Annie Gregory

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Purpose

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Although purpose may be thought of as the most ambiguous pillar, it should perhaps be considered one of the most detrimental for the success of a brand. That is because purpose is our reason “why” we do something, both as consumers and producers and therefore dictates the direction and transformation of a brand.

Brand philosophy is of great importance to a brand as it allows consumers to see the journey of a brand from past, to present and eventually future. It is perhaps appropriate to dissect “brand philosophy”, into three components; mission, vision and value propositions.

A brands mission encompasses where they are now in addition to why they exist, and is essentially the driving force behind a brands existence. A brands vision is about highlighting their ambitions for where they want to be in the future. This is crucial as, consumers, in particular Gen Z, invest in brands who seem proactive in their ability to improve their practises for a more sustainable future. A companies values can be seen through what they focus on as being important, in addition to how they chose to operate. For example, at the core of Stella McCartney, there are several key concepts; “being responsible, being honest, and practising with an eye toward the future”, (Londrigan, 2018) in addition to their values being strongly, and notoriously, rooted in sustainability. Moreover, a brands values can also be conveyed through Corporate Social Responsibility (CSR), which refers to when “companies take responsibility for their impact on society” (Londrigan, 2018).

It can be argued that “many, if not most people, want to make the ethical choice—they just need help getting there”, (Brown, 2014) which is why brands must focus on communicating with consumers about their supply chain practises, as this will “facilitate trust” (Brown, 2014). This willingness to communicate encompasses a company’s values. However, authors Granados, Gupta, and Kauffman (2010), agree that transparency is “complex and can be rather elusive”.

Furthermore, brand philosophy is of increasing importance in todays retail climate due to the fact that Gen Z, as consumers, are more selective when choosing which brands to consume and base their retail decisions on whether they feel the brand aligns with their morals. It is true that, as a cohort, Gen Z are “looking beyond tangible products and actually trying to understand what is it that makes the company tick”(Finneman, 2020).

Brands must communicate with Gen Z by eliciting an “emotional connection” and in a “manner that resonates with customers, that feels authentic”(Finneman, 2020). However, it is important for brands to be aware that other brands are attempting to do this also, to connect with the new generation of consumers, and therefore “to break through the clutter requires emotional connection and quality storytelling” (Finneman, 2020) . Gen Z in particular “expect companies to establish clear stances on social or political issues”. (Curry, 2020)  However, many brands fal; short when fulfilling claims as they fail to consistently uphold their supposed beliefs.  Therefore, brands must commit to their purpose and follow through with any pledges for change they promise consumers.

Bibliography

Finneman, B. (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: 29 October 2023).

Londrigan, M.P. and Jenkins, J.M. (2018) Fashion Supply Chain Management , Bloomsbury Fashion Central . New York: Fairchild Books. 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: 27 October 2023).

Curry, L. (2023) How brands can follow through on the values they’re selling, Harvard Business Review. Available at: https://hbr.org/2020/08/how-brands-can-follow-through-on-the-values-theyre-selling#:~:text=Investing%20in%20structural%20change.,working%20to%20uproot%20systemic%20injustice (Accessed: 29 October 2023).

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Profit

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In today’s economic climate, it is increasingly challenging to balance “creativity and financial prudence”, and the relationship between the two will inevitably develop due to the new and “empowered digital native consumer base” (Bick) that is Gen Z. Without profit, there is no business and thus this pillar is vital for the growth of the fashion industry and survival of the creatives working within the industry.

Around the world, it is estimated that “80 billion pieces of new clothing” are purchased every year; making a contribution of “$1.2 trillion yearly for the global fashion industry”. These garments are predominantly made in the Eastern world, yet the largest consumer is the United States. The garment production industry “employs more than 40 million workers”, with an estimated 80% of the workforce comprising of women, and it is estimated that the global fashion industry is valued at $3 trillion.  

