While bigger fashion brands and the industry as a whole has been under increasing pressure in the last decade to provide more visibility into their supply and sustainability processes, there are still many facets of the industry that remain somewhat opaque, and in definite need of further scrutiny.
Consumers are becoming increasingly aware and therefore critical of, the fashion industry’s ethical and moral obligations, as they relate to labour and working conditions, exploitation, the impacts on the environment, and the consequences of fast fashion. Brands have had to provide more visibility to satisfy this need, with some even changing processes and their strategies, given the need for more transparency. Consumers’ evolution of consciousness has unequivocally had a transformative impact, however, fashion’s commitment to diversity and inclusion remains considerably lacking.
A truly fair and sustainable industry would be one representative of all people; of varied backgrounds, ethnicities, and particularly one which is respectful of, hires and gives credit to the very cultures and minority groups from which it often takes inspiration.
The momentum of the Black Lives Matter movement has increased attention around the necessity for more legislation, equality, and recognition for those who in the past have been overlooked or discriminated against. The fashion industry is guilty of this just as much as any other and has still a long way to go to tip the scales of equality.
The fashion industry, and many major luxury brands, have long been complicit in a culture of cultural appropriation, racial insensitivity, discrimination, underrepresentation, and promoting racist ideologies in plain sight. They have long defined the standards of beauty; typically, through the almost exclusive use of extremely thin models with fair skin, thin smooth hair, and light eyes. Women of colour are scarcely represented in campaigns or on runways, and then forced to work in an industry that mistreats or silences them. One such type of normalised discrimination is by hiring makeup artists and hairstylists who are untrained to work with darker complexions and natural hair at the global fashion weeks.
Models have spoken out about this marginalisation, but little has been done. Some are even asked to arrive to shoots camera-ready or pay for their own hairstylist given that the team hired will not or can not work with their hair. Simply casting black or minority models is not enough; creative backstage teams should also be skilled enough to work with all races. This disparity should also, therefore, be addressed both in cosmetology schools and by makeup brands, to set the expectation that to work in fashion, you must know how to work with all models. These prolific discriminatory practices and industry-wide means of exclusion need to end.
There have also been numerous instances of whitewashing occurring within fashion media, a practice that has finally been receiving criticism, despite it happening for years. The practice of artificially lightening someone’s skin tone of their hair to appear fairer underpins this cultural creation that lighter is more beautiful. Several major fashion magazines, advertisers, and cosmetic companies have faced controversies in recent years due to the apparent lightening of complexions in their media, and while these claims are disputed, the images themselves feed into a very damaging culture and perpetuate negative sentiments for women of colour and how they should fit into a ‘white’ industry.
As a consequence, many large fashion houses and magazine publishing firms have pledged to do better, to openly promote diversity and inclusion, feature a greater variety of individuals on their runways, pages and in their advertising, and revise their hiring strategies to ensure their own creative teams and talent reflect this, all the way to the top. But who exactly can hold them accountable for this? And will this bring lasting change?
Statistics have shown that the more culturally diverse their executive teams are, the more profitable they are. McKinsey and Company’s 2018 research has attributed this to better access to talent, improved decision making, deeper employee engagement, and greater insight into their consumers.
While there are financial incentives to make changes, one might also ask why their moral obligations and commitment to creating opportunities for those who have been historically disenfranchised might not be enough. The greatest incentive perhaps, which has brought about these changes in the last year, has in fact been consumer pressure.
The industry has always largely been controlled by white men in executive and board member positions, meaning unless those at the top embrace the changes, and become allies committed to reversing years of systemic racism, a future of fair representation and diversity in their positions of power, might still be a long way off. Open communication and discussions about both overt and unconscious bias will inevitably need to be addressed if brands want to evolve and meet their consumer’s demands.
They also will have a lot of work to do within their supply chains and distribution chains. It is no secret that the communities most negatively impacted by the poor labour practices and terrible environmental effects of the fashion industry are disproportionately people of colour. Likewise, large retailers, need to support and promote black-owned businesses and carry more labels from minorities to more fairly reflect our populations. With less than 1% of the stock in the market today being from black-owned businesses, no more evidence is needed to reflect the discrimination in the industry.
Companies will need to monitor their own progress, and then be judged against others in the industry. Data, transparency, and accountability are prerequisites for measuring significant change, and aggressive goals need to be set. Consumers will ultimately then need to decide if brands are taking sufficient action and it is in the power of consumers to ensure the momentum for change is sustained; brands and consumers alike will need to commit to this for years to come. There is no easy road to progress, but the events of 2020 showed us that we don’t have any more time to wait.
Even before the events of the global pandemic crisis, fashion executives were not looking forward to 2020. It was predicted already that 2020 would be a challenging year for many brands, particularly in the luxury sector, however no one could have predicted the roadblocks that have occurred. Trends in 2019 had shown that 2020 was likely to suffer slow industry growth, but brands also knew there would be significant pressure to expand their digital footprints, invest more in omnichannel and leverage new technology.
We knew there would be volatility, and many were taking steps to become more resilient through tough times, but what actually occurred, threw many unexpected barriers, which caused longer term transformation strategies to be fully tested. For those that didn’t respond or adapt quickly enough, 2020 will have unfolded as a year that many are unable to bounce back from.
Digital retailers and those brands with a strong e-commerce presence, were given an opportunity to flourish in the last 6-9 months, and those that had already a model in place to support the creation of attention grabbing content via the right platforms, for all their global markets, and seamless checkout options, were a lot more resilient than those with more traditional engagement models reminiscent of the previous decade.
The reality is it is becoming increasingly more difficult to engage consumers. Digital audiences are overwhelmed with content and ads, and social media platforms oversaturated with product imagery. The importance of storytelling and grander media productions, via celebrity endorsement or influencers, is greater than ever.
Combined with the impact of COVID-19, creating inspiring content and a memorable consumer experience was all the more challenging. None of the normal components that make in-store shopping enjoyable or even enable it, can happen the way they did before coronavirus. Consumers and brands have to adhere to health and safety guidance, including maintaining the recommended social distance, avoiding touching items or surfaces that others come in contact with, and trying on items. Some consumers, especially those who are particularly vulnerable, will never feel safe in retail environments again.
Bricks and mortar stores were already having to reinvent themselves and deploy technology to modernise the consumer experience, but with current limitations, eCommerce and point of sale integration became even more crucial. COVID-19 brought about sudden demand for an increase in mobile technology and for self service kiosks, appointment scheduling software, or instore pickup functionalities. Such technologies require robust infrastructures and scalable security networks. As such, retailers are having to make tough decisions regarding how to implement these technologies in tight timeframes to meet demand, without making themselves vulnerable.
Driving growth in such a volatile environment is somewhat forcing many brands to be more agile and accelerate their move to cloud technologies, to reinforce their e-commerce applications and deliver safe, and consistent consumer experiences. As such, the movement towards omnichannel consumer engagement was significant in 2020. The surge in online shopping, combined with the demand for swift delivery, meant supply chains were also optimised rapidly. The automation of orders, inventory checks, tracking, and delivery, while maintaining great customer service and experiences, was critical. Those that failed to adopt mobile first technologies and scale up their e-commerce strategies, were inevitably very badly hit.
This technological revolution, largely due to the explosion of e-commerce growth in 2020, can offer many opportunities for brands beyond 2021 if they expand their business models and invest heavily in online platforms. But brand loyalty is not to be overlooked, as with so many options now available online, personalisation and well thought out communication plans, will be really important for maintaining a solid consumer base. Innovation at all levels of the retail model will be required in 2021, and an exciting e-commerce evolution while inevitably be seen in the coming months, as fashion brands emerge from 2020 with more sophisticated shopping options for consumers that ever before.
Trends also predict an increased need for buy now, pay later technology, especially now given the economic downturn. Paying in installments offers a much more manageable way for consumers to purchase, particularly for early adopters within the luxury industry, opening up the sector to almost everyone. Younger consumers are avoiding credit cards, preferring instead to opt in to installment methods of payment, thus expanding the audience of those brands who introduce services such as Klarna.
In Europe, consumers have spent less money on clothes this year in general, but when they have, they have prioritised quality, and displayed a marked shift towards classic items and casual wear, shunning what now seems unnecessary party wear and formal clothing. The fashion sector in 2021 will face and conquer new frontiers and as always it will be dynamic, adapting to what consumers need. Most major retail brands have already delivered on this very quickly, offering more comfortable fabrics, casual ‘work from home outfits, mix and match lounge wear separates and luxury tracksuits in their recent collections.
The road to recovery in the next year will be uncertain for a lot of fashion and luxury brands. What is clear though, is that recovery will be largely driven by online sales. Offline sales will inevitably recover in the longer term, but it is expected that retail will only start to bounce back once a vaccine is widely available. What happens in the meantime is anyone’s guess.
The fashion industry is changing at every level. These seismic shifts in most areas of the industry have needed to happen for a while but were accelerated considerably by events that took place in 2020.
One such change, which is especially visible, is the reformation of the fashion show. Global lockdown allowed many in the industry to reflect on the way in which collections were presented, but also, and to a higher degree, fashion houses were forced to reconsider how to produce shows when the majority couldn’t take place physically, as had been the tradition since the early couture shows of the 1940’s.
For decades fashion designer shows have been synonymous with big scale productions, beautiful theatrics, glamorous settings and in more recent times, a-list packed front rows. Starting from the 20’s many high-end fashion houses or designers used models to display their collections to the chosen elite. This eventually evolved into fixed date shows, as demand increased across Europe, especially in Italy and France, from foreign buyers, wanting a taste of European sophistication. Across the ocean, this started a movement for department stores in the United States to host their own fashion runway shows.
Following the Second World war, the Italian fashion industry, alongside the rise of ready to wear clothing production, was also boosted by post-war government policy and reforms to support the export economy. In 1949 fashion shows were held for the benefit of the international press, to showcase Italian art and culture. A pivotal fashion show in the summer of 1951 in Florence, drew in nearly 200 buyers and journalists from the U.S. making internationally publicized shows, now a seasonal affair.
The traditional fashion show format that we know today was firmly set by the 1960’s, often embracing youth culture and appealing more to the masses, via marketing techniques involving mixing fashion with popular music, location staging, and with models who were then becoming globally recognisable.
Now in 2021, it appears that we have reached a turning point; a before and after. Fashion houses are now faced with having to produce shows that will translate for digital audiences.’Digital couture’ was offered as a short term way to navigate the restrictions surrounding the global pandemic, but it could be argued that the 2020 pandemic simply accelerated this process, which would have had to happen inevitably anyway. Not only does it offer a more sustainable solution, but it makes high-end fashion brands and their once exclusive shows, more accessible to the masses.
Starting first with London Fashion Week in June 2020, the British Fashion Council, were the first to innovate and offer a fully online gender fluid event, which included not only virtual shows, but digital parties and video led discussion panels. The notion that fashion editors, buyers and influencers, were flying across the globe for short physical shows, and clocking up huge carbon footprints as a consequence, now seems rather outdated and excessive.
Brands are obviously still figuring out how to deliver on this successfully, and but nevertheless, with two seasons of digital fashion weeks that have taken place in 2020, we can now ask the question… Do they work?
Fashion was already on the cusp of transformative change, given that some brands were moving away from traditional seasonal calendars. Consumers were changing how they consume, so the need for change in the fashion week format, was also inevitable to some degree. There has also been a need in recent years for brands to invest more in virtual and more immersive experiences, in order to remain competitive in the market. 3-D fashion shows, and interactive digital live streams were becoming more commonplace, and the need to make shows more inclusive and relatable for consumers was becoming increasingly important.
Creating connections with the audience is key to the success of this new format, but going digital does offer opportunities to build stories around collections, generate deeper connections with the brand values, and potentially make the shows more impactful. The storytelling opportunities are vast, nevertheless it does present challenges for brands to build the same excitement around virtual shows. While it can be argued that the social aspect cannot be replicated online, digital shows offer opportunities which elevate brands beyond the boundaries of physical venues, seating and set construction.
New technologies present new narratives, with 3-D rendered clothing, CGI, video content and digitally crafted locations. With no clear path for where this experimentation might take us, it allows brands to fully explore the possibilities, and perhaps the future of fashion weeks around the world, might result in a perfect blend of digital and physical shows, created with the brand values and their particular audiences in mind. Perhaps physical shows will get smaller, with more focus on the audience watching at home. Or it will lead to fully green screen virtual multimedia shows, where the full experience is delivered via our devices.
Whatever the answer, the deciding factor will undoubtedly be the impact on the brands reach and their sales. In any format, the products and clothes themselves will need to remain at the centre. Will buyers stock their shelves and consumers spend their hard earned cash with items that they haven’t been able to see or touch in person? Time will tell. That being said, the traditional means of presenting physical collections once season ahead, was already dying, and had zero relevance to many modern consumers. It was time for a rethink, and experimentation will be essential for allowing new fashion events to emerge.
Whatever the future will look like, 2020 has brought us closer to this new reality, and only time will tell if the new experiences of this year, will become the new norm, or if fashion once again reverts back to its heritage, and tries to maintain the exclusivity and physical extravagance of its catwalk shows, for just a little longer.
Global fashion brands are engaging with politics more than ever before. The high stakes felt on either side of the US presidential election, prompted fashion brands to end their long held silence, taking action and responding to consumers calls for solidarity, on issues about which they are now expected to get involved.
Generation Z consumers are much more vocal than previous generations, and with their influence growing, and their numbers now surpassing millennials, their opinions about which brands to buy from, are largely formed around brands’ policies concerning inclusivity, racial equality, sustainability and climate change. These same issues drove in part the results of the US election, and voters gravitated towards brands taking an ethical stance and those promoting the same values.
Engaging with politics no doubt has its risks for brands. While some feared alienating consumers, choosing to stay silent, has cost some apparel companies and retail stores much more damage than first anticipated. Complacency or non engagement, was one of the most dangerous mistakes for brands in 2020. They are learning instead, that when their political actions align with their supposed values, consumers believe them to be much more authentic, and this has true economic force.
The ‘Time to Vote’ movement saw buy in during this election from many large fashion brands allowing their employees the time required to cast their ballot. Several apparel brands paid employees to volunteer at voting polls, some offered a vacation day to vote, 19 retailers included QR codes on their receipts to facilitate registration, meanwhile Saks Fifth Avenue was registering voters at its New York flagship and online via Saks.com signalling a new frontier for the fashion industry. Post 2020, we can surely expect a long term shift in retails attitudes towards their required level of involvement in politics.
Brand equity is strengthened when companies have gotten involved in politics, even when remaining non partisan. ‘Vote’ became the most popular fashion slogan in recent months, with celebrities and political figures alike donning the four letter word on everything from necklaces, to eyewear, masks and footwear. Designers such Michael Kors, Stuart Weitzman, and retail chains Levi’s, Keds and Nordstrom have gotten in on the action, often with the involvement of youth organisations to attract younger voters, and drive a cultural shift through fashion. This worked as the turnout among young people surged in 2020 compared to the previous US election, showing a continued trend in participation both in politics in general and in voting.
Black lives, the environment, gender equality and reproductive rights, are in the forefront of young consumers minds and they want to talk about it. Many want to enact change, and stand up for what’s right by putting their spending power in brands that support their cause. With the links between racial justice and voting more under the spotlight than ever this year, youths looked to brands to vocalise their frustrations and fears, and put an end to the exclusion and marginalization of people of colour. The fashion industry in particular was allowed for a very long time to capitalize on black culture, while at the same time never offering a welcoming space for black talent to flourish or thrive.
Consumers now are much more acutely aware of brands who share messages of support for the Black Lives Matter movement, meanwhile have historically disenfranchised and systematically discriminated against them. Brands now need to own their mistakes of the past, make significant change and address their anti racism and ethics policies openly. Removing all these barriers will be a tough, complicated transition, and they need to be approached with the understanding that such systemic structures need to broken down and rebuilt through political change, understanding and communication.
The fashion industry appears to be re-examining its responsibility in shaping political agendas and being more omnipresent in their efforts to drive positive change. The easy thing of course is to remain only about the clothing, but for brands who don’t want to participate in the movement, and advocate on behalf of their consumers, they will potentially be pushed aside, as fashion redesigns itself from the inside out.
Fashion storytelling is extremely important for fashion brands. It is used to raise brand awareness, sustain brand loyalty, and is a key driver of commercial success. This report will analyse the role of fashion storytelling within the fashion sector, through both theoretical research and methodological analysis, and will evaluate the key storytelling strategies, and techniques used by the sector to engage with their customers. It will seek to demonstrate that storytelling is a key component of fashion brand messaging and marketing strategy, and explore the conventional and non-conventional approaches available to the industry, and the more recent opportunities for transmedia messaging.
The report´s methodological analysis was based on a survey sample of 91 people of all ages over the period of 4 days, via social media to test the influence and success of fashion storytelling in consumer decision making. The survey tested the proposition suggested in the literature that storytelling did impact significantly consumer behaviour and choice. A total of 91 respondents completed the survey. The gender breakdown of this survey was 78% female and 22% male. A higher percentage of women participated and responded because of the way in which it was shared via social media on fashion sites and via social media fashion blogs; these sites typically attract a greater female readership. The scope was global, although nationality was not captured, as geographical location was not a factor in the analysis. All ages were targeted to get a clearer picture of consumer behaviour across the age spectrum; however, the majority of the responders were between 30-39.
The results of the survey reveal that fashion storytelling greatly influences consumer behaviour, and has the power to really resonate with consumers, if brands are able to get the messaging right. There is evidence in the data, that consumers would reconsider purchasing if they didn’t like a brands advertising, nevertheless, fashion storytelling yields great engagement with consumers and resonates with them on an emotional level today to a high degree, given the channels available to brands and the opportunities to engage via transmedia messaging. Both the theoretical and methodological research provide support for the key arguments of the report that fashion storytelling does have a significant impact on consumer behaviour and decision making and will play an increasing role in attracting new consumers and retaining existing ones, as the industry becomes more sophisticated and innovative in using new technologies and social media platforms to tell their stories.
1.Introduction
This report analyses the role of fashion storytelling particularly within the context of the Italian fashion sector, and evaluates key strategies employed by the sector and brands to engage their customers through storytelling, a key component of their messaging and marketing techniques.
The report analyses, evaluates and compares their strategies, techniques and approaches to storytelling across a variety of media, with particular emphasis on their use of conventional and nonconventional imagery and transmedia messaging.
2.Theoretical Context
A form of everyday art, fashion is often used as a means to express attitudes, opinions, emotions and character, and in the most extreme, to embody escapism or an aspirational and unattainable lifestyle. The designers and brands behind our clothes, encourage us to use fashion to better understand ourselves and convey our individual message to the world around us. Coco Chanel communicated social issues via her clothes, giving women a sense of empowerment and confidence that liberated them from a history of political and social disempowerment. Stella McCartney uses her brand to champion sustainable practices and promote a message of ethical consumption. The mainstream denim brand Levi’s, adopted and reinforced a brand image of counter culturalism that in the 70s stood for revolution and equality, and today represents rebellion and a free spirited attitude. Each individual designer or fashion brand uses the tools of communication and fashion storytelling to speak to their target consumers, and to transmit their brand messaging.
