŽƌ ĂĚǀĞƌƟƐŝŶŐ͘ ǀĞƌLJŽŶĞ ĐĂŶ ũŽŝŶ ƚŚĞ ĐĂŵƉĂŝŐŶ ĂŶĚ ŐƌĂď ƉŽŝŶƚƐ ŝŶ ŝƚ͕ ƐŽ ƚŚĞ ĂŵŽƵŶƚ ŽĨ ƉĂƌƟĐŝƉĂƟŽŶ ĂŶĚ ŝŶŇƵĞŶĐĞ ĂƌĞ ĞdžƉĞĐƚĞĚ ƚŽ ŝŶĐƌĞĂƐĞ ƚŚĞ ĞdžƉŽƐƵƌĞ ŽĨ ƚŚĞ ďƌĂŶĚƐ͕ ĂŶĚ ďƌŝŶŐ ŵŽƌĞ ŝƐƐƵĞƐ ĂŵŽŶŐ ƚŚĞ ƉƵďůŝĐ͘ /Ŷ ĂĚĚŝƟŽŶ͕ ƚŚĞ ĐĂŵƉĂŝŐŶ ĂŝŵƐ ƚŽ ďƵŝůĚ ƵƉ ĐůŽƐĞƌ ƌĞůĂƟŽŶƐŚŝƉ ĂŶĚ ůĂƌŐĞƌ ĞŶŐĂŐĞŵĞŶƚ ďĞƚǁĞĞŶ ƚŚĞ ďƌĂŶĚ ĂŶĚ ĨĂŶƐ͕ ĂŶĚ ƚŽ ŵĂŝŶƚĂŝŶ ƚŚĞŝƌ ůŽLJĂůƚLJ͘ /ƚ ĂŝŵƐ ƚŽ ŝŶĐƌĞĂƐĞ ƉĞŽƉůĞ͛Ɛ ŵŽƟǀĂƟŽŶ ƚŽ ďƵLJ ƚŚĞ ĂƵƚŚĞŶƟĐ ƉƌŽĚƵĐƚƐ͘ dŚĞ ƚŚƌĞĞ ĐŽůƵŵŶƐ ŽĨ ƚŚĞ ĐĂŵƉĂŝŐŶ ǁĞďƐŝƚĞ ĐĂŶ ŵĂŬĞ ƉĞŽƉůĞ ƐŚĂƌĞ ŽǁŶ ŽƉŝŶŝŽŶƐ ĂŶĚ ŝĚĞĂƐ ƚŽ ƚŚĞ ďƌĂŶĚ͕ ŵĞĂŶǁŚŝůĞ ƚŚĞLJ ĐĂŶ ŐĞƚ ŝŶĨŽƌŵĂƟŽŶ ĨƌŽŵ 15

ďƌĂŶĚ ĂŶĚ ƚŚĞ ŽƚŚĞƌƐ͘ /ƚ ŵĂŬĞƐ ƉĞŽƉůĞ ǁŚŽ ŚĂǀĞ ƐŽĐŝĂů ǀĂůƵĞ ŝŶ ĐŽŶƐƵŵƉƟŽŶ ĨĞĞůŝŶŐ ƚŚĞ ƐƚƌŽŶŐ ĐŽŶŶĞĐƟŽŶ ďĞƚǁĞĞŶ ƚŚĞŵ ĂŶĚ ƚŚĞ ďƌĂŶĚ͘ DĞĂŶǁŚŝůĞ͕ ďƌĂŶĚ ĐĂŶ ĂůƐŽ ĐŽŵƉƌĞŚĞŶƐŝǀĞůLJ ƵŶĚĞƌƐƚĂŶĚ ĂŶĚ ŐƌĂď ĚĂƚĂ ĨƌŽŵ ƚŚĞŝƌ ĐƵƐƚŽŵĞƌ ĂŶĚ ƉŽƚĞŶƟĂů ĐƵƐƚŽŵĞƌ ƚŚƌŽƵŐŚ ƚŚĞŝƌ ƐŚĂƌŝŶŐ͘ dŚĞƌĞĨŽƌĞ͕ ƚŚĞ ďƌĂŶĚ ĐĂŶ ĂƉƉůLJ ŵŽƌĞ ƐƵŝƚĂďůĞ ďƵƐŝŶĞƐƐ ƉůĂŶ Žƌ ĐƌĞĂƚĞ ƉƌŽĚƵĐƚƐ ŵŽƌĞ ƐƵŝƚ ƚŚĞŝƌ ƚĂƐƚĞƐ ŝŶ ƚŚĞ ĨƵƚƵƌĞ͘ >ĂƐƚ ďƵƚ ŶŽƚ ůĞĂƐƚ͕ ŝƚ ĂŝŵƐ ƚŽ ĞŶŚĂŶĐĞ ƚŚĞ ďƌĂŶĚ ŬŶŽǁůĞĚŐĞ ĂŶĚ ƚĞĂĐŚ ƉĞŽƉůĞ ƐŽŵĞ ƐŬŝůůƐ ƚŽ ĚŝīĞƌĞŶƟĂƚĞ ƚŚĞ ĐŽƵŶƚĞƌĨĞŝƚƐ ĂŶĚ ƌĞĂů ƉƌŽĚƵĐƚƐ͘ Ɛ ƐŽŵĞ ŽĨ ƚŚĞ ƉĞŽƉůĞ ŐŽƚ ĐŽƵŶƚĞƌĨĞŝƚ ĞdžƉĞƌŝĞŶĐĞ ĚƵĞ ƚŽ ƚŚĞ ůĂĐŬ ŽĨ ŬŶŽǁůĞĚŐĞ ƚŽ ĐŚĞĐŬ ƚŚĞ ƉƌŽĚƵĐƚƐ͕ ƚŚĞ ŐĂŵĞ ƐĞƐƐŝŽŶ ŝƐ ƐĞƚ ƚŽ ƚĞĂĐŚ ƚŚĞŵ͘

The campaign is focused on Hong Kong women first. The target audience of this campaign is 20 to 30 years old women. They are mostly university students and ordinary company employees. The income range of them is HKD 5000 to HKD 8000 for the university students who have part-time jobs, HKD 13000 to HKD 20000 for office workers. The rewarding campaign is designed for middle level income people within this age range. People having middle level of income will be attracted to get the rewards from collecting points through completing missions.

Target Audience

Besides, the target audience is a group of people usually concerning the update of different luxury fashion brands.

