Ruby Tanner

As consumers of the modern day fashion industry, more specifically Gen Z, search for meaning and shared values in brands they choose to invest in, business are being pushed more than ever to provide a clear and honest sense of purpose. As questioned by Dr Nina Van Volkinburg in her lecture on fashions purpose, ‘what would the world lose if your organisation disappeared?’; suggesting that modern day fashion brands must provide some sort of action for positive social change, and initiatives that benefit both the consumer personally, and our community generally: purpose. 

She suggested that there are four key characteristics of successful brand purpose: portfolio strategic and products, people and culture, processes and systems, positions and communications. By aligning with this framework, Volkinburg suggests brands should question why they’re operating the way they are, and subsequently create mission statements that help provide meaning. With this comes clarity over the exact purpose of the brand and company; not only does this unite employees in working towards specific collective goals, but it also creates a feeling of commitment from gen z consumers, who demand purpose and accountability from the brands they wish to invest in. (McKinsey 2023) 

Brands are seemingly becoming more aware of how to communicate with gen Z audiences, with the most popular being celebrity endorsements and influencer collaborations; by selecting public figures with a strong sense of personal identity, as well as a commitment to having a positive impact on society, brands are suggesting to their audiences that they are both aware of the fast paced nature of pop culture, and abreast of current social issues; they are carefully selecting a figure to help enforce the brands purpose and strengthen their commitment to addressing social issues. For example, Nike collaborated with pop star and climate activist Billie Eilish, creating a limited edition AF1 Low sneaker, that not only was completely accurate to the trend demands at the time of the shoes release, but also pieced with leftover material waste from the prior AF1 High, essentially ‘bring[ing] aesthetic and narrative together’ (Nike 2022). Furthermore, by adopting and mirroring the values of gen z, such as their urgency in taking climate action to save the planet, brands are able to connect with their audience, and make them feel part of a community for change; when they buy a garment consumers want to say more than simply ‘this is a t-shirt’, they want to say ‘this is an ethically sourced garment, purchased from a B corporation that not only aligns with my personal values, but makes me feel part of a larger, more important movement in our modern fashion landscape’. 

As suggested by Aaker, who developed the brand personality framework, there are five key characteristics that contribute to the success of a brand: sincerity, excitement, competence, sophistication and ruggedness, and he claims that these can be used to gauge if a consumer and brand are well aligned in terms of values, and to gain insight into the consequences of a brands personality (Mitterfellner, 2023) Essentially, these can be used as measures to help us understand how accurately a brand is understanding their customer, and if their purpose is honest enough to truly have impact on their audience. 

McKinsey & Co, 2023, Meet Generation Z: shaping the future of shopping, available at https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/meet-generation-z-shaping-the-future-of-shopping – date accessed 25/10/23

Nike, 2022, Nike X Billie Eilish AF1 Low 2, available at https://about.nike.com/en/newsroom/releases/nike-x-billie-eilish-af1-low – date accessed 25/10/23

Mitterfellner, O, 2023, Luxury Fashion Brand Management: unifying with sustainability, available at  https://ebookcentral.proquest.com/lib/ual/reader.action?docID=7260416 – date accessed 25/10/23

