Sophie Hilliar

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People

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‘People’ is a central pillar of the fashion business strategy as it impacts economic, societal, and cultural aspects of the planet. Consumers now have the ability to be agents of change and “invest not only in a transformation of the fashion industry but in the welfare of society and the planet” (Hethorn and Ulasewicz, 2015). 

Generation Z includes those born between 1995 to 2010. Generation Z are “true digital natives” (Francis and Hoefel, 2018) as they have grown up with rapid technological development and been exposed to technology, including mobiles phones and the internet, since birth. This has allowed them to be exposed from an early age to different cultures, societies, and ways of thinking. This context has shaped Generation Z’s understanding of identity and their individual “search for truth, in both personal and communal form” (Francis and Hoefel, 2018), resulting in freedom of expression and open-mindedness to different cultures.

To attract Generation Z, it is crucial that brands understand what they value, desire, and want to be associated with. Generation Z value transparency, inclusivity, diversity, sense of community and self-expression. Regarding transparency, brands should communicate clearly and evidence that they have implemented their ethos and values through the whole supply chain. Social media platforms such as TikTok and Instagram should be utilised to engage with consumers as 50.3% of Generation Z use TikTok (Moran, 2022). It is vital that brands collaborate with opinion leaders such as influencers that represent their values and who Generation Z can resonate with. Moreover, Generation Z looks to these platforms for inspiration, styling advice and guidance, expanding into the metaverse could provide further opportunities to attract Generation Z (fig.1), as they desire a sense of co-creation in which they can explore.

Figure 1: Moran, 2022
Figure 2: Moran, 2022

Additionally, Drapers reported that 57.4% of both Millennials and Generation Z consider equality and diversity important (Moran, 2022). It is vital that brands are embedding diversity within their organisational structure and business practices and is not just as a facade for advertising. Good American is a fashion brand founded on the principles of diversity and inclusivity (fig.3). The brand is central to the body positivity movement, championing female empowerment, size inclusivity and embracing the diversity of women in society. They offer an inclusive size range of 00 to 24. Furthermore, they have an annual open casting call to find women of a range of diverse backgrounds to represent real women, reflecting their ethos.

Figure 3: Ettinger, 2022 – Good American

Additionally, the key skills needed for a fashion brand to be successful involves addressing the needs and wants of consumers and using appropriate marketing strategies that communicate and connect with the consumer. 

Reference list

Carter, F. (2020) Learn More About Emma Grede, The Co-Founder of Good American. Available at: https://www.forbes.com/sites/felicitycarter/2020/08/11/learn-more-about-emma-grede-the-co-founder-of-good-american/?sh=43bf0b57221f (accessed: 16.10.2022).

Ettinger, J. (2022) Size Inclusivity and Sustainable Denim: How Good American Jeans Tackle Fashion’s 2 Biggest Problems. Available at https://the-ethos.co/good-american-sustainable-size-inclusive-denim/ (accessed: 16.10.2022).

Francis, T. and Hoefel, F. (2019) ‘True Gen’: Generation Z and its implications for companies. [online] McKinsey & Company. Available at: https://www.mckinsey.com/~/media/McKinsey/Industries/Consumer%20Packaged%20Goods/Our%20Insights/True%20Gen%20Generation%20Z%20and%20its%20implications%20for%20companies/Generation-Z-and-its-implication-for-companies.pdf (accessed: 10.10.2022).

Hethorn, J. and Ulasewicz, C. (2015) Sustainable Fashion What’s Next?: A Conversation about Issues, Practices and Possibilities. Available at: https://www-bloomsburyfashioncentral-com.arts.idm.oclc.org/encyclopedia?docid=b-9781501312250 (accessed: 12.10.2022).

Moran, G. (2022) Gen z and Millennials 2022. [online] Drapers. Available at: https://www.drapersonline.com/guides/gen-z-and-millennials-2022 (accessed: 13.10.2022).

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Planet

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Planet is a fundamental part of the four pillars of sustainability: planet, people, profit, and purpose. Planet focuses specifically on environmental protection and the complex and interconnected system which the world relies on to survive.

A circular economy focuses on creating a regenerative system, in which it minimises the environmental and social impacts of the industry whilst still providing economic opportunities, ensuring that the industry has lasting resilience (fig.1). Conversely, the current fashion industry business model is a linear economy (fig.2). A linear economy results in products being discarded as waste and disregards the consequential environmental impacts of overconsumption and overproduction. Furthermore, this model has resulted in an economic loss for businesses as “less than 1% of material used to produce clothing is recycled into new clothing.” (Ellen MacArthur Foundation, 2017). Resulting in a significant loss of USD 100 billion of materials each year, highlighting an opportunity for change within the industry.

Figure 1: European Environment Agency, 2020
Figure 2: Santander, 2021

Sustainability is described as “meeting the needs of the present generation without compromising the ability of future generations to meet their needs.” (Brundtland Report, 1987). In terms of fashion, sustainability is responsible resource management, environmental protection, habitat restoration and preservation to ensure that resources are not fully depleted for future generations. Applying this to the fashion industry would involve companies rethinking product design and consumers purchasing more consciously. 

