Maya Fernandes

When new garments are brought into circulation or a new fashion brand emerges, a fundamental question is presented; what purpose will these serve? How can they benefit society? and why should consumers invest their money in them? Ideally, brands should have no problem answering these questions because these answers make up brand philosophy and decipher the purpose being fulfilled.

It’s important for brands to recognize the value of their products’ potential. Clothing is multifaceted and of so much more importance to society than is often recognized. In 2012 an experiment was carried out at Northwestern University in the US to test participants’ performance on a test whilst wearing lab coats associated with different things. It turned out that participants wearing the lab coats who were told it was a doctor’s coat, performed the task with heightened attention compared to those that were told it was a painter’s coat or those just looking at the coat. (Adam & Galinsky, 2012) This kind of recognition that clothes can affect one’s performance is also demonstrated through the 2010 study which asked flight attendants to answer questions about different uniform concepts. The varied responses to each one show how things like fit and fabric can affect someone’s confidence and competence at work. (Santos et al, 2010) This may even be a factor as to why some high fashion brands have staff wear a uniform. (Woodward, 2017)

Besides contributing to the well-being of consumers, fashion also has the potential to contribute to the environment through innovative designs and creative thinking. Not only is there almost a limitless catalog of things that can be made into wearable garments, (Corner, 2014) like sportswear brand On’s new trainers made from captured carbon emissions, (Chhabra, 2022) but brands can also use ‘art thinking’ (Whitaker, 2018) in business structures to consider what they can do. An excellent example of this in practice is Tentree, a fashion brand that plants 10 trees for every item purchased. (Morgan, 2020)

With Gen Z becoming one of the largest and most profitable consumer groups, it has become critical in 2022 that retailers connect with them. Gen Z expects brands to be purpose-driven and sustainable in order to connect with them on an emotional level. According to payment solution provider Afterpay, brands succeeding at this perform better. (BOF team, 2020) In order for brands to communicate their purpose to this generation, authenticity is key. Brand purpose has to be more than just a marketing strategy or a declaration, it is an action-based statement. (Fromm, 2019)

Reference list:

Adam, H., & Galinsky, A. (2012) Enclothed cognition, Journal of Experimental Social Psychology. Volume 48, Issue 4. pp 918-925.

Available at: https://www.sciencedirect.com/science/article/pii/S0022103112000200

(Accessed: 6 November 2022)

BOF Team (2020)  ‘How to Communicate and Connect with Gen Z Consumers’ businessoffashion.com

Available at: https://www.businessoffashion.com/articles/retail/afterpay-communicate-and-connect-with-gen-z-consumers/

(Accessed: 6^th November 2022)

Chhabra, E. (2022) ‘ Swiss Footwear Brand Develops A Running Shoe Made From Carbon Emissions’ Forbes.com

Available at: https://www.forbes.com/sites/eshachhabra/2022/09/26/swiss-footwear-brand-develops-a-running-shoe-made-from-carbon-emissions/?sh=524e482c4bdd

(Accessed: 1^st November 2022)

Corner, F. (2014) Why Fashion Matters. London: Thames & Hudson. p. 2

Available at: https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1449157&query_desc=

(Accessed: 1^st November, 2022)

Fromm, J. (2019) ‘Gen Z And The Three Elements Of Purpose Brands’ forbes.com

Available at: https://www.forbes.com/sites/jefffromm/2019/07/26/gen-z-and-the-three-elements-of-purpose-brands/?sh=4ff2562f37e3

(Accessed: 1^st November 2022)

Harrington, D. (2012) Enclothed cognition. The Situationist Staff. Thesituationist.wordpress.com

Available at: https://thesituationist.wordpress.com/2012/03/14/enclothed-cognition/

(Accessed: 6^th November)

Morgan, B. (2020) ’11 Fashion Companies Leading The Way In Sustainability’ Forbes.com

Available at: https://www.forbes.com/sites/blakemorgan/2020/02/24/11-fashion-companies-leading-the-way-in-sustainability/?sh=4a6910ce6dba

(Accessed: 6^th November 2022)

Santos, M. et al. (2010) Flight Attendant Uniform Concept Preference Study Using Kansei Ergonomics. International conference on kansei engineering and emotion research.