They like to keep pace with the fashion trend and make purchase in fashion items at least once a month. They love to try new things and being curious or interested in joining event from fashion brands. They also have both experience in luxury fashion brands’ counterfeit and genuine products.

Before that group of people making purchase, they consider in social value, utilitarian value and economic value. They like to buy luxury products to build up good image and show status, some are buy for quality or special occasion, or longing to have luxurious experience. However, they sometimes buy counterfeits to replace the real products. The reasons are usually regarding the budget problem, frequency of changing a new style, and being complacent that no one discover her counterfeits. The rewarding campaign targeted them to let them experience real luxury fashion in a more affordable price, and learn appreciating the workmanship of authentic goods.

The campaign is also mainly targeting people who are not frequently buy but like that brand, and the people who are not deeply know about the brand. For those people, the campaign will solve these problem through the game and post sharing. Then it can increase their knowledge of the brand to prevent dropping into the counterfeits trap, or to enhance their motivation of supporting authentic products.

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Campaign Elements The name of the campaign is OURchive which means not only the brand presenting information to public, the public can sent back their anythings related to the brands to share. They create the comprehensive history of the brand and discover new things together. The fashion brand is also receiving story from public while public are learning about the brand. It is an interactive campaign, so the logo is designed as a double-sided drawer inserting a puzzle. Puzzle represents each little sharing from public and brand. It symbolises completing the comprehensive story of a brand with their supporters when unlocking and creating the puzzles. On the cross symbol of the drawer, it is a place for the fashion brand to put their logo there as the handle.

First of all, the campaign is a rewarding event.

Public interested to the brand can join the campaign, collect a certain numbers of points to be rewarded cash dollar, and being able to buy limited edition designed for the campaign by the fashion brand.

There will be a website for public and fashion brand to interact with each other. The three main columns of OURchive is OOTD, game and puzzles. In the OOTD page, people can upload their own outfits of each day. The outfits should include at least one items from the fashion brand which hold this campaign. Over obvious items such as bold logo products from another fashion brand on the outfits are not allowed to post. Administrator of the website will delete those posts. The another option is creating OOTD by playing the dress up game internally installed. The game provide the newest, classic and most popular collection for people to mix and match a total look with all fashion items of the campaign brand.

Uploading a OOTD can get 10 points. If someone give a like to the OOTD, people who upload it can also get 1 point.

In the game column, Q&A game is designed for the people to collect points through answering numbers of questions. The types of question include spotting differences between authentic products and counterfeits, knowledge about the brand such as the history 25

Mechanism of Marketing Plan and products. In the spot the difference session, people have to find the difference via the product photo or video filming the detail part of the products. Before playing Q&A game, people actually can learn the brand knowledge through the puzzles which is another column on the website. The Q&A game will give people the right answer if they get it wrong. It will also tell people where they can check when seeing real and fake products.

Through the Q&A, people will know and remember more about that brand. They may feel closer with the brand than before. They will be more familiar of the design of authentic products after accumulating experience in in finding the difference from counterfeits. They are expected to be able to differentiate the fake products in in real life as well. This prevent people being easy to fall into trap of counterfeit sellers. Furthermore, after a period of playing the game, people who buy counterfeit will later find that there are actually many differences between their counterfeits and real products. Thus they will feel shame as using fake products. Therefore it can reduce their motivation on buying new counterfeits.

As for the puzzles column, it is the core part of the campaign. OURchive is filled with these puzzles created by brand and its fans. It is a session includes all memories, story, history and information of the brand.

Meanwhile, the column is also for public to share their connection with the brand. All of it put together to assemble a big picture of the brand. Brand and people can see the sharing from different pieces of puzzles from each other. The fashion brand will first fill in the puzzles with the message that they want to spread. Photo, video, illustration, text are all available to share on the page. It can be some recalls of the brand history from established date to present. It can bring back the memories of the important incidents, and let people know the brand from its born to now once again. It can deepen the emotion and recognition with the brand from

public. It can be some behind the scene content such as an interesting sharing form the fashion show backstage. It can be a sharing of the design philosophy or story behind of some products. Realising the design philosophy helps people to appreciate the products as well as to respect the intellectual property. It can be a short video showing some process of the products craftsmanship. As they may never see the process of the luxury products production, they can learn to admire the workmanship and quality of luxury goods. It cultivate them a concept that the luxury products are worth which cannot be replaced by counterfeits.

Once the people know more about the brand value, customer value will increase. They will feel more worthy to buy the genuine products instead of choosing counterfeits.

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All of the puzzles will has its own QR code.

After the website is ready for operation, the brand need to make a subway advertisement. Numbers of big poster in the shape of puzzle will be shown in subway, stuck on the wall or seats.

Different QR code will be printed on the poster and tell people to scan it. After people scan the QR code, they will be linked to the website of OURchive, and able to see the content of that piece of puzzle.

Every puzzles have different content with different QR code, they can collect all the puzzle created by the brand from the poster in subway or on official social media.

On the websites, people can also create their own puzzle by sharing anything in any format related to the brand. Public can browse the post in puzzles column and give

a like to the creator. The fashion brand can hear the voices from their fans and know their opinions. These can make them feel more closer with the fashion brand, because they are having stronger connection to the brand via the exclusive website. It increase the engagement of them, enhance their loyalty to that brand.

Customer relationship management can affect the customer value (Hakim, Susanti, 2017). A closer relationship can positively make influence on the motivation to purchase authentic goods. For the counterfeits consumer in social value, the event can fulfil their psychological needs in showing connection with luxury brand.

Points will be given after they collect a puzzle by the brand or they make their own puzzle.

Regarding the rewarding system, people can exchange their points to cash dollar, and electronic chance ticket of buying limited edition of the brand. Points exchange process can be done on the websites at the end of the four months campaign. The period for people exchange their points last for a week. They should finish the step not later than that week, the points will be cleared after that. One point can be converted to HKD 1 cash dollar. The cash dollar can only be used in the consumption of that specific fashion brand, no withdraw deposit for the cash dollar in the campaign. It encourages people buy the genuine goods from luxury fashion brand. Cash dollar will be automatically deducted and update the final price when the customer pay the bill. They can buy the real luxury products in a more affordable price if they join the campaign. This alleviate the burden of people buy counterfeits due to the budget problem. The campaign encourage them to shop the real products.

