Aasiya Kara

About Aasiya Kara

Posts by Aasiya Kara:

PURPOSE

⋅

A brands purpose relates to their ethos and value proposition, and is their core reason for authentically existing and evolving in the saturated fashion industry. In order to compete while honouring their purpose, brands must convey their philosophy to consumers. Particular attention should be paid to Gen Z as the next generation of dynamic and disruptive shoppers, given their focus on sustainability and ethics; Drapers found that 30.4% of Gen Z think it is ‘very important’ for a fashion brand to embrace diversity regarding race, sexuality, gender and ability (Moran, 2022). 

A companies mission and value proposition allow for more than just a physical product to be sold. Clear brand philosophy means that consumerism is not merely transactional in a tangible sense, as it also offers consumers the ability to express themselves and embody the person they want to be. From a psychological perspective, it can be argued that brand philosophy enables greater congruence between the consumers current self, and their ideal self (Mitterfellner, 2019, p.141). Such behaviour is integral to upholding brand philosophy through building relationships between customers and corporations. This is important for the brand, who reaps great financial benefits, but also for the consumer forming an emotional attachment to the product offer.

Brands communicate their purpose to Gen Z via social media channels heavily dominated by the demographic, such as Instagram and TikTok. Corporate social responsibility is becoming increasingly transparent, with brands openly detailing their commitments and goals for consumers to appreciate. For example, Versace emphasises ‘unity, positivity, diversity, adventure and integrity’ (Versace, 2022) central to their business strategy. Their mission has not only been literally communicated on their website, but is conveyed through their runway and print casting, as well as bold designs celebrating glamour and unique self-expression for all. Social media significantly influences consumer behaviour (Hethorn and Ulasewicz, 2015), and so prominent, established brands like Versace have had to introduce more omni-channel experiences conveying their purposes to Gen Z. In boutique spaces, the company incorporates Roman elements, such as the Cosmati flooring (Figure 2) complementing the modernistic visual merchandising. This clearly communicates Versace’s purpose of blending key design motifs with an aspirational and striking product offer. Yuniya Kawamura explaining that ‘fashion may be socially frivolous but it is not sociologically trivial’ (Corner, 2014, p.26) applies to the pillar of Purpose, because of the extent to which it impacts consumer psychology and decision-making, in turn feeding brands to further their purpose and mission.

Figure 1: Alva Claire, Jill Kortleve and Precious Lee walking Versace SS21
Figure 2: Versace boutique in Paris, France. Design by Jamie Fobert Architects, photography by Olivier Hess.

REFERENCES:

Corner, F. (2014) Why Fashion Matters. Available at: https://ebookcentral.proquest.com/lib/ual/reader.action?docID=5878041&ppg=7

[Accessed 25 October 2022]

Hethorn, J., Ulasewicz, C. (2015) Sustainable Fashion: What’s Next? A Conversation about Issues, Practices and Possibilities. Available at: https://www.versace.com/gb/en-gb/versace-manifesto.html

[Accessed 25 October 2022]

Mitterfellner, O. (2019) Fashion Marketing and Communication: Theory and Practice Across the Fashion Industry. Available at: https://ebookcentral.proquest.com/lib/ual/detail.action?docID=5981798

[Accessed 25 October 2022]

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

[Accessed 25 October 2022]

Versace (2022) A Manifesto of Versace Values. Available at: https://www.versace.com/gb/en-gb/versace-manifesto.html

[Accessed 25 October 2022]

Liked Liked
No Comments

PROFIT

⋅

Profit is a necessary incentive for commerce to thrive. Its significance is debated in regards to the associations between creative and business industries. Currently, the fashion industry is worth $1.5tr USD (Smith, 2022), and its magnitude suggests great margin for profit, as well as other factors determining this level of surplus including human and economic capital investments. 

All sectors of the fashion industry, including manufacturing and retailing, were disrupted by Covid-19. With McKinsey & Company, Business of Fashion projected that non-luxury and luxury fashion sales would mostly recover in the US and China, but growth would be less imminent for Europe (McKinsey & Co., 2021). Such expectations can imply that performance varies globally, based on differing consumer trends and incomes. 

