Gili Ofir

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Gili Ofir ⋅ 31st October 2022

When contemplating the purpose of fashion, Corner (2014) remarks that “Where, why and how we choose to buy our clothes has become a reflection of who we are” (p.26), implying that garments have more in-depth significance. With purchases, individuals do not only participate in dressing up; they express themselves and showcase their beliefs and characteristics, and by choosing a brand or product, consumers practice self-expression. Therefore, creating a solid brand philosophy that includes goals, strategies and values and operating by it is a competitive advantage crucial for success (Fromm, 2019).

At 25% of the entire global population, Generation Z, the first true digital natives, is the biggest generation and becoming the most influential one (Schneider and Lee, 2022). According to McKinsey, “Young people have become a potent influence on people of all ages and incomes, as well as on the way those people consume and relate to brands” (p.2, 2018).

Figure 1: The different generations and their percentages of the global population. Business of Fashion (2022, fig 1).

McKinsey (2018) also mentions authenticity as an essential value Generation Z seeks. Consequently, their consumption patterns are anchored on ethics and transparency; they expect enterprises to establish and advance clear standpoints on social issues and will quickly detect if a label’s internal or external practices contradict its marketing tactics.

Figure 2: Some of Gen Z’s responses when asked about the effects of solid brand purpose or involvement in scandals on their purchasing habits, adapted from *“‘True Gen’: Generation Z and its implications for companies”* (McKinsey, 2018).

According to Afterpay’s Co-Founder, Nick Molnar, “Sustainable and purpose-driven brands have held strong [during the pandemic]” (Business of Fashion, 2020). Molnar also notes that enduring relevance and trust between brands and clientele can be achieved by authentically showcasing the brand’s purpose and maintaining relationships with buyers before involving commerce.

As Gen Z deter from unauthentic advertising, communicating purpose is challenging for brands. Firstly, releasing data, being transparent and accountable for actions, and speaking upon issues may lead brands to connect with young consumers while gaining trust. This must be done intelligently to be beneficial (Curry, 2020). Secondly, Drops and collaborations represent objectives and reach younger cohorts effectively. These exclusive events touch on the Generations’ need for self-expression, provide access, and often involve a social cause or topic on which the brand and consumer can connect (Business of Fashion, 2020).

Figure 3: Harvard Business Review’s “Brand Advocacy Map”, Shown in theory and action. Harvard Business Review (2022).

Although still active on platforms like Instagram and their growing activity on TikTok, Gen Z’s approaches towards them have changed, and brands adjust accordingly. While still engaging online with buyers, labels revisited subjects like brand influencers as new consumers sought closer connections, like Instagram personas with fewer followers (McKinsey, 2018).

Figure 4: Social media platforms’ relevance percentages among Generation Z. Business of Fashion (2022, fig 3).

Another way to communicate ethos is cleverly entering new, more intimate digital spaces. Named by Wilson (2021) “digital campfires”, these internet spaces draw young audiences since they desire to partake in shared experiences or join micro-communities. From Roblox to Twitch and Fortnite, brands create experiences in these spaces to communicate with users organically.

Figure 5: How brands communicate their purpose to Gen Z. Adapted from the Gucci Vault website (Gucci Vault, 2022), Hysteric Glamour and Kiko Kostadinov collaboration (Hysteric Glamour and Kiko Kostadinov, 2022). Balenciaga and Fortnite partnership (Balenciaga and Fortnite, 2021), Pizza Hut and Twitch partnership (Pizza Hut and Twitch, 2021), Asos’s “Fashion with Integrity” report (Asos, 2022), Duolingo’s TikTok page (Duolingo, 2022), and Ben & Jerry’s Website (Ben & Jerry’s, 2022).

Reference list

Asos (2022). Available at: https://asos-12954-s3.s3.eu-west-2.amazonaws.com/files/9316/4974/2308/Fashion_With_Integrity_-_Progress_Update_-_120422.pdf (Accessed: 30 October 2022).