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Implementation Schedule

In the preparation period, fashion brand needs to prepare the things shared in the puzzle including photos, words, videos and illustration or any other things. Six months will be given for it and website building. Next, advertisement in subway will be started to promote the OURchive website. Public can start to scan the QR code. The website is also open for public to use in the same time. The subway advertisement will last for a month, but the promotional team need to release new puzzles in photos on social media every day for people to scan.

After four months of the campaign, there will be a week for people to convert the points to get the rewards. Then the whole campaign will end.

Conclusion

Counterfeit is always a big issue in fashion industry. In the interview results, people usually buy counterfeit as a social, utilitarian and economic value. Some people are lack of knowledge of the brand, so they do not realise they buy the counterfeits. Through the campaign, it can teach people to admire the workmanship of authentic luxury products; enhancing the engagement of them; increasing their brand knowledge; providing economic beneďŹ ts. It encourages people who have both experience in genuine luxury products and counterfeits consumption to abandon purchasing fake goods, and choose the authentic products instead.

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References Irish Tech News, ‘The Beginning of the End to the $500 Billion Counterfeit Fashion Industry’, Online, Accessed: 16/01/2019 The Fashion Law, ‘The Counterfeit Report: The Big Business of Fakes’, Online, Accessed: 17/01/2019 Highsnobiety, Counterfeit Culture | Seoul: A Look inside Korea’s Fake Fashion World, Online video, Accessed: 09/01/2019 Harvard Business Review, ‘8 Ways Brands Can Fight Counterfeits in China’, Online, Accessed: 17/01/2019 /ŶŬ ^ƚŽŶĞ EĞǁƐ͕ ͚/Ɛ ƚŚĂƚ Ă >ŽƵŝƐ sƵŝƩŽŶ͍ EŽ͕ ŝƚ͛Ɛ Ă WůĂĚĂ͗ ŚŝŶĂ͛Ɛ <ŶŽĐŬͲŽī ĐŽŶŽŵLJ͕͛ KŶůŝŶĞ͕ Accessed: 17/01/2019 ^ŽƵƚŚ ŚŝŶĂ DŽƌŶŝŶŐ WŽƐƚ͕ ͚tŚLJ ,ŽŶŐ <ŽŶŐ ŝƐ Ă ŝƚLJ ŽĨ &ĂŬĞƐ͗ &ŝǀĞ ZĞĐĞŶƚ ŽƵŶƚĞƌĨĞŝƚ KƉĞƌĂƟŽŶƐ ƵƐƚĞĚ ďLJ ƵƐƚŽŵƐ KĸĐĞƌƐ͕͛ KŶůŝŶĞ͕ ĐĐĞƐƐĞĚ͗ ϭϬͬϬϯͬϮϬϭϵ ^ŽƵƚŚ ŚŝŶĂ DŽƌŶŝŶŐ WŽƐƚ͕ ͚ZŝƐĞ ŝŶ ,ŽŶŐ <ŽŶŐ ^ĐŚŽŽů ^ƚƵĚĞŶƚƐ ĂƵŐŚƚ ^ĞůůŝŶŐ &ĂŬĞ 'ŽŽĚƐ KŶůŝŶĞ͕͛ KŶůŝŶĞ͕ ĐĐĞƐƐĞĚ͗ ϭϬͬϬϯͬϮϬϭϵ ƵƐŝŶĞƐƐ ŽĨ &ĂƐŚŝŽŶ͕ ͚EŝŬĞ ĂŶĚ >sD, ĂƌĞ ^ƟĐŬŝŶŐ hƉ ĨŽƌ ŚŝŶĂ ŝŶ ƚŚĞ WŝƌĂĐLJ &ŝŐŚƚ͕͛ KŶůŝŶĞ͕ Accessed: 17/01/2019 ,ĞŶƌŝŬƐĞŶ͕ D͘ ;ϮϬϬϵͿ͕ >ƵdžƵƌLJ ĨĞǀĞƌ ŝŶ ĐŚŝŶĂ͗ ĂŶ ĂŶĂůLJƐŝƐ ŽĨ ŚŝŶĞƐĞ ůƵdžƵƌLJ ĐŽŶƐƵŵƉƟŽŶ ƵďŽŝƐ͕ ^ĂŶĚŽƌ͕ ĞƌŶĂƌĚ Θ njĞůůĂƌ ;ϮϬϬϮͿ͕ ΗWƌĞƐƟŐĞ ƌĂŶĚƐ Žƌ >ƵdžƵƌLJ ƌĂŶĚƐ͍ sŝŐŶĞƌŽŶ͕ &ƌĂŶĐŬ ĂŶĚ >ĞƐƚĞƌ t͘ :ŽŚŶƐŽŶ͘ ;ϭϵϵϵͿ͕ ͞ ƌĞǀŝĞǁ ĂŶĚ Ă ĐŽŶĐĞƉƚƵĂů ĨƌĂŵĞǁŽƌŬ ŽĨ ƉƌĞƐͲ ƟŐĞͲƐĞĞŬŝŶŐ ĐŽŶƐƵŵĞƌ ďĞŚĂǀŝŽƌ͟ McKinsey. 1990. The Luxury Industry: An Asset for France sŝŐŶĞƌŽŶ͕ &ƌĂŶĐŬ Θ :ŽŚŶƐŽŶ͕ >ĞƐƚĞƌ ;ϮϬϬϰͿ͘ DĞĂƐƵƌŝŶŐ WĞƌĐĞƉƟŽŶƐ ŽĨ ƌĂŶĚ >ƵdžƵƌLJ͕ ǀŽů͘ ϭϭ͕ ŶŽ͘ ϲ :ĂĐŬƐŽŶ d͘ ͘ ;ϮϬϬϰͿ͕ ŽŵƉĂƌĂƟǀĞ ĂŶĂůLJƐŝƐ ŽĨ ŐůŽďĂů ůƵdžƵƌLJ ďƌĂŶĚ EŝĂ͕ ͘ Θ ĂŝĐŚŬŽǁƐŬLJ͕ :͘ >͘ ;ϮϬϬϬͿ͕ Ž ĐŽƵŶƚĞƌĨĞŝƚƐ ĚĞǀĂůƵĞ ƚŚĞ ŽǁŶĞƌƐŚŝƉ ŽĨ ůƵdžƵƌLJ ďƌĂŶĚƐ͍͕ ϵ (7): 485–497 WŚĂƵ͕ /͘ Θ WƌĞŶĚĞƌŐĂƐƚ͕ '͘ ;ϮϬϬϬͿ͕ ŽŶƐƵŵŝŶŐ ůƵdžƵƌLJ ďƌĂŶĚƐ͗ dŚĞ ƌĞůĞǀĂŶĐĞ ŽĨ ƚŚĞ ƌĂƌŝƚLJ ƉƌŝŶĐŝƉůĞ͕ ϴ ;ϮͿ͗ ϭϮϮʹϭϯϴ͘ tŽƌůĚ dƌĂĚĞ KƌŐĂŶŝnjĂƟŽŶ ;ϭϵϵϰͿ dƌĂĚĞͲƌĞůĂƚĞĚ ƐƉĞĐƚƐ ŽĨ /ŶƚĞůůĞĐƚƵĂů WƌŽƉĞƌƚLJ ZŝŐŚƚƐ͘ tŽƌůĚ dƌĂĚĞ KƌŐĂŶŝnjĂƟŽŶ͕ Ɖ͘ ϯϰϮ

