Lam Bui

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PURPOSE

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Figure 1: Purpose. (Bui, 2022)

“Purpose” is the last pillar in Fashion Business School: 4Ps. It is the foundation and mission of the brand. During the journey of the brand, they need a map to head to treasure island or a key to open a treasure box (HIGHSNOBIETY, 2020). Therefore, “Purpose” is the map and the key. Understanding the purpose will help them engage their audience appropriately.

First of all, the philosophy of a fashion brand is the first step when that brand starts its journey. It plays a vital role because it will help brands follow their core vision. An example is that the core value of Nudie Jean Repair Shop is sustainability (Gwilt, 2020). They provide services for customers to repair, wash and care for Nudie Jeans in sustainable ways. They are together with consumers to change the fashion industry in how to use and extend the product lifespan. Secondly, the philosophy includes how brands communicate with their customers. Stella McCartney’s website shows respect, trust, and responsibility for the future reflected in the brand’s vision (Londrigan & Jenkins, 2018). The transparency in materials and innovation help customers explore how wonderful nature becomes a fashionable factor to create luxury fashion (https://www.stellamccartney.com). Therefore, Stella McCartney’s vision is how she shares with her clients about sustainability through her designs and from which clients make ethical choices.

Figure 2: Sharing economy. (Bui, 2022)

In order to reach as many customer groups as possible, sharing economy has been developed to meet the needs of customers. There are many services such as exchange, renting, and resale (,). However, in this economy, brands exist products instead of creating new products. From 2021 to 2021, rental clothing market revenue is projected to increase steadily across the globe from 5.87 billion to 7.45 billion U.S dollars (Statista, 2022). In addition, the mission of brands that follow this non-traditional economy is to change the industry by “sharing more and wasting less” and reduces the environmental footprint (Byrotation, 2022). It is similar to the circular economy, however, instead of recycling clothes as materials, they can be kept in their original state and shared in the community.

Figure 3: How to communicate gen Z. (Bui, 2022)

Finally, gen Zers are now the target customer of most brands in the industry. They are building a strong connection with this new generation. Gen Z appears with the digital storm that they bring with them. More stuff is becoming digital and fashion is adapting with it. For instance, Burberry x Minecraft is a special campaign of the brand. They transfer their designs into pixel skins for players (Burberry, 2022). Communicating with young customers through digital platforms is the key to stepping into this generation’s world (Pinas, 2022). Understanding environmental issues, they uphold the sustainability of fashion products. Sustainability, transparency, and authenticity of materials and processes are what Zoomers looking for. Brands can share their whole process on social media. When young customers access it, they understand the true story of how that garment is made. With this tool, the brand will definitely capture the heart and trust of Gen Z.

Bibliography

Burberry (2022), BURBERRY X MINECRAFT. Available at: https://uk.burberry.com/c/collaborations/minecraft-burberry-partnership/#the-collection (Accessed 27 October 2022).

By Rotation (2021), Sustainability. Available at: https://byrotation.com/sustainability (Accessed 28 October 2022).

Drapers (2022), Gen Z and Millennials 2022. Available at: https://www.drapersonline.com/guides/gen-z-and-millennials-2022 (Accessed 27 October 2022).

Gwilt. A (2020) A Practical Guide to Sustainable Fashion, Bloomsbury Publishing USA, ProQuest Ebook Central, Available at: http://ebookcentral.proquest.com/lib/ual/detail.action?docID=6234061.
(Accessed 24 October 2022).

Howden. R (2021), The Psychology Of Fashion. Available at: https://www.wellbeing.com.au/mind-spirit/mind/dress-yourself-happy.html (Accessed 27 October 2022).

HIGHSNOBIETY (2020), How to make a purpose-driven clothing brand. Available at: https://www.highsnobiety.com/p/purpose-driven-clothing-brand/ (Accessed 22 October 2022).

Londrigan, M.P, and Jenkins, J.M. (2018) “Corporate Social Responsibility and Sustainability.”. Edition 1. Place of publication: Fairchild Books.