Balenciaga and Fortnite (2021). Available at: https://www.vogue.com/article/balenciaga-fortnite-partnership (Accessed: 30 October 2022).

Ben & Jerry’s (2022). Image from Ben & Jerry’s Website. Available at: https://www.elle.com/fashion/a34861030/art-school-spring-2021/#sidepanel (Accessed: 30 October 2022).

Business of Fashion (2020). How to Communicate and Connect with Gen-Z Consumers. Available at: https://www.businessoffashion.com/articles/retail/afterpay-communicate-and-connect-with-gen-z-consumers/ (Accessed: 30 October 2022).

Business of Fashion (2022). Social media platforms’ relevance percentages among Generation Z. Available at: https://www.businessoffashion.com/articles/retail/implications-of-gen-z-for-the-fashion-industry-bof-insights-charts/ (Accessed: 30 October 2022).

Business of Fashion (2022). The different generations and their percentages of the global population. Business of Fashion. Available at: https://www.businessoffashion.com/articles/retail/implications-of-gen-z-for-the-fashion-industry-bof-insights-charts/ (Accessed: 30 October 2022).

Corner, F. (2014). Why Fashion Matters. Thames & Hudson, Limited. Available at: https://ebookcentral.proquest.com/lib/ual/detail.action?docID=5878041# (Accessed: 30 October 2022).

Curry, L. (2020). How Brands Can Follow Through on the Values They’re Selling. Available at: https://hbr.org/2020/08/how-brands-can-follow-through-on-the-values-theyre-selling (Accessed: 30 October 2022).

Duolingo (2022) TikTok Page [TikTok]. Available at: https://www.tiktok.com/@duolingo (Accessed: 30 October 2022).

Fromm, J. (2019). Gen-Z And The Three Elements Of Purpose Brands. Available at: https://www.forbes.com/sites/jefffromm/2019/07/26/gen-z-and-the-three-elements-of-purpose-brands/?sh=4f51eb4c37e3 (Accessed: 30 October 2022).

Gucci Vault (2022). Available at: https://vault.gucci.com/en-US/story/enter-vault (Accessed: 30 October 2022).

Harvard Business Review (2020). Harvard Business Review’s ‘Brand Advocacy Map’, Shown in theory and action. Available at: https://hbr.org/2020/08/how-brands-can-follow-through-on-the-values-theyre-selling (Accessed: 30 October 2022).

Hysteric Glamour and Kiko Kostadinov (2022). Available at: https://www.highsnobiety.com/p/hysteric-glamour-kiko-kostadinov-asics-collab/ (Accessed: 30 October 2022).

McKinsey (2018). ‘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: 30 October 2022).

Pizza Hut and Twitch (2021). Available at: https://archive.esportsobserver.com/pizza-hut-returns-twitch-rivals/ (Accessed: 30 October 2022).

Schneider, B. and Lee, D. (2022). The Implications of Gen-Z for the Fashion Industry — in Five Charts. Available at: https://www.businessoffashion.com/articles/retail/implications-of-gen-z-for-the-fashion-industry-bof-insights-charts/ (Accessed: 30 October 2022).

Wilson, S. (2021). Where Brands Are Reaching Gen Z. Available at: https://hbr.org/2021/03/where-brands-are-reaching-gen-z (Accessed: 30 October 2022).

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Profit

Gili Ofir ⋅ 23rd October 2022

Among the four pillars, profit draws attention to the fashion industry’s revenue. Recent events required sustaining a thriving business through unstable times, rethinking business models, and examining the art director’s role as they navigate the changing market.

According to IBIS World (2022), the size of the manufacturing industry alone reached more than 850 billion dollars in 2022. Statista (2021) stated in a recent report that “The revenue of the global apparel market was… 1.5 trillion U.S. dollars in 2021.” Mintel (2022) also shared that the luxury market stands at more than 270 billion euros in 2022.