It is no question that profit is a key drive for companies, and a key indicator for their success; but it is becoming increasingly clear that the modern fashion industry is having to evolve and adapt to the demands, not only of their Gen Z consumers, but also the technologically demanding aspects of modern marketing. Essentially, it seems that the success of a brand, and their subsequent profit, lies in their capabilities of tapping into the opportunities offered by 21st century platforms. It is said that the average millennial checks their phone 45 times a day, and we are seeing growing engagement in social media platforms from both millennials and Gen Z (Hethorn and Ulasewicz, 2015). Unlike traditional media, social media provides a variety of information sources as well as the ability to interact with information by sharing, or sharing opinions; meaning that it can also be used to raise the profile of upcoming or popular brands. Brands such as Jacquemus, Dior and Skims are examples of how, by using opportunities offered by online platforms as well as consumer desire for more of a shopping experience, modern fashion brands are able to engage with modern consumers and generate more profit. According to Lyst, all three of these brands can be found on the index of 2023s most successful and in demand fashion houses, and this is arguably due to the understanding they have of their audiences, providing a complete shopping experience that leaves consumers begging for more, and excited to feel part of an exclusive, high end fashion ‘moment’ (LYST, 2023). Let’s take recent Jacquemus pop up stores, for example; by offering unique shopping experiences in highly decorated, immersive shops, that boast added elements such as coffee bars or florists, which are only available temporarily, they are making consumers not only feel they are investing in something exclusive, but they are generating an online ‘buzz’ within fashion communities that, essentially, creates more profit. By teasing exclusive events and making items hard to find, social media sites become obsessed with the brands marketing moves and, opinion leaders spread the message that the brand is in demand (Mitterfellner, 2019). According to Mitterfellner, the ‘two step flow of communication’, a theory originally created by Lazarafield and Belson, is the biggest influence on people is personal or informal contacts. As information from mass media reaches opinion leaders, celebrities or influencers, they create their own interpretations, and spread this to a larger group whom their socially connected with. In terms of fashion marketing, this means that by providing experiences that create online ‘buzz’, social media personalities spread the word of the brands success and therefore put products in demand, generating optimal profit. It seems as though the key contributor to brand success is the ability to create an online presence, and evidently the most successful brands of 2023 are those who have creative directors, and marketers, who are recognising the opportunity for growth in profits with commitment to shopping experiences and creating online communities. The fashion industry can also be seen to be taking steps into the fashion world, combining art with fashion and commerce which too is generating profit. Dior opened their own museum in Paris, in spring of 2022, which consists of exhibitions of the brands history and development, as well as a cafe which offers multiple opportunities for consumers to snap their experience and share their pictures online. The experience had huge effect on social media, and it feels sad though Dior really understood how to connect with their customers, and provide an exclusive experience for all consumers, not just those who shop the brands most sought after garments, shoes and handbags. They understood that generating profit comes from more than just two collections a year, more than an ad in Vogue; profit is about connecting with consumers who use online status to raise the demand of the brand, and recognising that the power lies with the people.

Hethorn, J., & Ulasewicz, C, Sustainable Fashion: What’s Next? (2015). accessible at https://uncannycreativity.com/how-do-you-bridge-the-gap-between-creativity-and-business/ https://fashinnovation.nyc/fashion-industry-statistics/ – Date accessed 20/10/23 

LYST (2023) accessible at https://www.lyst.com/data/the-lyst-index/q123/ – date accessed 20/10/23 

Mitterfellner, Fashion Marketing and Communication (2015) accessible at https://ebookcentral.proquest.com/lib/ual/detail.action?docID=5981798 – date accessed 21/10/23

It’s no secret that, since the birth of ‘Gen Z’ began at the end of 1995, the habits of consumers have drastically changed, with the ever-popular and rapidly evolving technological advances, as well as the characteristics that drive young consumers affecting the way in which businesses market, and sell, their products. This pillar is about the way in which the fashion industry is responding to the demands of a digital native; expressive; and ethically, socially and politically aware audience, essentially by altering their mission statements to align with the ‘woke gen Z customer’.

Francis and Hoefel claim that gen Z make up 20% of Brazils population, and 25.9% of the US population (Francis and Hoefel, 2018). This McKinsey study found that there are four core consumer behaviours that characterise gen Z buyers; they search for truths; value individual expression whilst avoiding labels; define consumption as a matter of ethical concern; as well as an expression of identity. It is said that this generation value individuality, and buying certain garments, or investing in certain businesses, is a way to cement individuality and provide a sense of uniqueness. Furthermore, there are claims of growing consumption for access, rather than possession, meaning that gen Z are more interested in investing in products that enhance everyday life, which differs to the characteristics of millennials, who tend to splurge on  luxury items at high prices. It seems that in the current consumer landscape, unlimited access to goods and services is what creates value, and fashion businesses are therefore required to ‘rethink value creation models’ according to Francis and Hoefel, and respond to this alteration in buying habits by integrating social and environmental themes into products and services (Amed, Balchandani Et Al, 2019) 