In unpredictable economic times, such as the Covid-19 pandemic and anticipated recession in Q4, 2022, competitiveness for brands can be derived from greater flexibility (Corner, 2014, p.6). As long as they remain aligned to their heritage, values and target consumer base, brands should consider expanding their offer, and in turn, presence in the fashion industry. For example, Supreme’s collaborations with Pat McGrath, Tiffany & Co., and Louis Vuitton have attracted new audiences to the streetwear label. Through envisioning a youthful yet distinct take on luxury, Supreme has successfully employed visual codes (Mitterfellner, 2019, p.121) such as the iconic red logo and inspiration from skate culture, to build a brand identity strong enough to enable such collaborations, thus enabling their competitiveness despite macroeconomic disruption. 

Figure 1: Supreme x Tiffany & Co. Fall 2021

The capitalistic nature of the global economy has placed fashion brands under pressure to marry creativity with commerce. Several companies have responded by introducing new chief creative officers to boost commercial growth. Burberry appointed Daniel Lee as Riccardo Tisci’s successor, due to his role in sustaining revenue growth of ‘nearly €1.2 billion in 2019’ at Bottega Veneta (O’Connor and Williams, 2022). This was mainly due to his influential footwear and accessories designs, helping to commercially and culturally elevate the brand despite worldwide economic downturn. 

Figure 2: Look 19/63, Balenciaga Resort 2023

It may be argued that no one has unified creativity with commerce better than Demna of Balenciaga. The Georgian designer presented his Resort 2023 collection at the New York Stock Exchange, quite literally portraying the relationship between fashion and business. While sending latex-clad models down the trading floor appears to be an absurd concept, such originality has translated into undeniable success for the fashion house. Off the runway, Balenciaga’s sunglasses and bags are heavily popular with Gen Z and millennials. These accessories are intentionally at lower price points, a conscious commercial decision made to generate greater sales from aspiring customers. Overall, profitability is possible for brands who are unafraid of taking risks without compromising their creative vision, and strike a balance between commercial and artistic success.

REFERENCES:

Business of Fashion, McKinsey & Co. (2021) 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 17 October 2022]

Corner, F. (2014) Why Fashion Matters. Available at: https://ebookcentral.proquest.com/lib/ual/reader.action?docID=5878041

[Accessed 17 October 2022]

Mitterfellner, O. (2019) Fashion Marketing and Communication: Theory and Practice Across the Fashion Industry. Available at: https://ebookcentral.proquest.com/lib/ual/reader.action?docID=5981798

[Accessed 18 October 2022]

O’Connor, T., Williams, R. (2022) Why Burberry Changed Designers. Available at: https://www.businessoffashion.com/articles/luxury/burberry-names-daniel-lee-chief-creative-officer/

[Accessed 19 October 2022]

Smith, P. (2022) Global apparel market – statistics & facts. Available at: https://www.statista.com/topics/5091/apparel-market-worldwide/

[Accessed 19 October 2022]

Liked Liked
No Comments

PEOPLE

⋅

‘People’ as a pillar concerns diversity and equity, regardless of characteristics such as race, sexuality and ability. The importance of such inclusion was highlighted by McKinsey & Co., who found that companies with greater gender diversity outperformed those with less representation by 48% (McKinsey, 2020, p.3).

Consumers make up demographics such as Generation Z, born between 1995-2010, and millennials (McKinsey, 2018). Gen Z is synonymous with creative self-expression and campaigning for causes they believe in, such as climate action and racial justices. They are also prominent in digital media; 50.3% of this demographic use TikTok, compared to 25.7% of millennials using the popular media app (Moran, 2022). This has led to brands adapting their strategies to now appeal to younger customers, who value sustainability and originality in everything they wear, purchase, and do, as supported by Drapers’ finding that 57.7% of Gen Z and millennial consumers believe environmental and ethical sustainability to be ‘fairly or very important’ (Moran, 2022). 

One example of a brand successfully attracting Gen Z is Heaven by Marc Jacobs. ‘With prices mostly under $400’ (Biondi, 2022), Heaven is a more affordable product range than the Marc Jacobs brand itself. It is an accessible yet aspirational brand; quality and design are not compromised, in return for a range reminiscent of 90’s rave culture and maximalism. To further resonate with Gen Z, Heaven taps relevant pop culture figures for its advertising, such as Olivia Rodrigo and Steve Lacy. Their authentic approach to curating a nostalgic and eclectic image has enabled Gen Z to experiment with their looks and express their individualities in Heaven (Francis and Hoefel, 2018, p.4).