When examining sector performance, McKinsey (2022) discusses the luxury sector’s resilience as the pandemic less affected most of their customers, “whose funds saved on travel and entertainment were reallocated towards luxury goods” (p.119). Additionally, sportswear was another sector that showed significant growth, as the pandemic led to consumers’ change in focus that “accelerated existing strengths in sportswear, athleisure and outdoor brands” (p.118).

Figure 1: EBITA margins by value segment in 2020, average from 2010-2019, and range from 2010-2019, %. Adapted from “McKinsey Global Fashion Index, The State of Fashion 2022″ (McKinsey, 2022, p. 118, fig 20). McKinsey & Company (2022).

Figure 2: McKinsey’s ‘Super Winners’ Performance rates. Adapted from “McKinsey Global Fashion Index, The State of Fashion 2022″ (McKinsey, 2022, p. 120, fig 21). McKinsey & Company (2022).

However, other sectors saw earnings drop and fall in revenue. Due to the extensive lockdowns and the dependency on sales from physical stores, the value and discount players saw earnings decline (McKinsey, 2022). “Shoppers also shifted some of their spend on clothing to essential retailers such as grocers” (p.119). With the consequences of lockdowns, these notions also resulted in mid-market fashion players not fully recovering like the rest of the industry.

McKinsey (2022) states that the next two years appear more favourable for the global fashion industry. Nonetheless, “the shakeout is not over as weaknesses exposed during the Covid-19 pandemic will continue to plague the industry” (p.121).

As the market is inherently competitive during steady and challenging times and staying relevant is more complex than ever, decision-makers should consider measures to sustain growth while handling recent supply chain difficulties. Correspondingly, embracing business models suited for accelerated transitions in consumer behaviour can make a fundamental difference, as the players practising them are being rewarded (McKinsey, 2022).

While creative directors used to align themselves with art over commerce to benefit financially, the matter is different nowadays. Modern times illustrate creative directors as suppliers of aesthetic experiences while leading brands to financial profit as they develop their unique markets and attempt to infiltrate new ones, bridging the worlds of art and commerce (Stevenson, 2019).

Figure 3: Examples of contemporary time’s Creative Directors. Adapted from Images from Balenciaga’s Spring 2022 Show (Vogue, 2021), Balenciaga’s Spring 2022 Show (Vogue, 2021), Balenciaga’s first Couture show (Vogue, 2021), The experimental concept space by Gucci – Gucci Vault (Gucci Vault, 2022), and some of Virgil Abloh’s projects at Off-White (DeZeen, 2021).

The creative director leads the design stage, where crucial decisions affecting the supply chain are made (Gwilt, 2020). From selecting materials to deciding the design method and considering circularity or even collaborations, designers face determinations affecting the brand’s creative ethos and financial success. It is also required that designers beneficially spread the label’s message to their target audience as public figures (Mitterfellner, 2019).

Figure 4: An example of certain choices and collaborations as part of the creative director’s role; Palace Skateboards and Gucci Vault’s Recent Collaboration gained massive media attention (Gucci, 2022).

Reference list

DeZeen (2021). Available at: https://www.dezeen.com/2021/11/29/virgil-abloh-design-roundup/ (Accessed: 23 October 2022).

Gucci (2022). PALACE GUCCI. 14 October. Available at: https://www.youtube.com/watch?v=awdE7dF672I&ab_channel=GUCCI. (Accessed: 23 October 2022).

Gucci Vault (2022). Available at: https://vault.gucci.com/en-US/story/enter-vault (Accessed: 23 October 2022).

Gwilt, A. (2020). A Practical Guide to Sustainable Fashion. London: Bloomsbury Publishing USA. Available at: https://ebookcentral.proquest.com/lib/ual/reader.action?docID=6234061 (Accessed: 23 October 2022).

