Amelia Gruselle

About Amelia Gruselle

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Purpose

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Today more than ever, brands have a responsibility to communicate their purpose within the context of the industry. A brand has to form an emotional connection which customers can see as sustainable and reliable over time. They also require the ability to communicate in a format that resonates with customers which feels honest and authentic (McKinsey & Company, 2020). 

Brand philosophy is paramount to conveying a business’s purpose. A brand has to carry out communicating its purpose whether it is through referring to brand heritage or creating a whole new story or message in which it best aligns itself with. However, brands struggle to find a balance between purpose and profit and a business will usually align itself towards one more than the other (Mitterfellner, 2023).

Aaker (1997) suggests that there are five aspects of a brand personality which are most important. These consist of: Sincerity, Excitement, Competence, Sophistication and Ruggedness. Aaker theorises that this can be used to gain insight into a brand and allow consumers the ability to judge how well a brand is aligned with its philosophical values (Mitterfellner, 2023). 

Corporate Social Responsibility plays a vital role in the fashion industry and a brands philosophy. CSR looks at the three principles of philanthropy, human and environmental justice (Walker-Said and Kelly, 2015). There are a number of companies which perform good CSR practises, in result the consumer feels good about purchasing the products while the brand is still mindful of its employees. Stella McCratney can be recognised as a company that uses positive CSR, the practices of the business consider the environment and the people who reside within the environment. Sometimes decisions have to be made within a brand that are difficult, but ultimately will benefit and account for CSR and corporate philanthropy. McCartney makes these difficult decisions in order to help consumers make more ethical choices when buying from the brand. Stella McCartney is a brand that is aligned with its purpose and is able to communicate its message effectively across to customers (Londrigan and Jenkins, 2018).

Brands need to know how to communicate its purpose across the Generation Z whose values are shifting from those of past generations. They look beyond tangible products and have higher expectations from brands than earlier generations. Gen Z questions what the missions and purpose of a brand is and expects them to deliver to a high standard. (McKinsey & Company, 2020). 

Balis (2023) considers how brands can best communicate with Gen Z through using the right influencers, create brand stories that embrace vulnerability and openness, cross boundaries to stand out and avoid clone culture as influence relies on originality which is not able to materialise if everyone uses the same trend driven ideas. 

Brands have to take purpose into account, especially in this current time where there is no space in the industry for brands with and lack of direction and message.

References

Mckinsey & Company (2020) Meet Generation Z: Shaping the future of Shopping. (Accessed 26/11/23)

https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/meet-generation-z-shaping-the-future-of-shopping

Mitterfellner, O. (2023) Luxury Fashion Brand Management and sustainability: Unifying fashion with sustainability. New York: Routledge. (Ebook)  Proquest (Accessed 26/11/23)

https://ebookcentral.proquest.com/lib/ual/reader.action?docID=7260416

Londrigan, M.P., & Jenkins, J.M. (2018). Fashion Supply Chain Management. New York: Fairchild. (Ebook) Bloomsbury Fashion Central (Accessed 26/11/23)

https://www-bloomsburyfashioncentral-com.arts.idm.oclc.org/encyclopedia?docid=b-9781501317798

Walker-Said, C., and J. D. Kelly (2015), Corporate Social Responsibility? Human Rights in the New Global Economy, University of Chicago Press. 

Balis, Janet. (2023) How the Best Brand-Influencer Partnerships reach Gen Z. Harvard Business Review. (Accessed 26/11/23)

https://artslondon-my.sharepoint.com/personal/r_zilkha_fashion_arts_ac_uk/_layouts/15/onedrive.aspx?id=%2Fpersonal%2Fr_zilkha_fashion_arts_ac_uk%2FDocuments%2FFBS Intro To%2FFBS-Intro To 2023%2FLectures and Seminars%2FWeek 5%2FHow the Best Brand-Influencer Partnerships Reach Gen Z new.pdf&parent=%2Fpersonal%2Fr_zilkha_fashion_arts_ac_uk%2FDocuments%2FFBS Intro To%2FFBS-Intro To 2023%2FLectures and Seminars%2FWeek 5&ga=1

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Profit

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Profit is a vital aspect of the fashion industry as it is the driving force of businesses and to an extent a marker of its success. The fashion industry is a careful balance between art and commerce with brands having to find a steady medium between creativity and business in order to maximise profit. According to a report from Eurometer (2022) as of 2021 the fashion industry was worth $1.7 trillion while a report from McKinsey (2019) states that it is worth $2.5 trillion. Post lockdown the fashion industry was able to begin its return to pre-covid levels, according to Euromoniter the global apparel and footwear industry grew 18.1% and before 2022 was expected to rise another 7.5%. 

Berg (2022) suggests that the inflation from covid has been a more permanent effect than governments would have suspected. Fashion brands have had to navigate the industry in these uncertain times as no one could have predicted the energy crisis and the recession that is forthcoming which various industries have had to adapt too. Changes such as this affect the economy disrupting consumption patterns and demanding flexibility from brands. The fashion industry has been innovative post pandemic, brands have had to demonstrate ambiguity and resilience to remain relevant. Many leading brands in the UK have already begun to review investment budgets, cost structures and prepare for the challenges of 2023 as the cost of living limits consumers’ disposable income. 