Considering these evolving consumer habits, gen Z also value online communities which allow people of different economic circumstances to connect across nations. For example, brands such as Vogue have been seen creating an online ‘club’, offering exclusive events, merchandise, and podcasts; they have successfully responded to the modern fashion business landscape by creating a community that allows its members to feel part of something special exclusive; something that makes them feel truly part of modern fashion as it evolves, whilst providing them with authenticity. We also must consider the ways in which businesses have responded to calls for diversity, with the knowledge that gen Z are far more radically inclusive and interest in human rights than past generations, it is ever more important that if brands wish to prevail, and succeed, in our modern landscape they adopt politically and socially correct standpoints. There is now more to a brand than garments; consumers are looking to invest in brands that use platforms to raise awareness of current affairs and political issues. For example, Fenty Beauty has been celebrated for its 50 shade range, and use of male and female models of all shapes, ethnicities and religions (Fenty Beauty, 2023), which has been received well by gen Z audiences. Another way in which 21st century businesses have responded to the demands on modern consumers, for example, is the creation of ‘B Corporation’; a title given to companies that meet the highest standards of verified social and environmental performance, public transparency and legal countability to balance profit and purpose (Cultivating Capital, 2023). It is said that there are key people skills needed to ensure the success of a brand, and inner development goals have been used to described the human goals that are needed in order to achieve sustainability, with some of these traits including listening, thinking, being and developing.  

Cultivating Capital, 2023, Available at: https://www.cultivatingcapital.com/b-corporation/#:~:text=The B Corp Definition&text=Here’s the definition provided by,to balance profit and purpose. – date accessed 12/10/23

Fenty Beauty, 2023, Availabke https://fentybeauty.com/collections/makeup-foundation – date accessed 13/10/23

Francis, T. and Hoefel, F. (2018). ‘True Gen’: 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 – date accessed 11/10/23 

Imran Amed, Anita Balchandani, Marco Beltrami,, Achim Berg, Saskia Hedrich, Felix Rölkens (2019) ‘The influence of ‘woke’ consumers on fashion’ Available at: https://www.mckinsey.com/industries/retail/our-insights/the-influence-of-woke-consumers-on-fashion – date accessed 11/10/23

Image, Kantar (2023) ‘Four pillars for finding growth in the UK fashion landscape’, Available at: https://www.kantar.com/uki/inspiration/fashion-beauty/2022-wp-four-pillars-for-finding-growth-in-the-uk-fashion-landscape – date accessed 13/10/23

It is often reported that we, or more specifically our earth, are amid a climate crisis; regularly am I inundated with facts and figures that make me feel guilty as I peer down at my single-use plastic ‘Pret’ cup, or my 99p ‘Shein’ ring , yet it feels as though most aren’t well informed about the deep-rooted causes and concerns for our future, catalysed by global warming. The fashion industry is said to make up more than 4% of global annual Co2 emissions (Morgan, 2022), with issues of over production, poor material production and unethical practises in the workplace. Fashion is a 2.5 trillion dollar industry, as stated by Katarina Rimarcikova, so its undeniably difficulty to track its exact impact on the environment, however, it is certain that our planet simply cannot keep up with the rate at which our fashion industry is developing; after research into what really drives the industry to be so detrimental earth and its eco, and bio-diversity, systems, it seems that a great deal can be put down to Gen Z and the ever-evolving, fast paced nature of modern society. It’s no secret that those aged between 8 and 23 are heavily invested in media culture, promoting flash trends and ‘must have’ products, and this is arguably where the fast fashion cycle begins. We can see it in modern runways, with many brands neglecting the traditional structure of two collections a year and replacing it with up to five new collections annually, as noted by Patric McDowell in his lecture on sustainability in the fashion industry, who’s brand strives towards a sustainable fashion future by using recycled and repurposed fabrics, as well as offering an aftercare programme for all products. It seems as though as a society we have taken on a sort of enjoyment in disposable culture; since the Industrial Revolution began in the early 1800’s, people have been given easier access to cheaper garments at record speed, and it feels as though humans have become obsessed with keeping up, latching on and chasing novelty. Mitterfellner writes in their book Luxury Fashion and the sustainable approach (2023) that this constant demand for low-price fashion means brands have developed supply chains that manufacture high volumes of synthetic or petroleum based garments in developing countries where labour is cheap, and work conditions are poor. Despite the fact that this mass production is extremely detrimental to our environment, there are also ethical issues that mean social sustainability is also threatened. 