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Staake, Thiesse & Fleisch (2009), The emergence of counterfeit trade: a literature ƌĞǀŝĞǁ͕ ƵƌŽƉĞĂŶ :ŽƵƌŶĂů ŽĨ DĂƌŬĞƟŶŐ͕ sŽů͘ ϰϯ /ƐƐ͗ ϯ ƉƉ͘ ϯϮϬ Ͳ ϯϰϵ /ŶƚĞƌŶĂƟŽŶĂů ŶƟͲĐŽƵŶƚĞƌĨĞŝƟŶŐ ŽĂůŝƟŽŶ͕ Ŷ͘Ě͕͘ ŽƵŶƚĞƌĨĞŝƟŶŐ ĐŽƐƚƐ ĞǀĞƌLJŽŶĞ͕ /ŶƚĞƌŶĂƟŽŶĂů ŶƟͲĐŽƵŶƚĞƌĨĞŝƟŶŐ ŽĂůŝƟŽŶ <ŽƚůĞƌ Θ <ĞůůĞƌ͕ ;ϮϬϭϱͿ DĂƌŬĞƟŶŐ DĂŶĂŐĞŵĞŶƚ KŶŐ͕ ^͘ Y͘ ;ϮϬϭϵͿ͕ &ĂƐŚŝŽŶ DĂƌŬĞƟŶŐ džĂŵƉůĞƐ͗ Ϯϱ ^ƵĐĐĞƐƐĨƵů ^ƚƌĂƚĞŐŝĞƐ &ƌŽŵ dŚĞ &ĂƐŚŝŽŶ /ŶĚƵƐͲ ƚƌLJ͕ ZĞĨĞƌƌĂů ĂŶĚLJ ůŽŐ <ĞůůĞƌ͕ <͘ >͘ ;ϮϬϬϯͿ͕ hŶĚĞƌƐƚĂŶĚŝŶŐ ďƌĂŶĚƐ͕ ďƌĂŶĚŝŶŐ ĂŶĚ ďƌĂŶĚ ĞƋƵŝƚLJ͕ DĂƌŬĞƟŶŐ ^ĐŝĞŶĐĞ /ŶƐƟͲ ƚƵƚĞ͕ sŽů͘ ϱ͕ /ƐƐƵĞ ϭ͕ ƉƉ ϳʹϮϬ ůůŝŽƩ͘ Z͕ ĂǀŝĞƐ͘ ͕͘ ;ϮϬϬϱͿ͕ ^LJŵďŽůŝĐ ƌĂŶĚƐ ĂŶĚ ƵƚŚĞŶƟĐŝƚLJ ŽĨ /ĚĞŶƟƚLJ WĞƌĨŽƌŵĂŶĐĞ͕ ZŽƵƚůĞĚŐĞ &ĞĂƚŚĞƌƐƚŽŶĞ͕ D͕͘ ,ĞƉǁŽƌƚŚ͕ D͘ Θ ƵƌŶĞƌ͕ ͘ ^͘ ;ϭϵϵϭͿ͕ dŚĞ ďŽĚLJ͗ ^ŽĐŝĂů ƉƌŽĐĞƐƐ ĂŶĚ ĐƵůƚƵƌĂů ƚŚĞŽƌLJ͕ ^ ' zŽŽ͕ ͘ Θ >ĞĞ͕ ^͘ ,͘ ;ϮϬϬϵͿ ͕ ƵLJ 'ĞŶƵŝŶĞ >ƵdžƵƌLJ &ĂƐŚŝŽŶ WƌŽĚƵĐƚƐ Kƌ ŽƵŶƚĞƌĨĞŝƚƐ͍͕ ŽŶƐƵŵĞƌ ZĞƐĞĂƌĐŚ͕ sŽů͘ ϯϲ tĞĞ͕ ͘ ,͕͘ dĂŶ͕ ^͘ :͘ Θ <ŝŵ͕ ,͘ ͘ ;ϭϵϵϱͿ͕ EŽŶͲWƌŝĐĞ ĞƚĞƌŵŝŶĂŶƚƐ ŽĨ /ŶƚĞŶƟŽŶ ƚŽ WƵƌĐŚĂƐĞ ŽƵŶͲ ƚĞƌĨĞŝƚƐ 'ŽŽĚƐ͕ /ŶƚĞƌŶĂƟŽŶĂů DĂƌŬĞƟŶŐ ZĞǀŝĞǁ͕ ƉƉ͘ϭϵͲϰϲ ^ŚĞƌƌŽĚ͕ ͘ ;ϭϵϴϵͿ͕ dŚĞ ŝŶŇƵĞŶĐĞ ŽĨ ŐĞŶĚĞƌ ŽŶ ƐĂŵĞͲƐĞdž ĨƌŝĞŶĚƐŚŝƉƐ͕ ZĞǀŝĞǁ ŽĨ WĞƌƐŽŶĂůŝƚLJ ĂŶĚ ^ŽĐŝĂů WƐLJĐŚŽůŽŐLJ͕ sŽů͘ ϭϬ͕ ƉƉ͘ ϭϲϰͲϴϲ͕ ^ĂŐĞ dŚŽŵƉƐŽŶ͕ ͘:͘ Θ ,ĂLJŬƚŽ͕ ͘>͘ ;ϭϵϵϳͿ͕ ŽŶƐƵŵĞƌƐ ƵƐĞƐ ŽĨ ĨĂƐŚŝŽŶ ĚŝƐĐŽƵƌƐĞƐ ĂŶĚ ƚŚĞ ĂƉƉƌŽƉƌŝĂƟŽŶ ŽĨ ĐŽƵŶƚĞƌǀĂŝůŝŶŐ ĐƵůƚƵƌĂů ŵĞĂŶŝŶŐƐ͕ :ŽƵƌŶĂů ŽĨ ŽŶƐƵŵĞƌ ZĞƐĞĂƌĐŚ͕ sŽů͘ Ϯϰ EŽ͘ ϭ͕ ƉƉ͘ ϭϰͲϱϯ ^ĂǀŝƚŚĂ Θ ^ĂƚŚLJĂŶĂƌĂLJĂŶ͕ ^͘ <͘ ;ϮϬϭϰͿ dĂdžŽŶŽŵLJ ŽĨ >ƵdžƵƌLJ ƌĂŶĚ sĂůƵĞ͕ /ŶƐƟƚƵƚĞ ŽĨ ZĞƐĞĂƌĐŚ ŶŐŝŶĞĞƌƐ ĂŶĚ ŽĐƚŽƌƐ