Creative directors are facing the challenge to bridge the gap between creativity and commerce in line with industry demands at this time. Historically art and fashion have been used as a tool to make a statement on politics and society, they can demonstrate an individual’s self expression or act as a criticism of society (English, 2013). A key example of this is explored by English (2013), who considers how Yves Saint Laurent was one designer in the 1960’s who’s work mirrored that of artists such as Ellsworth Kelly, Kenneth Noland and Frank Stella who ‘juxtaposed areas of colour for minimalism’, which can be reflected in Laurent’s work. Today, as brands become more commercial, creative directors have less space to explore creativity as they are being forced to focus on profit in order to survive in today’s competitive industry. Overdiek (2016) suggests that dual leadership is the most sustainable managerial model for design fashion entrepreneurship. This explores the designer and business dual partnership which has been crucial to finding a balance between creative and commercial approaches to a brand as well as the splitting of practices providing room for diversity and positive work from brands. 

Profit is often the main focus of brands in the industry as their revenue and financial success is what allows them to remain in the industry. Brands need to consider how to find a balance between the creativity that attracts customers and the commerce which allows them to make money as a business.

References

https://fashionunited.com/companies/euromonitor-international

https://fashionunited.uk/uk-fashion-industry-statistics

Berg, A. (2022) How current global trends are disrupting the fashion industry

https://www.mckinsey.com/industries/retail/our-insights/how-current-global-trends-are-disrupting-the-fashion-industry

Overdiek, Anja. (2016). Fashion designers and their business partners: Juggling creativity and commerce. International Journal of Fashion Studies.

https://browzine.com/libraries/479/journals/36584/issues/8230931

English, Bonnie (2013). A Cultural History Of Fashion In The 20th And 21st Centuries. Bloomsbury

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People

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Generation Z consists of the cohort born between 1996 and 2010, they are digital natives with a breadth of knowledge in regards to the internet due to having grown up in the presence of social media and access to online resources. Generation Z generally have strong values in relation to sustainability and global issues, they are able to with-hold the fast changing trends that are continuously being set. When looking at Generation Z from a fashion industry view, it is apparent that they lean towards independence and expression but also conformity in their clothing. Gen Z thrift and explore vintage styles which are in line with circular fashion that derives from their environmental concerns. Gen Z wardrobes are a mixture of cheap fast fashion and treasured vintage pieces which encapsulates the paradoxical image of this generation which reflects that they cannot be boxed into one stereotype. (McKinsey & Company, 2023)

When it comes to a brand attempting to attract Gen Z, there are some key attributes in which the generation looks towards when shopping. Interactivity plays a role, as 53% of Gen Z chose physical stores as their preferred shopping channel this year. Online fashion businesses have noticed the importance of in person shopping and brands such as Gymshark have opened their first store on London Regents Street. Omnicommerce is also an attraction for Gen Z when shopping, they want to be able to shop across channels interchangeably and ensure that a brand’s proposition is seamless across all platforms. Trust is a priority for Gen Z, Jermaine Lapwood director of future trends and innovation at Primark stated “Gen Z have higher expectations of brands than most when it comes to expecting them to uphold their promises, deliver the highest quality and live up to their values” (Moran, 2022). Sustainability continues to be a prevalent factor for Gen Z when buying, while consumers can give out mixed messages they continue to choose more sustainable forms of shopping, particularly rental and resale. (Moran, 2022)

Younger consumers such as Gen Z have been pivotal to breaking down barriers to greater acceptance and diversity within the fashion industry. The fashion industry is moving towards gender fluid fashion and brands need to consider how they may involve this into their marketing and product design. According to research conducted by company Klarna, 50% of Gen-Z globally have purchased fashion outside of their gender identity and 70% of consumers say they are interested in purchasing gender-fluid fashion in the future. (McKinsey & Company, 2023). Calvin Klein collaborated with Palace in 2022 on a collection consisting of denim, underwear and sweatshirts that were all not categorised by gender and saw the world’s first unisex fragrance launched. It is likely that companies will progressively integrate gender-fluid products into their business strategies and design process. These shifts will likely become more prevalent in the industry as Gen Z consumers mature and their purchasing power increases. (McKinsey & Company, 2023)

Fashion brands will need to move progressively forward and hire workers with key skills to work within the industry. With the fashion industry being so competitive the baseline skills such as critical thinking and a balance of technological and people skills will be required. Communication is also vital with a strong set of values to ensure cultural, social and environmental awareness to understand ethical and responsible consumption is also of heightened importance (McKinsey & Company, 2023). These skills and attributes will allow brands to continue to grow within the fast paced fashion industry.