IBIS World (2021). Global Apparel Manufacturing- Market Size2005–2027. Available at: https://www.ibisworld.com/global/market-size/global-apparel-manufacturing/ (Accessed: 23 October 2022).

Mintel (2022). Luxury Goods Retailing – International – 2022. Available at: https://reports-mintel-com.arts.idm.oclc.org/display/1159687/ (Accessed: 23 October 2022).

Mitterfellner, O. (2019). Fashion Marketing and Communication: Theory and Practice Across the Fashion Industry. Taylor & Francis Group. Available at: https://ebookcentral.proquest.com/lib/ual/detail.action?docID=5981798 (Accessed: 23 October 2022).

Statista (2021). Apparel Market Worldwide. Available at: https://www.statista.com/topics/5091/apparel-market-worldwide/#dossierKeyfigures (Accessed: 23 Oct. 2022).

Stevenson, C. (2019). ‘(I Was There) When It All Went Down’, Vestoj, Issue 9: On Capital.

The Business of Fashion and McKinsey & Company (2022). The State of Fashion 2022. Available at: https://moodle.arts.ac.uk/pluginfile.php/1463744/mod_label/intro/The_State_of_Fashion_2022.pdf?time=1664132324542 (Accessed: 23 October 2022).

Vogue (2021). Available at: https://www.vogue.co.uk/fashion/article/balenciaga-spring-2022 (Accessed: 23 October 2022).

Vogue (2021). Available at: https://www.vogue.com/article/demna-gvasalia-brings-haute-couture-back-to-balenciaga (Accessed: 23 October 2022).

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People

Gili Ofir ⋅ 16th October 2022

As people are the force behind all societal and cultural dimensions of our world and are every organisation’s base and building blocks, this week, the pillar People was comprehended. The pillar carries several matters, such as diversity and inclusivity, the new generation of consumers, and the importance of collaboration and cultivating community relations. These are essential for the fashion industry, constructed and dependent on robust human material for its success.

According to McKinsey (2018), Generation Z members, generally described as individuals born between 1995 and 2010, are true digital natives. They are the first generation exposed to the internet and have their behaviours anchored in one characteristic: this generation’s search for truth.

Figure 1: Gen Z as the “True Gen” and the characteristics of each generation compared to Generation Z, adapted from ‘True Gen’: Generation Z and its implications for companies (McKinsey, 2018).

In terms of their characteristics as consumers, McKinsey (2018) indicates that they mainly share three elements companies should focus on; the perception of “consumption as access rather than possession, consumption as an expression of individual identity, and consumption as a matter of ethical concern” (p2). Also, an emphasis on technological advances is required.

It is crucial that businesses rethink transparency, how to offer value while truly practising it, and rebalance scale and mass production against the need for individualism among this generation (McKinsey, 2018).

In terms of pace, marketers should concentrate on delivering their message quickly, as labels lacking immediate impressions will not gain Generation Z’s attention (Mintel, 2017).

According to Moran (2022), other necessary fields for brands to focus on are the ability to resell, sustainability, elevated shopping experience online and in-store, and using secondhand and deadstock. Another element noted was the need to adjust to the economic climate in light of the pandemic, recession and inflation.

As people need a connection to meaningful work, brands face multiple challenges post-pandemic, and numerous people skills are required to succeed. According to Sian Keane, Chief People Officer at Farfetch, elements like; flexibility, agility, self-awareness, relevance, trust and listening to the workforce are mandatory for labels to win the ongoing talent war (The Business of Fashion and McKinsey & Company, 2022).

Since the industry is on a positive trajectory regarding diversity, many examples can be discussed. A classic is Fenty Beauty, executing diversity faultlessly by simply covering the basics – offering a broad range of colours yet to be seen from a beauty brand with campaigns that correspond to this ethos (Fetto, 2020). Art School is another example, offering genderless clothes, a sought-after factor by Gen Z. Another worthy mention involving diverse models is Sinèad O’dwyer and MemoriaDi Agency.

