Crossing Borders Boxes These invaluable boxes offer anecdotal company examples. These entertaining examples are designed to encourage critical thinking and guide students through topics ranging from ethical to cultural to global issues facing marketers today. 386 Part 4 Developing Global Marketing Strategies CROSSING BORDERS 13.2 Japanese women in an ad for Angelic Pretty fashions appearing in the Gothic & Lolita Bible. When analyzing a product for a second market, the extent of adaptation required depends on cultural differences in product use and perception between the market the product was originally developed for and the new market. The greater these cultural differences between the two markets, the greater the extent of adaptation that may be necessary.26 Research has also shown that firms with strong organizational identities can NEW Cases New cases accompany the seventeenth edition, enlivening the material in the book and class discussions while broadening a student’s critical thinking skills. These cases bring forth many of the topics discussed in the chapters and demonstrate how these concepts are dealt with in the real world. These cases can be found in Connect and SmartBook. PART SIX cases 3 ASSESSING GLOBAL MARKET OPPORTUNITIES OUTLINE OF CASES 3-1 International Marketing Research at the Mayo Clinic 3-2 Swifter, Higher, Stronger, Dearer 3-3 Marketing to the Bottom of the Pyramid 3-4 Continued Growth for Zara and Inditex 3-5 A Sea Launch Recovery? CASE 35 A Sea Launch Recovery? cat2994X_case3_001-019.indd 1 8/27/10 2:14 PM is already booking payloads for launch in the future. Next year is sold out, according to company offi cials. Sea Launch Home Port is a decommissioned U.S. Navy facil-ity on the tip of a manmade peninsula at the Port of Long Beach. The Sea Launch buildings are all left over from the Navy except for the Payload Processing Facility, which the company built in the late 1990s. The company’s pier is home to two one-of-a-kind vessels—the Sea Launch Commander and the Odyssey launch platform. The Sea Launch Commander carries about 240 people, ranging from rocket technicians and corporate leaders to chefs and helicopter pilots. The Commander houses a state-of-the-art launch control center divided between two sections designed for Ukrai-nian and Russian engineers and American engineers and manag-ers. The cavernous rocket assembly and checkout hall is located on the command ship’s lower deck and stretches nearly the entire length of the vessel. The facility is capable of supporting two simultaneous launch campaigns using staging and integration compartments and a fueling cell. Giant cranes inside the high bays lift rocket stages, which sits on Russian-gauge rails on the fl oor integration room fl oor. The rocket’s ground support equipment inside the Sea Launch Commander is virtually identical to hardware used for Zenit launches at the Baikonur Cosmodrome in Kazakhstan, according to Sea Launch offi cials. The Sea Launch Commander was specially constructed for Sea Launch at a Scotland shipyard by the maritime unit of Kvaerner, then a leading Norwegian industrial company. Measuring 656 feet long and 105 feet wide, the command ship was outfi tted with more than 600 tons of rocket support equipment in Russia before sailing to Long Beach in 1998. The massive ship’s crew quarters are home to Sea Launch’s international employees during their stay in the United States. CIRCA 2008 Sea Launch engineers say the three-week round-trip journey across the Pacifi c Ocean is the most rewarding part of their jobs. The cruise is the culmination of nearly two months of work pre-paring the rocket, payload, and launch teams for the mission. Prior to operations at Home Port, about 18 months goes into the planning, fl ight design, and logistics. “It’s really nice to know most of the reviews are over and we’re fi nally ready to launch,” said Bill Rujevcan, mission director for the company’s next fl ight. More than 300 people take the trip to the company’s equatorial launch site about 1,400 miles south of Hawaii. The crew includes workers from several nations, including: Ukraine, Russia, Norway, the Philippines, and the United States. Ukraine-based Yuzhnoye and Yuzhmash build the Zenit 3SL rocket’s fi rst and second stages, while Energia of Russia manufactures the Block DM-SL upper stage for the rocket. Norwegian ship offi cers manage marine oper-ations, and Filipino deckhands work on both the Sea Launch Com-mander and the Odyssey launch platform. U.S. employees from the Boeing Co. fi ll management roles and provide the fl ight de-sign, payload fairing, and satellite adapter. Astrotech, a contractor, oversees processing of customer payloads