In 2015, all United Nations Member States adopted the 2030 Agenda for Sustainable Development. The agenda includes the United Nations Sustainable Development Goals, which are 17 goals that recognise reducing inequalities, health, economic growth, and ending climate change. Goal number 12. Responsible consumption and production, focuses on ensuring sustainable consumption and production patterns. The exponential growth of the fashion industry after the development of machinery and creation of a linear economy created a dynamic, fast, and trend-driven consumerism environment. Cheap labour and the overproduction of clothes has meant that “sustainability has gone from being a way of life during pre-industrial days to a choice in our contemporary era of plenty.” (Hethorn and Ulasewics, 2015). Thus, resulting in overconsumption as consumers are purchasing at a rate of 400% more than a decade ago, which is 80 billion pieces of clothing each year (The True Cost, 2015). A key change is rethinking and redesigning the product life cycle. The five phases of the product life cycle are design, production, distribution, use and end-of-life. Minimising waste and maximising resources in all phases of the product life cycle can reduce the environmental impacts of manufacturing clothing. A regenerative system allows for a circular product life cycle, which enables material and clothing to be utilised to its full extent.

Reference list

Ellen MacArthur Foundation. (2017) A New Textiles Economy: Redesigning Fashion’s Future. Available at https://emf.thirdlight.com/link/kccf8o3ldtmd-y7i1fx/@/preview/1?o (accessed: 08.10.2022).

European Environment Agency. (2020) Circular economy system diagram. Available at https://www.eea.europa.eu/soer/2020/soer-2020-visuals/circular-economy-system-diagram/view (accessed: 09.10.2022).

Gwilt, A. (2020) A Practical Guide to Sustainable Fashion. Available at https://ebookcentral.proquest.com/lib/UAL/detail.action?docID=6234061# (accessed: 03.10.2022).

Hethorn, J. and Ulasewicz, C. (2015) Sustainable Fashion What’s Next?: A Conversation about Issues, Practices and Possibilities. Available at: https://www-bloomsburyfashioncentral-com.arts.idm.oclc.org/encyclopedia?docid=b-9781501312250 (accessed: 05.10.2022).

Santander. (2021) Linear and circular economies: What are they and what’s the difference? Available at. https://www.santander.com/en/stories/linear-and-circular-economies-what-are-they-and-whats-the-difference (accessed: 09.10.2022)

The True Cost (2015) Directed by Andrew Morgan. Available at https://www.youtube.com/watch?v=5-0zHqYGnlo (accessed: 08.10.2022).

United Nations. (1987) Our Common Future (Brundtland Report). Available at https://www.are.admin.ch/are/en/home/media/publications/sustainable-development/brundtland-report.html (accessed: 09.10.2022).

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A favourite fashion brand: Paris Georgia

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New Zealand brand Paris Georgia has won a cult following, in recent years due to the brand’s focus on sculpted silhouettes and subtle design. Centred around timeless fashion, outside of seasonal trends, Paris Georgia have created iconic styles that are still minimalistic. Their designs highlight the balance between simplicity and individuality, using splashes of colour within their designs but also constructing iconic and timeless silhouettes. Since launching in 2015, the duo has adopted an underlying ethos of ‘less is more’ and aim to encourage the brand’s customers in the same direction, regarding their shopping habits.  

The brand celebrates empowering the modern woman. Luxurious fabrics and high-quality construction empower the customers who wear their clothes. The form fitting styles both flatter and accentuate the female form.  Shying away from prints they focus on structural design and minimalism, allowing for splashes of colour to add individuality. The brand’s hashtag ‘#ParisGeorgiaMuse’, invites women to post themselves wearing Paris Georgia and connect/create a like-minded community of women on social media. On their website, the brand has selected a variety of women who are the brand’s muses as they embody the values and culture of the brand. This provides a platform to showcase powerful and successful women that embody the ethos and image of the brand, whilst highlighting the women’s successes and how they are changing and shaping our world.

Although the brand does have its downfalls regarding sustainability practices, they do acknowledge and are working towards the goal of becoming a more sustainable brand. Acknowledging and being transparent to customers makes them seem more genuine about making a difference as they have acknowledged their own downfalls and where improvements need to be made regarding their sustainable practices. Paris Georgia have actively taken steps towards becoming more sustainable by using deadstock materials and manufacturing locally to reduce their carbon footprint. As designers they are thinking forward and aim to create collections that last beyond a season. This thinking is a step forward in creating a circular economy within their brand.  

The brands founders, Paris Mitchell and Georgia Cherrie, are incredibly aware of their impact and the impact of the fashion industry and so they are determined to not succumb to trend driven consumerism. Sticking to their brand’s identity and not following the latest trend or make in excess amount of clothes to fulfil consumers’ want for the new, they are able to create timeless and unique pieces. This focus on quality over quantity is a key reason why it is one of my favourite brands as it highlights the brands regard for the environment whilst also providing their customers with high quality products.

During the start of the pandemic, I was first made aware of this brand and quickly became my favourite brand for their focus on a minimalistic design, the brand values and that they acknowledge the impact of the fashion industry and the steps that they are taking to reduce their impact.

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