Figure 1: Steve Lacy for Heaven by Marc Jacobs Spring 2022 campaign, photographed by Harley Weir

Pressure from #MeToo and TIME’S UP movements has forced other brands to embrace greater diversity. Companies such as Victoria’s Secret have faced backlash for claims of sexism and exclusivity in their branding, most notably in their Fashion Shows and ‘Angels’. Consequently, the VS Collective was conceived and is made up of plus-size, LGBT and ethnically diverse brand ambassadors. Despite the rebrand, many consumers criticised the company’s dissolution of their previously glamorous image. This led to accusations that Victoria’s Secret only reserved fashionable elements, such as the Fantasy Bra, for their monocultural marketing, thus suggesting that only slim, Caucasian women are attractive and worthy of such adornments. Victoria’s Secret exemplifies how some brands only consider front-of-house diversity without overhauling every aspect of business. Such inattentive decision-making can make consumers feel tokenised and therefore less emotionally invested in the brand and its product offer (Mitterfellner, 2019, p.141). 

Figure 2: Victoria’s Secret VS Collective

In order for a fashion brand to be successful, they must champion diversity and inclusivity as key business values rather than buzzwords and trends. Representation is only beneficial when minorities are portrayed in a positive and empowered light (Corner, 2014), as seen in Cartier’s Pasha Watch Campaign for example. It is vital that more diverse teams are integrated throughout all levels of business, in order to produce greater successes for the people working there, and those they represent in society.

REFERENCES:

Biondi, A. (2022) The designer of Marc Jacobs’ Heaven line is playing with pop culture. Available at: https://www.ft.com/content/758d43a0-7890-48b3-9166-c2a28f4eb0f7

[Accessed 12 October 2022]

Corner, F. (2014) Why Fashion Matters. Available at: https://ebookcentral.proquest.com/lib/ual/detail.action?docID=5878041

[Accessed 12 October]

Dolan, K., Dixon-Fyle, S., Hunt, V., Prince, S. (2020) McKinsey & Co., Diversity wins. Available at: https://www.mckinsey.com/~/media/mckinsey/featured%20insights/diversity%20and%20inclusion/diversity%20wins%20how%20inclusion%20matters/diversity-wins-how-inclusion-matters-vf.pdf

[Accessed 12 October 2022]

Francis, T., Hoefel, F. (2018) McKinsey & Co., ‘True Gen’: Generation Z and its implications for companies. 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 October 2022]

Mitterfellner, O. (2019) Fashion Marketing and Communication: Theory and Practice Across the Fashion Industry. Available at: https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1450606

[Accessed 12 October 2022]

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

[Accessed 10 October 2022]

Liked Liked
No Comments

PLANET

⋅

Planet is one of four pillars of the Fashion Business School at the London College of Fashion, and it refers to environmental, economic and social sustainability. Sustainability has been defined as ‘meeting the needs of the present without compromising the ability of future generations to meet their own needs’ (Brundtland, 1987). This suggests that both consumers and corporations have an obligation to protect the planet and its finite natural resources. In order to achieve this, the United Nations created seventeen Sustainable Development Goals (SDGs), including the environmentally orientated ‘Life on Land’ and ‘Climate Action’ goals for example.

Figure 1: Circular Fashion Ecosystem, Lablaco Circular Fashion Report, Vogue Business (2020)

With Covid-19 impacting global efforts to attain a more equal future, the fashion industry still remains a serious culprit in threatening the planet and its diverse ecosystems. Arguably, it is the worlds second most polluting industry, reflected by the fact that ‘84% of fashion’s carbon footprint comes from the creation of new products’ (Moran, 2022). Due to this, sustainability highlights the need for slow fashion and ensuring garments are taken care of to extend their life cycle. Figure 1 illustrates how changes to supply chains, garment production and design, and consumer attitudes, can all ensure greater reusability and longevity of clothing items. This concept is known as circularity, which opposes the linear model of fashion production and consumption in which garments are simply made, used and disposed of quickly. Overhauling fashion as a more circular economy is vital if the UN aims to achieve all seventeen SDG’s by 2030.