Marr. B (2016), The Sharing Economy – What It Is, Examples, And How Big Data, Platforms And Algorithms Fuel It. Available at: https://www.forbes.com/sites/bernardmarr/2016/10/21/the-sharing-economy-what-it-is-examples-and-how-big-data-platforms-and-algorithms-fuel/?sh=687b9cec7c5a. (Accessed 28 October 2022).

MacGilp. R (2021), What the fashion sharing economy is, and how to do it right. Available at: https://ecocult.com/fashion-sharing-economy-swap-resale/ (Accessed 28 October 2022).

Pinas. M (2022), 5 Ways Brands Can Better Connect With Gen Z . Available at: https://www.adweek.com/sponsored/5-ways-brands-can-better-connect-with-gen-z/ (Accessed 27 October 2022).

Statista (2022), Revenue of the rental apparel market worldwide from 2019 to 2026. Available at: https://www-statista-com.arts.idm.oclc.org/statistics/1195613/rental-apparel-market-revenue-worldwide/. (Accessed 28 October 2022).

Stella McCartney (2022) Measuring our impact. Available at: https://www.stellamccartney.com/gb/en/sustainability/measuring-our-impact.html (Accessed 26 October 2022).

Stella McCartney (2022) Materials & Innovations. Available at: https://www.stellamccartney.com/gb/en/sustainability/sustainability.html#materials-innovation (Accessed 26 October 2022).

White. S (2022), The fashion of purpose. Available at: https://www.prweek.com/article/1794828/fashion-purpose (Accessed 27 October 2022).

Image reference list:

Bui. L (2022) Purpose. (Illustration)

Bui. L (2022) How to communicate gen Z. (Collage)

Bui. L (2022) Sharing economy. (Collage)

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PROFIT

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Profit is an essential outcome of running a business. Making a profit is the main goal of the company. It shows the company is doing well. However, the fashion industry is changing. Many other important factors and values coexist alongside the profit factor to build the most sustainable and developed fashion industry.

Figure 1: Profit (Bui. L, 2022)

Fashion is one of the most important industries. It is holding the “key value-creating” industries for the global economy (McKinsey & BoF, 2016). There was an increase in apparel when the pandemic happened. In 2021, the fashion industry’s worth was approximately 1.55 trillion U.S. dollars. Fashion is not the biggest industry. Although, it is the biggest e-commerce industry in the world. According to Statista, the largest segment belonged to fashion with a revenue of 666 billion U.S. dollars (2022). This segment will increase to over one trillion dollars in 2025 (Statista, 2022). Additionally, one of the potential markets in the fashion industry is ethical fashion. Statista estimates the value of this market will rise by over three billion U.S. dollars in the 2021 and 2025 period.

As a part of e-commerce, social shopping is a vital way for fashion brands to boost their sales and attract customers. Due to Covid-19, it changes consumers’ behaviors. Social networks play a vital role in people’s lives such as shopping, entertainment, and connection. According to a research firm Data Reportal’s The Global State of Digital 2021, about 4.3 billion users (over half of the world’s population) now use social media (Draper, 2022). Therefore, reaching them is an important goal of fashion brands. At the same time, the circular economy is one of the most important sectors of the fashion industry to reduce its footprint. This industry produces around 40 million tons of textile waste into the environment a year. Renewcell partners with brands such as H&M, Levi’s, Beyond Retro’s parent company Bank and Vogue to deliver post-consumer waste to Renewcell.203. They are building a new facility and 60,000 tons of textiles will be recycled. (McKinsey&Company, 2022)

Figure 2: Estimated value of the ethical fashion market worldwide from 2020 to 2025. (Statista, 2022)

The new normal after the pandemic has just begun. While uncertain times, fashion brands need to find the correct direction to overcome competitors. Firstly, reliability is always the most vital point. In every single step during the process, brands should show sustainability in there. Transparency in the production process will gain the customer’s trust and they are more willing to buy the product. Secondly, there are many possible platforms, tools, and technologies for marketers of brands to develop and be open-mind to them (Clausen, 2020). Because with only one click when accessing the platforms, customer can buy their favorite products. The power of technology and its global is unquestionable.