Figure 2: Examples of the practice of diversity in the fashion industry. Adapted from Images from Art School Spring 2021 Show (Art School, 2020), Memoria Di Casting & Management’s Instagram page (Memoria Di Casting & Management, 2022), Sinéad O’Dwyer SS23 Show (Sinéad O’Dwyer, 2022), and Fenty Beauty’s 50 Shades of Foundation Campaign (Fenty Beauty, 2019).

Figure 3: Rihanna’s Fenty Beauty (Think with Google, 2019).

It is worth contemplating whether or not employing more diverse people will lead to more authentic inclusivity, as most brands consider diversity only regarding marketing-based decisions.

Reference list

Art School (2020). Images from Art School Spring 2021 Show. Available at: https://www.elle.com/fashion/a34861030/art-school-spring-2021/#sidepanel (Accessed 15 October 2022).

Fenty Beauty (2019). Fenty Beauty’s 50 Shades of Foundation Campaign. Available at: https://www.thinkwithgoogle.com/intl/en-gb/future-of-marketing/management-and-culture/diversity-and-inclusion/how-rihannas-fenty-beauty-delivered-beauty-for-all-and-a-wake-up-call-to-the-industry/ (Accessed 15 October 2022).

Fetto, F. (2020). How Fenty Beauty Changed The State Of Play In The Industry. Available at: https://www.vogue.co.uk/beauty/article/rihanna-fenty-beauty-diversity (Accessed 15 October 2022).

Mintel (2017) Marketing to the iGeneration – US – May 2017. Available at: https://reports-mintel-com.arts.idm.oclc.org/display/832677/?fromSearch=%3Ffreetext%3Dgen%2520z%2520attention%2520span%26resultPosition%3D9 (Accessed: 15 October 2022).

Memoria Di Casting & Management (2022) Recent Work [Instagram]. Available at: https://www.instagram.com/memoriadi.nyc/ (Accessed: 15 October 2022).

Moran, G. (2022). Gen Z and Millennials 2022. Available at: https://www.drapersonline.com/guides/gen-z-and-millennials-2022 (Accessed 15 October 2022).

Sinéad O’Dwyer (2022) SS23 Show [Instagram]. Available at: https://www.instagram.com/sjodwyer/ (Accessed: 15 October 2022).

Think with Google (2019). How Rihanna’s Fenty Beauty delivered a wake-up call to the industry. 14 June. Available at: https://www.youtube.com/watch?v=ubHt-vmIqhg&t=50s&ab_channel=ThinkwithGoogle. (Accessed 15 October 2022).

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Planet

Gili Ofir ⋅ 9th October 2022

London College of Fashion’s Business School strategy is established by the phrase “Fashion means business”, an integral part of the institute’s strategy and mission and comprises four pillars; people, planet, profit and purpose. The first pillar that was apprehended was planet. This pillar practices the benefits of prioritising the planet’s health and contains the understanding of subjects like; sustainability that is carried and executed holistically, social and cultural responsibility, and the increased significance of education.

Since the publication of the Brundtland Report (1987), sustainability is often described as meeting the needs of the present generation without compromising the ability of future generations to meet their needs (United Nations, 1987).

If we consider this regarding the fashion industry, sustainability implies the efforts to make the world a better place without destroying the possibilities for the next generations while successfully responding to consumers’ demands.

Ensuring sustainable consumption and production patterns, Sustainable Development Goal twelve of the United Nations has an unprecedented connection to the fashion industry. Consumption and production systems worldwide rely on natural habitats and resources and negatively impact the planet. This goal aims to transform our practices concerning consumption and production (United Nations, 2020).

The garment design and production process carry stages that typically remain constant among all market levels of the industry (Gwilt, 2020).

Figure 1: The key stages and activities in the fashion supply chain. Adapted from “A Practical Guide to Sustainable Fashion” (Gwilt, 2020, p. 2, fig 1.2).