Available at: https://www.repository.utl.pt/bitstream/10400.5/5485/55/3.FLIGHT%20ATTENDANT%20UNIFORM%20CONCEPT%20PREFERENCE%20STUDY%20USING%20KANSEI%20ERGONOMICS_KEER2010.pdf

(Accessed: 6^thNovember 2022)

Tentree (nd) ‘About Tentree’

Available at: https://www.tentree.com/pages/about

(Accessed: 6^th November 2022)

Whitaker, A. (2018). ‘An interview with Amy Whitaker, speaker at Meaning 2018’ Meaningconference.co.uk

Available at: https://meaningconference.co.uk/blog/bridging-gap-between-art-business

(Accessed: 31 October 2022)

Woodward, D. (2017) ‘A brief history of the staff jacket’ dazeddigital.com

Available at: https://www.dazeddigital.com/fashion/article/35633/1/a-brief-history-of-the-staff-jacket-comme-des-garcons-margiela-labcoat-supreme#:~:text=To%20this%20day%2C%20all%20Margiela,to%20sign%20off%20all%20house

(Accessed: 6^th November 2022)

The pillar of profit explores the economic side of the fashion industry, looking at how lucrative fashion is as an industry and how businesses can seek to sustain themselves financially within it. Financial growth is essential for any business to survive long-term as without it the company positions itself highly at risk of being pushed into closure by macroeconomic factors like inflation, (Rinalducci, 2022) which is particularly prominent in the economic conditions of 2022 which present the weakest global growth profile since 2001. (imf, 2022)

As of 2022, the fashion industry is valued at $1.7trillion representing the seventh largest economy in the world (Mckinsey, 2016) and accounting for 2% of global gross domestic product. (Ariella, 2022) Despite pandemic disruptions, the industry has shown significant recovery over the last two years, with predictions of full recovery in the luxury sector by the end of 2021 and the wider industry by 2022. This may be due to what has been coined “revenge shopping” – an overindulgence in the consumption of fashion items to make up for time lost from lockdowns. (Mckinsey, 2021) Revenue in the apparel segment has also been projected to reach $567.40bn in 2022, with women’s apparel generating the most revenue, followed by men’s and then children’s. (Statista, 2022)

One way brands may choose to remain competitive within uncertain economic times is through the recycling of both pre and post-consumer textiles and clothing. (Hethorn et al, 2015) This can be economically beneficial as it has the potential to reduce energy consumption and the quantity of raw materials required. Additionally, it is advantageous to the environment, ticking off a critical CSR initiative for the company which consequentially can make the brand more appealing to consumers (Monster, ND) as sustainability and ethics remain a driving motivator for Gen Z and millennial shoppers. (Drapers, 2022)

Historically, it has proved economically beneficial for fashion designers to position themselves as artists, aligning themselves with creativity over commerce to prove themselves as the creators of what is fashionable and what is true art. Consumers interested in unique and distinctive garments are drawn to this however, to be considered true art, it runs the risk of not appealing to mass markets. (Stevenson, 2019) Creative directors have the responsibility of bridging together these two elements. One might do this by taking inspiration from designers of the past and aligning with creativity, thinking creatively at every step of business beyond the product itself like how to market it or even creating a market for it. (Whitaker, 2018)

Reference list:

Ariella, S. (2022). ’28 Dazzling fashion industry statistics [2022]: How much is the fashion industry worth’ Zippia.com

Available at: https://www.zippia.com/advice/fashion-industry-statistics/

(Accessed: 30 October 2022)

Drapers. (2022)’ ‘Gen Z and Millenials 2022’ Drapersonline.com

Available at: https://www.drapersonline.com/guides/gen-z-and-millennials-2022

(Accessed: 15 October 2022)

Hertantyo, S. (nd) ‘Econyl: regenerated nylon which is infinitely recyclable.’ Consciousfashion.co

Available at: https://consciousfashion.co/guides/textile-recycling-companies

(Accessed: 31 October 2022)

Hethorn, J., & UlasewiczA, C. (Eds.). (2015). Sustainable Fashion: What’s Next? A Conversation about Issues, Practices and Possibilities. New York: Bloomsbury, pp 204-230

Available at: https://www-bloomsburyfashioncentral-.com.arts.idm.oclc.org/encyclopedia?docid=b-9781501312250

(Accessed: 21 October 2022)

IMF. (2022). ‘Inflation and uncertainty’ imf.org

Available at: https://www.imf.org/en/Publications/WEO/Issues/2022/10/11/world-economic-outlook-october-2022#:~:text=Global%20growth%20is%20forecast%20to,of%20the%20COVID%2D19%20pandemic.