References:

Moran, G. (2022) Drapers, Gen Z and Millennials 2022.

https://www.drapersonline.com/guides/gen-z-and-millennials-2023

The State Of Fashion Beauty (2023) McKinsey & Company

https://cdn.businessoffashion.com/reports/The_State_of_Fashion_Beauty_2023.pdf

What is Gen Z? (2023) McKinsey & Company.

https://www.mckinsey.com/~/media/mckinsey/featured%20insights/mckinsey%20explainers/what%20is%20gen%20z/what-is-gen-z.pdf

Mitterfellner, O. (2023). Chapter 8- The Future of Luxury Fashion Brands

https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1546849&query_desc=kw%2Cwrdl%3A%20%22Luxury%20Fashion%20Brand%20Management%20And%20Sustainability%22

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Planet

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Sustainability in context to fashion has become as prevalent a topic as ever, especially in regards to the preservation of the planet. The early 20th century has been an era of overconsumption, ‘fast fashion’ has reached new heights and the roll-over of trends is increasing making fashion become ‘disposable’. It is evident that textile recycling has a positive impact in contributing to social responsibility, change in the environment and plays an economic role in the global marketplace (Hethorn and Ulasewicz, 2015). These ‘Three Pillars of Sustainability’ (Social, Environmental and Economic), can be applied to fashion businesses in order to highlight the aspects of the business which are unsustainable. This can be explored through a case study done on global luxury fashion brand ‘Loewe’. The brand set itself the target of becoming a sustainable brand in 2011. According to Loewe they “work with high quality, low impact materials that are sourced and produced with the planet in mind . Factors such as traceability of origin, fair conditions for farmers, animal welfare and the protection of biodiversity closely inform the way we approach and produce raw materials”. Loewe equally experiments with up-cycled and recycled fabrics , organic cotton and other low-impact materials. As of today, Loewe continues to support educational programmes, projects and foundations (Mitterfellner, 2023).

Circularity in fashion considers the idea of moving towards a more sustainable existence by addressing the need for social change while keeping the needs of the planet in mind. Circularity in the industry derives from three main principles; Eliminate waste and pollution, keep resources in use for as long as possible, recover and regenerate products at the end of their service life. This can be applied to the fashion industry through the main idea of extending the life cycle of a garment in order to make the item last as long as possible in regenerative and reusable ways. With Approx 300,000 tonnes of clothes being thrown away each year and clothing utilisation declining as clothing sales increase, the need for slow fashion is imperative for the survival of the planet.  

In 2015 the United Nations set up the Sustainable Development Goals (SDG), these are 17 goals implementing change from all countries taking a strategic approach that promotes economic growth and addresses the need for social change. The Conscious Fashion and Lifestyle Network is a United Nations hosted online platform that supports the SDG’s with a focus on the fashion industry and its effects on the planet. It engages global stakeholders to drive action towards sustainability in the fashion sector. One SDG in particular; Goal 12; Responsible consumption and production, looks at ensuring sustainable consumption in order to sustain communities. Pioneering change with the aims to implement a 10 year framework of programmes on sustainable consumption and production and by 2030, achieve the sustainable management and efficient use of natural resources (The SDG Report, 2023) . 

With the fashion industry responsible for 20% of global water waste, 10% of carbon emissions and 83% of textiles sent to landfill, it is unavoidable that the fashion industry has caused irrevocable damage to the planet.

References:

Hethorn, J., & Ulasewicz, C. (eds). (2015). Sustainable Fashion: What’s Next? A Conversation about Issues, Practices and Possibilities. Ebook, New York: Bloomsbury – Chapter 1

https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1161923&query_desc=kw%2Cwrdl%3A%20%22Sustainable%20Fashion%2C%20What%27s%20Next%7B%3F%7D%22

Mitterfellner, O. (2023) Luxury Fashion Brand Management and sustainability: Unifying fashion with sustainability. Ebook, New York: Routledge – Chapter 7 

https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1546849&query_desc=kw%2Cwrdl%3A%20%22Luxury%20Fashion%20Brand%20Management%20And%20Sustainability%22

https://www.un.org/sustainabledevelopment/sustainable-development-goals/

https://sdgs.un.org/partnerships/action-networks/conscious-fashion-and-lifestyle-network

https://ual.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=effd1f14-22ac-4415-8b35-ac5800fa26d9

https://www.gov.uk/government/publications/implementing-the-sustainable-development-goals/implementing-the-sustainable-development-goals–2#contents

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

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KNWLS

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KNWLS is a south London based fashion brand designed by Charlotte Knowles (and her partner Alexandre Arsenault). It has been my favourite brand since I discovered a small rack of the clothing in Dover Street Market a few years ago. I am drawn to the way they emphasise a feminine silhouette and the creative use of campaigns (such as the recent collaboration with Jean Paul Gaultier). The fashion shows are showcased across London, their SS/22 show ‘FERAL’ featured the use of interesting texture, pattern and details in accessories. The brand is heavily used in television such as costuming for Euphoria and The Idol which I find makes a strong foundation for targeting their audiences.

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