According to Gwilt (2020), the current state of usage and removal of fashion clothing has a wide range of impacts, such as the creation of fossil fuels, excessive water usage and pollution, all happening during this linear process.

As noted by a Zalando spokeswoman, “Circular design is needed in the fashion industry because there is a huge environmental impact created in the design and manufacturing stage of a product’s lifecycle” (Moran, 2022).

To describe the concept of circular economy, one must first comprehend a linear one. According to the Ellen MacArthur Foundation (2019), our current economy primarily practices a linear product-making process, as the sourced materials are later turned to waste. On the contrary, when practising circular economy, prevention of waste production is a crucial issue that labels must first consider. This methodology is established on the principles of recyclable materials and products, elimination of waste and pollution, and regeneration of nature during the process. “It is underpinned by a transition to renewable energy and materials… a resilient system that is good for business, people, and the environment” (Ellen MacArthur Foundation, 2019).

Figure 2: Ellen MacArthur on the basics of the circular economy (Ellen MacArthur Foundation, 2020)

Having considered the research on the subject, it caused into question whether these goals can be attained in non-western communities.

Reference List

Ellen MacArthur Foundation (2019). What Is a Circular Economy? Ellen MacArthur Foundation. Available at: https://ellenmacarthurfoundation.org/topics/circular-economy-introduction/overview (Accessed 8 Oct. 2022).

Ellen MacArthur Foundation (2020). Ellen MacArthur on the basics of the circular economy. 12 February. Available at: https://www.youtube.com/watch?v=NBEvJwTxs4w&ab_channel=EllenMacArthurFoundation (Accessed 8 Oct. 2022).

Moran, G. (2022). Collaborating for Change: Sustainability Report 2022. Available at: https://www.drapersonline.com/guides/collaborating-for-change-sustainability-report-2022 (Accessed 8 Oct. 2022).

United Nations (1987). Brundtland Report.

United Nations (2020). Goal 12: Ensure sustainable consumption and production patterns. Available at: https://www.un.org/sustainabledevelopment/sustainable-consumption-production/ (Accessed 8 Oct. 2022).

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Uncategorised

Chopova Lowena: A Favourite Fashion Brand

Gili Ofir ⋅ 2nd October 2022

Co-founded by Emma Chopova and Laura Lowena During their MA Studies in Central Saint Martins in 2017, Chopove Lowena is a Brand focused on humorous, colorful clothes and clashing patterns by showcasing craftsmanship rooted in British and Hungarian sources. Currently based in South London, the English-Bulgarian label first broke into consciousness with its signature skirts and has grown ever since, collecting many loving fans across and outside the fashion industry.

(Emma Chopova and Laura Lowena, Vouge Business 2022)

Mainly mixing folklore and sportswear, the brand became known to me through different media platforms, particularly Instagram. When first exposed to these garments, I was captured by the bold looks on my glass screen. These unique pieces, which are also beautifully crafted and are pretty timeless, hold much history within and embody the essence of joy. This is why, to me, you cannot go wrong with loving this brand.

It is worth mentioning that this label has a strong vision and purpose, intensely focused on maintaining and preserving disappearing crafts while modernizing traditional textiles, with a significant concentration on sustainability, using recycled materials and deadstock textiles (mostly pillowcases and aprons).

(Looks From Chopova Lowena’s Spring 2020 Collection, Garage Magazine 2020)

(Emma Chopova examines a multicolor skirt assembled from various repurposed fabrics and fastened to a leather waistband with rock-climbing carabiners, The New York Times, 2019)

Holding its first-ever runway show this London Fashion Week (Spring/Summer 2023) with the collection titled “Rose Is A Rose Is A Rose Is A Rose,” this label will hopefully continue to contribute to an upcoming era of grungy and edgy designs.

(Looks from Chopova Lowena’s debut at London Fashion Week, The Glass Magazine 2022)

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