Daisy Zahdeh

People are the core of the fashion industry, from producers and designers to consumers. People are the setters of trends, enabling brands to respond with their expertise to create different ranges suitable for everyone. Different age brackets have unique needs, and with brands listening to their target audiences, they gain popularity. 

With the growth of technology, Gen Z have unlimited access to a range of sources, making them more aware of topics such as diversity and sustainability. Therefore, Gen Z as consumers of fashion often investigate the brand they are purchasing to see their values, 46.8% of Gen Z say they’ve abandoned a purchase that didn’t align with their values (2022), suggesting that Gen Z feel a strong importance when searching for brands that stride to try and make a change. 

Brands need to consider the morals of Gen Z when marketing their products, there are 3 implications companies should be attuned to: consumption as access rather than possession, consumption as an expression of individual identity, consumption as a matter of ethical concern (Francis and Hoefel, 2019). In addition to this, brands should be more open to the idea of incorporating innovative technologies to keep up with Gen Z consumers. According to Amit Schmidt (2019), retailers should think like tech companies, use AI, and machine learning to target individual consumers, therefore attracting Gen Z with their modern communication.  

Shapewear brand, “Skims” by Kim Kardashian has considered people of all types when creating their products. ‘Skims’ have responded to diversity by creating shapewear with a range of sizes up to 4XL, they show this in campaigns by including a range of models with different body types and skin colours. Additionally, Skims has also created a range of shapewear suitable for people with mobility issues(fig 1), Paralympic athlete Scout Basset is the face of the range and believes skims offers inclusivity which a lot of other shapewear brands do not consider. 

Figure 1, Skims limited mobility range campaign (2022) 

For success in a fashion brand, designers must look beyond just creating a product for consumers to purchase, they must invest themselves into the needs and wants of their target audience. ‘Social entrepreneurs’ are a new type of entrepreneur who strives to solve large scale social issues, they can persuade, enlighten, and articulate new meanings and move new concepts through the fashion system (Hethorn, 2015). This type of entrepreneur, described as a “transformative force” (Susan Davis, 2010), can connect to its consumers by addressing different social problems and prioritising this over gaining profit, therefore making consumers attached to the brand, resulting in success (Garlow and Tafel, 2013).  

References:  

Dillon, S (2018). Available at:https://www-bloomsburyfashioncentral-com.arts.idm.oclc.org/encyclopedia-chapter?docid=b-9781474271233&tocid=b-9781474271233-chapter7&pdfid=9781474271233.ch-007.pdf 

Francis, T (2018). 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 

Hahn, J (2022). Skims new range for people with limited mobility. Available at: https://www.dezeen.com/2022/05/06/skims-adaptive-collection-kim-kardashian-news/  

Hethorn, J (2015). Available at: https://www-bloomsburyfashioncentral-com.arts.idm.oclc.org/encyclopedia-chapter?docid=b-9781501312250&tocid=b-9781501312250-chapter3&pdfid=9781501312250.ch-003.pdf  

Mitterfellner, O (2019). Available at: https://ebookcentral.proquest.com/lib/ual/reader.action?docID=5981798 

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

‘Planet’ is one of the four pillars relating to the fashion industry, it refers to our environment and how we treat it, specifically regarding processes such as manufacturing which can cause extreme harm due to the high amount of CO2 emissions many businesses produce. Waste in the fashion industry from fast fashion and micro trends impact our planet and sustainability is needed among popular brands to make a change for our worsening ecosystems and welfare of many communities.  

In order to protect the planet from long-term problems caused by overconsumption, the circular economy is a system encouraging sustainability through its three main principles; design out waste and pollution, keeping products and materials in use and regenerating natural systems (Gwilt, 2014).  

The Ellen MacArthur foundation involves itself with research into the circular economy, describing it as ‘’representing a systemic shift that builds long term resilience” (2017). The CE employs a vital role in changing the fashion industry with features such as the use of nontoxic substances (fig 1) reducing the harm on the planet. 

Sustainability in fashion is a constant change to the life cycle of a garment to reduce the harm on the planet. Sustainability was at its peak during pre-industrialisation, with only natural fibres being processed through labour intensive work, giving textiles a high monetary value, therefore encouraging reusing and repairing (Hethorn, 2015). Since then, consumption has vastly increased from 2 collections annually, to up to 50, this has caused the fashion industry to be named the second most polluting industry in the world, with textiles producing 1.2 billion tonnes of CO2 annually. Greenwashing describes false environmental claims of a product and is common among fast fashion brands, therefore giving consumers a false feeling that their product is sustainable whilst the companies continue to operate unsustainably while receiving profits from their false claims (Gwilt, 2014). 

In 2015, the United Nations created 17 sustainable development goals which address global challenges as a ‘blueprint to achieve a better future for all’. The SDG most relevant to the fashion industry is number 12, ‘responsible consumption and production,’ as overconsumption is a huge problem among consumers which enables brands to churn out new collections to suit micro trends.

Moreover, design and production phases can be altered in ways that create low impact on the environment, brands such as Lucy and Yak have already begun this journey with recycled fabrics and distribution methods that minimise co2 emissions, however for change to occur, more brands must act and be more responsible. 

References:

Gwilt, A (2014), A practical guide to sustainable fashion. London: Bloomsbury. 

Hethorn, J (2015). Sustainable fashion what’s next? A conversation about issues, practices and possibilities. London: Bloomsbury. 

MacArthur, E (2022). Circular economy introduction. Available at: https://ellenmacarthurfoundation.org/topics/circular-economy-introduction/overview 

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

United Nations (2015). The UN 17 sustainable development goals. Available at: https://www.un.org/sustainabledevelopment/blog/2015/12/sustainable-development-goals-kick-off-with-start-of-new-year/ 

Welters, L (2015). The fashion of sustainability. Available at: https://www-bloomsburyfashioncentral-com.arts.idm.oclc.org/encyclopedia-chapter?docid=b-9781501312250&tocid=b-9781501312250-chapter1&pdfid=9781501312250.ch-001.pdf