Delphine Parkin

‘Profit’ is the third pillar within the Fashion Business School, and arguably makes the world go round in all industries. Profit and the economy are interlinked systems that effect all individuals, orgnisations and governments worldwide.

The size of the fashion industry is unmeasurable in terms of physical size, but it can be measured through value and price. A McKinsey report estimates the global revenue of the apparel industry was between $1.7 trillion and $2.5 trillion in 2021 (McKinsey, 2022). The industry is extremely fast-paced and constantly increasing in size making it difficult to comprehend and measure, the fast-fashion movement has amplified this due to overconsumption.  

One sector within the industry performing poorly is manufacturing and production. There are many practices and processes continuously used within the industry that cause extreme damage to the environment and social systems, affecting the industry as a whole. Examples include; using fabric dyes which pollute communal water sources and outsourcing to factories with unhealthy working conditions. On the other hand, textile recycling is a sector performing well and continuously researching areas for improvement. The industry is able to process 93% of waste without producing harmful byproducts or new hazardous waste (Hethorn, 2015). This poses the question; if waste can be processed sustainably, how come such vast amounts of clothing end up in landfill? There are many practices used to recycle clothes that have been perceived to reach the ‘disposal’ phase of the lifecycle. This includes; donating to charities and returning to the original store if a recycle scheme is available.

During uncertain economic times, such as a recession, there are many problems brands face that pose a threat to profit and growth, making survival during these periods essential. Focus from profit or growth should shift to the consumer and survival to mitigate the increased risks that surface as a result of unstable economic conditions. “Now is not the time to ignore the business you have. Place more emphasis on inside sales to your current customers” (Clausen, 2020). This can be achieved by researching current trends more thoroughly and paying greater attention to the actions of current customers.

Charles Fredrick Worth, the ‘Father of Haute Couture’, recognised the economic benefit of aligning himself with art and creativity over commerce making him the first creative director to successfully bridge the gap between creativity and commerce (Stevenson, 2019). In November 2019, Ikea collaborated with Virgil Abloh to create the IKEA x OFF-WHITE collection ‘Still Loading’. It incorporated the creativity of Abloh’s typical designs and the commerce of IKEA’s basic furniture to ‘tap into a younger market’ and exemplify contemporary fashion collaborations (Stevenson, 2019).

Reference List

Amed et al (2022) ‘The State of Fashion’ McKinsey & Company [accessed October 2022]

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

Bhatia, B (2020) ‘IKEA x Off-White is finally here & there are even more surprises in store for fans’ Stylist [accessed October 2022]

https://www.stylist.co.uk/fashion/ikea-x-off-white-collaboration-where-to-buy/319889

Clausen, E (2020) ‘Marketing Rules To Follow During Uncertain Economic Times’, Forbes [accessed October 2020] 

https://www.forbes.com/sites/forbesagencycouncil/2020/04/03/marketing-rules-to-follow-during-uncertain-economic-times/?sh=1f8b14e34a36

Devaney, S (2017) ‘Stella McCartney Promotes Sustainable Fashion By Shooting Latest Campaign On A Landfill Site In Scotland’ Huffington Post [accessed October 2022] 

https://www.huffingtonpost.co.uk/entry/stella-mccartney-sustainability-landfill-site_uk_596f35f5e4b0a03aba8630fa

Hethorn, J & Ulasewicz, C (2015) ‘Sustainable Fashion: What’s Next? Economic Impact of Textile & Clothing Recycling’, New York: Bloomsbury [accessed October 2022]

https://www-bloomsburyfashioncentral-com.arts.idm.oclc.org/encyclopedia-chapter?docid=b-9781501312250&tocid=b-9781501312250-chapter9&pdfid=9781501312250.ch-009.pdf

Stevenson, C (2019) ‘(I was there) when it all went down’, in Cronberg, A.  (ed) Vestoj issue 9: On Capital [accessed October 2020] 

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

‘People’, one of the four pillars identified by the Fashion Business School. It refers to many ideas and practices including how to sustain people through fashion, as well as diversity, inclusion and representation. ‘People’ within the fashion industry were traditionally European, white, older males, known as Eurocentrism; focusing on European culture and history, aesthetics, behaviours, and values, excluding views from non-European cultures (Sundberg, 2009). 