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Bibliography ůĚĂŵĂ͕ ͘ ;ϮϬϭϴͿ͕ /Ɛ ƚŚĂƚ Ă >ŽƵŝƐ sƵŝƩŽŶ͍ EŽ͕ ŝƚ͛Ɛ Ă WůĂĚĂ͗ ŚŝŶĂ͛Ɛ <ŶŽĐŬͲŽī ĐŽŶŽŵLJ͘ /ŶŬ ^ƚŽŶĞ EĞǁƐ͘ ǀĂŝůĂďůĞ ĨƌŽŵ͗ ŚƩƉƐ͗ͬ​ͬǁǁǁ͘ŝŶŬƐƚŽŶĞŶĞǁƐ͘ĐŽŵͬďƵƐŝŶĞƐƐͬŚŽǁͲĐŚŝŶĞƐĞͲĐŽƵŶƚĞƌĨĞŝƚͲ ĞƌƐͲĂƌĞͲŵĂŬŝŶŐͲŵŽŶĞLJͲƐƚƌĞĞƚͲĂŶĚͲŽŶůŝŶĞͬĂƌƟĐůĞͬϮϭϲϮϮϯϳ ΀ ĐĐĞƐƐĞĚ͗ :ĂŶƵĂƌLJ ϭϳ͕ ϮϬϭϵ΁͘ ĂŐǁĞůů͕ >͘^͘ ;ϭϵϵϲͿ͕ sĞďůĞŶ ĞīĞĐƚƐ ŝŶ Ă ƚŚĞŽƌLJ ŽĨ ĐŽŶƐƉŝĐƵŽƵƐ ĐŽŶƐƵŵƉƟŽŶ͕ dŚĞ ŵĞƌŝĐĂŶ ĐŽͲ ŶŽŵŝĐ ZĞǀŝĞǁ͕ ǀŽů͘ ϴϲ͕ ŶŽ͘ ϯ͕ ƉƉ͘ ϯϰϵͲϯϳϯ͘ ŝůŐĞ͕ ,͘ ;ϮϬϭϱͿ͕ >ƵdžƵƌLJ ŽŶƐƵŵƉƟŽŶ͗ >ŝƚĞƌĂƚƵƌĞ ZĞǀŝĞǁ͕ <ŚĂnjĂƌ hŶŝǀĞƌƐŝƚLJ WƌĞƐƐ͕ dƵƌŬĞLJ͘ ůŽŽŵďĞƌŐ ;ϮϬϭϴͿ͕ EŝŬĞ ĂŶĚ >sD, ĂƌĞ ^ƟĐŬŝŶŐ hƉ ĨŽƌ ŚŝŶĂ ŝŶ ƚŚĞ WŝƌĂĐLJ &ŝŐŚƚ͘ ƵƐŝŶĞƐƐ ŽĨ &ĂƐŚͲ ŝŽŶ͘ ǀĂŝůĂďůĞ ĨƌŽŵ͗ ŚƩƉƐ͗ͬ​ͬǁǁǁ͘ďƵƐŝŶĞƐƐŽīĂƐŚŝŽŶ͘ĐŽŵͬĂƌƟĐůĞƐͬŶĞǁƐͲĂŶĂůLJƐŝƐͬŶŝͲ ŬĞͲĂŶĚͲůǀŵŚͲĂƌĞͲƐƟĐŬŝŶŐͲƵƉͲĨŽƌͲĐŚŝŶĂͲŝŶͲƚŚĞͲƉŝƌĂĐLJͲĮŐŚƚ ΀ ĐĐĞƐƐĞĚ͗ :ĂŶƵĂƌLJ ϭϳ͕ ϮϬϭϵ΁͘ ŚĞŶ͕ >͕͘ zƵĞ͕ d͘ Θ ŚĂŽ͕ y͘ ;ϮϬϭϴͿ͕ ϴ tĂLJƐ ƌĂŶĚƐ ĂŶ &ŝŐŚƚ ŽƵŶƚĞƌĨĞŝƚƐ ŝŶ ŚŝŶĂ͘ ,ĂƌǀĂƌĚ ƵƐŝͲ ŶĞƐƐ ZĞǀŝĞǁ͘ ǀĂŝůĂďůĞ ĨƌŽŵ͗ ŚƩƉƐ͗ͬ​ͬŚďƌ͘ŽƌŐͬϮϬϭϴͬϬϱͬϴͲǁĂLJƐͲďƌĂŶĚƐͲĐĂŶͲĮŐŚƚͲĐŽƵŶƚĞƌͲ ĨĞŝƚƐͲŝŶͲĐŚŝŶĂ ΀ ĐĐĞƐƐĞĚ͗ :ĂŶƵĂƌLJ ϭϳ͕ ϮϬϭϵ΁͘ ŽĐŬŝŶŐ͕ ^͘ ;ϮϬϭϴͿ͕ dŚĞ ĞŐŝŶŶŝŶŐ ŽĨ ƚŚĞ ŶĚ ƚŽ ƚŚĞ ΨϱϬϬ ŝůůŝŽŶ ŽƵŶƚĞƌĨĞŝƚ &ĂƐŚŝŽŶ /ŶĚƵƐƚƌLJ͘ /ƌŝƐŚ dĞĐŚ EĞǁƐ͘ ǀĂŝůĂďůĞ ĨƌŽŵ͗ ŚƩƉƐ͗ͬ​ͬŝƌŝƐŚƚĞĐŚŶĞǁƐ͘ŝĞͬƚŚĞͲďĞŐŝŶͲ ŶŝŶŐͲŽĨͲƚŚĞͲĞŶĚͲƚŽͲƚŚĞͲϱϬϬͲďŝůůŝŽŶͲĐŽƵŶƚĞƌĨĞŝƚͲĨĂƐŚŝŽŶͲŝŶĚƵƐƚƌLJͬ ΀ ĐĐĞƐƐĞĚ͗ :ĂŶƵĂƌLJ ϭϲ͕ ϮϬϭϵ΁͘ ƵďŽŝƐ͕ ^ĂŶĚŽƌ͕ ĞƌŶĂƌĚ Θ njĞůůĂƌ ;ϮϬϬϮͿ͕ WƌĞƐƟŐĞ ƌĂŶĚƐ Žƌ >ƵdžƵƌLJ ƌĂŶĚƐ ͍ Ŷ džƉůŽƌĂƚŽƌLJ /ŶƋƵŝƌLJ ŽŶ ŽŶƐƵŵĞƌ WĞƌĐĞƉƟŽŶƐ͕ &ĂĐƵůƚĠ ĚΖĠĐŽŶŽŵŝĞ Ğƚ ĚĞ ŵĂŶĂŐĞŵĞŶƚ͕ &ƌĂŶĐĞ͘ ůůŝŽƩ͘ Z͕ ĂǀŝĞƐ͘ ͕͘ ;ϮϬϬϱͿ͕ ^LJŵďŽůŝĐ ƌĂŶĚƐ ĂŶĚ ƵƚŚĞŶƟĐŝƚLJ ŽĨ /ĚĞŶƟƚLJ WĞƌĨŽƌŵĂŶĐĞ͕ ZŽƵƚͲ ůĞĚŐĞ͕ >ŽŶĚŽŶ ůůŝŽƩ͕ Z͘ Θ tĂƩĂŶĂƐƵǁĂŶ͕ <͘ ;ϭϵϵϴͿ Η ƌĂŶĚƐ ĂƐ ƐLJŵďŽůŝĐ ƌĞƐŽƵƌĐĞƐ ĨŽƌ ƚŚĞ ĐŽŶƐƚƌƵĐƟŽŶ ŽĨ ŝĚĞŶƟͲ ƚLJ͕ /ŶƚĞƌŶĂƟŽŶĂů ũŽƵƌŶĂů ŽĨ ĚǀĞƌƟƐŝŶŐ͕ ƉƉ͘ ϭϯϭͲϭϰϰ &ĞĂƚŚĞƌƐƚŽŶĞ͕ D͕͘ ,ĞƉǁŽƌƚŚ͕ D͘ Θ ƵƌŶĞƌ͕ ͘ ^͘ ;ϭϵϵϭͿ͕ dŚĞ ďŽĚLJ͗ ^ŽĐŝĂů ƉƌŽĐĞƐƐ ĂŶĚ ĐƵůƚƵƌĂů ƚŚĞŽƌLJ͕ ^ ' ͕ hŶŝƚĞĚ <ŝŶŐĚŽŵ &ƌĂŶĐŬ͕ s͘ Θ >ĞƐƚĞƌ͕ t͘ :͘ ;ϭϵϵϵͿ͕ ƌĞǀŝĞǁ ĂŶĚ Ă ĐŽŶĐĞƉƚƵĂů ĨƌĂŵĞǁŽƌŬ ŽĨ ƉƌĞƐƟŐĞͲƐĞĞŬŝŶŐ ĐŽŶͲ ƐƵŵĞƌ ďĞŚĂǀŝŽƌ͕ ĐĂĚĞŵLJ ŽĨ DĂƌŬĞƟŶŐ ^ĐŝĞŶĐĞ͕ ^LJĚŶĞLJ͘ &ƌĂŶĐŬ͕ s͘ Θ >ĞƐƚĞƌ͕ t͘ :͘ ;ϮϬϬϰͿ͕ DĞĂƐƵƌŝŶŐ WĞƌĐĞƉƟŽŶƐ ŽĨ ƌĂŶĚ >ƵdžƵƌLJ͕ :ŽƵƌŶĂů ŽĨ ƌĂŶĚ DĂŶͲ ĂŐĞŵĞŶƚ͕ ǀŽů͘ ϭϭ͕ ŶŽ͘ ϲ ,ĞŶƌŝŬƐĞŶ͕ D͘ ;ϮϬϬϵͿ͕ >ƵdžƵƌLJ ĨĞǀĞƌ ŝŶ ŚŝŶĂ ͗ ĂŶ ŶĂůLJƐŝƐ ŽĨ ŚŝŶĞƐĞ ůƵdžƵƌLJ ŽŶƐƵŵƉƟŽŶ͕ &ƌĞĚĞƌŝŬƐďĞƌŐ͕ ĞŶŵĂƌŬ͘ ,ŝŐŚƐŶŽďŝĞƚLJ ;ϮϬϭϳͿ͕ ŽƵŶƚĞƌĨĞŝƚ ƵůƚƵƌĞ͗ ^ĞŽƵů͗ >ŽŽŬ /ŶƐŝĚĞ <ŽƌĞĂ͛Ɛ &ĂŬĞ &ĂƐŚŝŽŶ tŽƌůĚ͘ ,ŝŐŚƐŶŽďŝĞƚLJ͕ ϮϰͬϬϴͬϮϬϭϳ͕ ǀĂŝůĂďůĞ ĨƌŽŵ͗ ŚƩƉƐ͗ͬ​ͬǁǁǁ͘LJŽƵƚƵďĞ͘ĐŽŵͬǁĂƚĐŚ͍ǀс >ď'łũƐďĐ ΀ ĐĐĞƐƐĞĚ͗ :ĂŶƵĂƌLJ Ϭϵ͕ ϮϬϭϵ΁͘