In 2023, the luxury sector was expected to outperform the rest of the industry as “wealthy shoppers continue to travel and spend, and are less affected by economic uncertainty. This trend follows after Covid-19 which changed the shopping habits of many consumers. It has grown predominantly due to the activity of consumers In both USA and China, whereas Europe’s experience with the energy crisis means the trend does not apply here.

Despite the recession that has occurred in recent times, consumers have a desire to spend on fashion which highlights the resiliency of the fashion industry. When considering how a brand can remain competitive in uncertain economic times, fashion companies need to ensure they are more than just the clothes they sell, but instead a brand. They also need to be active in different geographical regions. This is because, as previously mentioned, different geographical regions experience different political events which influence their spending power. Furthermore, by using data consistently, brands are not only able to make insightful predictions but it will allow brands to manipulate their consumer market to their advantage, helping them to make considerable profit.

The gap between creativity and commerce has naturally been bridged throughout the years due to the fact that creative directors are expected to produce more collections annually. In the 1980’s it was considered the norm to release 2 collections per year however in 2020, this number has increased to 32 collections on average.

Creative directors are also expected to embody various roles, as they are not only creative directors but “the lead fashion designer, brand ambassador, and the brand visionary”. Furthermore, a creative directors role differs depending on the brand they are working at. For example, Karl’s time at Fendi was centred more around highlighting the Fendi family status, with Karl not being featured in their promotion until 50 years at his post. Contrastingly, at Chanel, Karl was always “openly shown as the face of the brand”, with his look considered “omnipresent”. Through his fashion shows, Karl created numerous creative spectacles such as his installations which included supermarkets and airports.  

In uncertain economic climates, we must ask ourselves several questions. Firstly, to what extent should designers create collections which conform to customer demands as opposed to their own creative innovation, and secondly, we must question the priorities of a creative director. Should their dominant concern be their consumers, or the planet?

Crook, J.D.S. (2023) Compelling fashion business: Bridging the divide between Creative Vision and commercial reality, London College of Fashion. Available at: https://www.arts.ac.uk/colleges/london-college-of-fashion/stories/compelling-fashion-business-bridging-the-divide-between-creative-vision-and-commercial-reality (Accessed: 22 October 2023).

Bick, Rachel, Erika Halsey, and Christine C. Ekenga. “The Global Environmental Injustice of Fast Fashion .” BioMed Central. BioMed Central, December 27, 2018. https://ehjournal.biomedcentral.com/articles/10.1186/s12940-018-0433-7.

Huynh, Phu. “Assessing the Gender Pay Gap in Asia’s Garment Sector.” International Labour Organisation , 2016. https://www.ilo.org/wcmsp5/groups/public/—asia/—ro-bangkok/documents/publication/wcms_466268.pdf.

Tara Donaldson, “Asia-Pacific Supports the Fashion Industry, but Does the Fashion Industry Support Asia-Pacific?,” WWD, May 26, 2021, https://wwd.com/fashion-news/fashion-features/fashion-industry-taps-75-percent-garment-workers-from-asia-pacific-aapi-heritage month-1234828301/.

Armed, I. (2022) The state of fashion 2023: Holding onto growth as global clouds gather, McKinsey & Company. Available at: https://www.mckinsey.com/industries/retail/our-insights/state-of-fashion (Accessed: 22 October 2023).

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: 22 October 2023).

Mitterfellner, O. (2023) Luxury Fashion Brand Management: Unifying fashion with Sustainability. London: Routledge.

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PEOPLE

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While all four pillars are crucial when upholding the reputability of the fashion industry, it is the people, both consumers and workers, who are able to generate the change needed in the industry and thus the ones by which all other pillars rely on.