‘Gen Z’ are individuals born between 1995 and 2010 sharing characteristics other generations may have stereotypes, misconceptions and preconceptions about. They are “true digital natives: from earliest youth, they have been exposed to the internet, to social networks, and to mobile systems” and “a hypercognitive generation very comfortable with collecting and cross-referencing many sources of information” (Francis & Hoefel, 2018). Gen Z are demonstrably more open to the idea of the metaverse and new technologies, showing adaptability and flexibility. 61.6% of Gen Z are familiar with the metaverse, significantly higher than 39.5% of millennials (Moran, 2022). 

Gen Z are technologically advanced, responding well to brands constantly developing their online presence. 32.7% of Gen Z say they’re more likely to enjoy the relaxation of online shopping despite being twice as likely to not shop online due to the desire for “digital detoxes” (Moran, 2022). To attract this generation, brands should look to develop online shopping experiences and bricks-and-mortar stores. This can be done by creating enticing displays and apps with m-commerce opportunities. Gen Z finds physical shopping enjoyable due to the ability to spend time with friends and get inspiration from browsing.

Dior’s 2023 Cruise Collection focuses on Andalusia and Maria Grazia Chiuri’s inspiration was dancer Carmen Amaya who performed during the show which took place at The Plaza de Espana. “When Chiuri does her cruise collections, she takes head to the country, to the village the show will be in, to its music and dance, and to the craftsmanship of the region” (Portee, 2022). This is an example of responding to diversity whilst appreciating culture. Local crafts people were involved in the processes, actively engaging with people and fully immersing the brand within the culture of the region.  

To be successful, brands need to research constantly, developing their presence within the market to meet consumer needs. This can be done by putting consumers at the centre of all processes to meet individual needs. Key skills required to achieve this include; communicating effectively to consumers, researching individual’s needs, and being transparent to maintain strong relationships. This will enable fashion brands to be successful in a fast paced market. 

Gen Z are the future of fashion therefore should be involved in all fashion business processes to produce the best possible outcomes for consumers, brands and other stakeholders within the industry.

Bibliography 

Francis, T & Hoefel, F (2018) ‘True Gen’, McKinsey & Company [accessed October 2022]

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

Moran, G (2022) ‘Gen Z and Millennials 20222’, Drapers [accessed October 2022] 

Gen Z and Millennials 2022

Gen Z and Millennials 2022

Portee, A (2022) ‘Andalusian Cultural Heritage And Style Influence Dior Cruise Collection’, Forbes [accessed October 2022]

https://www.forbes.com/sites/allysonportee/2022/06/16/andalusian-cultural-heritage-and-style-influence-dior-cruise-collection/?sh=70203786f511

Sunbair, E (2022) ‘Dior Cruise 2023: An Ode To Spain’s Vibrant History And Artistry’, ELLE [accessed October 2022] 

https://www.elle.com/uk/fashion/a40321617/dior-cruise-2023/

Sundberg, J (2009) ‘Eurocentrism’, Science Direct [accessed October, 2022]

https://www.sciencedirect.com/topics/social-sciences/eurocentrism

‘Planet’ is one of the four pillars of the Fashion Business School, which incorporates aspects of sustainability, circularity & the seventeen Sustainable Development Goals, which will be discussed later.

The Circular Economy is based on three principles; designing out waste and pollution, keeping products and materials in use and regenerating natural systems (‘What is Circular Economy?’, Ellen McArthur Foundation, 2017). It is a process designed to overcome issues in relation to production, consumption and responsibility. Circularity should aim to use resources available in a sustainable manner without compromising the resource requirements for future generations, such as oil and fossil fuels. In addition, research should be continuously conducted to discover new resources that do not cause negative impacts such as high carbon dioxide emissions, contributing to climate change. Circularity is needed within the fashion industry in order to bring about significant changes which are essential to reduce the negative impacts faced globally as a result of the industry’s actions. For example, one truck full of clothing is being burned or put into a landfill every second (“Fashion & A Circular Economy”, Ellen McArthur Foundation,2018) causing severe environmental implications such as extensive greenhouse gas emissions. To mitigate this, consumers can reduce their carbon footprint by shopping more consciously and less often. On the other hand, it takes an average of 5,196 litres of water to produce a pair of jeans in Brazil (Simone Preuss, Fashion United, 2019) which is significant. However, 92% of water consumption comes from rainwater which has no environmental impact, therefore, reducing the country’s negative impact on water sources.