Figure 3: Collaboration: Sterling Ruby & Raf Simons, Vetements & McDonald’s, Simone Rocha x H&M, and Gucci and Balenciaga’s Hacker Project (Bui. L, 2022)

Balancing creativity and commerce is always particularly challenging for creative directors. When designers present themselves as artists, they reveal their unique vision. However, this also protects their desire to live and work creatively. They can market themselves to consumers who also want to buy a work of art rather than mass-produced clothing (Stevenson, 2019). The designers can still keep their impressions on the garment and have the customer satisfied. In addition, collaboration is also an ideal choice for the brands. During the campaign, the impact of the media will help art spread and commercial purposes are also met (Stevenson, 2019). Nevertheless, the coin always has two sides. Before starting the projects, the creative director and brands understand the partner’s value and vision to make the most successful handshake.

Bibliography:

Business Wire (2020) Global Ethical Fashion Market to reach $8.25 billion by 2023 (COVID-19 adjusted) – researchandmarkets.com. Available at: https://www.businesswire.com/news/home/20200619005202/en/Global-Ethical-Fashion-Market-Reach-8.25-Billion (Accessed: October 16, 2022). 

Clausen. E (2020) Marketing Rules To Follow During Uncertain Economic Times. Available at: https://www.forbes.com/sites/forbesagencycouncil/2020/04/03/marketing-rules-to-follow-during-uncertain-economic-times/?sh=166266e54a36. (Accessed: October 19, 2022).

Drapers (2021) The Power of Marketplaces. Available at: https://www.drapersonline.com/guides/the-power-of-marketplaces-report. (Accessed: October 19, 2022).

Drapers (2021) Social Commerce Guide. Available at: https://www.drapersonline.com/guides/social-commerce-guide. (Accessed: October 19, 2022).

McKinsey&Company (2016) The State of Fashion 2017. Available at: https://www.mckinsey.com/~/media/McKinsey/Industries/Retail/Our%20Insights/The%20state%20of%20fashion/The-state-of-fashion-2017-McK-BoF-report.pdf. (Accessed: October 19, 2022).

McKinsey&Company (2022) The State of Fashion 2022. Available at: https://www.mckinsey.com/~/media/mckinsey/industries/retail/our%20insights/state%20of%20fashion/2022/the-state-of-fashion-2022.pdf. (Accessed: October 19, 2022).

ReportLinker (2018) Fashion E-Commerce Global Market Report 2020-30: Covid 19 Growth and Change. Available at: https://www.globenewswire.com/news-release/2020/07/09/2060323/0/en/Fashion-E-Commerce-Global-Market-Report-2020-30-Covid-19-Growth-and-Change.html (Accessed: October 16, 2022).

Stevenson, C (2019) “(I was there) when it all went down”, in Cronberg, A. (ed) Vestoj issue 9: On Capital. Available at: https://moodle.arts.ac.uk/pluginfile.php/1463893/mod_label/intro/Week%204-Pre%20seminar%20read%20-Stevenson%20%28I%20was%20there%29%20when%20it%20all%20went%20down.pdf (Accessed: October 18, 2022).

Statista (2022) Revenue of the apparel market worldwide from 2013 to 2026. Available at: https://www.statista.com/forecasts/821415/value-of-the-global-apparel-market#:~:text=Revenue%20generated%20by%20the%20global,approximately%201.55%20trillion%20U.S.%20dollars. (Accessed: October 19, 2022).

Statista (2022) Fashion e-commerce worldwide. Available at: https://www-statista-com.arts.idm.oclc.org/study/111688/fashion-e-commerce-worldwide/. (Accessed: October 19, 2022).

UK fashion industry statistics (2022) FashionUnited. Available at: https://fashionunited.uk/uk-fashion-industry-statistics (Accessed: October 16, 2022).

Image reference list:

Bui. L (2022), Profit, (Collage).

Bui. L (2022), Collaboration: Sterling Ruby & Raf Simons, Vetements & McDonald’s, Simone Rocha x H&M, and Gucci and Balenciaga’s Hacker Project (Collage).

Statista (2022), Estimated value of the ethical fashion market worldwide from 2020 to 2025. Available at: https://www-statista-com.arts.idm.oclc.org/statistics/1305641/ethical-fashion-market-value/ (Accessed 19 October 2022).