As consumers, Gen Z desire more than just a product and therefore, brands should focus on the experience they can offer, in addition to how they convey their values when attempting to attract Gen Z. It is also crucial for brands to consider a multi-faceted approach in regards to the channels they operate on. This is because Gen Z don’t think about shopping in a binary way, but instead shop across all formats and “experience these brands as they do so every step of the way”. By consequence, brands must become more “omnipresent”.  Gen Z’s decision to shop across multiple channels, both tangible and virtual, separates them from their millennial counterparts who prioritise online shopping. This is arguably because as “digital natives”, shopping online lacks the novelty it does to their millennial counterparts. (Spangnuolo) . Gen Z have also been branded as “always-on purchasers”, due to their use of multiple channels. The experiential element of brick and mortar stores is perhaps of greater importance to Gen Z and “if the brand can support the consumer in the process of unwinding or playing, then there is no need for a hard sell”, demonstrating that when a brand provides more reason to visit a store beyond the product, the customer base inevitably widens.

When considering diversity within the fashion industry, people often resort to reporting on the injustices occurring at surface level, and issues within the supply chain, often remain unreported or at least underreported. The garment production industry “employs more than 40 million workers” with an estimated 80% of the workforce comprising of women. It can perhaps be argued that the most severe injustices are arguably experienced by female workers in the Asian garment industry, an example being the gender pay gap. The “Action, Collaboration, Transformation” (ACT); an agreement which collectivises 20 brands and retailers, is an example of an attempt to overcome this This is the first global, large scale pledge to living wages in the garment sector. All 20 members have agreed to three principles. Large-scale brands that form part of the initiative include ASOS, H&M, and Next.

When considering the key people skills brands should employ to be successful, it is pivotal that they are transparent and authentic, particularly in regards to ensuring consumers are aware of the reality of how the brand operates. It is also crucial that brands are able to combat issues and injustices, meaning that conflict resolution is another key skill they should implement. These skills can be communicated to the public through schemes such as posting transparency reports for consumers to engage with. As consumers, our increased awareness of such issues can enlighten us, which is important because, if we demand more transparency then more companies and organisations have to be careful about what is occurring in their production line.

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ellen

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Planet

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The climate crisis is unequivocally caused by human activities and the fashion industry is one of the most detrimental contributors with textile production alone emitting “1.2 billion tonnes of co2 annually”.[1] Out of the four pillars, “Planet” is arguably the pillar in which gen-z have the most heightened sensitivity to, as we realise that, ultimately, we cannot sustain a system that is not working.

Sustainability in relation to fashion is ensuring that we as stakeholders, (both producers and consumers), are meeting the needs of the present generation without compromising the ability of future generations to meet their needs.

Moving forward, key stakeholders in the fashion industry need to consider alternative business models, and recognise that design has become the most powerful tool with which man shapes his tools and environment [2], as we shift from a linear model of “take, make, waste” and replace this with a circular model. This is a system in which clothes remain in the loop until their maximum value ceases to exist and when this occurs, they are returned to the biosphere safely. A common misconception is that recycling should be the prioritised goal, however recycling should be a last resort as it involves spending resources and energy to deconstruct the product and then use more to generate a new product. To maintain the garments health and keep it in the system for as long as possible, repairs are made in addition to reusing either by sharing or renting. The Ellen Macarthur foundation have outlined a “vision for circularity in fashion”, which involves advice for stakeholders regarding this concept. (see below)[3]

Furthermore, Patrick McDowell, designer and founder of his self-titled brand, highlights the importance of curating smaller collections and how it is possible to show the same body of work repeatedly by restyling looks which is less wasteful and thus more environmentally conscious. He is an example of a smaller brand “shifting to a demand driven model”,[4] meaning there is less overproduction.

