Emily Dawson

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Purpose

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Through having a purpose, a brand can create a unique selling point to fulfil a gap in the market or specific consumer needs. Furthermore, a purpose – or brand philosophy – helps a brand to maintain consistency within its products. A mission refers to the initial purpose of a brand, the vision is how a brand aspires to be and the future goals, and a brand’s values are the core beliefs of the brand which act as an undertone to everything that the brand creates.

Brand philosophy is important for targeting specific target markets, particularly as focus is shifting to Gen Z. This demographic prioritizes a brand’s values and how it’s contributing to society in a positive way (McKinsey, 2020). Gen Z have shown an increased demand for corporate social responsibility (CSR) defined by the European Commission (2017) as “companies taking responsibility for their impacts on society”. CSR has become synonymous with sustainability as more people are becoming aware of the importance of not sacrificing the future of global society to benefit the goals of the present day (Londrigan and Jenkins, 2018). One brand which has made it a point to align their brand philosophy with sustainability is Nike who aim to improve supply chain transparency and incorporate sustainable materials. Nike’s vision involves three goals: “to minimize their environmental footprint, to transform it’s manufacturing, and to unleash human potential” (McGregor, 2016). By creating this clear vision which aligns with many values of millennial and Gen Z consumers, Nike appears more appealing to such consumers and thus increase in popularity and profit.

However, simply having a brand philosophy is insufficient, brands must successfully communicate their purpose. To do so, with Gen Z, brands must first learn how to access the market. Many Gen Z consumers often gravitate to smaller areas of the internet for a more intimate experience. This applies to gaming platforms which have potential to draw in massive crowds, for example, Travis Scott’s 2020 concert on Fortnite which gained an audience of 27 million players (Wilson, 2021). Nike communicate their brand philosophy by collaborating with influential figures, such as Billie Eilish – a Gen Z singer with great influence averaging 67.9 million listeners a month on Spotify alone (Spotify, 2023). This collaboration promotes sustainability as the shoes are made of waste materials from Eilish’s prior AF1 collaboration (Nike, 2022). This strategy ensures that the brand’s value of sustainability reaches their target market to make them aware that Nike is a brand who they want to support.

Bibliography:

Billie Eilish (2023) Spotify.

Available at: https://open.spotify.com/artist/6qqNVTkY8uBg9cP3Jd7DAH (Accessed: 26 October 2023).

European Commission (2017), Corporate Social Responsibility (CSR).

Available at:  https://ec.europa.eu/growth/industry/corporate-social-responsibility_en. (Accessed: 26 October 2023)

Londrigan, M.P., & Jenkins, J.M (2018), Fashion Supply Chain Management. Fairchild

Available at: https://www-bloomsburyfashioncentral-com.arts.idm.oclc.org/encyclopedia-chapter?docid=b-9781501317798&tocid=b-9781501317798-chapter3&pdfid=9781501317798.ch-003.pdf (Accessed: 26 October 2023)

McGregor, L. (2016) Nike raises its sustainability game, sets new supply chain goals for 2020, Sourcing Journal. Available at: https://sourcingjournalonline.com/nike-raises-its-sustainability-game-sets-new-goals-for-2020/ (Accessed: 26 October 2023).

Nike x Billie Eilish AF1 Low (2022) About.nike.com. Available at: https://about.nike.com/en/newsroom/releases/nike-x-billie-eilish-af1-low (Accessed: 26 October 2023).

Rahilly, L., Finneman, B. and Spagnuolo, E. (2020) Meet Generation Z: Shaping the future of Shopping, McKinsey & Company. Available at: https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/meet-generation-z-shaping-the-future-of-shopping (Accessed: 26 October 2023).

Wilson, S. (2021), “Where Brands Are Reaching Gen Z”, Harvard Business Review

https://hbr.org/2021/03/where-brands-are-reaching-gen-z

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Profit

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Despite fashion being a form of self-expression and an outlet for creativity, it must not be lost that the fashion industry consists of a culmination of businesses. This leads to the dilemma faced by many industry professionals in finding the perfect balance between creativity and commerce, a balance that shifts over time depending on consumer needs.