There are growing efforts to change the way in which the fashion industry progresses, for example we know that the triple bottom line is being used by businesses to effect positive change, measuring the success of brands not only by profit, but also by people and the planet. Where in the past we saw businesses and franchises striving to generate value for stakeholders, with profit proving to be the biggest evidence of success, we are more recently understanding that businesses are under increasing pressure to also use their status to ignite positive social, neconomical and ethical change. These efforts were more specifically seen put into practise after the introduction of the 17 sustainable development goals set by the United Nations in September of 2015, which are global objectives to help achieve peace and prosperity. As we travel closer to 2030, when these goals are destined to be achieved, not only are businesses under more pressure than ever to reply to the pressing demand for sustainable fashion business, but too are consumers faced with personal decisions to develop and change their fashion habits; using creative and contemporary initiatives to help slow the production of fast fashion by committing to more eco-friendly sustainable habits, by investing in slow fashion and carrying on circularity in fashion by recycling, reducing consumption, re-using, repairing, re-gifting and recovering. 

Mitterfellner, O. (2023)Luxury Fashion and the Sustainable Approach, online, https://ebookcentral.proquest.com/lib/ual/reader.action?docID=7260416&ppg=178 (accessed 5/10/23) 

Moran, G. (2022) Drapers, Collaborating for Change: Sustainability Report 2022, online, https://www.drapersonline.com/insight/drapers-bespoke/collaborating-for-change-sustainability-report-2022 (accessed 3/10/23) 

How Heyun Pan has created a bridge between untouched natural beauty and modern day technology.

Arguably the breakthrough brand of 2023 London fashion week, Heyun Pan’s contemporary menswear brand has completely caught my attention. Amidst the congestion of the ever-popular fashion event of the season, it seems that PERMU was, in my opinion, communicating with a young adult audience; with their dedication not only to sustainable and green fashion, but using the beauty of our natural world to inspire their entire collection. Pan claims that he aimed for a ‘connection between garment, body and nature’, raising the question as to wether garments could be described as language for the body; if we connect them to nature, do we provide them with contextual meaning that allows us to connect with, and therefore communicate using, our clothes? I find the brands concept entirely in tune with, and up to date with, the modern fashion landscape, suggesting a quiet commitment to sustainability, and a greener view of how exactly we should be conceptualising fashion. It feels as though Pan is suggesting the very beauty that people desperately search for in commercialised modern life is actually right in front of them. After reading the brands London Fashion Week promotional portfolio, I feel that PERMU is suggesting industrialised life characterises itself using mass spectacle, especially with evolving and fast-paced influencer and media culture, leading our fashion (and subsequent sense of identity) to lack a sense of authenticity. Not only are they taking inspiration from human and natural worldly forms, but are also using all natural pigment, bio-pigment, recycled materials, further suggesting PERMU’s awareness of not only the evolving fashion sphere, but also the social, political and cultural demands on out current fashion landscape. Pan suggests that he is attempting to ‘Sculpt the contours of life’s curves and decorate the heart’ through customisation, and the collection very much feels to be celebrating the natural curves of the human body. The brands design process uses basic pattern cutting, using continuous strips of fabric cut from the front to the back of the body, which I feel successfully creates a seamless and elegant look on the male body, which both celebrates human curves and enhances them; it feels as though Heyun Pan’s designs are created to compliment the human physique. 

I think that the success of PERMU is also partly down to innovation, and willingness to work with technological advances of modern fashion landscape; using 3d modelling, animation, and virtual wardrobes. Looking at their most recent collection, which was praised by Women’s Wear Daily, in  Goldstones ‘ones to watch report’, there seems to be an overriding sense of minimalism driving the brands aethstetic, with cool/earthy tones completed with sporadic nods of royal blue and purple aiding the overall notion of PERMU’s celebration of natural, untinctured beauty. One could argue that, in conjunction with the brands celebration of the modern world, there is a feeling of gender fluidity; despite it formally being a menswear brand, there is almost a sense of feminity veiling their current runway, and ready to wear, collection. Visions of female silhouettes (tailored waist darts, curves and cutouts focused in the hip/torso area, accentuation of the body’s natural curves) paired with mesh, skintight tops and trousers adorned with skirts. It feels considered for our modern day landscape, wherein androgynous and gender fluid identities are celebrated, and catered to this growing public desire to dress for joy, entertainment, creativity and novelty rather than using garments as a gender affirming source. I feel as though there’s a replacement, and fusion, of different and opposing styles that have created something fresh. Undoubtedly PERMU has left a lasting impression on me, and as I continue to follow the brand, and further invest in the consequences of their decisions, I am excited to see how they further their impact in the modern fashion world.