Fashion is aspirational, and therefore it has to be idealised in order to make it more than just a commodity driven industry. The fashion industry has always understood that consumers often make fashion decisions based on emotion. The basis of all storytelling is an appeal to our imagination and emotions. It starts in childhood. Fashion brands know we are receptive to stories, so it is no surprise that they should employ the art of storytelling to engage consumers. Fashion storytelling deepens and enhances the connections between consumers and brands, by establishing an emotional bond with the brand. This helps to build brand loyalty which is vital to brands´ bottom line.
Traditional and conventional campaigns can be described as those which portray a particular mood or personality of a brand, through its use of images, copy, and the choice of model or endorser. Usually centred around conventional themes such as beauty, elegance, glamour and lifestyle, brands typically follow a paradigm of fashion storytelling, for their visual strategy: young, diverse models or celebrities portraying youth culture and young beauty; edgy, provocative, unconventional beauty challenging convention; luxe aesthetics which are often glamorous and exotic in nature and typically feature an older, celebrity endorser; or conventional beauty which is represented by models who perfectly embody the brand both in looks and endorse a particular lifestyle.
While following a set of thematic principles, a brand´s fashion story and media messaging are communicated and interpreted differently depending on the brand and location. Italian fashion houses typically draw on the heritage, culture and traditions of Italy. The images representing Italian fashion brands are quite often more aesthetic in nature, and while designed with an International and global consumer in mind, they speak to the customs of craftsmanship and luxury long upheld by Italian culture. Fashion storytelling campaigns in the US are often seen to be more playful, less serious and simplistic and not so focused on heritage. By looking at some examples in this report, we will evaluate if these assumptions are correct, and why there may be differing approaches within the industry.
Nonconventional campaigns, in the fashion storytelling context, are engaging consumers via multiple channels with a transmedia message, such as via the web and social media. These stories are told and retold, via influencers and will feature more dynamic and modern techniques such as hashtags, social engagement, peer to peer endorsement and user generated content.
2.1 The Importance of Visual Storytelling for Brand Awareness
Storytelling plays a vital role in modern marketing and brand awareness strategy. Visual language and the codes found within fashion storytelling are defined within a set of semiotic constants, to form a visual signature for the brand. Visual storytelling and fashion imagery serve brand positioning and create a concept of the brand in the mind of the consumer. In the luxury market especially, there are well established semiotic constants. The appeal to high-end consumers is to the emotions of uniqueness, status and exclusivity. After having seen a luxury item or product in print media, such consumers will expect these emotions to be catered for and reinforced should they then visit the store and interact directly with the brand. The narrative in print creates a direct emotional link to the store and its products, which is of course the intention. Luxury brands in particular rely on storytelling. A luxury brand, which is selling exclusivity, needs to centre their stories in myth, history and heritage (Kapferer, J.N. and Bastien, V. 2012).
Brand awareness takes time and effort to create and maintain. Generating a brand awareness so strong that consumers can instantly identify the advertisement and associate it with the brand, takes a lot of investment from the brand, to gain such levels of high brand recognition. Luxury brands tend to have a higher level of global brand awareness than mass or high street fashion brands. This is mainly due to the aspirational and élite qualities that luxury brands transmit to consumers and the high level of exposure that they get (Okonkwo, U. 2007).
2.2 The Power of Images
Brand communication begins most commonly via advertising, promotions, public relations, sponsorships, celebrity collaborations, social media etc. The method of push trade promotion, such as via traditional print advertising, involves the brand communicating the message of the brand through a strong, encoded message, loaded with the brand´s icons: imagery, colours, feelings and other elements that strongly convey the brand´s qualities (Okonkwo, U. 2007).
A breakdown of advertising figures for luxury brands confirms their belief in and reliance on the power of the image. Figures show that luxury brands spent upwards of 73% of their budgets on print, mostly in magazines, with the remainder split between billboards, TV advertising, with only on average 16% left for digital (Handley, 2017). Significant expenditure is set aside for marketing, whose budgets now comprise 11% on average of total company budgets, making up of 7.5% of the total company revenue (Moorman, 2017).
But the industry is changing, as is their choice of marketing mix, and latest data suggests that globally, the luxury industry spent over $1 billion on digital ads in 2016, a 63% increase since 2013 (Gallagher, 2017). Increasing the share of budget on digital has a potentially huge return on investment for brands. Saving money via social media exposure not only allows them to reach mass audiences more cost effectively versus print, but they can spread brand messaging more extensively through their social media accounts. These figures suggest that while the fashion image is still a crucial marketing and selling tool for brands, the means through which they communicate their fashion storytelling, will need to adapt to incorporate a transmedia strategy.
Fashion brands have already had to develop strategies and operational systems to cope with mass production on a global scale, given the rapid growth of ready to wear and fast fashion. Conventional campaigns, using traditional brand communication tactics and luxe style aesthetics, spend substantial sums in fashion magazines, which feature both luxury and mass fashion brands. High street brands such as Spain’s Mango and the United Kingdom’s Marks & Spencer are using storytelling messaging strategies in these magazines, knowing that their images will be displayed next to that of a luxury brand´s. While this is not necessarily good for the luxury brand, it has given high street advertising two clear benefits: the narrative power of association and advertising parity with luxury brands. The high street, of course, has had to up its game to meet these raised expectations and deliver engagement with clients on a more personal level.
Though digital is slowly replacing fashion and lifestyle magazines, the importance of print media and digital imagery in advertising cannot be denied. Its influence on the fashion and luxury market is huge and while the numbers of print magazines may have decreased, fashion publications such as Vogue, Elle and Vanity Fair, still help to reinforce the iconic and exclusive offer of luxury brands. Within Italy however, the fashion magazine is still popular, and its cities are home to many fashion publications, such as Vogue Italia, Grazia, Gioia, Amica etc.
Nonconventional storytelling, however, offers both complexity and opportunity for fashion brands. Speaking at the 16th Fashion and Luxury Goods Industry Meeting in 2016, Geoffroy de la Bourdonnaye, president of French luxury fashion house Chloé stated: “Storytelling amplifies your message, but with social media, the storytellers aren’t always controllable” (IESE, 2016). The influence that established bloggers and social media stars now have on platforms such as Instagram, can be equally exploitable or damaging to brands, as social influencers tend to be more believed than brands in 2018. While the imagery presented by brands is extremely strategic and polished, in today’s world of digital ‘candid’ photography and sponsorship, their conventional stories can be seen as too staged or too traditional. Rich imagery formulated by influencers, can prove to be more engaging. Additionally social media reach has greatly expanded, and disrupted not only fashion storytelling norms but also how beauty is now represented. While still often photoshopped and professionally shot, images appear more candid and authentic, offering a stripped back view of the brand, with the influencer helping the consumer to feel fully immersed in the lifestyle of the brand.
2009 marked a turning point for the industry when traditional media streams and glossy fashion magazines began to feel unnerved by the uprising of these new stars. In more recent years, the industry has now embraced this revolution, and accepted the new rules of engagement; however, that’s not to say that the changes haven’t had a significant impact on fashion companies´ business strategy and culture. Runway shows are now staged around Instagram moments, and influencers sit in the front row, to capture and share the collections on behalf of the brands (IESE, 2016).
2.3Fashion Storytelling techniques, approaches and usage.
The highlight in any fashion brand´s calendar, is the fashion runway show, and they are often an unparalleled opportunity for designers and brands to strongly reinforce the themes that have inspired their collections, and fully immerse their audiences in their world. Brands use a combination of storytelling techniques to showcase their runway collections, typically with a view to transport their audience metaphorically to a different time or place. Fashion designers and brands use their runway shows as escapism to transmit the essence, values and aspirational qualities of the brand, by telling stories, which are brought to life by the use of their staging, hair, make up and of course the clothes. The production values of these shows, particularly for luxury brands, are extremely conceptualised from the choice of location, to the fixtures and fittings that are designed. Some of Chanel’s recent runways shows at the Grand Palais in Paris have included a fully installed Airport Terminal for their Spring Summer 2016 show and the amazing transformation of the Palais into a deluxe casino for their Fall/Winter 2015 collection, housing a bar and betting tables for guests. Luxury brands are notorious for adding fantasy to their storytelling, and for a short time, audiences get to experience a different reality. At the heart of their story is always the incorporation of the brand´s key values, and characteristics, which when done well, transmit an extremely powerful, though sometimes subtle, emotional message to the audience.
All elements of masterful storytelling are carefully designed and constructed to showcase the brand´s heritage and deepen consumer experience. Customers are seduced by the promise of escapism, and the exclusivity which the brand invites. By exploiting each individual component of a brand´s aesthetic, the runway shows fully immerse the consumer in the culture of the brand through visuals, touch, sound and experience. If all elements are cohesive with the brand´s identity, it becomes indelible and unique to the brand’s story.
2.4 Fashion storytelling as a brand loyalty strategy
Immersive storytelling techniques immerse consumers in the brand´s ethos, creating bonds with the brand through emotional, cultural and societal connections. Visual storytelling requires consistency throughout every detail of the marketing strategy; all marketing elements must convey the look, experience and vision of the brand. Brand loyalty is built by consistently delivering the emotional connection with consumers, and this should be consistent regardless of the medium.
Fashion films are also a strong marketing and promotional tool often deployed by high fashion brands, and more recently by high street brands. Film often allows for more imaginative fashion storytelling and the delivery of a memorable brand message without the perception that the brand is ‘selling’ anything. Particularly around Christmas we see a lot of brands launching fashion films, taking the opportunity to connect with consumers often without the apparent positioning of a product. The second most important decision after having chosen the advertising medium, is the selection of products to be included. The purpose of the story, could be brand specific or brand led, or it could be product centric (Okonkwo, U. 2007). Some of the most iconic fashion films have not included the obvious use of their products, instead letting the story and its characters take the lead.
One standout example of this is Kenzo’s fragrance advertisement for Kenzo World. It offered a very fresh approach to visual fashion storytelling. Directed by Spike Jonze, it is an unusual mix of fashion meets indie cinema, and far removed from what is expected of an ad in the perfume world (Vine, R. 2016). Directors are now working more and more with the fashion industry to produce ads and short films, some of which do not feature clothes but are more dedicated to brand positioning and nonconventional advertising methods, and more rooted in traditional character led storytelling. Prada’s 7.45 minute short film with Wes Anderson, is focused on Castello Cavalcanti, a racing driver taking to the streets of 1950s Italy, with only the words ‘Prada Racing’ on his jumpsuit to signify a link to the fashion house (Vine, R. 2016) Other ventures into fashion filmmaking include David Lynch’s Lady Blue Shanghai for Dior, Joe Wright’s Coco Mademoiselle for Chanel, and Sofia Coppola’s Miss Dior.
Burberry’s Tale of Thomas Burberry, really speaks to the vision and spirit of the Burberry brand. With a star studded line up, and telling the story of the English fashion brand’s heritage and its founder, it has all the elements of a great piece of fashion storytelling. Launched at Christmas in 2016 to celebrate their 160th anniversary, the lavish tale directed by Academy Award-winning filmmaker Asif Kapadia, sheds light on the many innovations and accomplishments linked to Thomas Burberry.
Luxury and prestige fashion brands represent the highest form of craftsmanship, quality and historical importance, ensuring they can command and attract the type of brand loyalty that is not affected by trends. They have recognized the changes in the industry, and use these storytelling strategies to remind their following about their core heritage and essence. Mainstream or mass market brands, have a tougher challenge to create this type of connection with consumers, as they lack the prestige reserved for the luxury market. However, some brands are effectively developing and enhancing their marketing mix to include fashion storytelling, as a means of elevating their offering and appeal.
H&Ms Come Together, an 8 minute short by Wes Anderson, is another festive short, set on the H&M Express, an art deco train. Highly stylised and with excellent performances, it is an innovative move for a brand more associated with fast fashion than high fashion. By trying to cultivate this type of luxe aesthetic and heritage, H&M offer a brand new way for mass market retailers, to connect with consumers and stand out from the competition (Timson, 2017).
Marketers are always looking for more creative and innovative ways to tell their fashion stories, often utilising innovative technology to achieve their branding goals. But there are a few brands in the market that really stand out as having a fully cohesive and integrated approach to their marketing, ecommerce, brand awareness and brand loyalty strategy, with storytelling at the root.
Louis Vuitton (LVMH), is no stranger to visual storytelling via their advertising; they have a legacy of great advertisements created with identifiable elements focusing on the core of their brand. But one of their major strengths is in their interactive lifestyle site, NOWNESS, which when launched in 2010, celebrated original content with artistic short films, and beautiful photography. It brought the brand closer to its target audience, executing its storytelling goals with precision, while not distracting consumers with too overt a brand message. Subtle yet extremely effective, it transmitted a story suffused with nostalgia and heritage (Juozaponyte, A. 2015).
Kate Spade have executed a fully transmedia strategy, with a specific focus on sharing digital stories, fully embracing all social media’s available channels. Using extremely colourful and feminine visualizations in addition to short films, they run story campaigns with episodes starring actress Anna Kendrick, which are not only available on YouTube for general consumption, but on the brand´s blog ‘Behind the Curtain’ with an interactive and shoppable version that links to their website. Kate Spade has shown the market how to expertly exploit the power of fashion storytelling, using all social media platforms at its disposal to become one of the top 10 fastest growing companies in the world (Juozaponyte, A. 2015).
Using similar tactics, Stuart Weitzman strategically links its ad campaigns with digital storytelling, using cutting edge cinemagraphs to create imagery that resembles both a photo and a live video, resulting in a truly innovative immersive experience. Linking these campaigns to Instagram and Facebook and utilising the latest retargeting technology, Weitzman has been able to greatly influence consumers´ buying decisions. The brand, together with Kate Spade, is at the forefront of engaging and innovative fashion storytelling.
3.Case Study Review: Iconic Examples of Fashion Storytelling
Made in Italy: The Paradigm between Tradition and Modernity
During his tenure as Artistic Director at Gucci, Tom Ford has often been associated with the ‘Sex Sells’ concept. Hired at a time with the fashion house was struggling financially, he brought in stylist Carine Roitfield and world renowned photographer Mario Testino, to bring new life to the company’s ad campaigns. Increasing sales by 90%, he catapulted Gucci into the mainstream once again, breathing new life into the traditional fashion house. The images created with Testino went viral, long before the term was even coined, and the trio created the most talked about and ground breaking imagery of the time. Testino later commented, ‘This period helped me identify the power of advertising, not as a subdued version of editorial, but as a place for stronger imagery than what we do in editorial’. It signified a period of creative and commercial collaboration, that had not been seen before in fashion storytelling (Conlon, S. 2017).
The overt sexual style of Gucci’s images at this time, forever made the Italian brand synonymous with memorable and perfectly executed image making, and at a time when the internet was still in its infancy. It brought fashion imagery and the latest collections to their consumers after the runway, with impact and immediacy. The now iconic print advertising campaigns from 2003 featuring the model Carmen Kass’s pubic hair shaved into Gucci’s G logo, and the later 2006 images featuring pornographic film stars, garnered so much public attention, that the Advertising Standards Authority received enough complaints to consider having the images banned in the U.K. (Hyland, V. 2015). Similarly Ford’s advertising campaigns for Yves Saint Laurent’s fragrance Opium, featuring a fully nude Sophie Dahl, brought both publicity and controversy to the YSL brand. But what was missed by some in this controversial style of fashion storytelling, was Ford’s commentary on the era’s ideals regarding bodily perfection and conspicuous consumption and an explicit call for viewers’ attention.
To be effective, brands in the luxury sector must carefully differentiate themselves, from not only the mainstream via their storytelling, but from other luxury brands in the sector via their style, messaging and execution. Although highly competitive, it can sometimes be the case that they unwittingly fall in the bracket of ‘sameness’, where several brands´ images could be mistaken for one another. Thus the message needs to go deeper than just a model with a product. Consumers now have much higher expectations than this, and brands must strive to not only transmit the essence of the brand and its personality, but try to achieve a new standard in creativity or storytelling (Okonkwo, U. 2007). This can be achieved via the creation of nonconventional or ground breaking, thought provoking imagery, as was the case with Ford. Though Gucci is seen as a traditional Italian brand steeped in heritage, the campaigns gave a new depth and meaning to the concept of ‘Made in Italy’.
Another notable example of an Italian luxury brand, whose advertising campaigns told an often ignored story in the sector, was that of premium leather goods brand Furla. A brand associated with the ‘Made in Italy’ concept, due to its expert level of accessories craftsmanship, Furla launched a campaign for its Spring Summer collection in 2006, which featured its own employees as its models. Their strategy was to express the spirit of the brand, and to promote its employees as brand ambassadors, who really understand the needs of this consumers. While memorable for very different reasons from the Gucci ads, nevertheless, the images told a visual story of the brand´s heritage, traditional values, and gave the brand a ‘face’, via the showcasing of its dynamic, relatable creative team. This was a risky move, however, as by doing so the brand could have alienated some of its consumers who had previously been sold the fantasy and unattainable luxurious image of the brand (Okonkwo, U. 2007).
America: Symbols of Youth Culture
Some of the most iconic fashion storytelling of all time comes from Calvin Klein in the US, the clear trailblazer to Gucci’s campaigns. These 80s campaigns featured Brooke Shields in a perfectly simplistic yet flirtatious narrative that featured the slogan “You wanna know what comes between me and my Calvins? Nothing.”.
Emerging in the late 60s Calvin Klein’s brand, at a time when American consumers wanted basic and accessible clothing, was seen as contemporary and fresh. Experimenting with sportswear and coat dresses, they quickly attracted international attention, pushing the boundaries with advertising and launching the careers of Brooke Shields and Kate Moss. Calvin Klein further increased their brand reach following a hugely successful ad campaign featuring Moss and Marky Mark (Mark Whalberg) in 1992 built around the concept of iconic youths wearing simple, baggy jeans and underwear (Tungate, M. 2012). Tasteful and beautifully shot, yet with the coolness that spoke to youth culture, the landmark series of ads shot by Patrick Demarchelier, presented iconic images to CK’s target audience, with which they could identify.
In Europe, Diesels campaign slogan ‘Diesel: For Successful Living’, referenced the ludicrous advertising promises of an Italian past, using the company´s well known ironic sense of humour as a basis for creating fashion imagery based on Bollywood movie posters, army recruitment campaigns, pornographic imagery, and ads for outdated household appliances. These stories broke through because they were different again to what was being done in the US by Calvin Klein and Donna Karan, who at that time in 1991, were creating artistic black and white fashion campaigns. Designed to provoke and entertain, the brash, colourful and almost vintage feel of Diesel’s ads ensured the brand gained international notoriety as an ironic commentary on what was happening in the States (Kapferer, J.N. and Bastien, V. 2012).
