The comfort of the living is at the heart of the expectations of ones contemporaries. It is omnipresent and multifaceted and includes user comfort, mental comfort, and existential comfort. The modularity is synonymous with functionality. There is a constant search for excitement and conviviality today.
Concepts are required to meet a real need: to relax and de-stress. All these factors promote the return of the "home sweet home" concept. The house is seen as a protective bubble that opens to the outside world, and also as a place where everyone develops more personal activities.
Consumers want a choice in price levels, quality levels, styles, and extremely broad services. Parlors are an act of high customization. This is an area where "emotional" bonding is strong and where the rational has no place, except perhaps in the budgets. Against a bleak picture, where the decline of the furniture market is combined with the slowdown in purchasing power, retailers must play on the levers of communication and marketing tailored to each type of consumer, by taking into account the evolution of their behaviors and lifestyles.
The downward trend in the furniture market reflects not only the average budget allocated by households, but also by a mismatch between supply and demand trends. Indeed, the market saw the emergence of different generations of consumers that are more and more demanding in terms of modularity, style and customization at every stage of the purchase.They reject the living room or "turnkey" and want the development of their home that reflects their personality.
Indeed, while consumer behavior change, and the interests shift, the furniture market is not keeping pace. The search for a new quality furniture is better suited to modern life often remains unsatisfied.
The evolution of the furniture market is not in step with the changing expectations of consumers who often find the whole qualitative commercial offer insufficient .
If the contemporary style, design, low prices have transformed the furniture market in a market of fashion,design choices of the French, themselves, are conventional. Once property, furniture gradually becomes objects of consumption. Now the kit and custom orders are adapting to the success of marketing strategies of brands of furniture like Ikea.
Conforama the leader of the French market in 2003 launched a restructuring program of its stores modeled on a "compulsory course" as Ikea since the brand Ikea is a reference on the world market of furniture.
Branding of Ikea is based on the following principle: "Offering a vast array of aesthetic, functional and quality products at prices so low that the majority of people can afford them". Ikea is more than a concept vehicle, is more a distributor of furniture and the brand represents a lifestyle in the minds of consumers.
The reasons for this success lies in the will of the company to build and maintain a true partnership with its customers based on their participation in the value chain as the latter must travel, transport and assemble their own furniture to " save for a better everyday life. " Ikea even conveys the image of a company involved in sponsoring social and environmental causes, and is respectful of its environment.
Tags: Ikea, analytical study of the brand, Ikea a reference point in the furniture industry
[...] The value-added services (Designed to save time and eliminate stress): IKEA differs from traditional furniture stores by a specific extended restaurant in each store, and a service for the care of children while parents make their purchases which was launched in 1997 with the creation of a space for babies "IKEA small" with the idea of bringing back customers who had used furniture from the brand while they were students. Also, along the path in the store everything is set up so that the child is not an inconvenience to parents, but also retains excellent memory of his trip. IKEA does not lose sight of the fact that when the child grows up, he will buy his first furniture. [...]
[...] The IKEA range is therefore intended to reflect the Swedish way of life. The cool fresh air must be reflected in the colors or materials used, and in the sense of space they create (blond wood, natural textiles, untreated surfaces . Beyond the materials, the "product design" is one of the major strengths of the brand. Between harmony of form, color, material and function, IKEA products are equipped with an identity and a strong imagination. This is to trigger the act of purchase by causing pleasure through moods, styles and suggest that inspire Vehicle for social and environmental values At a time when the theme of sustainable development is growing in the state and media, discourses on globalization, such as in businesses seems to have highlighted this concern more than ever. [...]
[...] IKEA, and FLY, (leaders in the sector "young habitat," according to IPEA) have understood this. A need to adapt to changing behavior Moments in the lives of individuals: Establishing a new house, the arrival of the first child, the admission of the child to school, buying a house in the country, as well as divorce (which causes parents to live in a new structure)."We involve creative designers, as well as social scientists to understand the evolution of the behavior of our customers. [...]
[...] This shows that most of the scores are grouped around the mean. Thus, in modernity ( 4.04 / innovation ( 4.02 / and attraction ( 3.96 / IKEA products topped the scoring. Then comes the concern of the family ( 3.69 / and concern for the environment shown by IKEA ( 3.49 / 5). The positioning of IKEA's product range is rated 3.24 / indicating that the brand is considered mid-range Reach as many customers as possible Students The desire of IKEA is primarily to attract students in their first purchases in order to retain them for future business. [...]
[...] The majority of people were satisfied with their purchases at IKEA. In addition, we noted that no notice of any criticism (positive or negative) on environmental policy (use of recyclable products,) which IKEA tries to highlight is mentioned. Source: 2001 study of the French Institute of Merchandising The various graphics were designed using information from different surveys or from purchasers of household furniture, or from distributors. The full results are presented in a work of synthesis "The Meubloscope" published by the Institute for Promotion and Study of Furniture (IPEA), allowing for benchmarks on products, distribution channels and customer profiles furnishings. [...]
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