The fashion industry is vast and extremely profitable, in 2022 the global apparel market produced $1.53 trillion in profit with much of this coming from China and USA (Smith, 2023). The global apparel market covers all different sectors of the fashion industry, each performing at different rates and successes. Women’s wear generated $163 billion of profit in 2022 which is more than men’s and children’s wear combined. Furthermore, the second-hand market has seen an increase in the profit generated, in 2022 this sector produced $177 billion, and it is predicted to rise to $351 billion by 2027 (fig.1). This is largely influenced by the modern knowledge on climate change and the need for sustainable consumption and production. Despite this, the fast fashion sector, which is largely known for its negative social and environmental contributions, is predicted to increase in profit from $106.42 billion in 2022 to $184.98 billion in 2027 (fig.2) (Smith, 2023).

Fig.1, The second-hand apparel market (Smith, 2023)
Fig.2, The fast fashion market forecast (Smith, 2023)

In these uncertain economic times faced globally it can be very difficult for brands to remain competitive making it more important now than ever to know what consumers want. This was seen in 2020, an extremely economically challenging year due to the pandemic, where the brands which achieved the greatest success focussed on investing in technology, sustainability and talent (Berg, 2023) as consumers now care about modernity, tackling the climate crisis, quality and originality. By studying brands, such as Yves Saint Laurent, which have been able to recover from a deterioration in profit without completely losing the brands ethos over brands can learn how to achieve similar success. Yves Saint Laurent saw a decline in the 1980s as consumers began to care less about loyalty and more about relevancy. In 2013 the brand underwent a transformation leading to a resurrection, this was partly achieved by reflecting on brand values regarding modern needs as well as redefining their target market to include younger people. This rebrand resulted in YSL gaining greater relevance and thus more economic success (Mitterfellner, 2023).

The job of bridging the gap between creativity and commerce generally falls upon the creative directors. In an interview with Floraine de Saint Pierre, a trailblazer in combining the creative director role and the CEO role, she highlights the distinction between design leadership and creative leadership as creativity gives “the ability to transcend established rules”. By applying this creative mindset to business this often leads to creating innovative rules. Through understanding the brand at its creative core, the chances of greater business success are far more likely, therefore it makes the most sense for these creative and business roles to be considered together (K-Hole, 2021).

Bibliography:

Berg, A. (2022) How current global trends are disrupting the fashion industry, McKinsey & Company. Available at: https://www.mckinsey.com/industries/retail/our-insights/how-current-global-trends-are-disrupting-the-fashion-industry (Accessed: 21 October 2023).

K-Hole (2021) Floriane de Saint Pierre on creative leadership, The Business of Fashion. Available at: https://www.businessoffashion.com/articles/workplace-talent/floriane-de-saint-pierre-on-creative-leadership-032c/ (Accessed: 23 October 2023).

Mitterfellner, O. (2023) Luxury Fashion Brand Management and sustainability: Unifying fashion with sustainability, New York: Routledge. Available at: https://ebookcentral.proquest.com/lib/ual/reader.action?docID=7260416 (Accessed: 21 October 2023).

Smith, P. (2023) Topic: Apparel market worldwide, Statista. Available at: https://www.statista.com/topics/5091/apparel-market-worldwide/#topicOverview (Accessed: 21 October 2023).

Smith, P. (2023) Secondhand apparel market worldwide 2021-2027, Statista. Available at: https://www.statista.com/statistics/826162/apparel-resale-market-value-worldwide/ (Accessed: 21 October 2023). Smith, P. (2023a) Fast fashion market forecast worldwide 2022-2027, Statista. Available at: https://www.statista.com/statistics/1008241/fast-fashion-market-value-forecast-worldwide/ (Accessed: 21 October 2023).

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People

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In the diverse fashion industry, it is difficult to identify one common quality between all brands, however, no brand can function without people, specifically consumers. As time goes by new demographics emerge and brands are forced to adapt to new markets to stay relevant and thus profitable. In 2023, many fashion brands are shifting their focus to Gen Z – a demographic of all people born between 1996 and 2010.

Gen Z’s consumer behaviour is largely defined by their shared life experiences including growing up in the digital age and the Covid pandemic. Typically, Gen Z are more spontaneous in their shopping habits than the previous generation, millennials. Furthermore, Gen Z value ease in their online shopping experiences but also desire physical retail experiences, highlighting the importance of an easy-to-use website whilst not neglecting brick-and-mortar stores (McKinsey & Company, 2023).