4.Methodical Review: Data Analysis and Review
Having undertaken independent research in the form of a survey of 91 participants this paper will now analyse the role of fashion storytelling within the context of the wider fashion sector, and will evaluate the success of key strategies employed in terms of advertising, via transmedia messaging. The questions were aimed at determining the consumer buying behaviour in relation to fashion storytelling and advertising, and the relationship between what they have seen, and the story’s level of influence across the different channels.
4.1 Results
Research Question 1:
Can you remember the last time you purchased a fashion, beauty product or item of clothing because you saw it in an advertisement?
Hypothesis 1:
To establish if consumers acknowledge the direct links between first viewing an advertisement and then purchasing. Are they able to recall the last time that they experienced an emotional response to an advertisement that directly influenced their buying behavior?
Question 2.
Do you consider fashion advertising to be storytelling?
Hypothesis 2:
To establish if consumers equate fashion advertising, with its high production values and marketing strategy, as anything more than mere advertising? Or do they acknowledge the concept of fashion storytelling within advertising?
Question 3.
Have you ever purchased a fashion item online because you saw it on a blog or being reviewed online by an Influencer or Blogger?
Hypothesis 3:
To establish if consumers are more impacted by online ‘promotional’ storytelling vs the stories from the fashion brands themselves. If this hypothesis is correct, it could be an indicator that consumers now trust influencers and bloggers more than brands, and that the real power of storytelling, now comes from transmedia messaging.
Question 4.
When making a decision to purchase from a fashion brand, are you more likely to purchase after seeing the product on a fashion blog, on fashion tv, on billboards, social media or in a magazine.
Hypothesis 4:
It is expected that consumers will now be most heavily influenced by online storytelling, however it will be interesting to see to what extent print still plays in fashion advertising given the sharp decline in fashion magazine publications.
Question 5.
Do you find the advertising from your favourite fashion brands inspirational, aspirational, entertaining, or annoying?
Hypothesis 5:
It is expected that consumers will, for the most part, derive some positive emotions from the storytelling and advertisements of their favourite fashion brands. Though it will be interesting as to what the majority of these positive emotions are; it is likely that the majority will fall somewhere between finding them inspirational and aspirational.
Question 6.
Have you seen any of the recent short films made by fashion brands such as H&M, Burberry, Dior, Kate Spade or any other fashion brand?
Hypothesis 6:
It is expected that the films of these brands will have entered the consciousness of a small number of participants. The results will however confirm, to what extent fashion brands make an impact or achieve reach with their transmedia messaging.
Question 7.
Do you think short films are a refreshing approach to fashion storytelling for brands?
Hypothesis 7:
Given that the medium of short film is still relatively new a strategy for fashion companies, it is expected that many participants will embrace the transmedia messaging approach and see it as a new and exciting way to engage.
Question 8.
Would you reconsider purchasing from a fashion brand if you didn’t like their advertising or found it too controversial?
Hypothesis 8:
The expectation is that a consumer would not reconsider purchasing from a fashion brand based on their advertising. The research has shown that controversial campaigns often lead to an increase in sales; however what will be interesting to note, is if consumers will state to what extent they believe they can be influenced in a negative way.
Question 9.
Can you remember a specific fashion advertisement that generated an emotional response from you?
Hypothesis 9:
If brands do connect with consumers in the way that the prior research has indicated, then consumers should feel emotional responses to advertising, and moreover remember them (be they either positive of negative emotions that were derived).
Question 10.
Did this emotional response make you more likely to purchase, or to want to know more about the brand?
Then were then asked to comment on a particular brand campaign or story that they remember, and to explain the emotion it aroused in them.
Hypothesis 10:
Respondents will be expected to want to increase their connection with the brand following an emotional response via their fashion storytelling. Recipients are expected to remember campaigns that specifically made them happy or from which they experienced positive emotions.
4.2 Interpretation: Hypothesis vs results.
58.24% of consumers remember the last time they purchased a fashion or beauty product because they were influenced by the advertising. This confirms that good advertising and storytelling has the ability to really resonate with consumers, influence their buying behavior and ultimately make them purchase.
47.25% of consumers state they would be more likely to purchase after having seen the product on social media. Such results indicate the power of social media advertising and the opportunities available for transmedia messaging.
Following that, the most successful methods of advertising have been via print in a magazine (34.07%), and on fashion blogs (16.48%).
Consumer behavior has been shown to be directly impacted by social media marketing, with 53.85% of consumers having purchased a product after having seen it reviewed by an Influencer or Blogger.
46.15% of consumers said that they would reconsider purchasing from a fashion brand if they didn’t like their advertising or found it too controversial, and a further 40.66% stated they might reconsider dependent on the content.
Despite consumers being bombarded by ads, the data shows that only 8.79% found those of their favorite brands, to be annoying or an inconvenience. This proves that for the most part, consumers are still susceptible to the content and willing to engage.
In equal measure, 34.07% of consumers found the stories of their favorite brands both inspirational and entertaining.
We could conclude from this data set, that billboards no longer work as a means to influence consumer behavior, or consumers no longer think they work – this would need to be further investigated.
59.34% of consumers find fashion films a refreshing way to engage with fashion brands.
Lastly the data does confirm that advertising and fashion storytelling in general does has the power to evoke emotional responses from consumers. 51.65% of respondents remember the last time that a fashion ad generated an emotion from them, and 35.96% stated that this made them more likely to purchase or want to know more about the brand.
In addition to the surveyed answers, 20 comments were left by respondents when asked to provide details of a particular brand or ad that came to mind, when considering emotional response. The comments have revealed some interesting insights into the advertisements and fashion stories that have really resonated in the minds of consumers. For instance comments such as “I like the idea behind Tom’s – got my daughter a pair so they could donate a pair to a child in need” and “H&M’s Conscious collection is beautiful fashion made from recycled material” suggest that brands with a story regarding sustainability and ethical practices are really speaking to consumers. Likewise such comments as “This has happened more generally then with a specific brand. If I see a fashion item that speaks to me and resonates with my own self-expression this would generally provoke an emotional response and I will purchase the product if I can afford it. I would then probably want to know more about the brand as they would probably cater to my style and expression.” demonstrates that via visual storytelling, fashion brands can create deep and meaningful relationships with consumers that will lead to brand loyalty. Likewise, some of the comments revealed negative responses, indicating that this too can influence consumer behaviour and buying habits but to a lesser degree.
5.Comparison and Evaluation
Visual storytelling is about creating a unique, explorative, transformative journey for the consumer. Luxury brands that desire to succeed in the market, will need to develop strategies for addressing the difficult paradox of maintaining exclusivity, while being globally available and accessible. With the introduction of influencers their appeal has grown, but they need to ensure that they remain only attainable for a select few. They must develop their storytelling portfolios to create linkages with social media platforms, interactive campaigns and the possibilities being presented by sequential messaging and retargeting.
In the next decade the market will inevitably be different from what it is today, and the stories offered by brands will need to adapt accordingly. The shift from a product focused strategy, to a customer or experience focused strategy will occur, and nonconventional means of communicating will become the norm. Customers will inevitably be more hands-on, interactive and participative, choosing freely to be a part of the story of their chosen brands through social media platforms. and leading them to reject those brands not in line with their values and aspirations. New forms of fashion storytelling will emerge, which will focus less of the tangible aspects of a brand and its products, but more on the experiences that can be derived from the brand, their impact on the consumer’s emotions, and their subconscious desires.
Kapferer, J.N. and Bastien, V. (2012). The Luxury Strategy: Break the Rules of Marketing to Build Luxury Brands. 2nd ed. London and Philadelphia: Kogan Page Limited.
Fashion and clothing: a comparison of two paradigms.
Abstract
The adoption of clothing was crucial to the evolution of human beings. It permitted the expansion of our species out of Africa and their adaptation to colder climates and harsher environments. The first function of clothing, therefore, was survival. However, human beings have “dressed” their bodies through painting, jewellery and other embellishments, well before they adopted clothes.
Dressing up has therefore always been more than merely utilitarian. Human clothing is both a basic fact of our personal and social lives and a complex reflection of our history. Where clothing and fashion intersect and overlap is the focus of this essay.
This report has three main aims. It sets out: 1. to analyse the paradigm of clothing as a product of historical, geographical, economic, technological and political forces; 2. to analyse the paradigm of clothing as fashion, reflecting the cultural, aesthetic and social values of the past and the present; and 3. to evaluate the intersections between these two paradigms to arrive at a broader understanding of the impact clothing and fashion have had, and continue to have, in shaping history, culture and societies.
The report will review theory and literature on the paradigms of clothing and fashion and the connections between them. The report will also include the findings of an online survey which tests two research questions 1: our attitudes towards clothing, the overall meaning of clothing and the differences between ones need to wear clothes, and the art of dressing for emotional needs, or due to other social factors and 2: our understanding of clothing and fashion as a means of communication and acceptance, to allow for an interpretation based on their need to be either similar, with a desire to appear identical, or dissimilar, with a desire to be different from our peers.
The report reflects the complex and multi-layered history of the clothing and fashion paradigms. The overall conclusion of the report, from the review of the literature and the interpretation of its research findings, are that people make clothing decisions based on a strong need for sense of belonging with the rest of society, and that garments play an important role in defining our identity. Clothing as communication, helps us to associate ourselves with other societal groups and in equal measure, clothing permits humans to form judgement or disassociations with others based on the assumption that they are dissimilar or not within the same societal groups due to their clothing.
1.Introduction
To draw definitive, meaningful distinctions between clothes as having a purely functional, practical value and clothes which we view as fashionable and make a statement about who we are, is very difficult. This essay, however, will attempt to analyse the complicated histories of clothing as utilitarian and clothing as fashion and to show that, while we may associate the paradigm of fashion throughout history as being the preserve of rich elites and the paradigm of functional clothing as being the preserve of the majority, it is undoubtedly true that the last 50 years of the 20th century and the 18 years of the 21st has witnessed the supremacy of the fashion paradigm.
2.Theoretical Context: The Function of Clothes
All human societies have “dressed” their bodies, whether by wearing clothing, tattooing, painting and scarring, or with jewellery and other embellishments. Clothing the body is a basic protection against the elements but for early humans this protection was limited by available materials, geography and technology. A 2011 Study on head and body lice projected that humans adopted clothing as early as 170,000 years ago, enabling migrations to colder climates. Animal hides provided the first essential cover against colder environments (Toups, et al. 2010). Further technological advances in cutting tools and needles enabled humans to cut and stitch hides and pelts together, providing greater protection from harsher climates. These advances led to the expansion of early humans from Africa into Europe and provided the first functional clothing against the elements.
Technological breakthroughs and the use of other raw materials have driven the evolution of clothing. Archaeological evidence from the Dzudzuana cave in Georgia around 30,000 years ago showed early humans using spun, coloured and knotted flax fibres, suggesting a step forward from clothing as functional towards clothing as decorative (Kvadadze, et al. 2009). Body decoration, of course, predates clothing and the shift to decorative clothing may have been the result of having to cover up in colder climates (Roebroeks, et al. 2012).
Weaving cloth is an ancient practice and reaches back to early civilizations. Egyptian weavers, for example, wove linen so fine as to appear transparent to keep the body cool in the baking summer temperatures. The sophistication of this craftsmanship combined with a raw material like flax and later wool, led to a major leap forward in the production of clothing. Its functionality also fitted the labour intensive lives of peasant farmers as human societies moved from hunter gatherers to settled communities. These peasants needed sturdy but flexible clothing to work outdoors for long periods in all weathers.
Of course, in time, this sophistication in craftsmanship and access to workable raw materials gave rise to rich elites seeking to differentiate themselves from the lower orders through the strict monopoly of certain kinds of materials and types of clothing. Chinese silk, for example, was initially the preserve of the emperor, his family and high ranking officials. It was only later when China began mass producing silk that it became available to other wealthy Chinese citizens. Silk making was a state secret and it was not until 200 BC that knowledge of its production processes moved outside China (Gelber, H.G, 2008, pp 36-38).
While the Roman toga was not restricted to Roman elites but to freeborn Romans, it nevertheless was used, through the use of colour and embellishments, to differentiate between groups in society and to demarcate these groups according to rank and position. The toga was expensive, cumbersome and ill-suited for work, yet it served as social demarcation and became the compulsory apparel for high ranking and ambitious Romans. Equally the stola became the emblematic clothing of married Roman women, communicating the traditional Roman female virtues of respectability, modesty and honour. Women of higher rank could also subtly declare their status and rank through purple edging, using the stola and palla (shawl) to make a public statement of their position in Roman society (Edmondson, JC and Keith, A, 2008). While the Republic, and later some Emperors, encouraged and promoted traditional Roman dress, there were attempts to rein in conspicuous displays of wealth by passing laws to restrict the use of colour in garments, make women wear less gold and prohibit them from travelling by carriage to parade their affluence, unless it was to religious ceremonies. The Lex Appia was the prototype for sumptuary laws that sought to curb the extravagance of the rich who did not come from the traditional noble families and who threatened their power, and to control specifically women´s behaviour and what they could wear (Zanda, E, 2011)
In the middle ages monarchies, the Catholic Church and the nobility would also take legal steps to preserve their rank and status by passing Sumptuary Laws to prohibit a rising mercantile and bourgeois class from wearing certain types of clothing and embellishments. The ostensible reason for passing these laws was to curb the ostentatious expenditure of these increasingly affluent groups, but the real reason was to preserve the hierarchy of status and rank that the aristocracy and church felt was under threat. The laws were dressed up as having a moral purpose to check the extravagance and opulence of the bourgeoisie but, in truth, they were to reassert control by using clothing as a political issue. By legally codifying clothing the laws also targeted minorities such as Jews, Muslims, the disabled, and prostitutes, so that they could be more easily identified. In Renaissance Italy sumptuary laws were applied to women´s dresses, banning the use of low necklines. England, France and Germany also had their variations of these laws but they shared a common theme which was to target clothing, along with some other luxuries, in order to repress the growing influence of the merchant class and to use clothing as a way to control women and minorities.
From the 16th century onwards, the opening up of new trade routes, the expansion of markets and abundance of new raw materials from the Americas, the exploitation of native populations and natural resources in Latin America, the widespread use of slavery in cotton production, all these factors saw an explosion in clothing and textile manufacturing, especially when combined with the technological advances of the Industrial Revolution that would come in the 19th century.
Clothing had long ceased being merely functional for elites since the emergence of civilizations and empires, but for the poor, the peasantry and now the working classes of the Industrial Revolution, clothes remained scarce, expensive and utilitarian. Work clothes were prioritized and working families became expert at repairing and extending the life cycle of the few clothes they possessed.
Elites, however, had recognized for many centuries the power and symbolism of clothing in projecting status, wealth, religious awe and political control. The sumptuary laws of Rome and Renaissance Europe were an attempt to take control of the symbolic power of clothing; ruling elites, whether they were emperors, monarchs or religious leaders, sought to monopolise this symbolic power for their own ends. One extraordinary example, the ceremony of the levee, brought to apotheosis by the Sun King, Louis XIV, demonstrates the way in which clothes, court etiquette, the symbolic dressing of the king´s sacred body, can be transmuted into absolute power. To this day the British monarchy employs the full symbolism of regal power through carefully choreographed ceremonies, such as the state opening of parliament, involving the rich and ostentatious display of royal garments, crown jewels, courtiers in ermine, all to consolidate the power of the throne over its subjects.
Clothing began as a functional resource to deal with the harsh climates of Northern Europe. It could still be argued that for a great number of 21st century global citizens in poor and developing countries clothing remains functional to some extent. For these people clothing´s main purpose is to be suitable and durable for work in the fields and in factories. For all of us clothes still provide that functional protection from extremes of heat and cold. Of course, as the report has illustrated clothing has taken on all kinds of political, status driven and symbolic values. It is now time to consider how clothing also has been fundamental to personal and cultural expression, to the creation of inspiring art and design, to aesthetic pleasure in craftsmanship, and to wider social change.
2.1 When Clothing becomes Fashion
It is axiomatic that clothes have played a major part in shaping our identities, our cultures and our norms. Most human interactions only happen between clothed bodies. While clothes have clearly a functional aspect they clearly act as signifiers of who we are, where we may come from, what we may do and what we may believe. Show a 21st century western primary school child, for example, pictures of a fireman, a soldier, a nurse, or a policeman and they will unfailingly tell you what they do. Even on this superficial level clothes give us an identity. Clothes communicate without words.
For human cultures clothes have also played a major role in our ceremonies, our rituals, our religious practices. Ruling classes, religious leaders, the military, the judiciary, all have used designated clothing to enhance their power and status and to assert their authority. Clothes also have a vital role in gender identification and gender politics. Girls and women have historically been subject to the control and preferences of men in deciding how they should dress: the length of their hemline; the focus on their bosoms or waists or legs determining their sexual attractiveness or modesty; their sexual and moral character judged by their choice of clothing and its colour. To this day we continue to see clothes used in the empowerment or disempowerment of girls and women where what women choose or are compelled to wear is the subject of much heated debate.
Clothes, therefore, have always been vital to our sense of self and identity. How we dress can psychologically and physically affect us, altering our mood, our behavior and our reception by others. The communicative qualities of clothing are obvious, both in what they say about ourselves and what they communicate to others. Our clothes are also deeply embedded in our memory, connecting us to past experiences in childhood, our schooling, our relationships, our work. They can mirror our anxieties, our desires, our hopes and dreams. This talismanic quality of clothing is based upon our emotional attachment to what we wear and it is this deep emotional attachment that was the inspiration for fashion. As we are complex beings we make complex choices and have complex needs. Fashion satisfies that emotional need for choice, colour, aesthetic and bodily pleasure and constant change. Charles Frederick Worth was the first to grasp this essential truth.
Charles Frederick Worth invented Haute Couture. He changed forever the perception of clothing within society and as an industry. Whereas dressmakers had previously been viewed as suppliers, Worth reinvented the trade setting the precedent for designers to create trends and dictate fashion movements. While clients had always made the decisions regarding the choice of the fabrics, colours and cut, Worth was a couturier of his own designs (Tungate, M. 2012).
Originally from England, he became established in Paris in 1858 and made a name for himself when he designed a gown for Princess Metternich, the wife of the Austrian Ambassador. Before long his designs were sought after the world over, due to their closer cut to the body, their bustles and exquisite trains. A marketing genius, he sent samples to potential clients, and was the first to give his clients a fashion ‘show’ displaying his designs on real women rather than on wooden busts. (Tungate, M. 2012)
The concept of fashion had, of course, existed before. Elites had always followed their leaders in both imitation and as a form of flattery. During the Renaissance period, for example, 16th century Florentine women adopted the Medici collar named after Catherine de Medici, while in Elizabethan England, Queen Elizabeth 1 was much imitated for her flamboyant clothing styles. Royalty has always been a fashion trendsetter and Royal households were often seen as arbiters of good taste, manners and elegance. In Europe the French court was universally acknowledged as the centre of taste, style and art de vivre, with its fashionistas such as Madame Pompadour and Marie-Antoinette, and its elegant nobility (Okonkwo, U. 2007). Given this heritage it is no accident that Worth should choose Paris as the centre of his fashion revolution.