(Ellen McArthur Foundation, ‘A Model for a New Textiles Economy’, 2017)

Sustainability within the fashion industry covers a range of systems, ideas, and processes, from sourcing responsibly made materials to reducing a brand’s carbon footprint by shortening the supply chain. Sustainability within fashion is evident, for example, with Stella McCartney who uses organic cotton and low-impact dyes which do not affect water sources (Alison Gwilt, ‘A Practical Guide to Sustainable Fashion’, Page 38, 2009). Introducing sustainable practices into the industry in a more widespread manner will encourage contributors to do their part. This involves actions from brands, suppliers, and consumers individually.

(Stella McCartney Landfill Campaign A/W, Scotland, 2017, Huff Post)

Sustainable Development Goal 12 ‘Responsible Consumption and Production’ has relevance and impact on the fashion industry as it relates to the supply chains of brands. To reduce carbon footprint, waste and other impacts, the industry needs to make significant changes, for example using fabric dyes that do not have environmental impacts if polluted into communal water sources. Also, brands need to ensure that employees are treated fairly, this includes; pay and working conditions, especially when production is outsourced to developing countries. If not, supply chains become less and less responsible, having knock-on negative impacts on communities worldwide, leading to exploitation and a negative brand image.

Reference List

Susan Devaney, Stella McCartney Landfill Campaign, Scotland 2017, Huff Post
https://www.huffingtonpost.co.uk/entry/stella-mccartney-sustainability-landfill-site_uk_596f35f5e4b0a03aba8630fa

Alison Gwilt, A Practical Guide to Sustainable Fashion, 2009, Bloomsbury Publishing USA
https://ebookcentral.proquest.com/lib/ual/reader.action?docID=6234061

Ellen McArthur Foundation, A New Textiles Economy, 2017
https://emf.thirdlight.com/link/2axvc7eob8zx-za4ule/@/preview/1?o

Ellen McArthur Foundation, 2017
https://ellenmacarthurfoundation.org/topics/circular-economy-introduction/overview

Simone Preuss, Fashion United, 2019
https://fashionunited.uk/news/business/vicunha-introduces-project-for-reducing-water-consumption-in-jeans-production/2019070544098

I discovered Ganni pre-pandemic when shopping at a sale in Flannels. I came across a specific t-shirt which caught my attention. To this day, Ganni t-shirts are still the best-fitting t-shirts I have found. Sustainability & responsibility is at the heart of Ganni which makes it a more accessible brand for those looking to shop more consciously. 

Each year, Ganni produces a Responsibility Report which outlines its actions to be a more sustainable brand. This report also admits to the downfalls and areas needing improvement to be more responsible. I find the transparency of the brand extremely refreshing, especially in the current climate which revolves around the cycle of fast fashion. 

Ganni dedicates a section of their clothing specifically to ‘responsible materials’. These items are made from a blend of certified organic cotton and banana agri-waste by PYRATEX® which is a company that transforms the waste from bananas into cotton-like material (GANNI website, 2022). 

This significantly reduces the brand’s carbon footprint as banana food waste is extremely high in CO2 emissions. This ethical practice also helps to improve the business of the local farmers with an additional source of income. 

During the pandemic, I had the time to delve deeper into the core values of my favourite brands which deepened my love for Ganni. Although there are still areas of improvement regarding the ethicality of the brand, Ganni is heading in the right direction and is a good example for others to follow.

As a young consumer, I aim to shop sustainably in order to reduce the damage caused by the fashion industry. Ganni helps me do this as they also offer second-hand services. For example, ‘Ganni REPEATS’ was introduced in 2021 as a platform to resell used Ganni products and old stock that never sold. 

In conclusion, Ganni is my favourite brand due to the transparency, sustainability and responsibility it provides for the consumer. (all images sourced from the Ganni Website, 2022)