(Accessed: 28 October 2022)

Mckinsey&Co. (2016). ‘The State of Fashion 2017’ Mckinsey.com

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: 28 October 2022)

Mckinsey&Co. (2021). ‘The State of Fashion 2022’ Mcknisey.com

Available at: https://www.mckinsey.com/~/media/mckinsey/industries/retail/our%20insights/state%20of%20fashion/2022/the-state-of-fashion-2022.pdf

(Accessed: 28 October 2022)

Monster. (nd). ‘What is corporate social responsibility (CSR) and how does it apply to my business? Q&A’ Monster.co.uk

Available at: https://www.monster.co.uk/advertise-a-job/resources/workforce-management-planning/leadership-skills-management/what-is-corporate-social-responsibility/#:~:text=Cost%20reductions%3A%20CSR%20initiatives%20don,be%20reduced%20and%20materials%20recycled.

(Accessed: 30 October 2022)

Rinalducci, S. (2022). ‘Four pillars of sustainability’ Sustainability-success.com

Available at: https://sustainability-success.com/four-pillars-of-comsustainability/#google_vignette

(Accessed: 28 October 2022)

Statista (2022). ‘Statista: 2022 Apparel data’ Statista.com

Available at: https://www.statista.com/outlook/dmo/ecommerce/fashion/apparel/worldwide

(Accessed: 30 October 2022)

Statista (2022). ‘Apparel – Worldwide’ Statista.com

Available at: https://www.statista.com/outlook/dmo/ecommerce/fashion/apparel/worldwide

(Accessed: 30 October 2022)

Stevenson, C. (2019). ‘(I was there) when it all went down’ 

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: 21 October 2022)

Whitaker, A. (2018). ‘An interview with Amy Whitaker, speaker at Meaning 2018’ Meaningconference.co.uk

Available at: https://meaningconference.co.uk/blog/bridging-gap-between-art-business

(Accessed: 31 October 2022)

Sustainability is a term that has stirred plenty of conversation within corporations over the last few years, being mentioned in company filings 169,336 times last year alone. (Global data, 2022) It is something that 57.7% of Gen Z and millennial shoppers vote either fairly or very important as of 2022 and are willing to pay more for. (Drapers, 2022) However, the term itself is far too broad which could be why so many are still getting it wrong. (Wicker, 2020) This blog post aims to focus on ‘people’, the social side of the umbrella term sustainability, and one of its four key pillars.

At its core, social sustainability aims to provide well-being, equality, and valuable social relationships to people through products and services that benefit the community rather than taking from it. (Rinalducci, 2022) With the fashion industry’s undeniable history of social exclusion and glamorization of the dominant culture, it is a must for brands to shift the narrative and take on these values if they want to appeal to the most valuable consumer group of today. (Mitterfellner, 2019)

Now making up almost 30% of the world’s population, born between 1995 and 2015 is Generation Z. (Issuu, 2020) Agents of change, Gen Z consumer habits are unlike those of previous generations. However, in the digital age of global connectivity, this generation has potent influence across all demographics. To Gen Z, consumption is an expression of identity and a matter of ethical concern and the brands they shop from should reflect these values. (Mckinsey, 2019) By focusing more on individuals rather than narrow groups of ideal people, brands can begin to create garments that serve to sustain well-being through means of comfort and self-expression for the wearer. Through “design thinking”, as described by Idris Mootee, brands can also begin to think about other ways they can apply this humanistic approach within their ethos so that it permeates throughout their DNA as a company. (Hethorn et al, 2015) It is not through being politically correct on the forefront that one will attract the Gen Z customer but through transparency and honesty. If a brand claims diversity, then diversity should be seen in all aspects, from the models on the catwalk to the people in the conference room and each treated with respect and appropriate compensation for their work.

An excellent example of brand diversity done right is Dior’s Cruise Collections. Creative Director, Maria Grazia Chiuri and her team work with local suppliers and craftspeople from the chosen location when creating the collection. She immerses herself fully within the culture to ensure everything is done right and the community benefits. (Mower, 2022) If all brands took this approach, the fashion industry could be the catalyst we need for a harmonious society.