Statistics from Drapers online 2023 show that 53% of Gen Z in 2023 prefer to buy their clothes online and 34% prefer online shopping (see fig.1). These statistics may suggest that, to optimise the amount of Gen Z consumers, brands should offer both in store and online options for purchasing. Additionally, brands should aim to create products that are environmentally and ethically sustainable as 69% of Gen Z consumers rate the importance of sustainability between a 3 and a 5 on a scale where 1 is not important at all and 5 is very important (Moran, 2023).

Fig. 1 (Drapers Online, 2023)

To further appeal to Gen Z, it is vital for brands to align with their values, such as, their desire for diversity. In the 2018 McKinsey & Company report, Gen Z are described as “radically inclusive” largely due to the insight that the internet provides on different cultures and groups (Francis and Hoefel, 2018) this exposure drives Gen Z consumers to demand diversity. Tommy Hilfiger has adapted to calls for diversity by collaborating with Harlem’s Fashion Row to provide opportunities to young black designers. Furthermore, the brand has created garments specifically designed for disabled people to ensure that they have access to both fashionable and practical clothing (Tommy Hilfiger, 2023).

To have a successful fashion brand it is important for brands to adhere to Gen Z’s needs through people skills. Business of Fashion highlights that “Gen Z is more adamant that brands stand for something and reflect their values” with these values including diversity and combatting climate change (Amed et al, 2023). This suggests that brands must demonstrate empathy to all people and global problems to be genuine in their response to calls for diversity. Additionally, a brands people skills must extend to online communication by knowing how to effectively use the most popular social media apps, TikTok and Instagram (Drapers Online, 2023).

Bibliography:

Amed, I. et al. (2023) The State of Fashion Special Edition: beauty, The Business of Fashion.

https://www.businessoffashion.com/reports/beauty/the-state-of-fashion-beauty-industry-report-special-edition-2023-bof-mckinsey/ (Accessed: 15/10/23).

Diversity, equity and inclusion: Tommy Hilfiger® (no date) Diversity, Equity and Inclusion | Tommy Hilfiger®.

https://uk.tommy.com/diversity-equity-inclusion-initiatives (Accessed: 15/10/23).

Francis, T. and Hoefel, F. (2018) True Gen’: Generation Z and its implications for companies. McKinsey & Company, 12.

https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/true-gen-generation-z-and-its-implications-for-companies (Accessed: 14/10/23)

Moran, G. (2023) Gen Z and millennials 2023, Drapers.

https://www.drapersonline.com/guides/gen-z-and-millennials-2023 (Accessed: 14/10/23).

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 (Accessed: 14/10/23).

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Planet

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Our planet is under constant threat from an abuse, inflicted by humans, of our finite resources which has resulted in, what could be, detrimental climate change. The fashion industry is a large contributor to this global climate problem and therefore it is vital for the industry to practice and advocate for sustainability. All sectors of the industry must be held responsible for the damage they have inflicted, whether this be the 50 season a year cycle of fast fashion or the linear life cycle of clothing within luxury, and take action to combat climate change.

One way in which fashion brands can tackle issues of production and consumption is through circular economy – a cyclical life cycle for clothing from the first stages of production to the end-of-life destinations. In Gwilt’s ‘A Practical Guide to Sustainable Fashion’ (2020) this concept is explained as being “often described as a system where all materials are infinitely recyclable or biodegradable”. The Ellen MacArthur Foundation, a key figure in the development of circular economy, outlined three main principles of the process: design out waste and pollution; keep products and materials in use; and regenerate natural systems. Although these principles encourage and demonstrate sustainable practices it is important to remember that circular economy is not a replacement for sustainability but rather a tool to be used alongside other efforts to make the global fashion industry more sustainable (Gwilt, 2020).

(Figure.1) Ellen MacArthur Foundation, model for circular economy

Sustainability often acts as an umbrella term for many smaller practices, regarding the fashion industry sustainability is most associated with solving issues of “overproduction, post-consumer textile waste, poisonous chemicals in clothing and third-world labour in dire conditions” (Mitterfellner, 2023). One way in which sustainability can be improved in the fashion industry is by changing the approach from the very beginning steps, design. By changing one’s approach to design from focusing on the garment to visualising the consumer wearing and living in it a sense of well-being regarding the individual wearing it becomes the focus and thus encourages sustainable practices (Hethorn and Ulasewicz, 2015).