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PEOPLE

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People mostly focus on the environment, when they argue about sustainability. However, people forget the “people” pillar. “People” in the fashion industry are consumers, designers, workers, contributors, clients, models, and farmers. All of them play a crucial role in the industry.

Fig 1: People (Bui, 2022)

Among the target customers, the new generation must be mentioned – Gen Z. Gen Z spans the years 1995 to 2010 (McKinsey&Company, 2022). While the elder half of the generation already entered the workforce, the other half is still in school. ‘Zoomers’ are the biggest generation globally with $3 trillion in-direct annual spending power (Robinson, 2021). In 2021, 58.2% of respondents said environmental and ethical sustainability was either fairly or very important. It increased gradually compared to last year’s percentage (Draper, 2022). Brands must represent value, quality, and ethical practices to tap into Gen Z wallets. These youngers do not have financial independence now. Nevertheless, when they get older, they will probably change the current understanding of their generation about sustainability.

Fig 2: Gen Z (Bui, 2022)

In 2022, a percentage of the Gen Z group rated diversity as very important for a brand 30.4% (Draper, 2022). Therefore, the diversity factor is vital for fashion brands to attract Zoomers. For example, Harpers Bazaar said that Rejina Pyo is a champion of diversity (2017). In her fashion shows, the models are no longer of just one definitive type. The line-up in her collections included diverse models, regardless of age, size, or skin color (Klerk. A. D, 2017). Rejina Pyo said that her target customers are of all ages and all ethnicities, so, why not show that in the show? (Sykes, 2017). Until now, diversity is still a core value of Rejina Pyo’s brand.

Fig 3: Rejina Pyo’s collections: SS18-SS23 (Bui, 2022)

At the same time, due to the digital technology revolution and the Covid-19 pandemic, the fashion industry has to change to adapt. Global fashion brands have experimented with metaverse technologies. By 2022, almost 49.4% of gen Z would consider exploring metaverse environments created by fashion brands and retailers in the future (Draper, 2022). The metaverse includes virtual reality (VR) and augmented reality (AR) technology. With a virtual reality demonstration experience, viewers can not only watch what is happening in a fashion show like reality but also interact and place orders in bulk. Consequently, it is becoming a marketing tool to reach audiences around the world.

Fig 4: 3D fashion illustration of Lam Bui (Bui, 2022)

Gen Zs are the future workforce of the fashion industry, so there are some people skills that they need to know before involving. According to McKinsey’s interview, “fashion businesses are starting to look for people who come from a technology background” (2022, p.111). Firstly, digital and technical skills are essential factors. In industry 4.0, fashion businesses are changing to adapt and reach customers closer through digital platforms. Secondly, employees need adaptability when they work in the fashion business. An example is with sustainability and metaverse, goals that many brands are reaching. Accordingly, the knowledge and experiences about these factors have to be equipped during time in college and life. Gen Z must be ready to face their careers’ new challenges in the fashion industry. 

Bibliography:

Burke. J (2022), Draper. Available at: https://www.drapersonline.com/insight/comment/finding-fashions-place-in-the-metaverse (Accessed 11 October 2022).

Draper (2022), Gen Z and Millennials 2022. Available at: https://www.drapersonline.com/guides/gen-z-and-millennials-2022 (Accessed 9 October 2022).

Francis. T & Hoefel. F (2022), True Gen’: Generation Z and its implications for companies. Available at: https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/true-gen-generation-z-and-its-implications-for-companies (Accessed 9 October 2022).

Klerk. A. D (2017), 5 things to know about the surprise biggest hit of LFW, Rejina Pyo. Available at: https://www.harpersbazaar.com/uk/fashion/shows-trends/g38374/rejina-pyo-bio/ (Accessed 13 October 2022).

Maguire. L (2020), Vogue Business. Available at: https://www.voguebusiness.com/consumers/marketing-to-gen-z-during-covid-19 (Accessed 12 October 2022).

McKinsey&Company (2022), The State of Fashion 2022. Available at: https://www.mckinsey.com/~/media/mckinsey/industries/retail/our%20insights/state%20of%20fashion/2022/the-state-of-fashion-2022.pdf (Accessed 13 October 2022).