Sustainable fashion can be viewed as an antithesis to the profit-driven industry, valuing low production costs and allocative inefficiency, over workers’ rights and standards of living (Condé Nast, 2020). The fashion industry is now adopting greater corporate social responsibility, with Burberry, once notorious for incinerating $37.8 million worth of unsold stock (Burberry, FY 2017-18) aiming to reduce its ‘emissions by 46% by 2030’ (Moran, 2022). Such a pledge shows how fashion brands with significant market share and influence are now positioning economic sustainability at the centre of their business strategy. This is crucial to protecting the planet and establishing fashion as a more sustainable industry. Implementing this ‘triple bottom line’, proposed by John Elkington in 1994, means that fashion corporations are not only focused on profitability, but also transparency and socioeconomic development too. This can produce exponential success for the UN, and the planet as a whole, if brands emphasise the environment and giving back to local communities as much as they consider their own economic wellbeing. 

Figure 2: Sustainable Development Goal #12, Responsible Consumption and Production, United Nations (2015)

One SDG which is relevant to and impactful upon fashion is #12, Responsible Consumption and Production, as shown in Figure 2. Being a responsible consumer is not limited to when and what purchases are made; it also means educating oneself on their own behaviours, and how they may inadvertently contribute to the fact that between 2000 and 2014, clothing production doubled (Remy, S., Speelman, E., Swartz, S., 2016) due to evolving consumer demands and preferences. Therefore, it is generally agreed that fashion consumption and production patterns must change, with it being imperative for brands and consumers to exhibit genuine accountability and awareness of their own environmental, economic, and social impacts upon the planet.

REFERENCES:

Burberry (2017) Annual Report 2017/18. Available at: https://www.burberryplc.com/content/dam/burberry/corporate/Investors/Results_Reports/2018/Burberry_AnnualReport_FY17-18.pdf

[Accessed 7 October 2022]

Condé Nast in partnership with the Centre for Sustainable Fashion, London College of Fashion, University of the Arts London (2020) The Sustainable Fashion Glossary. Available at: https://www.condenast.com/glossary

[Accessed 5 October 2022]

Ellen MacArthur Foundation (2017) A New Textiles Economy: Redesigning Fashion’s Future. Available at: https://archive.ellenmacarthurfoundation.org/assets/downloads/A-New-Textiles-Economy.pdf

[Accessed 6 October 2022]

Moran, G. (2022) Drapers, Collaborating for Change: Sustainability Report 2022. Available at: https://www.drapersonline.com/guides/collaborating-for-change-sustainability-report-2022

[Accessed 7 October 2022]

Remy, S., Speelman, E., Swartz, S. (2016) Style that’s sustainable: A new fast-fashion formula. Available at: https://www.mckinsey.com/capabilities/sustainability/our-insights/style-thats-sustainable-a-new-fast-fashion-formula

[Accessed 7 October 2022]

United Nations Brundtland Commission, Oxford University Press (1987) Brundtland Report. Available at: https://www.are.admin.ch/are/en/home/media/publications/sustainable-development/brundtland-report.html

[Accessed 6 October 2022]

Vogue Business Team (2020) Fashion’s circular economy could be worth $5 trillion. Available at: https://www.voguebusiness.com/sustainability/fashions-circular-economy-could-be-worth-5-trillion?status=verified

[Accessed 6 October 2022]

Liked Liked
No Comments
94C65279-4AD5-4887-B9B8-129CB9DF895B

The Row

⋅

A favourite fashion brand of mine is The Row. Founded in 2006 by former child actresses Mary-Kate and Ashley Olsen, this New York City-based luxury label was born in 2005 when Ashley set herself the challenge to create the perfect T-shirt. The Row sells ready-to-wear, resort and accessories collections all characterised by the Olsen Twins’ own personal monochromatic and laidback styles. Their main product offer is reminiscent of high-quality basics worn by women in New York, Paris and London, with the actual brand being named after British luxury men’s tailoring company Savile Row. Offices are situated in these three cities, but the brand regularly presents at New York Fashion Week. Since its inception, The Row has been nominated for multiple CFDA Awards, and won their first Womenswear Designer of the Year award in 2012. 

Liked Liked
No Comments