inside a clean room at the company’s Payload Processing Facility at Home Port in Long Beach, California. After 27 missions in nine years of business, Sea Launch is thriving in the do-or-die commercial launch industry. The com-pany’s Zenit 3SL rocket has suffered three setbacks in that time. Two were total failures. The rocket’s success rate places it among the top tier of heavy-lift launchers on the commercial market, and the company’s launch backlog seems to confi rm that. Sea Launch The Sea Launch Commander and the Odyssey platform are seen here docked at Home Port. Credit: Chris Miller/Spaceflight Now cat2994X_case3_001-019.indd 16 8/27/10 2:14 PM Seeds of Fashion: Eastern vs. Western Counter-Culture Movements and a Look at the Gothic Lolitas of Harajuku, Japan Where do new ideas come from? Since its origin, the Gothic Lolita subculture of Harajuku has continued to fascinate people around the world. This group is just one example of the counterculture fashion movements that have emerged from the Harajuku district of Japan, each group identified by a specific look that conveys a visual message. Gothic Lolita fashion infuses Victorian-era cloth-ing with elements of Goth and Japanese anime to create a unique form of dress. Adherents take notes from the Gothic & Lolita Bible (a quarterly magazine with an esti-mated circulation of 100,000) and rely on their distinctive appearance to proclaim their subcultural identity. As in other counterculture movements, youths’ fantasies of lib-eration, rebellion, and revolution have become embedded in the cultural mode of a changing nation. By examining the fashion of the Harajuku, we can gain a more in-depth understanding of group affiliation and con-struction of self in counterculture movements. Definitive of a counterculture, the Gothic Lolita’s in-group behavior and fashion evokes opposition and displays a symbolic rebellion against mainstream Japanese culture. These attitudes are reflected in norm-breaking and attention-grabbing styles. In the past, youth subcultures generally have emerged from Western society and diffused globally. But the Harajuku subculture began in the East and is moving West, marking a shift in the cultural current. The Harajuku subculture is also an example of the difference between Eastern and Western counterculture movements. Whereas maturity in Western cultures is associated with authority and individuality, in Confucian Japan, maturity is the ability to cooperate with a group, accept compromises, and fulfill obligations to society. Therefore, rebellion in Japanese youth culture means rebellion against adulthood as well. Rather than engaging in sexually provocative or aggres-sive behaviors to emphasize their maturity and indepen-dence, as occurs among Western rebels, Japanese Gothic Lolitas display themselves in a childlike and vulnerable manner to emphasize their immaturity and inability to meet the social responsibilities and obligations of adulthood. Likely because of this refusal to cooperate with social expectations, main-stream Japan views the sub-culture as selfish, especially considering its indulgent consumption behaviors. Unlike contemporary West-ern youth cultures, such as punk and grunge, the Gothic Lolita subculture does not condemn materi-alism or other aspects of modern consumer culture. Instead, one outfit (as seen in the accompanying photo) can cost as much as $300–$1,000! Because personal consumption is regarded as both antisocial and immoral in Japanese society, the subculture opposes normative social values by indulging in the conspicuous consumption. Most participants (aged 13–30 years) are students or have jobs that require them to wear a uniform every day. On Sundays, they feel they have reached the time they can truly be themselves. Their lifestyle is frowned upon, making it very common to see teenagers carrying bags with their “harajuku outfit” on the train and changing at the park so their parents never see their outfits. Others wear the clothing as their normal daily dress, but the vast majority save it for Sundays, when they congregate at Jingu Bridge and Yoyogi Park to show off their fashions, hang out, and meet others like them. Some go just to have their pictures taken by the subculture’s magazine photographers, who search for shots of new trends, or by tourists. Source: Kristen Schiele, “How Subcultures Regain Control through Reclamation: A Case of Commodification in Japan,” working paper, Merage School of Business, University of California, Irvine, 2015. 26An excellent new book on this topic is John A. Quelch and Katherine E. Jocz’s All Business is Local (New York: Portfolio/Penguin, 2012).
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