In order to generate the change that needs to occur, radical collaboration is a solution that must be considered, as it is too often the case that “voluntary action is only taken by leaders”[5], and without strict legislations change is momentary. Instead, stakeholders must cooperate through sharing knowledge and designing with intent. An example of this is through the Sustainable Development Goals, which were curated over a period of 2 years by the United Nations. They are important as they apply to every nation and every sector, requiring universality. Each of the 17 goals are split into either environmental, social or economic goals and an example is clean water and sanitation. This goal is intrinsically linked to fashion, as textile and garment production is water intensive, using approximately 79 billion cubic metres of water every year. [6]While many economically advanced countries are practising less harmful techniques, some countries and companies continue to knowingly release byproducts and chemicals into local water systems, which not only shows a lack of care and responsibility but is detrimental to the health of local inhabitants. Cleaning waters requires investment and a shift in mindset  and an example of this is that several manufacturing hubs have begun working with technology which is capable of saving 50 million litres of water. This is one example which highlights the importance of radical collaboration when generating change.

[1] Leal Filho, W. et al. (2022) An overview of the contribution of the textiles sector to climate change, Frontiers. Available at: https://www.frontiersin.org/articles/10.3389/fenvs.2022.973102/full#:~:text=Due%20to%20its%20complex%20supply,emissions%20(UNFCCC%2C%202018). (Accessed: 08 October 2023).

[2] Wahl, D.C. (2017) Visionaries of Regenerative Design V: Victor Papanek (1927–1998), Medium. Available at: https://designforsustainability.medium.com/visionaries-of-regenerative-design-v-victor-papanek-1927-1998-57019605997#:~:text=Papanek%20repeatedly%20emphasized%20that%20%E2%80%9Cthe,past%20as%20well%20as%20the (Accessed: 08 October 2023).

[3] Macarthur , E. (2022) Circular-ish: embracing the messy reality of circular economy innovation, Embracing the messy reality of circular economy innovation. Available at: https://ellenmacarthurfoundation.org/articles/circular-ish-embracing-the-messy-reality-of-circular-economy-innovation (Accessed: 08 October 2023).

[4] Moran, G. (2022) Collaborating for change: Sustainability report 2022, Drapers. Available at: https://www.drapersonline.com/guides/collaborating-for-change-sustainability-report-2022 (Accessed: 08 October 2023).

[5] Moran, G. (2022) Collaborating for change: Sustainability report 2022, Drapers. Available at: https://www.drapersonline.com/guides/collaborating-for-change-sustainability-report-2022 (Accessed: 08 October 2023).

[6] Reducing the fashion industry’s water footprint (2022) Recover. Available at: https://recoverfiber.com/newsroom/world-water-day#:~:text=The%20impact%20of%20fashion%20on%20water&text=It’s%20estimated%20that%20the%20industry,but%20also%20dyeing%20and%20treatments. (Accessed: 08 October 2023).

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prada

My Favourite Fashion Brand

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When determining my favourite fashion brand, this question made me ponder more than initially anticipated. Perhaps asking someone who loves fashion to pick their favourite fashion brand is like asking a mother who her favourite child is, or a musician their favourite piece of music; it is simply too broad of a question. This led me to instead consider which brands I always return to and more importantly, who’s page I continuously ponder in Vogue, issue after issue, and that would be Prada.

It is undeniable that from the offset, quality has always been at the heart of what makes Prada so special, however in spite of its luxury, it is not Prada’s extravagant price tag and opulent quality that connects me to the brand, but its timeless charisma. Prada’s ability to stand the test of time is undoubtedly due to their designs’ capsule-esque quality. A strong example of this is when the fashion brand reissued several bags from the early 2000s once again in recent years. It is not a secret that trends from the early 2000s are making a reappearance in society (think baby tees, micro sunglasses and baguette bags), and Prada’s 2005 shoulder bag is no different with notable names such as Bella Hadid now sporting the accessory. The mini shoulder bag ultimately “encapsulates the Italian brand’s sartorial DNA”, with its wearability and timeless silhouette with options for all with the endless colour possibilities.

It is this ability to reintroduce older designs into modern day society which results in Prada being superior to competitor brands who are potentially less receptive to the concept of capsule-esque fashion.

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