Sherifat Gbadamosi

Profit is one of the main aspects when making a fashion brand. The fashion industry has seen a drastic increase in profit; as 2022 shown that “the revenue of the apparel market in the uk was estimated to be just under £58.5 billion.”

Underground designers often take advantage of social media. For example, the brand “years of tears” started with base designs, once popularity increased, he converted them into garments building brand name. Social media is seen to give unexpected opportunities for underground designers, but also huge brands. It is the cause for some recent collaborations as brands are eager to increase their revenue and market to a larger audience. The collaboration between Kaws and Dior, was seen as Dior widening its market segment and catering to the younger generation as Kaws designs are popular amongst Gen Z. By using social media, they have tailored it to their younger target, as well as cut down on costs because it is digital; this is a very effective strategy which ultimately raises profit.

Fashion brands tend to change certain aspects to increase profit by trying to cater to their audiences. For example, H&M is a fast fashion brand, and they claim that they used recyclable materials to encourage people to buy their products, thinking it’s a sustainable business which they aren’t (greenwashing). They have done this to grow their profit as sustainability can be viewed ultimately as a trend. However, some fashion brands try to change the materials they use and adhere to the Sustainable Development Goal as consumers are ready to pay more for organically sourced clothes.

Economic difficulties are normal for all brands at some point.For example, the brand MCM stumbled across issues such as the product being exported to Asia and being sold for very cheap at gas stations leading to a loss. The Initial creator was also being accused of tax evasion leading to him being removed. The CEO of MCM Kim, hired creative director Michael Michalsky who revived the brand by redefining it. The brand became successful, as of 2022 there have been 35 stores opened globally and 60 in Korea. Creative directors combine creativity and commerce, as they have cultural capital because they know the complexity of the industry. They also have social capital as they know who to connect within the industry to make the brand successful increasing capital (according to Boudieu).

References

International Journal of Recent Technology and Engineering. (2020). Global Fashion Brands: Does Sustainability Make Business Sense?. [Online]. switch-asia.eu. Last Updated: May 2020. Available at:https://www.switchasia.eu/site/assets/files/2463/does_sustainability_make_sense.pdf [Accessed 20 October 2023]. 20Mitterfellner [Accessed 20October 2023].

Olga Mitterfellner. (2023). Luxury fashion brand management [electronic resource] : unifying fashion with su. [Online]. London : Routledge. Available at: https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1546849&query_desc=kw%2Cwrdl%3A%

statista. (2023). Apparel market in the United Kingdom (UK) – statistics & facts. [Online]. www.statista.com. Last Updated: Sep 12, 2023. Available at: https://www.statista.com/topics/3348/apparel-market-in-the-uk/#topicOverview [Accessed 20 October 2023].

This is local London. (2020). Syd: Years Of Tear And BySlik By JairuzAmiscua Esher College. [Online]. This is local London. Last Updated: 28th November 2020. Available at:https://www.thisislocallondon.co.uk/youngreporter/18906478.syd-yearstear-byslik/ [Accessed 20 October 2023].

People make a huge impact on companies as they tend to shape what they put out such as content or even the products being produced. 

As of today, fashion companies tend to market to the ‘Gen-Z’ generation (people born between 1995-2010 commonly associated with the use and ease of digital technology). It’s often said that they tend to often adapt to new things quicker than older generations because they are eager to learn each day (Inner Development goals-UN). The generation is always pushing the boundaries of diversity and inclusivity, making people/companies become innovative with their ideas and breaking down the old patriarchal paradigms.

 Gen Z’s are known to be quite outspoken on opinions about certain topics, as well as being in support of freedom of speech. There are platforms which have encouraged this behaviour such as Instagram, Facebook, Twitter and TikTok. Most have thus championed free speech through improvements in certain sectors to improve diversity and inclusion. Brands such as Victoria Secret and Savage Fenty have used a diverse series of models that target different demographics which ranges from the use of different races, gender identification, body types and disabilities. Although some brands which have decided to adapt this change often get backlash as they seem to be conforming to consumer beliefs rather than believing it themselves. It’s stereotypical for luxury brands to have models that have a certain look to fit the values of companies; when it comes to typical high street brands consumers tend to more accepting of the company’s inclusivity of all demographics such as Nike. Nike have created designs to cater to all body types as well most religions such as Muslims (hijabs).

Brands have incorporated AI into marketing strategies, retail experiences and product recommendations in order to appeal to the younger generations. Promotional material advertised by Jacquemus depicts their signature bags with motor effects suggesting a ‘fast and furious’ image of the brand. Ai is a fast-developing form of technology which has been shown to improve the fast fashion experience, however, the less satisfactory nature of AI has proven an area of contention therefore intriguing a wider audience. A general trend towards the development of digital technology within fashion is seen through a recent uptick in hiring of individuals with advanced technological skills (stolzoff, 2018). Still raising the question, do brands hold onto their beliefs or adjust to the people’s ideology?

References

  Business Of Fashion. (2023). Why Surrealist Marketing Is Suddenly Everywhere. [Online]. Business Of Fashion. Last Updated: 28th June. Available at: https://www.businessoffashion.com/articles/marketing-pr/why-surrealist-marketing-is-suddenly-everywh [Accessed 12th October 2023].