Reference list:

Drapers. (2022) ‘Gen Z and Millenials 2022’ Drapersonline.com

Available at: https://www.drapersonline.com/guides/gen-z-and-millennials-2022

(Accessed: 15 October 2022)

Drapers. (2022) ‘On a scale of 1-5 where 1 is not important and 5 is very important, how important is it that a fashion brand shows it is: Environmentally and ethically sustainable?’ Drapersonline.com

Available at: https://www.drapersonline.com/guides/gen-z-and-millennials-2022

(Accessed: 15 October 2022)

Francis, T., & Hoefel, F. (2019) ‘True Gen: Generation Z and its implications for companies’ Mckinsey.com

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: 14 October 2022)

Global Data. (2022) ‘Global: Sustainability and Ethics Mentions in Company Filings (2017-2021)’ Globaldata.com

Available at: https://www.globaldata.com/data-insights/macroeconomic/global–sustainability—ethics-mentions-in-company-filings-2086144/

(Accessed: 15 October 2022)

Hethorn, J., & UlasewiczA, C. (Eds.). (2015). Sustainable Fashion: What’s Next? A Conversation about Issues, Practices and Possibilities. New York: Bloomsbury, pp. 51-75

Available at: https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1161923

(Accessed: 13 October 2022)

Issuu. (2020) ‘Demographic Shifts: The world in 2030’ issuu.com, p. 5

Available at: https://issuu.com/cw-red/docs/cw_demographic_shifts

(Accessed: 16 October 2022)

LVMH. (2022) ‘Dior Cruise 2023 collection celebrates Andalusian culture’ lvmh.com

Available at: https://www.lvmh.com/news-documents/news/dior-cruise-2023-collection-celebrates-andalusian-culture/

(Accessed: 16 October)

Mitterfellner, O. (2019) Fashion Marketing and Communication: Theory and Practice Across the Fashion Industry, Taylor & Francis Group, Milton, p. 176

Available at: https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1450606

(Accessed: 14 October 2022)

Mower, S. (2022) ‘Christian Dior Resort 2023’ Vogue.com

Available at: https://www.vogue.com/fashion-shows/resort-2023/christian-dior

(Accessed: 16 October)

Rinalducci, S. (2022) ‘Four pillars of sustainability’ Sustainability-success.com

Available at: https://sustainability-success.com/four-pillars-of-comsustainability/#google_vignette

(Accessed: 15 October 2022)

Seppic. (2021) ‘Gen Z: The Beauty of Tribes’ Seppic.com

Available at: https://www.seppic.com/en/active-ingredients/gen-z-beauty-tribes

(Accessed: 16 October 2022)

Wicker, A. (2020) ‘ The flawed ways brands talk about sustainability’ Voguebusiness.com

Available at: https://www.voguebusiness.com/sustainability/the-flawed-ways-brands-talk-about-sustainability-coronavirus

(Accessed: 15October 2022)

In 2022, it’s no secret that the fashion industry is one of the world’s largest contributors to climate change and pollution, being responsible for 2.1 metric tons of greenhouse gas (GHG) emissions in 2018 which is about 4% of the global total. (Berg et al, 2020) To put this into perspective that is about the same amount of GHG emissions produced by the UK, France and Germany combined. (Hedges, 2021) To make matters worse, it is also predicted that global apparel consumption is set to rise by 63% in 2030 (Eder-Hansen et al, 2017) so it is truly critical that the fashion industry to clean up its act and become more sustainable.

Effects on the environment is explored as just one of the four main pillars of sustainability; Planet, People, Profit and Purpose and refers to ‘improving sustainability by preserving the environment and more rational use of resources’. (Rinalducci, 2022) In fashion, this philosophy can be applied at various points of garment life cycles, from the textiles and fabrics used to the way they are laundered but, a particularly crucial part is what is known as the ’end of life’ of a garment. At this stage the garment is usually discarded, ending up in landfill, this is because the way the economy works is mostly linear: resources are used up, products are made, bought and thrown away. However, ever since the modern environmental movements of the 1960s and 1970s (Ekins, 2019) a new, ‘circular economy’ has been slowly gaining traction as a more sustainable way of life.