At the beginning of the 20th century, fashion, which had taken a back seat to war and revolution in Europe and America, was once again elevated to the same status as other art forms such as music, literature and theater. Fashion was considered an important cultural and social phenomenon influencing society´s norms and behaviour. Worth paved the way for other designers, and of course for competition. One very notable competitor was Coco Chanel who began in Paris as a hat designer in 1910, but quickly expanded into all other areas of fashion. Jeanna Lanvin launched her couture house in 1889, Paul Poiret in 1904, and Elsa Schiaparelli in 1927. Several luxury brands that emerged in this period, remain in existence and are still heavily influential today.
Following the First World War of the 1910s, Coco Chanel understood that attitudes towards fashion and the concept of luxury had been changed as a result of the hardships and challenges of war. In those years when women had had to work and grew accustomed to the simplicities of uniforms, Chanel offered a new modernity in her designs, which being less overtly feminine, embodied a more practical and pared down aesthetic, which was more representative of what women wanted. By designing according to consumer behaviour and taste, she quickly rose to prominence on an international scale. Paris was viewed as the world’s fashion capital and Haute Couture the most sought after in the world (Okonkwo, U. 2007).
In parallel, the talents of designers and artisans in Italy were starting to garner attention, and by the 1930’S when Guccio Gucci and Salvatore Ferragamo began to achieve success in Florence, Italian fashion, particularly for shoes and accessories, was rivalling that of France’s. But growth in Italy was slow due to social fragmentation and economic difficulties following the Second World War; Italy’s full potential and influence on international fashion would not emerge until later.
The 1940s marked a period of significant development in the United States, due to industrial advances and a legacy from wartime innovations. New York became the birthplace of ready to wear, and combined with the increasing popularity of department stores and increased accessibility to international designs, fashion was no longer reserved for the elite, but accessible to the growing Middle Class America.
In 1951, after the fashion shows held by Sala Bianca at Palazzo Pitti in Florence, the concept of Made in Italy emerged. This concept would again change the fashion scene forever, popularizing Italian fashion and its unique heritage and traditions. Italian designers rose to prominence and Alta Mode which perfectly embodied Italy’s unique level of precision, craftsmanship and artisanship, would for the first time begin to rival Haute Couture in Paris (Masotti, 2017). The next chapter in fashion’s history was focused on Italy when a new aesthetic of Italian design emerged through Hollywood cinema. Many fashion design innovations emerged during the 60s, when fashion designers became bolder and more experimental. This decade of great fashion moments heralded a new generation of designers as celebrities changing our perceptions and societal links with fashion as a cultural and internationally recognized art form and a massive industry driver. Finally the democratisation of fashion occurred in the 1970s leading to a decade of substantial growth and fashion mass market manufacturing. This was the beginning of the modern global fashion industry (Okonkwo, U. 2007).
2.2 The Fashion Paradigm is now dominant
Fashion is big business in 2018. Fashion is now also a multifaceted industry, with the luxury good market estimated by The BoF-McKinsey Global Fashion Survey to be worth an estimated $2.4 trillion in 2016 (Ahmed, et al, 2016) and retail sales estimated at €1.08 trillion worldwide (D’Arpizio, et al 2016). Given the expected growth of the industry in the next few years, there will be inevitably be other significant changes in the fashion industry which will have a significant cultural impact on our society and its relationship with fashion and clothing.
Fashion shows and fashion stores were traditionally set up to communicate and sell fashion, but we are moving to a broader and deeper understanding of the cultural and social value of fashion. It gives us insight into the past and there is now an understanding of the importance to promote and preserve elements of fashion history. It is an embodiment of peoples and cultures, creating connections between people and to moments of historical significance. Fashion needs to be treated not just as a commodity but as a cultural, social and symbolic artifact. The theory that clothes are made in the factory and become ‘fashion’ when marketers get hold of them is too simplistic an approach. The origins and history of fashion tell us that it is a much deeper reflection of culture, identity and our society. It is a window into our past and into our past and present selves (Tungate, M. 2012).
Fashion should also be seen as an important form of communication: it is about making a statement; it has its own visual language, with its own distinctive grammar, vocabulary and syntax. It is a visual language which crosses cultures, international borders, connecting consumers and breaking down barriers. There is, of course, an imbalance in this dialogue between affluent developed countries where fashion is consumed and developing countries where it is often made. The impact on the environment in poor countries of the worst excesses of unsustainable manufacturing processes has been very damaging. But the industry has begun to have this difficult discussion driven by consumers and those within the industry. The fashion industry can take the lead in this debate on global warming and because of its global influence can make a real difference in shaping and influencing this debate for the better.
Fashion, especially since the 2nd World War, has been extremely influential as a cultural and social agent of change. It has given us the concept of the teenager; it has been key to reflecting the 60s; it has embraced social freedom; anti-war movements; feminism, punk and now the digital age. It has dressed and inspired social movements like the flower power generation, broken down social stratification and democratized choice. Women in particular have benefited from the freedom to choose how they dress. Human beings are naturally tribal and often feel safer by conforming to and following established norms: the ubiquitous blue jeans; corporate menswear; sportswear. But social differentiation and integration have always been in tension in fashion. Now girls and women feel more empowered to challenge a patriarchy that sets limits on their aspirations. They can express themselves through fashion, explore their own individuality, their emotional and psychological lives (Davis, F. 1992).
We know that there is undoubtedly a sociological and symbolic meaning behind fashion and clothing. Clothing throughout the ages has provided a way of communicating a message about our person, status and lifestyle. Clothing’s codes, and the semiotics and unconscious symbolism attached to clothes, do contain meanings, but for a long time these were not completely understood. For a start, this is made difficult by the fact that the meanings of fashion and clothing, have shifted with time and custom. Fashion codes are context dependent, and its variables often interpreted and appreciated differently within social groups and time periods. Interest in fashion ebbs and flows and is subject to events: wars, recessions, the politics of the day. The style of clothing chosen by particular groups at certain points in time, or what fabrics, cuts and colours are considered to be desirable at that moment, are dependent on these external factors. Women´s hemlines went up during the 2nd World war, for example, due to the shortage of cloth. Context is everything in understanding clothing styles. Most importantly, clothing styles and fashion trends are constantly changing and unstable. By definition, fashion is forever restless and volatile. It is governed by seasons, trends, profit, changing customer behaviour and attitudes, and external events. These codes are also affected by the genius of fashion innovators, designers and brands. They can and do influence the transmission and perception of these codes to consumers. But fashion offers rich insights into our past and present when we learn to decode its messages and it is worth the effort (Davis, F. 1992)
2.3Social Identity through fashion
Social factors play a crucial role in fashion, in how we engage with it and how we interpret it, and how we buy into its codes and values. All of us to some degree are actively participating in the construction of social identities. A key aspect of cultural identity is the construction of a sense of self based on likeness and dissimilarity, and in the participation and identification with certain social groups vs others. Humans have both a collective and personal identity and we seek to express ourselves through these different identities. Fashion caters for our public and private selves. In our working lives we may have to wear the clothing that fits our occupation and its norms. We may be affiliated to a political party, be a member of a particular religion, follow a football team: these social factors will undoubtedly influence how we dress, even what colours we will or won´t wear. Through the constructs of our social identity, fashion paradigms are born. We may welcome the collective identity we have embraced as it provides security and reassurance, and a sense of belonging. But fashion also provides us with an outlet for our private self: our uniqueness; our individuality and our private desires and feelings. Fashion designers have learned to appeal to both identities (Hall, 2008).
3.Methodological Research: Data Analysis and Review
The following independent research aims to explore our attitudes towards clothing, the overall meaning of clothing and the differences between ones need to wear clothes, and the art of dressing for emotional needs, or due to other social factors. The survey’s questions are designed to test our understanding of clothing and fashion as a means of communication, and allow for an interpretation of what it says about our population based on their need to be either similar, with a desire to appear identical, or dissimilar, with a desire to be different from our peers. The scope of the survey included 83 respondents.
Research Question 1: Do you view clothing as purely functional and practical in nature, or as a means to make a statement about who we are?
Hypothesis 1: It is expected that respondents will confirm that their clothing is reflective of who they are, via the codes of clothing, and forms part of their identity.
Research Question 2: Is fashion more about: following trends or being a trend setter; expressionism and communication of self; or creating a personal identity.
Hypothesis 2: People are more likely to associate their clothing with both expressionism and communication, or with creating a personal identity. It is not expected that they wear it solely as fashion for fashion’s sake as for most it has a deeper meaning.
Research Question 3: Is your aim when choosing your clothing to fit in with society, or to stand out from the rest of society?
Hypothesis 3: That people choose clothing with the intention to fit in with their preconceived social norms and conditions.
Research Question 4: Do you believe in the use of clothing as an embodiment of culture and/ or tradition?
Hypothesis 4: People are more likely to assume the anthropologic value in clothing and the practice of wearing clothing for the symbolic value in culture or tradition.
Research Question 5: Do you agree with the statement that some of the clothes we wear/ have worn can be linked to an emotional attachment?
Hypothesis 5: It is expected that people will have clothing or have had clothing, that they can link to an emotion or a certain set of emotions. This serves to prove the deeper connections that human beings have now with their clothes, as they relate to historical moments and oftentimes in specific memories.
Research Question 6: Do you believe that clothing often connects us or divides us within society?
Hypothesis 6: It is expected that respondents will state that clothing connects us within society.
Research Question 7: Do you believe clothing trends: are influenced by the society we live in; influence society and the world around us; can be both influenced and influence in equal measure.
Hypothesis 7: Clothing trends and traditions are heavily predetermined by what is happening in the world at any given time. Designers can however influence the transmission and perception of these codes to consumers, therefore it is expected that most respondents will be aware as to the relationships between these external factors, and the societal influences in equal measure. This demonstrates the power of fashion to influence societal behaviour.
Research Question 8: Are the choices you make every day regarding what to wear influenced by external factors?
Hypothesis 8: The codes which we want to communicate through our clothing, play a huge role in what we choose to dress ourselves in. It is expected that most respondents will confirm that their decisions are not self-made regarding their clothing, but influenced by external factors.
Research Question 9: Do you feel that you are more likely to associate yourself or disassociate yourself from certain societal groups based on what you wear?
Hypothesis 9: It is expected that respondents will acknowledge the extent to which they identify with others based on clothing.
Research Question 10: Do you feel that you are more likely to associate others with you or disassociate others from you based on what they wear?
Hypothesis 10: It is expected that respondents will acknowledge the extent to which they form judgement or disassociations with others based on clothing, on the assumption that they are dissimilar or not within the same societal groups due to their clothin
3.1Interpretation: Hypothesis vs results.
Only 13.25% of respondents answered that they viewed clothing as purely functional and practical in nature, meaning that 86.75% believe that our clothing makes a statement about and is reflective of who we are.
63.86% stated that the considered clothing to be a means of expressionism and a communication of self. This confirms the hypothesis that clothing has a much deeper meaning, and is a means for giving people a sense of belonging.
Interestingly, 81.93% acknowledged that their aim when choosing clothing was to fit in with society. This again fits the hypothesis that clothing is chosen with the intention to fit in with preconceived social norms and conditions and to possess a sense of similarity.
93.39% believe in the use of clothing as an embodiment of culture and/ or tradition, which goes back to the anthropologic importance of wearing clothing for symbolic value. (Figure 4)
97.59% agree that the clothes we wear can be linked to an emotional attachment. This serves to prove the deeper connections that human beings have with clothes, as they relate to wider historical moments and oftentimes more specific personal memories.
97.59% also believe that clothing connects us, bolstering the theory that clothing represents a need for assimilating within society.
79.52%, are in agreement that fashion trends both influence society and the world around us and can be influenced by the same factors demonstrating the power of fashion to influence societal behavior, and of society’s awareness of that fact.
The survey confirms that the choices we make every day regarding our clothes are influenced by external factors. 96.39% confirmed that our decisions are not self-made regarding clothing, but rather are determined by the codes in which we operate in society, and by what we wish to communicate about ourselves to the world.
Again pursuant to the very strong links between clothing and identity, 95.18% are more likely to associate or disassociate themselves from other societal groups based on clothing. The same number (95.18%) are also inclined to form judgement or disassociations with others based on clothing, on the assumption that they are dissimilar or not within the same societal groups due to their clothing.
4.Conclusion and Evaluation
The history of clothing begins 170,000 years ago. But the moment in time when fashion began and superseded functional clothing is harder to pinpoint. Wearing clothing to protect ourselves from the elements was a critical step in our evolution. Clothing was necessary for our physical survival. But fashion- the dressing of our bodies for ornamentation, status, identity, pleasure- satisfies deeper and more complex emotions. Even when we were naked we had a deep need for ornamentation, to “dress” our bodies; to enhance our sexual attractiveness; to give us an identity. In primitive societies they used clothing, decoration and makeup as a means of creating binding social structures, and fashion codes and symbolic meanings were born from these early constructs.
What this report has attempted to show is that these urges to dress our bodies for complex purposes led inevitably to the creation and supremacy of a fashion paradigm. The origins of the fashion industry are to be found in ancient civilizations where satisfying the needs of the ruling elites led to the employment of a small army of artisans and craftsmen. As technologies improved and trade expanded the rich and powerful could enjoy the finest clothing that befitted their rank and status Whole economies were powered by the desires of a privileged few.
These elites were also trendsetters. They were the arbiters of taste, but following them required wealth and leisure. For the majority clothing continued to be functional. We have to wait until the middle of the 20th century, when fashionable clothing became affordable for a rising middle class in both Europe and America, to see the first signs of the democratisation of fashion. Haute couture, as we saw, found a market earlier among the wealthy in Europe and the US and catered for that desire for exclusivity which always motivates those who dress for status and recognition.
What the paradigm of fashion has shown is that clothes are loaded with symbolic meaning both for the wearer and society at large. Fashion appeals to our emotional needs: for self-expression; for social acceptance; for sexual attractiveness; for identity and recognition. The 20th century was the period which saw the democratisation of fashion, the empowerment of women and their right to dress as they would like. An interesting story within the overarching history of clothing and fashion is the profound influence of men in determining what girls and women could wear. Men´s changing notions of female sexual attractiveness and moral prescriptions of what constituted modesty, determined how women dressed regardless of rank or status. This largely ended when women entered the workplace, earned their own income and became the key market for the fashion industry.
In the 21st century fashion is now a major global industry, affecting the lives of the millions who work in it or the consumers who buy it. The industry permeates every aspect of our working lives and leisure time. This has both positive and negative consequences. For the majority being fashionable is now possible due to the ready availability of cheap, ready to wear clothing. For the environment and developing countries the picture is mixed. Producing cheap fashion has had a major impact on developing countries´ natural resources; the working conditions of textile and garment workers have also been a major concern.
Clothes have always told an important story about our evolution, civilisations and cultures. Clothes have revealed our past selves, in the same way the arts have. We should value this history for what it tells us about ourselves and times. In our age the fashion industry reigns supreme. The paradigm of fashion is the winner for the foreseeable future.
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Challenges and Effective Strategies in the Fashion Industry – Plans and Activities for Innovation Improvements
Abstract
We live in a digital and technological age where the internet, social media and technological advances are transforming society with astonishing speed. The fashion industry and brands must react to these rapid changes and the challenges posed by them to their current business models. By adopting effective strategies they can take advantage of the opportunities the digital age offers. This report has three main aims: to explore the challenges faced by the fashion industry over the next decade; to critically analyse strategies which fashion brands are adopting to meet these challenges effectively and achieve global brand recognition, customer loyalty and profitability; and finally to make recommendations and a strategic proposal for innovation improvements. The report will meet these aims by: 1. reviewing current research, reports, findings and literature to explore which strategies the industry is adopting and draw conclusions about their effectiveness and 2. carrying out a survey of consumers who are active users of technology and social media to ascertain how effectively the fashion industry and brands are engaging them and affecting their buying choices and behaviour. The results of this research will provide additional evidence as to the effectiveness of the industry´s strategies.
Contents
1.Introduction
The fashion industry has been transformed in the last two decades. The impact of globalisation, the speed of technological innovation and changing customer behaviour, have driven this transformation. Global fashion brands continue to face unprecedented challenges in the lead up to 2020 and beyond. If these challenges are met through effective management and planning, there are also massive opportunities to improve global brand recognition, customer loyalty and profitability. This report will set out these challenges and critically analyse the strategies the fashion industry and brands are adopting. The report will also make recommendations and a strategic proposal for innovation improvements.
2.Theoretical Context: The Current State of the Fashion Industry
The BoF-McKinsey Global Fashion Survey 2017 showed that the global fashion industry was worth an estimated $2.4 trillion and accounted for 2 percent of the world´s Gross Domestic Product (GDP) as the fifth largest sector in the global economy (Ahmed, et al, 2016). Despite its overall success, the BOF Survey highlighted serious challenges affecting the whole fashion sector: falling growth, political instability and changing consumer behaviour. These challenges are set to continue for the foreseeable future. Clearly the fashion industry needs to adopt strategic, long term, comprehensive management plans and marketing solutions for this volatile, challenging global environment.
Globalisation itself has thrown up many complex challenges for fashion companies´ business strategies: for example, the radical change to work practices through outsourcing; key political and global economic trends that impact production and supply chains; health and safety conditions and the fair, ethical treatment of workers; environmental and sustainablity issues. Globalisation is also requiring brands to differentiate themselves via optimal business models, geared towards streamlining efficiency, while executing strong social and business values.
In addition the fashion industry has seen fundamental changes in its operating environment:
the pressures to diversify online and to increase accessibility;
the changing consumer landscape and prominence of fast fashion;
the challenges and constraints of addressing sustainability practices;
the impact of the digital era and the multiple channels of communication now available to brands to engage with their consumers;
the challenges to maintain customer loyalty;
the paradigm shift in manufacturing and retailing;
the necessity for optimum inventory management;
the diversification of the industry brought about by modern technology.
These considerations are shaping the 21st century fashion industry. The industry is also looking to see how innovation in a digital age can provide solutions to these complex challenges.
One clear way that the fashion and apparel industry can look to innovate is to see innovation as, by definition, applying to the entire life cycle of its processes: “extraction of raw materials, design and production, packaging and distribution, use and maintenance, reuse and recycling, and incineration and disposal” (Gauthier, 2005, cited in Hansen, Grosse-Dunker, Reichwald, 2009). At each stage of this cycle the industry can harness new technologies and sustainable practices to reduce costs, improve efficiency and sustain profitability over the long term.
Technological advances such as digital technology and automation are already having an effect on the design and supply chain model; the impact of future developments in Artificial Intelligence (AI) will undoubtedly affect this model even more profoundly. The industry as a whole needs to have an innovative mindset, not only to adapt their processes, and buy into innovation for their supply chain, but they must also try to positively influence their own consumers behavior in order to be truly considered innovative.