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/ŶƚĞƌŶĂƟŽŶĂů ŶƟͲĐŽƵŶƚĞƌĨĞŝƟŶŐ ŽĂůŝƟŽŶ͕ Ŷ͘Ě͕͘ ŽƵŶƚĞƌĨĞŝƟŶŐ ĐŽƐƚƐ ĞǀĞƌLJŽŶĞ͕ /ŶƚĞƌŶĂƟŽŶĂů ŶƟͲĐŽƵŶƚĞƌĨĞŝƟŶŐ ŽĂůŝƟŽŶ͕ ǀĂŝůĂďůĞ ĨƌŽŵ͗ ŚƩƉƐ͗ͬ​ͬǁǁǁ͘ŝĂĐĐ͘ŽƌŐͬƌĞͲ ƐŽƵƌĐĞƐͬĂďŽƵƚͬǁŚĂƚͲŝƐͲĐŽƵŶƚĞƌĨĞŝƟŶŐ ΀ ĐĐĞƐƐĞĚ͗ :ĂŶƵĂƌLJ ϭϲ͕ ϮϬϭϵ΁͘ :ĂĐŬƐŽŶ d͘ ͘ ;ϮϬϬϰͿ͕ ŽŵƉĂƌĂƟǀĞ ĂŶĂůLJƐŝƐ ŽĨ ŐůŽďĂů ůƵdžƵƌLJ ďƌĂŶĚ͕ ůƐĞǀŝĞƌ ƵƩĞƌǁŽƌƚŚͲ,ĞŝŶĞͲ ŵĂŶŶ͕ KdžĨŽƌĚ :ĂŵĞƐ͕ >͘ ;ϮϬϭϴͿ͕ tŚLJ ,ŽŶŐ <ŽŶŐ ŝƐ Ă ŝƚLJ ŽĨ &ĂŬĞƐ͗ &ŝǀĞ ZĞĐĞŶƚ ŽƵŶƚĞƌĨĞŝƚ KƉĞƌĂƟŽŶƐ ƵƐƚĞĚ ďLJ ƵƐƚŽŵƐ KĸĐĞƌƐ͘ ^ŽƵƚŚ ŚŝŶĂ DŽƌŶŝŶŐ WŽƐƚ͘ ǀĂŝůĂďůĞ ĨƌŽŵ͗ ŚƩƉƐ͗ͬ​ͬǁǁǁ͘ƐĐŵƉ͘ĐŽŵͬůŝĨĞƐƚLJůĞͬĂƌͲ ƟĐůĞͬϮϭϰϯϳϮϳͬǁŚLJͲŚŽŶŐͲŬŽŶŐͲĐŝƚLJͲĨĂŬĞƐͲĮǀĞͲƌĞĐĞŶƚͲĐŽƵŶƚĞƌĨĞŝƚͲŽƉĞƌĂƟŽŶƐͲďƵƐƚĞĚͲĐƵƐƚŽŵƐ ΀ ĐĐĞƐƐĞĚ͗ DĂƌĐŚ ϭϬ͕ ϮϬϭϵ΁͘ <ĞůůĞƌ͕ <͘ >͘ ;ϮϬϬϯͿ͕ hŶĚĞƌƐƚĂŶĚŝŶŐ ďƌĂŶĚƐ͕ ďƌĂŶĚŝŶŐ ĂŶĚ ďƌĂŶĚ ĞƋƵŝƚLJ͕ DĂƌŬĞƟŶŐ ^ĐŝĞŶĐĞ /ŶƐƟͲ ƚƵƚĞ͕ sŽů͘ ϱ͕ /ƐƐƵĞ ϭ͕ ƉƉ ϳʹϮϬ <ŽƚůĞƌ͕ W͘ Θ <ĞůůĞƌ͕ <͘ >͘ ;ϮϬϭϱͿ͕ DĂƌŬĞƟŶŐ DĂŶĂŐĞŵĞŶƚ͕ WĞĂƌƐŽŶ͕ hŶŝƚĞĚ <ŝŶŐĚŽŵ >ĞƵŶŐ͕ ͕͘ Θ ;ϮϬϭϳͿ͕ ZŝƐĞ ŝŶ ,ŽŶŐ <ŽŶŐ ^ĐŚŽŽů ^ƚƵĚĞŶƚƐ ĂƵŐŚƚ ^ĞůůŝŶŐ &ĂŬĞ 'ŽŽĚƐ KŶůŝŶĞ͘ ^ŽƵƚŚ ŚŝŶĂ DŽƌŶŝŶŐ WŽƐƚ͘ ǀĂŝůĂďůĞ ĨƌŽŵ͗ ŚƩƉƐ͗ͬ​ͬǁǁǁ͘ƐĐŵƉ͘ĐŽŵͬŶĞǁƐͬŚŽŶŐͲŬŽŶŐͬůĂǁͲĐƌŝŵĞͬĂƌƟͲ ĐůĞͬϮϭϬϮϴϱϲͬƌŝƐĞͲŚŽŶŐͲŬŽŶŐͲƐĐŚŽŽůͲƐƚƵĚĞŶƚƐͲĐĂƵŐŚƚͲƐĞůůŝŶŐͲĨĂŬĞƐͲŐŽŽĚƐ ΀ ĐĐĞƐƐĞĚ͗ DĂƌĐŚ ϭϬ͕ ϮϬϭϵ΁͘ DĐ<ŝŶƐĞLJ ;ϭϵϵϬͿ͕ dŚĞ >ƵdžƵƌLJ /ŶĚƵƐƚƌLJ͗ Ŷ ƐƐĞƚ ĨŽƌ &ƌĂŶĐĞ͕ DĐ<ŝŶƐĞLJ ŽƌƉŽƌĂƟŽŶ͕ WĂƌŝƐ EŝĂ͕ ͘ Θ ĂŝĐŚŬŽǁƐŬLJ͕ :͘ >͘ ;ϮϬϬϬͿ͕ Ž ĐŽƵŶƚĞƌĨĞŝƚƐ ĚĞǀĂůƵĞ ƚŚĞ ŽǁŶĞƌƐŚŝƉ ŽĨ ůƵdžƵƌLJ ďƌĂŶĚƐ͍͕ :ŽƵƌŶĂů ŽĨ WƌŽĚƵĐƚ ĂŶĚ ƌĂŶĚ DĂŶĂŐĞŵĞŶƚ͕ ϵ;ϳͿ͗ϰϴϱͲϰϵϳ KŶŐ͕ ^͘ Y͘ ;ϮϬϭϵͿ͕ &ĂƐŚŝŽŶ DĂƌŬĞƟŶŐ džĂŵƉůĞƐ͗ Ϯϱ ^ƵĐĐĞƐƐĨƵů ^ƚƌĂƚĞŐŝĞƐ &ƌŽŵ dŚĞ &ĂƐŚŝŽŶ /ŶĚƵƐͲ ƚƌLJ͕ ZĞĨĞƌƌĂů ĂŶĚLJ ůŽŐ͕ ǀĂŝůĂďůĞ ĨƌŽŵ͗ ŚƩƉƐ͗ͬ​ͬǁǁǁ͘ƌĞĨĞƌƌĂůĐĂŶĚLJ͘ĐŽŵͬďůŽŐͬĨĂƐŚŝŽŶͲŵĂƌŬĞƚͲ ŝŶŐͲĞdžĂŵƉůĞƐͬ ΀ ĐĐĞƐƐĞĚ͗ &ĞďƌƵĂƌLJ ϭϲ͕ ϮϬϭϵ΁͘ WŚĂƵ͕ /͘ Θ WƌĞŶĚĞƌŐĂƐƚ͕ '͘ ;ϮϬϬϬͿ͕ ŽŶƐƵŵŝŶŐ ůƵdžƵƌLJ ďƌĂŶĚƐ͗ dŚĞ ƌĞůĞǀĂŶĐĞ ŽĨ ƚŚĞ ƌĂƌŝƚLJ ƉƌŝŶĐŝƉůĞ͕ :ŽƵƌŶĂů ŽĨ ƌĂŶĚ DĂŶĂŐĞŵĞŶƚ͕ ϴ ;ϮͿ͗ ϭϮϮʹϭϯϴ͘ ^ĂǀŝƚŚĂ Θ ^ĂƚŚLJĂŶĂƌĂLJĂŶ͕ ^͘ <͘ ;ϮϬϭϰͿ dĂdžŽŶŽŵLJ ŽĨ >ƵdžƵƌLJ ƌĂŶĚ sĂůƵĞ͕ /ŶƐƟƚƵƚĞ ŽĨ ZĞƐĞĂƌĐŚ ŶŐŝŶĞĞƌƐ ĂŶĚ ŽĐƚŽƌƐ͕ h^ ͘ ^ŚĞƌƌŽĚ͕ ͘ ;ϭϵϴϵͿ͕ dŚĞ ŝŶŇƵĞŶĐĞ ŽĨ ŐĞŶĚĞƌ ŽŶ ƐĂŵĞͲƐĞdž ĨƌŝĞŶĚƐŚŝƉƐ͕ ZĞǀŝĞǁ ŽĨ WĞƌƐŽŶĂůŝƚLJ ĂŶĚ ^ŽĐŝĂů WƐLJĐŚŽůŽŐLJ͕ sŽů͘ ϭϬ͕ ƉƉ͘ ϭϲϰͲϴϲ͕ ^ĂŐĞ͕ EĞǁďƵƌLJ WĂƌŬ͕ ^ƚĂĂŬĞ͕ dŚŝĞƐƐĞ Θ &ůĞŝƐĐŚ ;ϮϬϬϵͿ͕ dŚĞ ĞŵĞƌŐĞŶĐĞ ŽĨ ĐŽƵŶƚĞƌĨĞŝƚ ƚƌĂĚĞ͗ Ă ůŝƚĞƌĂƚƵƌĞ ƌĞǀŝĞǁ͕ ƵƌŽƉĞĂŶ :ŽƵƌŶĂů ŽĨ DĂƌŬĞƟŶŐ͕ sŽů͘ ϰϯ /ƐƐ͗ ϯ ƉƉ͘ ϯϮϬ Ͳ ϯϰϵ

