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Logistics & Supply Chain Management ( PDFDrive )

Class
Price
Crucial feature 
Middle-low
Low
The cheapest nation-wide brand 
Middle-high
Middle
The cheapest product of high quality


Notes
132
Two extreme classes should finally be added:
Class
Price
Crucial feature 
Extremely low
Very Low
It usually does not work, it does not 
last, and it has important defects 
Extremely High
Very high
Exclusivity, non practical, status 
symbol 
In this way, you can vertically position different brands and product 
versions, also using clues from advertising campaigns.
If you compare widely different goods fulfilling the same (highly-
relevant) need, you may distinguish at the extreme of your spectrum 
necessity goods
and at the other 
luxury goods
. In other cases, what makes 
this difference is, instead, the nature of the need fulfilled.
As a general rule, 
better products have a higher price
, both be-
cause of 
higher production costs
(more noble materials, longer produc-
tion, more selective tests for throughput,...) and 
bigger expected advan-
tages for clients
, partly reflected in 
higher margins
.
Thus, the quality-price relationship is typically upwards sloped. 
This means that consumers without their own opinion nor the capability 
of directly judging quality may rely on the price to infer quality. 
They will 
prefer to pay a higher price because they expect quality to be better.
This important flaw in knowledge and information processing 
capability - an instance of 
bounded rationality
- can be purposefully 
exploited by the seller, with the result that not all highly priced products 
are of good quality.
Through this mechanism, the demand curve - that in the 
neoclassical model - is always downward sloped, can instead turn out to 
be in the opposite direction, with higher sales for versions having higher 
prices. 


Notes
133
(b) Horizontal Differentiation
When products are different according to features that can’t be 
ordered in an objective way, a horizontal differentiation emerges in the 
market.
Horizontal differentiation can be linked to differentiation in 
colours (different colour version for the same good), in styles (e.g. modern 
/ antique), in tastes.
A typical example is the ice-cream offered in different tastes. 
Chocolate is not “better” than lemon.
This does not prevent specific consumers to have a stable preference 
for one or the other version, since you should always distinguish what 
belongs to the supply structure and what is due to consumers’ subjectivity. 
Some consumers would prefer lemon to chocolate, others the opposite, 
but this relates to them, not to the product line structure.
It is quite common that, in horizontal differentiation, the supplier 
of many versions decide a unique price for all of them. Chocolate ice-
creams cost as much as lemon ones.
Another example of horizontal differentiation is represented by 
films: each film is different from the others, while the price of entry to cinema 
is always the same. This example shows that the internal organization of 
the differentiation space can be structured around “genres” and several 
similarity measures can be taken (e.g. two films having in common the 
film-maker, an actor, etc.), without being linear and continuous (nor too 
precise!). 
When consumers don’t have strong stable preferences, a rule of 
behaviour can be to change often the chosen good, looking for variety 
itself. An example is when you go to a fast food and ask for what you 
haven’t eaten the previous time. Fashion waves often emerge in 
horizontally-differentiated markets with imitation behaviours among 
consumers and specific styles going “in” and “out”. However, more in 
general, horizontal differentiated versions may not be ordered along axes, 
but merely juxtaposed. 


Notes
134
(c) Mixed Differentiation
Certain complex markets are characterised both by horizontal 
and vertical differentiation. For instance, apparel, garments and shoes 
have an amazingly rich combination of shapes, colours, materials, 
complementarities, seasonal and territorial specificities, appropriateness 
to social events, relative distance to ideals promoted by media, stylists 
and the showbusiness. The quality of the materials can often be seen as 
a vertical differentiation but some other elements are clearly horizontal, 
like shapes.
In such an environment, consumers can develop fairly different 
styles of comparision, with some spending large amount of time getting 
exposed and evaluating versions, talking with others and sharing judgments
while others drastically reducing the difficulty of the comparision through 
repurchase of very classical items.
(d) Determinants
How a product rates according to different measures of quality or 
taste depends on both its 

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