The goal of the circular economy is “close the loop” and build long-term resilience for our planet and its resources. Moreover, it is more than just recycling and consists of three main principles: eliminate waste and pollution, keep products and materials in use (at their highest value) and regenerate natural systems. It is important to note though, that circular economy is not the only answer to sustainability issues within fashion and should be complementary to other efforts. (Gwilt, 2020)

‘Ensuring sustainable consumption and production patterns’ is number 12 of the UN’s 17 Sustainable Development Goals set up in 2015. In terms of the fashion industry this is relevant to almost every step of the supply chain and everyone involved. Synthetic fibres like polyester originate from crude oils, a major contributor of GHG, and even natural fibres like cotton is harvested in ways that are harmful to people and the planet. However, it is not just things that lie in the hands of designers because consumers can choose sustainable consumption through their purchases.

Reference list:

Berg, A et al, (2020) Fashion on climate. Mckinsey & Company.

Available at: https://www.mckinsey.com/industries/retail/our-insights/fashion-on-climate

(Accessed: 9 October 2022)

Eder-Hanson, J et al (2017) Pulse of the Fashion Industry. Global Fashion Agenda & The Boston Consulting Group. Page 8.

Available at: https://developmenteducation.ie/wp-content/uploads/2019/12/Pulse-of-the-Fashion-Industry_2017.pdf

(Accessed: 9 October 2022)

Ekins, P (2019) The Circular Economy: What, Why, How and Where. UCL Institute for Sustainable Resources, University College London. Page 4.

Available at: https://www.oecd.org/cfe/regionaldevelopment/Ekins-2019-Circular-Economy-What-Why-How-Where.pdf

(Accessed: 9 October 2022)

EllenMacarthurFoundation.org (ND) Circular economy introduction. Ellen Macarthur Foundation.

Available at: https://ellenmacarthurfoundation.org/topics/circular-economy-introduction/overview

(Accessed: 7 October 2022)

Gwilt, A. (2020) A practical guide to sustainable fashion. London. Bloomsbury Visual Arts.

Available at:  https://ebookcentral.proquest.com/lib/UAL/detail.action?docID=6234061

(Accessed: 7 October 2022)

Hedges, T. (2021) Fashion for good: why sustainability is on trend. GWI.

Available at: https://blog.gwi.com/chart-of-the-week/sustainable-fashion/

(Accessed: 9 October 2022)

Rinalducci, S (2022) Four pillars of sustainability. Sustainability success.

Available at: https://sustainability-success.com/four-pillars-of-sustainability/#google_vignette

(Accessed: 9 October 2022)

UN.org (ND) Goal 12 Overview. UN.org.

Available at: https://sdgs.un.org/goals/goal12

(Accessed: 9 October 2022)

HARA the label

Australia-based fashion brand Hara the label was founded in 2016 by Allie Cameron after facing the heartbreaking realities of the fast-fashion industry during her time in India. Hara was created with a vision for fashion to do good, with a mission to ‘empower lives, rejuvenate the earth and bring change, awareness and education to the fickle fashion industry’, and it is through this mission and dedication to it that Cameron has built up her brand and the community within it.

Hara is a special brand to me because it embodies more than just clothes, it’s about the people who wear them, the people who make them and the planet they’re made on. It’s easy to see that this isn’t just a brand to whom sustainability and social responsibility is just a PR stunt, it’s in their DNA. Every step within their design process and supply chain is carefully thought out to result in the least damaging effect possible to the environment; proving to fashion brands everywhere that even though sustainability is hard, it is not impossible and, with a little TLC, steps can be made towards better sustainability initiatives.

One thing that’s unique about Hara is that most of their clothes are made from bamboo fiber. Everything from the buttery soft fabric to the labels sewn on the clothes. Whilst bamboo is one of the least sustainable textiles out of sustainable fabrics, as it requires chemicals to go from fiber to fabric, it is still a major improvement on what most fashion brands typically go for (cotton, polyester, nylon etc.). Bamboo is organic and requires significantly less water than cotton and can be grown without use of fertilizers and pesticides. It also absorbs much more CO2 than cotton and more can be grown in less space. All dyes used on their products are also natural dyes from plants like Turmeric, Indigo and Madder Root or low impact fiber-reactive dyes. Hara means ‘green’ in Hindi, and they definitely live up to the name.