But as the fashion industry´s lifeblood is creativity and design, it is therefore one of the most progressive sectors to welcome and combine creativity and innovation, particularly if it views sustainability as a key driver for radical change and innovation: “By adding a sustainability perspective in the design process, the fashion industry has the advantage of combining two of its core competences – creativity and innovation.” (Rydberg-Dumont et al., 2010, p.19)
There are major advantages for the industry´s bottom line in embracing globalisation and adopting innovation and new technologies. Globalisation has enabled fashion companies to expand beyond their home markets. But this expansion demands a global business strategy, the inclusion of innovation improvements, a global view of markets and customers and an agile response to economic and political fluctuations.
3.Considerations and effective approaches fora global winning strategy
3.1 Globalisation and brand identity
The fashion and retail industry in 2018 is a tough and competitive environment. Brand heritage and reputation, in the global market, are no longer guarantees for longevity and success. Apparel brands must always find the correct balance between meeting the demand for fast fashion, and over reach and over exposure. Expansion has traditionally been the strategy of fashion brands, seeking to exploit the fast fashion trend in new markets and by increasing their distribution footprint. But breaking into a global market poses challenges. Adjusting to local markets is not always an easy transition and requires careful strategic planning. Fashion brands must be innovative, flexible, culturally sensitive and imaginative in their communications and approach with their consumers. A global brand must take into account cultural, local market conditions in its communications and retail strategy. If expansion is the ultimate goal of a company, then it is imperative to retain the experience and essence of the brand, irrespective of location and its sales point.
Innovative and technologically savvy brands use technology and digital communications to achieve global reach and accomplish unprecedented penetration into global markets. But they also need to navigate political regimes such as in China and Russia and be willing to adapt and evolve their model given the volatility of current global politics and ever changing economies. In the already overcrowded fashion market, brands need to achieve a high level of exposure and develop a culturally sensitive global brand awareness, employing all available exposure tools at their disposal such as global and local advertising, social media coverage, the increase in international travel and current influencer trends. Global brand positioning is crucial for success but this success depends on a critical and strategic analysis of the consumer base, and any cultural, societal, economic or political elements which may impact the business climate where they intend to operate.
3.2 Control of Distribution and Supply Network
Fashion brands, and particularly those in the luxury sector, traditionally followed a deliberately restricted and controlled distribution model. However, with globalisation the model is now changing. Globalisation requires expanding their distribution channels into more and more culturally and economically differentiated markets, requiring adaptation and sensitivity to these markets (Kapferer and Bastien, 2012). This means that they could lose some elements of control, and logistically this degree of expansion creates a greater level of complexity. Stringent controls at every level of their supply network and distribution level are required, if they are to fully manage costs, risk assessment, and to ensure ethical practices across the board.
While globalisation will result in a greater brand imprint, and lead to more opportunities for growth, it can also be risky if not executed correctly. For this reason, fashion companies, particularly luxury brands, must also work to strengthen their identity in the global market over the longer term and be prepared to do a comprehensive footprint analysis, exercise rigid control of all aspects of their supply and distribution network, before undertaking new markets in their global business strategy.
3.3 Customer Loyalty in the Digital and eCommerce Age.
The explosion of the internet, and all its digital opportunities, has led to the exponential growth in eCommerce in the fashion industry, representing 3.4% of annual global sales now, and with forecasts indicating that this will triple over the next decade. (Ahmed, I. Berg, A. Brantbury, L. Saskia, H, 2017) If predictions are correct, the worldwide eCommerce fashion industry will rise from $481.2 B in 2018 to $712.9 B in 2022. (Orendorff, A. 2018)
ECommerce is now fundamental to the success of many fashion brands. But it is also clear that the industry has yet not exploited the full innovative potential of eCommerce, given the opportunities presented by online customisation, digital and social communication, and CRM.
To maintain customer loyalty, however, in the digital age, requires the full exploitation of social media, CRM tools and data, audiovisuals, and the cultivation of personal one-to-one relationships with new and existing consumers. The proliferation of connected devices and growth in connectivity mean that fashion companies now need to have a strategy not only for connecting with consumers but also for utilising their data to create more personalised service and targeted/ responsive marketing.
ECommerce is critical for the growth of the fashion industry and is essential for maintaining customer loyalty in the digital age. The first fundamental of an eCommerce strategy is the development of a brand focused website which offers consumers a seamless shift between their physical and digital stores, while emphasising the same convenience, experience and personalisation customers expect at their bricks and mortar locations. The website will bolster brand equity both online and offline and form part of a fully integrated strategy, which aims to support and strengthen the brand’s core identity, which is crucial to remaining competitive. In addition, brands need to consider other innovations to create a wholly engaging and immersive brand experience. Such innovations within their eCommerce model should include international shipping, support in multiple languages, geo targeting, mobile optimisation, rich media content, services such as ‘click and collect’, automatic detection of a consumer´s location, and then the use of data analytics to create a complete 360* approach.
Choices regarding their ominchannel strategy could potentially be the most important decisions a fashion brand will take to achieve success on a global scale. The global marketing strategy must include not only significant investment in e-commerce, as it is just one part of the digital strategy, but also end-to-end product suite digitalization, social data gathering, consumer engagement tools, content creation, optimisation, and social media marketing. (Kapferer and Bastien, 2012)
Online engagement by 2020 will be most likely and easily achieved via social networking sites, rather than on a brand´s company website, as the shift towards social marketing gathers pace. Social media presence and campaigns on sites such as Snapchat and Instagram, with product photos, videos and celebrity endorsements build an engaged and loyal audience. Other additional strategies to be considered will be the creation of curated content for each target market, more calls to action for consumers which will be not just result in purchases but in sharing, posting and inspiring followers to influence overall consumer behaviour.
3.4 Getting the marketing mix right
Every marketing strategy must now have a fully developed marketing and promotional mix to include digital and social media components and the incorporation of eCommerce into their business model. The global consumer of today is online and connected; fashion retailers need to shift their focus to online and balance direct marketing, relationship marketing and mass marketing.
In the future their marketing budgets will see a greater return on investment via applying marketing automation, investment in CRM and remarketing/ retargeting, to naturally generate more conversions, and increase both the average order value and traffic to stores. Such innovations in digital will allow brands to fully capitalise on the huge potential for growth and avoid any market shrinkage. It is crucial for them to invest more heavily in their digital marketing strategy and be open to all opportunities that digital and technological innovations currently present.
The reality is that brand management is becoming increasingly more difficult for this reason as no stream of communication can be neglected from their marketing mix. Consumers are savvier, more demanding and more influential. Consumer data is everywhere, and exists in many forms via retail websites, social media, blogging and consumer guides, so brands need to always be on top of their brand and product positioning, while harnessing the available consumer information. Brands have to diversify their business models to meet the expectations of the modern consumer. Millennials are prioritizing ‘experiences’ over ‘things’.
3.5 The traditional retail experience is a thing of the past
Given this major change in consumer behaviour, retail brands need to broaden their understanding of the retail experience. It now extends way beyond just the bricks and mortar shop itself, and they need to successfully fuse their online and offline strategies. They require ‘retail intelligence’ to both inspire and influence their consumers.
Visual merchandising is now an effective strategy to maximise the volume of sales. With the formulation of comprehensive visual merchandising plans, retailers provide an attractive proposition to entice customers into stores, and to exploit and maximise both layout and product display, while ultimately driving up sales and capitalising on the return of commercial retail space. It is a vital component of a fashion branding strategy, and when brands within the fashion industry effectively apply the creative and scientific principles of retail design, merchandise will move and profits inevitably increase. (Bell, J. and Ternus, K. 2011).
There will be many opportunities in the future for brands to demonstrate innovation and radical thinking. The industry is bursting with startups developing new technologies to feed consumer desire for instant gratification, offering possibilities for 30 minute drone delivery, greater choice regarding delivery options, customisation and offers for simplified returns. Companies that don’t embrace such innovations will get left behind, and consumers will tire of anything that does not offer the latest conveniences (Arthur R, 2018).
3.6 Technological Innovations
Advances in technology, and the possibilities they offer to the fashion industry are also a big area of focus in 2018 as we look towards the next decade.
Augmented Reality
Integration with technology will be a key strategy that many fashion brands will need to consider as part of their visual merchandising, retail and management strategy. The recent push of AR into the mainstream, and the forecast for 900 million AR-enabled phones to flood the market before the end of this year, means that consumers will come to expect AR apps and AR experiences from retailers. Already, high end stores Anthropologie and Burberry, are using such technology to facilitate the shopping experience for their consumers. (Arthur R, 2018)
The global retail brand Topshop is building more and more immersive innovative strategies into their visual merchandising and marketing plans. They broadcasted their 2017 AW London Fashion week live in immersive 360, allowing shoppers in their flagship store, to take a virtual front row at their catwalks. This year they allowed consumers to experience a giant water slide via VR headsets, through the use of an in store installation. By fully incorporating the latest technologies into their strategy, 1500 people were able to experience the show on-demand in the days immediately following the event, garnering global media attention for Topshop. (Inition, 2017)
In time, however, it will inevitably become more of a necessity for brands to fully embrace virtual (VR) and augmented (AR) reality. AR/VR presents the perfect means for brands to promote and communicate with modern consumers, making it an essential 21st century merchandising activity. It allows for a fully immersive experience, and creates a virtual environment where they can enjoy the essence of the brand at no additional square footage or retail space expense. Also, by utilising the latest VR and AR technology, brands will be fully able to tailor the shopping experience to the individual and ultimately convert more into buying customers, with a deeper brand loyalty. Engaging graphics, video, and flat screen displays will help fashion managers to create a consistent brand image. Innovative digital displays can be changed automatically, to influence buying behavior, and better target consumers in store. Taking up less space than physical merchandising props, brands can benefit from better store layout options, create more opportunities for engagement and improve their bottom line (Carney, 2016).
Virtual Fashion
The next step from there is already on the horizon and a new type of concept store may soon reshape the entire retail ecosystem. Amazon GO, the retail giant’s new store, which will open this year, features a shop floor completely devoid of retail clerks. Designed to create a completely seamless experience for its consumers, they can shop completely unattended at their own pace, without any need for interaction (Uldrich, 2018). By combining this with VR tech, where consumers can visit distant stores and choose any number of options which can then be virtually ‘tried on’, it is not so much of a leap to conclude that bricks and mortar retail may not be around as we know them for very much longer.
Artificial Intelligence and Machine Learning
Fashion is now embracing big data strategy and is beginning to harness the potentials of artificial intelligence (AI). Real time customer insights and machine learning capabilities, offer brands a means to provide more relevancy and customisation to consumers, in areas such as tailoring, personalisation, down to highly individualised messaging and production. Already brands such as Net-a-Porter, Sunglass hut, and Top Shop are including artificial intelligence in their strategy, to increase conversions and engage with consumers on a whole new level. More uptake of these innovations is expected in 2018, and as more and more brands such as Burberry, American Eagle, Sephora, and Tommy Hilfiger, experiment with chatbots, the customer service tools which offer more ‘conversational commerce’, the trend is set to continue. (Jain, 2018)
3D Printing
As the technology improves, 3d printing is influencing the world and starting to now have more of an impact on the fashion sector in 2018. The management of how and where items are produced will inevitably change, if 3D printing becomes a production standard within the industry as is expected. The types of materials that it offers to designers will increase, offering wholly new concepts for design and clothing functionality, endless options for customisation and the ability to make design changes in real time.
Adidas are already producing shoes via 3D printing, with the production of 500,000 planned for 2019. (Uldrich, 2018) Eventually the production will occur closer to the end consumer, meaning the need for global distribution channels and complex logistical planning will no longer be required.
3.7 Social Conscience and Innovation
With the rise of the more ethically motivated consumer, brands must now be advocates for sustainability and the environment. More than 65 per cent of consumers in emerging markets actively seek out sustainable fashion. (Ahmed et al, 2016) The apparel sector´s damaging impact on the environment is known within the industry and its overuse of water and chemicals, as well as its huge contribution to the creation of carbon emissions, is well documented. (Hermes, 2016) Likewise, a research survey conducted by Morgan and Stanley in 2016, which asked 1000 customers in the UK on their views regarding to what degree a company’s ethical practices would determine their shopping habits, there was a 9% increase from 2010, in how they rated ethical practices in terms of importance. Price and quality were still their biggest priority, nevertheless, the data proved that consumers are changing their mindset, with 51% saying that ethical credentials were very or at least somewhat important. (Morgan and Stanley, 2016)
As consumers become more aware of the impact of the fashion industry´s current outdated practices on the environment, brands must be seen to adopt a sustainable approach, and put corporate responsibility at the core of their business model. The impact of their ‘carbon footprint’ should inform all their design decisions, their supply chain considerations and working practices. With growing concerns about the long-term viability of the sector´s current business model and its practices, there is now a focus on the role of sustainability and sustainable practices within the fashion industry.
This realisation has led some in the industry to fully investigate their manufacturing processes, carbon footprint, supply chain model and overall impact. From such an analysis, it is apparent that most brands are required to reevaluate all of their sustainable and ethical practices across their end-to-end activities, to reduce negative environmental effects, conserve energy and water resources, reduce energy consumption, and protect ecosystems. They must look to effective strategies for managing and counteracting their overall impact and take more direct corporate and social responsibility for their actions. Decisions regarding the investment in renewable energy, targets around energy reduction and the introduction of innovative energy saving measures will have to form the basis for the strategic sustainability plans of any company in the fashion industry beyond 2020.
Disruptive technological innovations such as Blockchain applications now allow for greater full control of the supply chain and transparency regarding sustainability. The Blockchain platform allows for the validation of supply chain data, and for a more open movement towards integrating technology into the structure of the company to uphold fundamental sustainability practices. Using this technology, consumers can verify a garment´s origins and companies can know where a product is in its supply chain at any given moment. Inevitably though, there will be different strategic directions and competing priorities within different sectors in the industry, and differing levels of application of sustainable and ethical principles, but as consumers become more aware of the environmental impact of fashion production, and regulations become stricter for companies, informed choices about their practices will have to be made.
For this to work all corporate stakeholders must also be involved and actively engaged in the sustainability model. This must include a top down approach from management, investors, shareholders, to suppliers, workers and customers. The model not only requires personal commitment from all stakeholders but also investment in innovation, big data and a long-term strategy.
3.8 Inventory and Supply Chain Management
In the reevaluation of all their business practices, brands have the opportunity to analyse more deeply their supply chain management.Brands should exercise very stringent stock controls, and understand their market so as to make successful predictions for inventory management; too much stock and retailers risk markdowns which can lead to cash flow problems. A rapid time-to-market concept will only function well if all components of the supply chain, are visibly communicating and cohesive.
Having tighter stock control and market awareness, are vital for overall profitability. Companies need to utilise market intelligence and analytics to make more informed decisions, from concept to consumer, to improve profitability and drive top line growth. Key decisions regarding new product lines and brand extensions, making investments in production and technology, validation of product and market direction, should all be based on consumer and trend insights. Speed to market is also an important consideration. An effective strategy to increase a fashion brand´s revenue is to have the product readily available at the right time for consumers. This limits the risk of markdowns and reinforces consumer loyalty.
Brands should critically evaluate their supply chain models both internally and externally. Having a trusted relationship in their supply network, gives brands an advantage and when brands are open and transparent regarding their network relationship, it leads to greater consumer connections with brands. With sustainability in mind, there are also options for companies to incorporate fully circular economies, into their business models. Retail giant, H&M have committed to being fully circular by 2018 by eventually only using recycled or ethically and sustainably sourced materials. Also with new possibilities for recycling techniques, and increased options for the bioengineering of materials, there are more opportunities for the industry to think about its full supply chain and product lifecycle model. (Arthur R, 2018)
4.Methodological Review: Data Analysis and Review
Data research in the form of a survey was undertaken to test and evaluate prior theoretical research which described the challenges and opportunities technological innovations presented the fashion industry with. The survey tested the impact, in particular of eCommerce on consumer behaviour. The scope of the survey included 103 respondents; however only results from 100 respondents were captured, as 3 failed to completed the survey. Results were collected over a 5 day period, and it was completed online via email and social media.
Research Question 1: What are your ecommerce spending habits?
Hypothesis 1: The theoretical research suggests that ecommerce currently represents 3.4 % of the global retail sales market. This question should demonstrate that already since that data was collected in 2016 (Ahmed, I. Berg, A. Brantbury, L. Saskia, H, 2017) that online sales have already grown as predicted. What is expected is that the trend for online purchases has increased and that more consumers will now be open to making clothing purchases online.
Research Question 2: Do you interact with your favourite brands online. (By interact I mean visit their page, like or share content etc)
Hypothesis 2: Prior research suggests that the omnichannel strategy could be the most important strategy for fashion companies in the future. This question will seek to illustrate the ways in which consumers now want to engage with their favourite brands; being loyal no longer just means purchasing from a brand, but being connected with them online and actively interacting with them on a more regular basis via social media.
Research Question 3: Do you consider yourself to be an ethical consumer?
Hypothesis 3: Figures from 2016, indicated that 51% of consumers consider themselves to be ethical shoppers (Morgan and Stanley, 2017). The hypothesis is that more consumers in 2018 are aware of the need for change, and are taking greater steps to be ethical consumers.
Research Question 4: Do you have a preference for brands that are focused on sustainability when making retail purchases?
Hypothesis 4: The prior Business of Fashion research (Ahmed, I. Berg, A. Brantbury, L. Saskia, H, 2017) suggests that 65% of consumers in emerging markets seek out sustainable fashion. This hypothesis aims to prove that in developed markets, the numbers are on the rise and higher in 2018, than they were when surveyed by Morgan and Stanley in 2016.
Research Question 5: What is your biggest consideration when making a clothing purchase?
Hypothesis 5: It is expected that given consumers are more informed about sustainability that this will be of a priority for some. However it is the view of this report, that the majority of consumers will still choose pricing and quality over ethical concerns.
Research Question 6: What is your view on Brands who are not ethically conscious or sustainability focused?
Hypothesis 6: It is expected that respondents will confirm that Corporate and Social Responsibility is now of greater importance and that consumers now expect that fashion companies, not only take responsibility, but that they have already taken action to be more ethically conscious and sustainability focused.
4.1Results
Interpretation: Hypotheses vs Results
One of the chief objectives of this survey was to gather data to confirm or reevaluate the prior hypotheses regarding the areas of focus for brands in 2018, when deciding on their plans, initiatives and activities for the future. The data gathered has helped us to make the following recommendations and a strategic proposal for innovation improvements:
37% of consumers frequently buy their clothes online, while 43% stated that they have purchased online, and a further 18% said they might do in the future. Only 2% of respondents said that they would not shop online, confirming the hypothesis that the trend for buying online is growing, and only a very small percentage of the market now do not use a mixture of ecommerce and offline for clothing purchases. Integration of these sources is key, and online convenience for shoppers must be a priority for brands.
This data confirms that bricks and mortar stores are still important given that (43%) of consumers said they still mostly buy from physical stores. While online is crucial to success, the inclusion of new technology and innovation within stores is still relevant to the overall strategy.