The UN decided on 17 sustainable development goals (SDGs) that aim to improve sustainability socially, economically and environmentally (see figure 2). One of these goals is responsible consumption and production which has relevance to the fashion industry as overproduction is one of the major issues in the fashion industry with clothing production doubling between 2000 and 2014 (Moran, 2022). Through reducing overproduction and encouraging less consumption less waste will be produced by the fashion industry, tackling one of the most prominent problems.

(Figure.2) The United Nations sustainable development goals

Bibliography:

Circular economy introduction (no date) Ellen MacArthur Foundation. https://ellenmacarthurfoundation.org/topics/circular-economy-introduction/overview#principles (Accessed 07/10/23)

Gwilt, A. (2020). A Practical Guide to Sustainable Fashion. London: Fairchild Books. https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1452042&query_desc= (Accessed 07/10/23)

Hethorn, J., & Ulasewicz, C. (eds). (2015). Sustainable Fashion: What’s Next? A Conversation about Issues, Practices and Possibilities. New York: Bloomsbury https://www-bloomsburyfashioncentral-com.arts.idm.oclc.org/encyclopedia?docid=b-9781501312250 (Accessed 07/10/23)

Mitterfellner, O. (2023) Luxury Fashion Brand Management and sustainability: Unifying fashion with sustainability. New York: Routledge. https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1546849&query_desc=kw%2Cwrdl%3A%20Mitterfellner (Accessed 07/10/23)

Moran, G. (2022) Drapers, Collaborating for Change: Sustainability Report 2022 https://www.drapersonline.com/guides/collaborating-for-change-sustainability-report-2022 (Accessed 07/10/23)

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My Favourite Fashion Brand – Robert Wun

My Favourite Fashion Brand – Robert Wun

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When proposed with the question “What is your favourite fashion brand?” I initially considered it to be a rather simple question, that was until I tried to come up with a simple answer. In a world of ever-changing trends and events in an ever-changing time of my life I found it difficult to be decisive when choosing a “favourite” with there being so many elements in so many brands which I admire. This led me to considering what determines a “favourite” and separates it from an objective best. A combination of personal nostalgia, admiration of craftsmanship, and longevity in my love for the designer became my definition of a “favourite”; also known as Robert Wun.

Hong Kong born Robert Wun studied fashion design at London College of Fashion, graduating in 2012 where he was discovered by Joyce Boutique. 2 years later, in 2014, Wun launched his label before debuting at Paris Fashion Week in 2023.

My personal admiration for Wun largely stems from the creativity in his approach to design. The way in which Wun draws inspiration from the world around him and his own personal culture to implement this into his designs somehow appears both on the nose yet simultaneously completely original. This creates designs that are easily identifiable from the inspiration and the artistry. Furthermore, Wun’s ability to push the boundaries in construction and silhouettes are other notable aspects of his work. Wun clearly expresses a great knowledge of garment construction and fabric manipulation that when combined with his immense creativity culminates into a breakthrough fashion brand.

Robert Wun’s most recent collection, SS23 couture, received great levels of attention online and in the fashion community largely due to the 11th look, “the spilled wine gown”, an all-time personal favourite of mine. Through this design Wun took an event traditionally associated with ruining a garment – spilling red wine on it – and created something captivating from the disaster. Amongst the hand-painting and embroidery using Swarovski crystals, Wun displayed his identifiable experimentation with structure in the peplum silhouette, further elevating the look. This collection excellently showcased one of the main reasons why Robert Wun is my favourite designer; he never appears to be complacent. Whether this is experimentation with new methods or new interpretations of inspiration each collection is elevated from the collection prior whilst remaining recognisable as a Robert Wun design.

Robert Wun SS23 Couture – the spilled wine gown

In 2016, Wun was commissioned by the Royal Ballet to design costumes for Wayne McGregor’s 10th anniversary. As someone who grew up in the world of dance and has been around their fair share of tutus, I was particularly enamoured by Wun’s unique take on the traditional dress. The traditional shape of the tutu was clearly referenced in Wun’s work; however, he pushed the boundaries of what classical ballet is through the modernised looks creating costumes that arguably act as a metaphor for what ballet is becoming, a combination of long-lasting tradition and modern boundary-pushing ideas.

Robert Wun for the Royal Ballet 2016
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