Robinson. B, (2021), Fashions Finest. Available at: https://www.fashionsfinest.com/blog/item/6187-gen-z-the-ethical-fashion-generation (Accessed 10 October 2022).

Sykes. P (2017), repeller. Available at: https://repeller.com/model-casting-spring-2018-fashion-diversity/ (Accessed 12 October 2022).

Image reference list:

Bui. L (2022) People. (Collage)

Bui. L (2022) Gen Z. (Collage)

Bui. L (2022) 3D fashion illustration of Lam Bui. (Illustration)

Bui. L (2022) Rejina Pyo’s collections: SS18-SS23. (Collage)

Vogue Runway (2022) Rejina Pyo. Available at: https://www.vogue.com/fashion-shows/spring-2023-ready-to-wear/rejina-pyo (Accessed 14 October 2022).

Vogue Runway (2017) Rejina Pyo. Available at: https://www.vogue.com/fashion-shows/spring-2018-ready-to-wear/rejina-pyo (Accessed 14 October 2022).

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PLANET

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“Planet” is one of the four vital pillars of the sustainable fashion industry. It means home, where people live, a place they have to take care of so that it will take care of us. At the moment, human is not doing this. There is polluted air, destroyed scenery, production of too much sewage, and waste. Therefore, the 2030 Agenda for Sustainable Development, which was adopted by all United Nations Member States in 2015, provided a shared blueprint for peace and prosperity for people and the planet with seventeen Sustainable Development goals (United Nations, 2022). There are only eight years left for the world to change and develop. The world in general, and the fashion industry in particular, face a lot of challenges in achieving these big goals. 

Figure 1: Planet (Bui, 2022)

A circular economy mostly focuses on the typical cycle of take-make-waste in favor of as much reusing and recycling as possible. It is the longevity and life cycle of possessions, including the designing out of waste and pollution. The Foundation works with brands in the global fashion industry to create a project named Make Fashion Circular. They are together to change the process of the usage of clothing, design, and production that recycling old clothing to be the material for new collections (Gwilt, 2020). The circular economy solution represents a future for fashion with less impact on the environment.

Figure 2: Circular Economy illustration (Bui, 2022)

On the one hand, the fashion industry is the second most environmentally impactful industry. Every year, about 10% of the world’s emissions come from the manufacturing of clothes (2022). After production, factories release a large amount of sewage without treatment into water sources, rivers, and streams. Moreover, the fashion industry throws away up to 92 million tons of textile waste a year (Dean, 2019). Considering the social consequences during the COVID-19 pandemic, it is possible that 10% of the apparel workforce has already been laid off since the outbreak began (#PayYourWorkers, 2022). Millions more are at risk of being fired and have not received their full wages for months. The #PayUp and #PayYourWorkers campaigns show how fashion impacts society, while also calling for systemic change. As a result, sustainability plays an important role in changing the fashion world. 

Figure 3: Polluted To Lich river in Vietnam – The sewage from the textile factory release into Kim Nguu river. To Lich River is a distributary of Kim Nguu River. (Bui, 2022)

On the other hand, revenue from ethical clothing sales in the United Kingdom rose from 29 million British pounds in 2015 to around 57 million in 2020. Revenue from sustainable clothing in the UK has almost doubled since 2014 (Statista, 2021). It gives us a more positive outcome about the fashion industry. In addition, the industry is following the SDGs. The word “fashion industry” can be paraphrased as “pollution”. There is a direct connection between “Climate Change” SDG number 13 and the fashion industry. Most of the CO2 emissions come from garment production (Condé Nast – Glossary, 2022). Consequently, a carbon-neutral circular economy was created.

Figure 4: Sustainable Clothing Brands from the UK (Bui, 2022)

In conclusion, all industries in the world, including fashion, need to deal with environmental issues within a short timeframe. Fortunately, fashion brands are aware of this, and they are ready to reduce the footprint of the industry and look forward to a brighter future for home, and the planet.