The data shows that the majority of consumers frequently (47%) or occasionally (35%) interact with brands online. Based on these results, brands will have no choice but to adopt an omnichannel strategy if they are to remain competitive. This also supports the theory that fashion brands should be investing more heavily in new innovative technologies such as CRM, remarketing and retargeting, content management systems and engagement tools, to ensure they take full advantage of the opportunity and exploit the vast amounts of data being accumulated via their online channels.
When it comes to ethical consumption, figures here prove that 18% of consumers like to know that the brands they buy from are ethically responsible in all areas of their supply chain, while 58% of consumers in 2018 are aware of the need for change and are making efforts to make more informed choices. Retail brands need to adopt a responsible and transparent strategy if they are not to lose market share.
With specific reference to sustainability, 12% are actively seeking out sustainable fashion, while a further 71% said that they take sustainability into consideration more and more. These figures are overwhelmingly indicative of a requirement for a sustainability strategy.
It is surprising that results showed that as few as 2% of consumers said that the brand was their biggest consideration when making a purchase. The hypothesis that brand positioning and brand loyalty would sway clients to remain loyal to a particular brand, may no longer be the case for modern consumers, proving that brands in 2018 and beyond, will have to work harder, and be shown to be more innovative as regards consumers´ concerns and priorities if they are to maintain consumer loyalty. Less surprising, is that 50% of respondents stated quality is the biggest consideration. Price is the second biggest consideration at 33%. Brands will have to exercise strict pricing and quality controls, and tighter analysis of their stock controls and supply chain, to ensure their merchandising and pricing structures are fully in line with consumers’ expectations.
Lastly it can be confirmed that 31% of consumers believe that brands have no excuse not to be corporately responsible in 2018. Only 4% of the market have no concerns on this issue, showing that the trend of ethically conscious and sustainability focused consumers is on the rise.
4.2 Conclusion and Evaluation
The fashion industry is poised to see greater change in the next half decade than it has experienced in the last half century. The changes taking place and the decisions being made in the sector right now, will shape the industry in the future. As we move away from tired marketing ideals, traditional and cumbersome corporate structures, and develop a greater understanding of the effects of mass consumption, fashion companies will need to carefully consider how quickly they adapt to such changes, implement more innovative plans and adopt a fully global perspective.
Despite the challenges, it is the view of this report, that if fashion brands are to introduce the following policies into their global strategy, their global reach and profitability would increase: dynamic innovation regarding all aspects of their supply chain and material selection; full exploitation of the possibilities of digital; the inclusion of modern technologies into their retail and eCommerce structure, and a business that is founded on sustainable, modern practices.
The industry is, however, dynamic in its nature, and in order to stay ahead of the competition, innovation must be at its core. To build a more inclusive, sustainable, ethical, profitable and innovative future, leaders in the sector will need to apply the outlined transformational trends. Their short term plans will focus on digital strategy and sustainability, while in the longer term, they will need to start building their strategies around machine learning in their production practices, a global logistics model facilitated by 3D printing, VR in their retail spaces, and AI in their eCommerce and customer service model. It will take inspired leadership and strategic management for brands to fully adopt all of the outlined plans; however, the payoff will be worth it.
Hansen E. G., Grosse-Dunker, F., Reichwald R., 2009, Sustainability Innovation Cube – Framework to Evaluate Sustainability-Oriented Innovations, International Journal of Innovation Management, [pdf] Vol.13, No.4, Page 683-713. Available at: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=1737260 [Accessed 8 June 2018]
Kapferer, J.N. and Bastien, V. (2012). The Luxury Strategy: Break the Rules of Marketing to Build Luxury Brands. 2nd ed. London and Philadelphia: Kogan Page Limited.
Rydberg-Dumont, J., Andersson, B., Braunerhjelm, P., Hedegaard, S., Morley, N., Cato, M., 2010. Mistra Future Fashion Research Program Background Paper. Stockholm: Mistra Research.
Italian Fashion Today: Florence and Rome as Style Centres
Abstract
Paris, New York, London, Tokyo and Milan are all still considered to be the world’s dominant fashion capitals in 2018. These cities are internationally recognised as having a major influence in setting the trends and styles in the fashion world and in having a global impact on the economic success of the fashion industry. While these fashion capitals have rotated in importance historically, their modern pre-eminence is undeniable. Rome and Florence may not currently rank in this premier league of fashion cities but it will be the contention of this report that both cities have had and continue to have a significant impact as style centres, particularly within Italy.
The purpose of this report is to test this proposition that Rome and Florence continue to be relevant and influential both in Italy and internationally as style centres. The report will analyse what considerations or measurables should be taken into account when determining what makes a city a style centre, and what makes such cities important to the fashion industry and consumers.
Having researched and reviewed current and recent literature on Rome and Florence, and their history as influential fashion centres within an Italian and global context, the report will seek to argue for these two cities´ continued importance and relevance to the fashion industry as style centres.
The report also tested this hypothesis of Rome and Florence´s continued relevance by conducting a survey of both consumers, current fashion students and industry insiders and by undertaking further qualitative research in the form of an interview with a current industry expert. The report’s methodological analysis was based on a survey sample of 191 respondents, via social media and email. The scope included both the general public (96 respondents) and another set comprising fashion students and industry insiders (95 respondents), to see how the two groups’ perceptions of Florence and Rome as style centres differed within these data sets. All ages and genders were targeted to reflect all demographics and the variety of the industry.
The findings of this methodological research show that these cities continue to be viewed as important and relevant style centres. The survey`s results showed that consumers and industry insiders generally agreed Rome and Florence both fall within the two groups’ definition of what makes a style centre. Consumers, with less specific knowledge of the Italian fashion scene, consistently ranked Milan above Rome and Florence in importance, while still recognising their relevance. Industry insiders, with more in depth knowledge of these cities, were equally emphatic about Rome and Florence´s enduring relevance and importance. These views support this main conclusion of the report based on the review of the literature.
1.Introduction
While there may be general agreement as to the 21st century dominant fashion capitals, there is no one satisfactory definition that determines what exactly a style centre is, as the term can be used broadly to describe the economic success and cultural projection of a city through fashion, trendsetting, style and technological innovation, or it can be simply based on the prominence of its Fashion Weeks. In the 1980s, a concept of the style centre emerged that challenged the traditional understanding of a fashion capital. Often smaller in scale, and with more local markets, style centres were seen more as influencer cities, with more personality or niche appeal. Through examining fashion in Italy in general, and particularly through the evolution of the fashion business model of ‘Made in Italy’ this report will evaluate how Rome and Florence have sought to establish themselves as influential style centres, reestablishing their positions of importance in the Italian and global fashion scene.
2. Theoretical Context
The Italian fashion, textiles and accessories sector is enormously important to the Italian economy. The Confindustria Moda is the third biggest industry in Italy, with 67,000 companies, employing 580,000 people. It is an industry based upon a long and influential history and tradition yet inevitably facing generational, technological and global changes. Its fashion centres have also had to change and evolve, and over the course of the last century, both Florence and Rome have lost ground to Milan but still have remained relevant.
`Made in Italy` is now the basis for the highly successful coherent concept of Italian fashion, worth annually 88 billion euros. It was a concept deliberately marketed on centuries of cultural heritage, craftsmanship and exclusivity: a cultural projection as well as a business model, through which Italian manufacturers and designers could promote and export their fashion apparel, leather goods and accessories. Yet Italian influence on the global fashion scene predates the term ‘Made in Italy’, as the importance of Italian culture and fashion span many centuries. `Made in Italy` today represents the accumulation of centuries of cultural and creative excellence, heritage and tradition, where art and culture are the backdrop to daily life, and fashion is seen as one of the nation’s key artistic and creative forms of expression.
Hypothesis:
What arguments can be made to support the idea that Florence and Rome are style centres?
What elements do they possess which ensure their continued success as style centres?
What conclusions can be drawn about their contribution to the overall context of the Italian and global fashion industry?
2.1 Florence and Rome’s Evolution as Style Centres
The importance and influence of Italian history and culture on the fashion industry are clear in any overarching view of its evolution. For Rome and Florence the ancient Roman world and the Renaissance are key cultural and historical backdrops which have shaped and continue to shape their fashion aesthetic. These huge historical and cultural periods are woven into the DNA of Italian national life and its fashion industry.
Underpinning this rich cultural heritage is the equally rich tradition of Italian craftsmanship. Generations of artisans in shoe making, textiles, tailoring, jewellery and many other artisanal small businesses have been the backbone of the Italian fashion industry for centuries. The mercantile and banking success of Florence in its heyday under the Medicis from the 15th century paved the way for Florence to become a major centre for jewellery craftsmanship, production and trade which it still enjoys to this day.
Indeed the Italian Renaissance from the 14th to the 17th centuries established Italy as the leading influence on fashion in Europe. Italy also produced the best silk in Europe during this period, and its textile industry established its reputation then for quality and craftsmanship which persists to today (Okonkwo, U. 2007).
The reputation of Italian fashion and elegant taste as a concept can be traced back to 14th century Florence. For elite families who resided in Florence at this time, appearance and exhibition were intrinsically linked with identity and status, and for affluent Florentines who were obsessed with looking good, fashion and elegant attire were vital to their projection of power, status and wealth. The Renaissance period, and the emergence of an aristocracy with lavish and expensive tastes, delivered an elite group of city dwellers as fashion conscious and demanding as that of today’s celebrities and their followers.
The appeal of Italian design diminished briefly after the demise of the Venetian Empire in the late 1790s, and a period a political turmoil followed. This, in turn, led to the rise and adoption across Europe of French fashion and haute couture. Demand did, however, increase again in the latter part of the nineteenth century as Italian fashion experienced a revival. (Okonkwo, U. 2007) The designers credited with this revolution were Gucci, Prada, Salvatore Ferragamo, and Ermenegildo Zegna and later Dolce & Gabanna, Giorgio Armani and Gianni Versace. The cultural nexus and inspiration for some of these designers and their now world famous brands, was Florence, owing to its reputation as a style centre.
The patriarch of the Gucci dynasty, Guccio Gucci, a Florence native born in 1881, was the son of an Italian leather goods artisan. Having travelled extensively in his youth, he returned to Florence in his early forties, with the view to creating a collection of high quality leather goods himself. With a great appreciation of fashion and style, and a unique insight into Italian craftsmanship, often drawing inspiration from horseracing, he founded his first Gucci shop in Florence in 1921. Starting with shoes, luggage accessories and handbags, the brand soon become synonymous with high profile celebrities of the era, leading eventually to the opening of Gucci stores overseas and to it becoming one of the most profitable Italian fashion houses today.
Gucci’s products symbolized the exclusivity and ideal souvenir d’Italie of international jet setters, expanding to Rome in 1938 with the opening of its Via dei Condotti boutique, and solidifying its status as an iconic fashion brand. After the death of the designer in 1953, the brand was led by his sons, who, with the same vision and passion as their father, greatly contributed to the fashion house’s development. By the 70s with the growth of prêt-à-porter and the opening of a grand scale factory in Scandicci, outside Florence, Gucci’s products, now emblazoned with the double G logo or with a Gucci red and blue motif, became the must-have items of the moment. Never straying far from its roots, in 1981 Gucci staged its first runway show in Florence setting the stage for the luxury brand´s global domination and exploiting the brand´s home city, as one of the major style centres of the world. (Pizzi, S. Year Unknown)
At the same time Salvatore Ferragamo, an Italian native who had studied his craft in the USA, returned to Florence to open a workshop in 1927. Much like Gucci, the shoe designer, quickly achieved worldwide fame. Having already worked in the cinema industry for The American Film Company, Ferragamo had quickly developed a reputation for being the ‘shoemaker to the stars’. From the outset, the designer demonstrated remarkable talent for technical research accompanied by an inspired choice of materials such as crystals, feathers and the skins of kangaroo, antelope, and fish. But it could be argued that his real creative flair came to fruition in Florence, when in the economic crisis of 1929 the shortage of available raw materials unleashed Ferragamo’s true talent for design. This resourceful and innovative ability to produce pioneering designs that were both stylish and practical, led Ferragamo to create the cork heel in 1938, resulting in the first patent in fashion history (Spena, C. Unknown).
Due to the success and unrivalled reputation of designers such as Gucci and Ferragamo, Italian accessories, and particularly those from Florence, became renowned for high quality, versatility and the epitome of style. As a result, the accessories business flourished and Italian brands began to capitalize on the export trade to the United States, which led to the success of Italian fashion internationally. Haute Couture, however, remained the forte of the French in the early part of the twentieth century, and due to economic and political factors, Italy’s fashion industry struggled to compete. The social upheaval and economic impact of the Second World War depressed an already struggling Italian economy, setting back the fashion industry what once was thriving. While Paris emerged as the world’s leading fashion destination, Florence, Rome and Milan were still largely ignored. (Okonkwo, U. 2007)
Another contributing factor to the slow growth of the industry in this era, was that, while Paris and London were representative of fashion capitals in their countries within Europe, Italy had no one pre-eminent fashion capital but rather several cities that each contributed to the industry, and had its own specialism and associations: Florence with shoes and woollen clothing; Venice for luxury silk and leather goods; Sicily for artistic weaving; Rome for jewellery. Nevertheless, while Italian fashion grew in the shadow of Haute Couture in Paris, it was building its own identity.
Inevitably, Italy’s inherent historical advantages would resurface and contribute greatly to the emergence of the Italian ‘look’. The existence of longstanding traditions within textile production and leather goods, together with consistently high quality tailoring and attention to detail, meant that over time Italy’s undiminished reputation for style, would guarantee its revival on the global stage. Some outstanding designers led to this breakthrough. The Spanish designer, Mariano Fortuny, living in Venice, and who created magnificent fabrics and dresses of unparalleled luxurious silks and velvets, emerged after the Second World War to bring worldwide attention to Italy. He is still recognized to this day for his timeless collections. Helping to propel Italy into the international spotlight, Fortuny is credited with refocusing attention on Italian design and craftsmanship. Of the same era, Elsa Schiaparelli, though based in Paris, was Italy’s most famous couturier rivaling Coco Chanel. A Roman by birth, Schiaparelli even eclipsed Chanel as a symbol of style and international fame (McDowell C. 2015). Likewise the innovations of Gucci and Ferragamo had made significant contributions to the luxury accessories industry helping raise Florence’s profile as a centre of the fashion world. Such designers were often seen as the forerunners of Italian fashion who brought Italian style and craftsmanship to global attention. Their inspiration was the glorious heritage of Italy´s past and its unrivalled craftsmanship.
Following the Second World war, the Italian fashion industry, alongside the rise of ready to wear clothing production, was also boosted by post-war government policy and reforms to support the export economy. In 1949 fashion shows were held for the benefit of the international press, to showcase Italian art and culture. A pivotal fashion show in the summer of 1951 in Florence, drew in nearly 200 buyers and journalists from the U.S. placing the city forever on the fashion map (Steele V. and Carrara G. Year Unknown).
The aristocratic entrepreneur Giovanni Battista Giorgini was enormously influential in securing Florence’s place as a fashion centre, giving the global fashion press direct access to the greatest talents of the post-war years. (Da Cruz Elyssa. 2004) Showcasing some of the best tailors and dressmakers in Italy, Giovanni staged the designs of Emilio Pucci, Roberto Capucci and Sorelle Fontan (the Fontana sisters), in Sala Bianca at Palazzo Pitti in Florence, displaying the elegance of ‘Made in Italy’. Pucci’s beach and formal wear, in rich colours and original patterns, revolutionized the aesthetic of the fifties and sixties thereafter. Likewise Capucci, who many consider to be a founder of the Italian fashion industry, for his eclectic mix of texture, fabric and colour, only achieved success after having his show in Pitti Palace in 1951 (Masotti, 2017). Still, despite their popularity, in those post-war years, the designs were significantly cheaper than those produced in Paris, and captured the attention of journalists, leading to their rapid distribution to high end US department stores such as Bergdorf Goodman and Saks Fifth Avenue. The Italian couture houses, alta mode, were also located for a time in Florence, before eventually moving to Rome, so that many of the Rome´s and international elite could conveniently shop. Rome would eventually capture the Italian haute couture market with its fashionable shops, its rich and globally alluring historical heritage: the perfect backdrop for haute couture´s unique selling points of exclusivity, longevity and classicism.
The 1950s and 60s marked a turning point for Italy and its fashion industry, and in particular for the fashion fortunes of Rome as a centre of style and elegance. With the global emergence and influence of Hollywood and cinema, a new aesthetic, and uniquely seductive Italian iconography emerged. This cultural and commercial relationship which was forged between America and Italy, would play a vital role in the post-war development of Italy and its fashion scene. The Fontana sisters opened a couture house in Rome in 1944, and would become closely associated with the glamour of Hollywood starlets (Steele, V. and Carrara, G. Year Unknown). Cinecittà studios in Rome, built in the outskirts of the city in the 1930s, became a new international film hub, and attracted all the biggest stars of the day to the city (Baker, L. 2014). After the war, Cinecittà helped the world discover not only Italy, but Rome and its people. Italian fashion had long been viewed as derivative of French fashion, but this symbiosis in the 1950s between cinema and fashion and focus during this period on Italian culture and style, led to Italy achieving its own unique identity.
Over the next 20 years, over 40 films would be made in Cinecittà. In 1953, the movie Roman Holiday, launched Audrey Hepburn’s career as an actress and as a style icon while embedding ‘the eternal city’ in the hearts and minds of international audiences. Later Fellini’s multi-award winning La Dolce Vita, put Italy, Italian fashion and Rome on the world stage, surpassing the success of any foreign film before it. Major film production companies and VIPs embraced the city, making it a thriving, major fashion capital and style centre (Dominella S. 2017). Rome and its designers began to capitalize on this success, and the alta moda houses of Roberto Capucci and Valentino Gavarni, were successful proof that Rome was now the capital of Italian fashion. This started the enduring competition between Rome and Florence, each now with its own fashion show schedule.
Fashion and style centres all recognize the importance of fashion shows and schedules. Building on the development of Florence as a centre for fashion, the Centro di Firenze per la Moda was created to organize trade and fashion shows from 1952 to 1983 targeted at international industry buyers. From 1967 onwards, high fashion was staged from Rome, and Florence was the centre for boutique and knitwear design (Lees-Maffei G. and Fallan, K. 2013). Rome responded by developing and embracing large scale commercial capabilities and operations. At a time when Milan was the financial and industrial centre of Italy, Rome started to attract new talent and fresh designers, who needed the backing of the foreign mass market to succeed in the new consumable prêt-à-porter culture.
In the late 1960s and early 70s the democratization of fashion was changing the whole industry; street wear and accessible fashion were replacing traditional ideals about glamour. Milan offered more in terms of marketing and industrialization, yet for the haute couture traditionalists, Rome still remained the aristocratic and culturally inspiring home of fashion (Dominella S. 2017). Although still paying homage to their rich cultural heritage, there was, however, an inevitable progression towards globalization, and the creations of new designers, inspired by postmodernism and more laid back aesthetics, led to a reinvention of Italian fashion and what was associated with ‘Made in Italy’.