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The Fashion Law (2018), The Counterfeit Report: The Big Business of Fakes. The Fashion Law. ǀĂŝůĂďůĞ ĨƌŽŵ͗ ŚƩƉ͗ͬ​ͬǁǁǁ͘ƚŚĞĨĂƐŚŝŽŶůĂǁ͘ĐŽŵͬŚŽŵĞͬƚŚĞͲĐŽƵŶƚĞƌĨĞŝƚͲƌĞͲ ƉŽƌƚͲƚŚĞͲŝŵƉĂĐƚͲŽŶͲƚŚĞͲĨĂƐŚŝŽŶͲŝŶĚƵƐƚƌLJ ΀ ĐĐĞƐƐĞĚ͗ :ĂŶƵĂƌLJ ϭϳ͕ ϮϬϭϵ΁͘ dŚŽŵƉƐŽŶ͕ ͘:͘ Θ ,ĂLJŬƚŽ͕ ͘>͘ ;ϭϵϵϳͿ͕ ŽŶƐƵŵĞƌƐ ƵƐĞƐ ŽĨ ĨĂƐŚŝŽŶ ĚŝƐĐŽƵƌƐĞƐ ĂŶĚ ƚŚĞ ĂƉƉƌŽƉƌŝĂƟŽŶ ŽĨ ĐŽƵŶƚĞƌǀĂŝůŝŶŐ ĐƵůƚƵƌĂů ŵĞĂŶŝŶŐƐ͕ :ŽƵƌŶĂů ŽĨ ŽŶƐƵŵĞƌ ZĞƐĞĂƌĐŚ͕ sŽů͘ Ϯϰ EŽ͘ ϭ͕ ƉƉ͘ ϭϰͲϱϯ͘ tĞĞ͕ ͘ ,͕͘ dĂŶ͕ ^͘ :͘ Θ <ŝŵ͕ ,͘ ͘ ;ϭϵϵϱͿ͕ EŽŶͲWƌŝĐĞ ĞƚĞƌŵŝŶĂŶƚƐ ŽĨ /ŶƚĞŶƟŽŶ ƚŽ WƵƌĐŚĂƐĞ ŽƵŶͲ ƚĞƌĨĞŝƚƐ 'ŽŽĚƐ͕ /ŶƚĞƌŶĂƟŽŶĂů DĂƌŬĞƟŶŐ ZĞǀŝĞǁ͕ ƉƉ͘ϭϵͲϰϲ tŽƌůĚ dƌĂĚĞ KƌŐĂŶŝnjĂƟŽŶ ;ϭϵϵϰͿ dƌĂĚĞͲƌĞůĂƚĞĚ ƐƉĞĐƚƐ ŽĨ /ŶƚĞůůĞĐƚƵĂů WƌŽƉĞƌƚLJ ZŝŐŚƚƐ͘ tŽƌůĚ dƌĂĚĞ KƌŐĂŶŝnjĂƟŽŶ͕ Ɖ͘ ϯϰϮ zŽŽ͕ ͘ Θ >ĞĞ͕ ^͘ ,͘ ;ϮϬϬϵͿ ͕ ƵLJ 'ĞŶƵŝŶĞ >ƵdžƵƌLJ &ĂƐŚŝŽŶ WƌŽĚƵĐƚƐ Kƌ ŽƵŶƚĞƌĨĞŝƚƐ͍͕ ŽŶƐƵŵĞƌ ZĞƐĞĂƌĐŚ͕ sŽů͘ ϯϲ

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