Bibliography:

Archive.ellenmacarthurfoundation.org. (2022) Fashion and the circular economy. Available at: https://archive.ellenmacarthurfoundation.org/explore/fashion-and-the-circular-economy/ (Accessed 5 October 2022).

Condenast.com. (2022) Condé Nast – Glossary. Available at: https://www.condenast.com/glossary/environmental-impacts-of-fashion/ (Accessed 7 October 2022).

Dean. C (2022) Waste – is it ‘really’ in fashion? – Fashion Revolution. Fashion Revolution. Available at: https://www.fashionrevolution.org/waste-is-it-really-in-fashion/ (Accessed 7 October 2022).

Domenech, T. (2014) The Conversation. Explainer: What is a circular economy? https://theconversation.com/explainer-what-is-a-circular-economy-29666/ (Accessed: 5 October 2022).

Gwilt, Alison. A Practical Guide to Sustainable Fashion, Bloomsbury Publishing USA, (2020). ProQuest Ebook Central, Available at: http://ebookcentral.proquest.com/lib/ual/detail.action?docID=6234061.
(Accessed: 5 October 2022).

Pay Up Fashion (2022) Available at: https://payupfashion.com/ (Accessed: 5 October 2022).

United Nations (2022) Available at: https://sdgs.un.org/goals/ (Accessed: 4 October 2022).

Unece.org (2018) Available at: https://unece.org/DAM/RCM_Website/RFSD_2018_Side_event_sustainable_fashion.pdf/ (Accessed: 5 October 2022).

#PayYourWorkers (2022) Available at: https://www.payyourworkers.org/ (Accessed: 5 October 2022).

Image reference list:

Bui. L (2022) Planet. (Collage)

Bui. L (2022) Polluted To Lich river in Vietnam – The sewage from the textile factory release into Kim Nguu river. To Lich River is a distributary of Kim Nguu River. (Photographs)

Bui. L (2022) Sustainable Clothing Brands from the UK. (Collage)

Bui. L (2022) Circular Economy illustration. (Illustration)

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A Favorite Fashion Brand: Kilomet109

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Kilomet109 was founded by Ms. Thao Vu. She graduated fashion design course at London College for Design and Fashion Hanoi. She won the British Council’s Young Creative Entrepreneur in Design/ Fashion Award in 2014. Kilomet109 is known as a captain of sustainable fashion brand names in Vietnam. It is an eco-friendly brand committed to preserving Vietnam’s rich fashion and textile heritage.

Photo: Kilomet109
Photo: Kilomet109

Ms. Thao Vu collaborates with H’Mong artisans. This creates jobs for many ethnic minorities in Vietnam. Each item handmade by Thao and her partners, women from Nung, Thai and H’mong ethnic minorities. Using traditional techniques, they produce organic dyes, detergents and fibers that are then spun and woven into Kilomet109’s fabrics.

Photo: Kilomet109

“The value of our pieces is about more than their design,” Thao says, “it’s about the culture of the people who make them and the environmental issues that are so vital to our future.”

Photo: Kilomet109

Thao uses beeswax to make batik patterns, adds ancient royal embroidery from Ha Thay Province, and employs village artisans to make double-faced silks from their family mills and looms. Her target customers are people who have middle to high income. Because the designs are all handmade, it will take a lot of time and the production quantity is not much. Therefore, the brand does not expand its retail system. After dyeing, the fabric of this time will different from the last time. Therefore, each garment is one of a kind.

Photo: Kilomet109

All in all, people are looking for something unique, valuable. Fashion is not only about designs. It also brings meaningful inspiration which touches the hearts of customers.

References

Kilomet109 (2022) Available at: https://www.facebook.com/kilomet109/ (Accessed: 30 September 2022).

Kilomet109 (2022) Available at: https://www.kilomet109.com/ (Accessed: 30 September 2022).

Maison (2022) WHY HANOI IS THE PARIS OF VIETNAM. Available at: https://maisonrmi.com/why-hanoi-is-the-paris-of-vietnam/ (Accessed: 30 September 2022).

British Council (2022) Vu Thao. Available at: https://www.britishcouncil.vn/en/about/25-years-ebook/cultural-connections/vu-thao/ (Accessed: 30 September 2022).

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