2.2 Contemporary Designers who have transformed Rome and Florence as style centres
The Italian look evolved, and what is synonymous with Italian style today was established by the more contemporary designers Gianni Versace and Giorgio Armani. Drawing on the fame of their predecessors and that of Italy’s fashion heritage, which focused on design, precision and artisanship, they showcased Italy’s prestige and influence on a larger scale. Their inherent ability to absorb and then reinterpret the artisanship of historic Florence, Rome and Venice, has meant that the concepts of Italian fashion have been totally redefined, and its Made in Italy stamp is now synonymous with not only quality but innovation, modernity, and pioneering technology.
Italy has proven to be a major fashion epicenter, rivalled only by France for its expertise, production values and creativity. Modern luxury brands and designers such as Bvlgari, Gucci, Prada, Franco Moschino, Gianni Versace, Emilio Pucci and Giorgio Armani have played an important role in positioning Italy, as a prominent leader, promoting fashion not only as a business and creative process, but as a lifestyle and part of a very attractive culture.
The influence of Italy’s heritage and its strong links to its past, have played a vital role in the evolution of Italian fashion, and in shaping its modernity. One such designer, who has based his career on these principles is Roberto Cavalli. Roberto Cavalli’s debut collection in 1970, of exotic prints, seductive cuts and overt Italian glamour, set a precedent for a new wave of design and red carpet exuberance. Born in Florence in 1940, Cavalli studied at the city’s Academy of Art in 1957, before deciding that textiles were his passion. Having dressed many A-listers throughout his career, the Florentine is known for not only his creativity with fabric and for demonstrating the possibilities of print, but also for his cutting edge developments, which have made significant contributions to textile technology. Like those of his predecessors, Gucci and Ferragamo, he has promoted Italy’s, and in particular Florence’s, high level of creative craftsmanship and quality on the world stage, and diversified the market. The launch of his youth line, Just Cavalli, also marked a turning point in fashion, when he applied his artistic genius to denim, creating printed jeans, the first sand blasted jeans, and inventing stretch jeans with Lycra in 1995 (Leaper, C. 2008).
In the twentieth century, manufacturers in Italy have also been responsible for most of the refined and artisan leather and fur craftsmanship (Da Cruz Elyssa. 2004). While such accomplishments are not always directly linked to Florence and Rome for modern fashion, the success of Milan and Northern Italy as major fashion production centres, has had an invigorating effect on the growth of these two cities as the homes of the Italian aesthetic and ‘Made in Italy’.
2.3 Florence and Rome: the winning formula as Style Centres
The Italian fashion model is unique. The family unit and generations of craft traditions are at the core of Italian fashion. Fashion in Italy takes its inspiration from many elements of Italian culture. It is, for instance, essential to be extremely groomed and well dressed for the passeggiata that takes place in Florence, a characteristically Italian custom of taking a daily evening stroll. For Italians and particularly those who live in Florence and Rome, fashion and lifestyle go hand in hand, and typically their heritage and culture are displayed even within the craftsmanship of the clothes making process. In Italian tailoring there are many regional differences in the tailoring details, meaning their designs are closely linked to their society. While there are numerous world renowned Italian designers, the country also possesses many highly skilled independent creators with their own specializations and specific talents. Florence, Rome and in more recent years Milan, are all important style centres in their own right, in addition to supporting each other within the country’s ecosystem of vertical integration for the production of fibre.
But while the fashion industry is strongly reliant on its heritage and artisanship, it has also embraced modern technology, innovation and state of the art production practices. Made in Italy now represents both quality and innovation in a contemporary fashion context, with Florence and Rome at its centre.
Today Florence is a mecca for the international jet set crowd, attracting young designers and concept stores. Offering bespoke clothing stores, classic boutiques and innovative modern flagships, it is also home to one of the main events of the fashion calendar. The first Condé Nast International Luxury Conference was hosted in Florence in 2015, drawing in top industry speakers. Florence celebrates contemporary fashion and provides a crossroads for both authentic time-honored Italian traditions and its new found modernity. The continued success of Florence would not be possible without Pitti Immagine. Dating back to the 1950s and the first fashion shows staged in Sala Bianca in Palazzo Pitti, the company has transitioned to Centro di Firenze per la Moda Italiana, and includes Pitti Immagine, which supports the Italian fashion system on an international scale. It operates at the highest level to promote fashion, craftsmanship and design, organizing fairs and events based on cultural relevance and research value. In 2016, it launched Tutorship to nurture young Italian talent and is committed to ‘destination Florence’ as a city for style and fashion innovation (Pitta Immagine, 2017) The Pitti fairs mark the beginning of the year for a lot of buyers and editors, due to the powerful marketing machine behind Pitti Uomo which promotes the wealth of new talent and upcoming designers from not only Italy but around the globe (Shapovalova, D. 2015).
Salvatore Ferragamo’s impact can also still be seen today. The family of the creator, opened the Ferragamo Museum in 1995 to celebrate his artistic skills and his importance in the history of fashion. The museum also collaborates with contemporary artists in a mission to promote and nurture creative talent in the city, with events linked to art and the culture of Florence. Likewise, the Gucci Museum, housed in the prominent medieval Palazzo della Mercanzia, pays tribute to the Florentine fashion house while mixing ultramodern installations and exhibitions for visitors, again to demonstrate the ongoing links between art, the city and international fashion.
The two cities now have direct links to the global luxury market, and in the 90’s there was a massive penetration of multinationals and fashion empires which secured their place not only as aspirational style centres, but now also shopping capitals as well.
Like any other major fashion capital Florence has all of the major luxury Italian fashion brands in one famous location. Via Tornabuoni is home to the stores of Prada, Gucci, Cavalli, Stefano Ricci, Raspini and of international designers and brands like that of Alexander McQueen, Burberry, Tiffany’s. In Rome, these can be found in Via Condotti, Via Borgognona and Via Frattina, where in some of the most elegant streets in the world, one can find both Made in Italy labels, and many other renowned luxury brands.
The commercial successes of the industry in Italy are also testament to its claim as a centre of fashion. Italy is ranked within the top 5 countries in Europe for fashion distribution and retail (European Commission, 2018). In 2016, apparel exports from the country were valued at approximately 21.7 billion U.S. dollars (Statista, 2018).
The reputation that Italians are still the forerunners of sophistication and style still prevails today. While today Milan is held up often as the pinnacle of the Italian fashion scene, many have a different opinion, given Rome’s haute couture collections and countless boutiques. The ancient city, has molded Western culture for many centuries, and its history shaped the style across Europe. Hosting many influential couturiers such as Renato Balestra and Gattinoni, and home to AltaRoma Fashion Week which brings together both historic Italian fashion houses and new creative talents, Rome not only celebrates its old school artisan ateliers but its neo couture designers, in all forms of Made in Italy. The concept of ‘fare la bella figura’ is still as alive today, as it was on the streets of Rome and Florence during the times of the Renaissance.
Methodological Research: Data Analysis and Review
Independent research in the form of a survey was conducted, to test the hypothesis of Rome and Florence´s continued relevance as style centres and the cities overall relevance as regards fashion history. The scope of the survey included both general consumers (96 respondents) and current fashion students together with industry insiders (95 respondents) to test how the two group’s compared in terms of both their knowledge or understanding of Florence and Rome as style centres and in their perception of their relevance within the fashion industry. All ages and genders were targeted to reflect all demographics and the variety of the industry.
Question 1: What do you believe makes a style centre?
They were given a choice of fashion weeks, good shopping, street style and the style of the people, style heritage, all of the above, or other.
Hypothesis 1: It is believed that more respondents will chose the option for ‘all of the above’ given that the term ‘style centre’ generally has a broader meaning than fashion capital and is more open to interpretation.A modern style centre is representative of many elements, but in chosing the option for ‘all of the above’, we can confirm if Florence and Rome are applicable as style centres, given that they each have all of the elements.
Question 2: Where do you believe is the style capital of Italy?
They were given a choice of Florence, Rome, Milan or Venice.
Hypothesis 2: It is expected that the vast majority will answer either Florence or Rome for this question given their associations with style, but the results are dependent on how respondents perceive the term ‘style capital’. This question is intended to indicate that the phrase ‘style capital’ has a different meaning to that of a fashion capital.
Question 3: Where do you believe is the Fashion Capital of Italy?
They were given a choice of Florence, Rome, Milan or Venice.
Hypothesis 3: Unlike in hypothesis 2, it is expected that the majority of respondents will answer Milan, to test if the meaning of ‘style Capital’ and ‘fashion capital’ are one and the same or have different meaning.
Question 4:
Which city do you associate the most with Italian fashion?
Options were Florence, Rome, Milan or Venice
Hypothesis 4: It is expected that this answer will more typically be Milan, given Milan’s commercial and industry ties to fashion, however it is expected that a small number of respondents will answer Rome and Florence, and to lesser degree Venice.Alternatively, if the answers collected show Florence or Rome in the majority, this serves to prove that Rome and/ or Florence have a greater link in respondent’s minds with style and fashion, as opposed to commercialism and the fashion industry.
Question 5: When considering ‘Made in Italy’ which of these phrases do you believe applies?
Answers could be either quality of craftsmanship, quality of material, quality of design, innovation or all of the above.
Hypothesis 5: This is to test the modern understanding of the concept ‘Made in Italy’ among consumers and fashion insiders. It is expected that the vast majority will choose between one of the first three options.
Question 6: What is most important for a style centre?
Answers could be either: Its history and fashion heritage or its future.
Hypothesis 6: It is expected that given the current modern understanding of the term style centre, most respondents will answer ‘Its history’. This will help to determine again, how both cities fall within the criteria of style centre.
Interpretation: Hypotheses vs Results.
In the targeted survey, 45.6% of respondents believed that all of the statements applied when deciding what makes a style centre. (i.e. having their own fashion weeks, good shopping, street style and the style of the people & style heritage) Second to this 18.95% answered ‘style heritage’. By comparison, in the non-targeted survey, 47.92% of respondents believed the most important factor in determining a style centre was the presence of good shopping and local and/ or commercial designers. Both answers however prove the hypothesis that Florence and Rome can be considered style centres by either definition.
Given a choice of Florence, Rome, Milan or Venice, 48.42% of the targeted respondents chose Rome as the style capital. In the non-targeted group, 77.08% overwhelmingly chose Milan. This demonstrates the varying nature in the way that this term can be applied, and indicates that those within the industry consider Rome to be the true home of style.
Given a choice of Florence, Rome, Milan or Venice for the fashion capital, 47.37% of the targeted group chose Rome, and 27.37% Florence, compared with 86.46% of non-targeted respondents for Milan, with Rome being selected by 17.71%. This data reflects that the meaning of ‘style Capital’ and ‘fashion capital’ are not one and the same but that the terms also have different meaning to the two data sets.
37.89% of targeted respondents associate Rome the most with Italian fashion and 84.38% of non-targeted with Milan. Proving that for those within the industry, Rome has greater linkage in respondent’s minds with style and fashion, as opposed to those who don’t work in the industry whose view of Milan as most associated with Italian fashion, is mostly due to its ties to commercialism and the fashion industry.
When considering ‘Made in Italy’ 50.53% of those in the industry consider that craftsmanship, quality of material, quality of design, innovation all apply, whereas those not tied to the industry consider that Made in Italy is most represented by its quality of craftsmanship (66.67%).
Both sets of respondents agreed that a city’s history is most important for a style centre. This means, that given both Rome and Florence’s influence on fashion history, they are well positioned as style centres.
Lastly when considering which city they associate the most with Italian fashion, 51.58% of respondents from the targeted group chose Rome, versus 80.21% for Milan in the other category.
4.Qualitative Research: Industry Expert Review
To gain further insight into how Florence and Rome as perceived within the industry today as style centres, an interview to gain qualitative research was conducted with Stylist and London School of Styling Founder, Carly Brook. Having worked for such publications as Arena Homme Plus, Chic Geek, and as regular attendee of the fashion capitals Fashion Weeks around the globe, the interviewee was targeted to provide details of the industry’s understanding of what a style centre is in 2018.
According to Interviewee C. Burke (Appendix 1), Rome’s and Florence enduring reputation for the quality of Made in Italy sets them apart as style centres. Milan stands out as the commercial fashion capital for Italy, due to the marketing and industrial forces behind it, nevertheless industry insiders such as buyers, stylists and industry professionals, know that Rome and Florence cannot be overlooked as major style centres. Rome’s longevity as the Italian home of Alta Mode is apparent, meanwhile Florence is now experiencing a revival within the industry, and its fashion week noted for its fresh and innovative designers, representing a more diverse alternative to the commercial shows in Milan. It is also clear that the concept of style centres is evolving, and those cities that earn the right to be called style centres do so by remaining relevant, not only reflecting their fashion history but encouraging innovation and new talent.
5. Comparison and Evaluation
The initial hypotheses of this report sought to establish the credentials of Rome and Florence as style centres, evaluate their enduring appeal and analyze their future trajectories as leaders and influencers in Italian and global fashion.
The impact of each of these cities on the fashion scene is undeniable. The designers that have emerged from both Florence and Rome, have greatly contributed to the fashion industry, modern design and the principles on which contemporary fashion craftsmanship is built. ‘Made in Italy’s commitment to rigorous design and craftsmanship, has allowed Italy to develop a reputation for excellence in design and production, revealing Italian society, its history and traditions. Florence and Rome will continue to thrive as style centres, built on their unique heritages and histories. Very few cities can compete with them in terms of cultural heritage and enduring inspiration. Their winning formula is to imbue their fashion designs with this heritage and history and to take advantage of the deep foundations of craftsmanship that underpin their fashion industry. Fashion capitals may rise and fall, depending on economic and political circumstances, markets and consumer trends. But what Florence and Rome have shown is that they have the core building blocks of heritage and traditions of craftsmanship to weather these fluctuations.
With Milan positioning itself as a production centre for modern Italian fashion, Florence and Rome have been inspirational landmark cities essential for the growth and evolution of Italian fashion, both at home and abroad. The influence of each of these cities, both for the designers who have been born or inspired in them, is still evident today, and the prediction is that they will continue to be style centres for generations to come.
da Cruz, Elyssa (October 2004) “Made in Italy: Italian Fashion from 1950 to Now.” [online] Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/itfa/hd_itfa.htm[Accessed 26th May 2018]
Tungate, M. (2012). Fashion Brands: Branding Style from Armani to Zara. 3rd ed. London and Philadelphia: Kogan Page Limited, pp. 122.
Appendix
Burke, C. (June 22, 2018) Email Interview.
(I: Interviewer P: Participant)
Transcript from Interview.
I: Have you ever attended any of the Fashion Weeks in Florence, Rome or Milan? (And if not, would you consider it? Why?)
P: Yes, I have attended Milan fashion week several times in my role as Stylist, and more recently as the owner of London School of Styling with my students, who got access to some of the shows. I would consider attending the fashion shows in Rome or Florence, but as yet I have not had the opportunity.
I: For a fashion stylist or buyer, what are the most important considerations when deciding whether or not to attend a city’s fashion show?
P: It depends on whether I am attending as a guest to view the collections, or if I am there to work backstage. But I would say that exposure to very successful or up and coming designers is very important, and also as a stylist it helps me to keep my finger to the pulse of what trends and collections I can use in the future or draw inspiration from. It is also a great way to connect with known people in the industry or to make new connections.
I: How do you rate Rome and Florence and the reputation of their fashion weeks in terms of the exposure to the designers, the known brands and designers that attend, the possibility to discover new upcoming designers or talent, or perhaps the accessibility and status of the city?
P: I know the Rome’s fashion shows have a good reputation in the terms of Made in Italy quality and the general quality of the collections that are on show. Florence in my opinion, seems to be more known for new talent, is more trend led and will definitely be one to watch for the future. I don’t think its reputation will surpass that of Milan, but it may rival Milan soon, as it seems to be the choice for very fresh designers and buyers.
I: What do you believe makes a style centre within today’s fashion scene?
P: To me a style centre is a city or place that exudes style and culture. Maybe because of its history, or it could be because it has undergone a streetstyle movement and can offer something new and inspiring to the industry.
I: Where do you believe is the style capital of Italy?
P: For me it is traditionally Milan due to the huge industry there, but Florence and Rome are also well known for their style and contributions to the industry. Many well-known designers come from those cities, and for many they are the most stylish cities in the world due to the Made in Italy reputation.
I: What is most important for a style centre, its history and fashion heritage, or its future?
P: I would say its future. The past and heritage is very important, however the fashion industry is evolving and changing at a rate like never seen before, due to fast fashion, and the exposure of the general public to social media etc. The fashion industry now is completely different to when I started out 20 years ago, and there are many cities now that are considered style centres, that would not have been back then, due to globalization, travel and exposure. This has really enriched the fashion scene, but also has made it very competitive for cities. What is fashionable one year, might not be the next. However, there are some cities that will forever be associated with style and elegance, and Florence and Rome are two of these.
I: Which city does the industry associate the most with Italian fashion? And why is that?
P: I would say Milan, but more from an industrial or business perspective. If I were to look for clothing to style a shoot that represents Made in Italy, I would more likely source the clothing from smaller boutiques in Florence, or from a lesser known couture store in Rome, as I feel these more truly represent Italian heritage and style. They are not so commercial but would be more true to the aesthetic.
I: When considering ‘Made in Italy’ which of these phrases do you believe applies: quality of craftsmanship, quality of material, quality of design, innovation or all of the aforementioned?
P: I believe they are all true. The term Made in Italy, is representative of all those things.
I: What do you see as the shifting trends within fashion, as it relates to the fashion captials vs smaller style centres?
P: As I mentioned before, the industry is really going through a revolution, and I notice that with each fashion week and fashion show I attend. Smaller cities are now getting more exposure, and the major fashion capitals. Like London, New York, Milan are still hugely influential, but more buyers and stylists, and consumers as a whole, are now looking for more diversity. So people in the industry understand that luxury and commercial brands are very important but more and more consumers want more niche brands, and brands that offer new or exciting innovations, or that are sustainable, with a more engaging message. Through social media, those designers can speak to more people, and therefore, their collections can bring attention to the smaller fashion weeks, such as in Florence and Rome, and gain exposure for those cities.
The role of visual merchandising and its key strategies deployed within the fashion industry.
Introduction
This post analyses the role of visual merchandising within the fashion industry and within the context of luxury brands, and will evaluate key VM strategies employed by the industry and brands to engage their customers and meet their requirements.
Examining in detail two specific industry examples, a high end fashion and a luxury brand, this essay will analyse, evaluate and compare their strategies, techniques and approaches to visual merchandising across a variety of channels, with particular emphasis on their experiential, immersive and cohesive methods.
The Context
VM has been described as ‘silent selling’, as its aim is ultimately to maximise the volume
of sales. Retailers have to present an attractive proposition to entice customers into their
stores, exploiting and maximizing the layout and aesthetics of the store and product
display. VM helps companies engage customers, conceptualises brands, drives up sales
and maximises the return on commercial retail space. It is a vital component of branding
strategy, and when brands within the fashion industry effectively apply the creative and
scientific principles of retail design, merchandise moves and profits soar (Bell, J. and
Ternus, K. 2011).