Francis, T. (2018). ‘True Gen’: Generation Z and its implications for companies. [Online]. Tracy Francis and Fernanda Hoefel. Available at: https://www.mckinsey.com/~/media/mckinsey/industries/consumer%20packaged%20goods/our%20insights/true%20gen%20generation%[Accessed 6th October 2023].

GlobalGrid. (2021). Rihanna Continues To Champion Diversity & Inclusion With Savage X Fenty Vol. 3 Show. [Online]. Global Grid. Last Updated: September 28, 2021. Available at: https://globalgrind.com/5164716/rihanna-continues-to-champion-diversity-inclusion-with-savage-x-fent [Accessed 12th October 2023].

Inner Development Goals. (2023). The initiative. [Online]. Inner Development Goals. Last Updated: 2023. Available at: https://www.innerdevelopmentgoals.org/ [Accessed 10th October 2023].

Rachna Yadav. (2020). Diversity and Inclusion – The new ‘social un-conditioning’. [Online]. peoplemattersglobal. Last Updated: 26th April 2020. Available at: https://www.peoplemattersglobal.com/blog/diversity/diversity-and-inclusion-the-new-social-un-conditi [Accessed 12th October 2023].

The fashion industry is facing a critical junction in self-reflective contribution to emissions of greenhouse gases (GHG) through oil-intensive practice used in manufacturing, distribution, and disposal of consumer products. 

Currently, the industry is responsible for 8-10% of GHG emissions, coming just behind oil production and complex supply chain transportation processes in the assimilation of consumer products (Zheng Ji, 2019). Significant contributors to increased carbon emissions centres around textile production, which has been associated in generating 1.2 billion tonnes of CO₂ equivalent (Filho et al, 2022). Disposal of clothing garments also contributes to inducement of potent gases involved in associated climate change. Current ‘fast-fashion’ practices seen more prevalently in wealthier countries has depicted increased disposal of textiles at a significantly alarming rate (more than one hundred pounds of textile waste per person each year in the US) due to the need of the latest ‘in-style garms’ and seasonal decluttering (Lundberg & Devoy, 2022). Discarding of textiles leads to dumping in landfills which when not provided with the proper oxygenation due to less advanced waste systems, commonly seen in lower economy countries results in production of methane, far more potent than CO₂ (Lundberg and Devoy, 2022). 

Fortunately, a collective focus on environment-friendly, net-zero and sustainable approaches have observed within the industry to transition from old systems. To address this, the industry has undertaken a ‘circular economy’ approach to benefit the society and environment through regenerative practice and in the long-term business sustainability (Ellen Macarthur Foundation, no date). Micro-approaches observed to eliminate waste and pollution seen through reuse and recycling initiatives promoted by e-commerce apps such as Vinted, Depop, Etsy and PLT Marketplace. Cutting down on disposal of products helps in restorative use of products through preservation of value and reduction of landfill deposition. 

At the forefront of this sustainable approach is the advent of the G7 Fashion Pact which is a collective of global leaders involved in the fashion and textile industry aiming to tackle climate change, restore biodiversity loss and protect the oceans through lower impact product synthesisation and material procurement, use of renewable energy and commitment to nature positive actions through scientific research and sustainable biodiversity measures (The Fashion Pact, no date). These measures put into practice adheres with the UN’s Sustainability Development Goals in cutting GHG emissions to 50% by 2030 and therefore providing significant environmental and societal benefits to the world for years to come. 

REFERENCES

Ellen MacArthur Foundation, No date. The circular economy in detail: Deep dive. Available at: https://ellenmacarthurfoundation.org/the-circular-economy-in-detail-deep-dive#:~:text=A%20circular%20economy%20favours%20activities,materials%20circulating%20in%20the%20economy. (Accessed: 01 Oct 2023).

Hifructose. (2019). The Recent Textile Art of Paola Idrontino. [Online]. hifructose.com. Last Updated: 19 February 2019. Available at: https://hifructose.com/2019/02/19/the-recent-textile-art-of-paola-idrontino/ [Accessed 5 October 2023].

Just-style. (2022). Climate change textile project proves fruitful. [Online]. www.just-style.com. Last Updated: 27 September 2022. Available at: https://www.just-style.com/news/climate-change-textile-project-proves-fruitful/ [Accessed 5 October 2023].

Leal Filho, W., Perry, P., Heim, H., Dinis, M.A.P., Moda, H., Ebhuoma, E. and Paço, A., 2022. An overview of the contribution of the textiles sector to climate change. Frontiers in Environmental Science, 10, p.1419.

Lundberg, D., Devoy, J., 2022. The Aftermath of Fast Fashion: How Discarded Clothes Impact Public Health and the Environment. Environmental Racism, 22 September. Available at: https://www.bu.edu/sph/news/articles/2022/the-aftermath-of-fast-fashion-how-discarded-clothes-impact-public-health-and-the-environment/ (Accessed: 02 Oct 2023).

The Fashion Pact, No date. Our Work: Areas of Action. Available at: https://www.thefashionpact.org/our-work/(Accessed: 01 Oct 2023).

Zheng Ji, C. 2019. ‘Raising awareness of the environmental impact of clothes production’, King’s College London, The Policy Institute, 14 October. Available at: https://www.kcl.ac.uk/news/raising-awareness-of-the-environmental-impact-of-clothes-production (Accessed: 01 Oct 2023).

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