Visual Merchandising techniques, approaches and strategies in fashion and luxury retailing to engage customers
There are stores whose architecture, exterior facades and window displays are almost
as famous as the store itself. Bergdof Goodman, Sak’s Fifth Avenue, Macy’s and
Bloomingdales in New York are all known for their iconic window displays as are Harvey
Nichols, Harrods and Liberty in London; the buildings and displays embody the history
and heritage of the store and use these elements to provide their customers with a unique
retailing experience.
Equally the luxurious and expansive interiors of famous flagship luxury brand stores,
such as Hermès, Louis Vuitton, Chanel, and high end jewellery retailers, Tiffany and Co.
and Cartier, are closely connected in consumers ́ minds with heritage, elegance,
exclusivity, exquisite taste, beautifully crafted interior displays and a premium, indulgent
shopping experience.
Such iconic and memorable customer experiences start with two basic VM techniques,
involving exterior and interior displays. These techniques are both immersive and
experiential, designed to showcase brands and deepen consumer experience.
Customers are seduced by a cohesive strategy beginning with the location and
aesthetics of the building, the window displays, the store layout, the colours, interior
themes and styles chosen, the presentation of goods and all aspects of the interior
design, lighting and use of imagery. By exploiting each individual component of the
store ́s or brand ́s aesthetic, visual merchandisers fully immerse the consumer in the
experience and culture of the brand through visuals, touch, sound and smell, while
creating an experience which, if all elements are cohesive with the brand ́s identity, is
indelible and unique to the brand and their stores.
Effective in-store customer engagement can also be measured and evaluated if broken
down into three phases: attraction, approach, and browsing. Two studies of customer
behavior within stores illuminate how customer behavior can be affected and modified.
By analysing a customer’s psychological response, based fundamentally on an
‘approach or avoidance’ reaction, it is possible to understand the emotions triggered by
visual merchandising and to then predict the outcomes as consumer behaviour
(Donovan and Rossiter, 1982; Donovan et al., 1994).
The visual display, or first impression, is what induces the consumer to stop and take note. The subsequent approach or avoid phase, depends upon the emotions generated by the combined features of the display. The final stage of engagement, which leads to browsing, is the result of an overall positive experience, and if successful can result, in a consumer purchase. The aesthetic of the window display and in-store environment has a significant impact on the willingness of the customer to spend time in the store and on their spending intentions. Iconic and luxury brand stores understand the dynamics of this engagement perfectly: their choice of location, the architectural heritage of the building, the aesthetics of the window display and interior and the emotional uplift of the shopping experience.
Visual Merchandising as a brand loyalty strategy
Immersive and experiential techniques immerse customers in the brand ́s ethos, creating
brand loyalty through emotional, cultural and sometimes ethical choices, depending
upon the demographic targeted.
Developing brand loyalty requires consistency throughout every detail of the marketing
strategy; all marketing elements must convey the look, experience and vision of the
brand. VM must also play its role in selling this coherent vision, not only throughout all
stores, and across all in-store displays, but across the brand ́s websites, promotions and
advertisements. Brand loyalty is built by consistently delivering the emotional connection
with consumers, with visual merchandising playing its vital part as an experiential,
creative medium.
VM should always align with the marketing strategy. Stores like Benetton and The Gap,
for example, reinforce emotionally the loyalty of their targeted demographic by offering
in-store sensations of homeliness, predictability and security, while relaying a sense of
youthful cosmopolitanism. Simple, organic materials are used in both the clothing and
the store interior design, mixed with bright lighting and the symbolism of global
interconnectedness with their strategic wall displays (Castle H, 2000).
In stark contrast to this, the teen fashion retailer, Hollister, which is a subsidiary of
Abercrombie & Fitch Co., was known for its dark interiors with black walls, low lighting
and use of music to create a nightclub atmosphere. Selling casual fashion apparel, their
brand was targeted at affluent 14-18 year olds, and the visual merchandising recreated
the beach and surfing lifestyle of Southern California. Their storefronts were originally
designed as a beach ‘shack’ concept, featuring built in video screen walls, with live
streams of Huntington Beach, and imagery of the ocean, connecting consumers with the
laid back Californian coolness of the brand.
Hollister stores announced a strategic focus on a fast fashion retail format and underwent a major remodeling in 2014, which included the removal of the brand’s signature shutters (VMSD, 2014). Seeing the impact of visual merchandising strategies on their sales- the stores which removed the outdoor facade shutters as part of the new visual merchandising pilot saw a double digit increase in sales and overall traffic- the company began the remodeling of a further 75+ stores within that same year. While removing the iconic beach shutters could have been a risky move, given their links with the brand ́s ‘surf shack’ identity, it demonstrated the brand’s willingness to adapt to the changing
needs of their consumers, by utilizing VM as a marketing and engagement strategy, to
place a new focus on customer service and the overall consumer experience.
Following this success, and other modifications to the design such as the installation of brighter lighting and clear glass shop fronts, which were also believed to have been a factor in the increase of sales, the brand decided to extend their VM overhaul to include all its 414 U.S. locations and its 139 international stores (VMSD, 2016). The VM strategy was perfectly aligned to attract a new demographic and retain customer loyalty.
Brand 1 Analysis: Hermès
Because of the revolutionary changes brought about by the internet and digital
technology, it has never been easier to connect with consumers and to create a personal
relationship with a target market. There is now a 360· approach to visual merchandising
and engagement. Luxury fashion brands can explore the many experiential, immersive,
and cohesive options available to them. Two specific industry examples will illustrate
how companies have responded to the digital revolution in their VM strategies.
Hermès Rive Gauche boutique in Paris, its flagship store in France, is the embodiment
of luxury. At 1470 m2 of display space, it comprises both a store, a flower display area,
and a tea salon. The building is in itself a historical monument of the city’s Art Deco
years, and was once home to a swimming pool built in 1935.
Behind its discreet façade is an expansive, exclusive space, which invites its clients to
explore its inner pavilions via a labyrinth of nine metre high ash wood huts, each telling
a story about a different, iconic collection. Painted in natural earthy tones, the inspiring
space perfectly showcases their high end brand and encourages complete immersion
into the Hermès lifestyle, where a vast array of products such as leather goods, fashion,
jewellery, homeware and services are available. The messaging is both overt and
subliminal: the consumer has entered an exclusive world of elegance, high art and
sophistication.
The staircase that once led visitors into the former pool is now also encased in an ash
wood structure, which is both perfectly carved and organic. Bathed in natural light
emanating from large skylights above, each of the wooden structures are also subtly lit,
allowing the mosaic covered floors, pillars and staircases to glimmer and recall its
underwater history.
Hermès’ reputation is based on creating a unique shopping experience, and it certainly
delivers. Today the brand ́s core values are centred on craftsmanship, heritage, quality,
savoir-faire and modernity. Hermès Rive Gauche fully embodies these values, as the
building in which it is housed reverberates with history and grandeur while having a
modern feel inside; the store combines both heritage and modernity, creating a link
between its origins and the present. These values are intrinsically linked with the design
and visual merchandising strategy of this store as it has retained all of the original
architectural features, yet reinterprets them with a sleek contemporary flair.
The design directive for each of Hermès flagship stores is to showcase their extremely exclusive products in an environment which projects their classical values of heritage and timelessness. Investing in premium property, on the most exclusive streets of the world’s cities, they have entrusted the RDAI agency, to design all the Hermès stores worldwide to ensure cohesiveness (Warmann, 2010).
In a culture where French fashion houses were historically judged by the sophistication
of their window displays, Hermès has long been famed for its enchanting window
dressing, particularly those created for its Rue du Faubourg Saint-Honoré house by the
now iconic designerLeïla Menchari (Tungate, 2012). Menchari dressed the
headquarters windows for three decades until 2013, setting a new standard for other
brands in the industry. Inspired creations such as giant waves crafted from marble,
multicolored saddles with wings and Kelly bags reimagined in metal helped to distinguish
the brand in the hyper competitive luxury world of the period.
In recent years, Hermès has frequently used a half-height carriage window, often
adapting new stores worldwide to suit this aesthetic. While this style of window prevents
people passing by from seeing inside the store, it allows some daylight to enter, but
keeps the focus on the products and visuals displayed within the window. Hermès often
creates simple yet striking displays with clutter free, thoughtful visual merchandising and
narratives. The window displays tell their own story yet keep the interior of the stores an
alluring mystery.
The artistic director of Hermès, Pierre-Alexis Dumas, describes the brand’s window
displays as a portal into the culture of the brand: a culture to deliver aesthetic pleasure
by encountering their products. This quest for perfection across every detail of the
product collections extends into their design of the window displays. They aspire to high
art to elicit the same intense response in their consumers (Anaya, 2014).
This cultural aesthetic is reflected cohesively in the way Hermès engages with its public;
from their deliberately old-fashioned events, eschewing the ephemeral, to ignoring
celebrity endorsement in their brand advertising. The Hermès in- store visual
merchandising strategy excels at underpinning its brand image and exclusivity. Its brand
awareness is apparent in each of its stores. It is not afraid to be daring as its worldwide
stores demonstrate, integrating its high aesthetic with different cultures, and using, for
example, exotic animal imagery in its window displays. But it does not stray from its core
values of exclusive, iconic products made with the finest materials and craftsmanship.
That ́s not to say, however, that the brand could not learn from others in the luxury
industry. Hermès could benefit from an overhaul of its digital strategy integration with its
in-store visual merchandising. Unlike other luxury brands such as Burberry or Dior, they
do not have a high level of visual merchandising integration. They could benefit from
having more technology in store, such as digital screens or iPads for consumers
navigating their way throughout the store and product selection. A more cohesive digital
strategy could include this technology for the customization of their luxury products,
offering uniquely crafted items personalized in store, designed online or made to order
using virtual reality technology.
The in-store digital projection of the illustrations and photography of the Hermès house biannual magazine Le Monde d’Hermès, could offer another innovative avenue for the Hermès marketing team to explore. Featuring work from talented artists, photographers and designers, it is currently available in hardcopy within the brand’s flagships. By further exposing the work on the walls, and incorporating the themes and artists of the magazine into the visual merchandising of the store, it would allow consumers to interact more directly with the work. Turning the pages of the luxury magazine on in-store LCD screens, introducing editorial spaces and allowing instant sharing of the imagery via social media or via a chosen hashtag, could help reach younger, more tech savvy clientele, for whom their silk scarf collection is tailored.
Remaining relevant to a changing and digitally driven demographic in the luxury market,
Hermès needs to be agile and to adapt their brand strategy more rapidly to the consumer
driven and e-commercial demands of the industry. In the luxury sector, fashion by
definition is seasonal, merchandising every few months, and store architecture every six
years on average (Vernet, D. & de Wit, L. 2007). Therefore Hermès must continue to
evolve and change, be both tech savvy and willing to approach the VM of its stores as
an evolution, not assuming their store designs are a permanent fixture, but as adaptable
spaces- their pop-up stores reflect this mentality already- with a strategy for staying
relevant and more experimental within the imperatives of luxury retail.
Heritage is key to the Hermès brand, and this is achieved by its use of the same design
agency; nevertheless they would likely be rewarded for taking more visual merchandising
risks in some of its smaller stores, by collaborating more frequently with younger
designers, to appeal to more tech savvy consumers and to reposition their brand.
Hermès has taken calculated risks before in order to diversify and open new markets,
such as when they moved from leather goods to silk, and remained wholly credible as a
luxury brand given their legacy and influence. (Kapferer and Bastien, 2012). Remodeling
their VM focus from the symbolism of European heritage and tradition could benefit
flagship stores in the US and Asia where history is not Euro-centric.
Brand 2 Analysis: Anthropologie
Another high end brand going from strength to strength is Anthropologie. The American
store, started in 1992, has enjoyed a lot of recent success because of its focus on
experiential visual merchandising techniques. Now with 227 stores in the US, UK and
Canada, the company ́s clientele is sophisticated, educated and contemporary women,
between aged 30 to 45, with a high disposable income (Anthropologie, 2017).
Inspiring fantasies and exciting consumers with colourful dreamlike interiors,
Anthropologie entices consumers with a targeted and calculated visual merchandising
strategy (Lieber, C, 2014). While its merchandise is very different to that of luxury brand
Hermes, its strategy and the planning of its stores, is taken just as seriously. Creating an
experience as unique as that of Hermes, it connects with consumers in a very different
manner via its visual approach and appeal. Unlike the clean lines and organic colour
scheme of Hermès, Anthropologie’s mood lighting, quirky handcrafted art, glowing
scented candles and dreamy soundtrack help to envelop their shoppers with a feeling of
home away from home, appealing to all the senses.
It has set about cultivating a brand image that represents both cool and attractive women,
but what sets it apart is its visual merchandising focus on comfort, warmth and
authenticity, not dissimilar to what these cool and attractive women would want from their
own living space.
Immersing shoppers in a retail space that is both eclectic and approachable allows them
to imagine the products in their home and in their life. Artistically displayed on tables,
racks and stacked on shelves as they would be in a lounge room or bedroom, their
merchandise is styled in such a way to promote creativity and inspire interaction with
each product.
Anthropologie’s flagship in Philadelphia, is located in a beautiful historical building, in the heart of the city. Its ornate outside facade, amazing ceilings, and crown moldings are complete with four floors of merchandise. In 2016 they also launched their new large format ‘superstores’ in Portland, and Newport Beach featuring a trend shop, a dress boutique, a shoe salon, and a beauty station, in addition to 12 fully decorated ‘rooms’ to
showcase their design service centre (Chapin, 2016).
The floor plans and furniture compositions of Anthropologie, while seemingly ‘relaxed’ in
style, are deceptively strategic, with blueprints carefully planned to ensure all racks,
displays and furniture pieces are at 40 degree angles. This consistency and symmetry
create a fluidity that draws shoppers further into the store, encouraging them to explore.
Segmented rooms lead shoppers into the discounted merchandise where they can sift
through clothes and the home collections at their own pace. The ethos is discovery and
self-discovery.
Taking the strategic creative direction from their headquarters, each store ́s visual
merchandising team is given the freedom and license to interpret the theme as they
please. Each concept’s components are perfected by carefully considering the colours
and materials to be used, and the overall vision. The target market is at the heart of every
concept but is then conceptualised to appeal to all ages and consumers. Continually
changing yet carefully curated, the stores often take on the appearance of a modern
bazaar full of one-off pieces. Tying together its fashion apparel collection and handmade
pieces, with its homeware and gifts, it is difficult to spot exactly what is part of the
aesthetic and what is for sale.
Anthropologie often opts for highly conceptualised window styling. Handmade by
employees or by local artists, the window displays are intricately crafted down to the
smallest detail, and within a strategically low budget, to allow for more creativity,
originality and the reuse of materials. Distinctly feminine in its use of colour and textures,
its displays often present dreamlike, or semi-abstract visual stories, embodying the
aspirations of modern women.
Their blog within the Anthropologie website, details how they create their store window
creations in the series ‘In The Window’. For Earth Day, the brand celebrated wind in
each of its stores and in anticipation of the Chelsea Flower show, its UK flagship
recreated a breathtaking plant filled greenhouse within their windows, making 1000s of
handcrafted, varnished leaves and 3,000 holographic beetles. Their VM strategy speaks
to 21st century environmental and sustainable issues, social media interconnectedness
and modern lifestyles.
Forever developing their engagement with their consumers, they encourage followers to
post their own photographs of the Anthropologie windows with the use of
#anthrowindows. Hosting events in-store ranging from yoga mornings to cooking
classes, their fully experiential strategy, ensures complete brand awareness and loyalty
from their customers, as they start to plan their social calendars around the brands
‘Anthro’ lifestyle (Anthropologie, 2017).
Anthropologie has opted to use a variety of channels which link into the physical store experience. They were early players in the digital technology movement, having launched an iPad catalogue app in 2011. They have now started to build AR into their visual merchandising strategy; partnering with creative studio CVLT to add 3D imagery to their furniture library and for adjustment of their visual assets within their mobile app. Allowing consumers to review all their upholstery options for customisation, they can now also view products from every angle, while taking into account the light and shadow of their own living spaces (O’Shea, 2017). As a natural next step, it would make sense for Anthropologie to extend this level of customisation into their fashion and apparel lines, in order to really distinguish itself in the retail market as a high end brand.
Comparison and Evaluation
When entering an Anthropologie store, the emphasis is placed on creating a unique,
explorative, transformative journey for the consumer. It can be explored through the
touch and selection of items, at their own pace. When entering Hermès, the experience
is more focused on the beauty and aesthetic of the space, and while impressive, it can
appear highly regulated or untouchable, their merchandise behind glass or on high
shelves. This focus, while it still presents a unique experience, is more on the products,
craftsmanship and detail, while in Anthropologie the experience is very much tailored to
the individual in store. Hermès, and in particular its Rive Gauche boutique, is uniquely
positioned to fully seize this same direction, by allowing consumers to move more freely
within the retail space and ultimately create their own experience through exploration
and connection with the products. The challenge for Hermès is to adapt to the pace of
technological innovation while not diluting their carefully cultivated classicism.
Like the Hermès Rive Gauche boutique, many of Anthropologie’s stores are concept
stores, catering for fashion, beauty, home and gifts. However the lifestyles they promote
are vastly different, as while the Hermès experience is exclusive and rarified,
Anthropologie aims to be welcoming and accepting to all. The experience derived from
Hermes is exclusive, classical, awe inspiring, while that experienced in an Anthropologie
store is approachable, tactile and heartwarming. While still classifying itself as a luxury
brand, Anthropologie invites its consumers to explore, touch and discover all it has to
offer.
Anthropologie, being the younger of the two brands, should strive to embody more of the
traditional qualities of Hermès, if it is to be taken seriously as a true luxury brand. While
its homey atmosphere is fundamental to retain the brand loyalty of its current following,
if it were to take on the appearance of a starker 21st century boutique, limiting its
merchandise and showcasing more large scale permanent art installations, it could
penetrate the more exclusive luxury market, and in turn increase product pricing.
Both brands could benefit from using more personalised, data driven services across all
of their platforms. Exclusive and exceptional experiential relationships with consumers,
will be key to enduring success. Omnichannel strategies, and utilising social and digital
marketing, will be a key component in creating these crucial consumer experiences.
They must also strive to incorporate more digitally immersive means of connecting and
communicating and the power of data would further ensure their success if used as part
of their overall integrated visual merchandising strategies. With e-commerce contributing
to more sales than ever before for brands, they have an opportunity to invest more time
and energy into their flagship stores and into how their stores look globally. They can be
seen less as a distribution channel, and more of an engagement or media channel,
allowing for more inventive ways of creating an elevated consumer experience.
What is apparent from this analysis of Hermès and Anthropologie is that they have been
successful due to their application of strategically focused visual merchandising
techniques and experiential, immersive and cohesive methods of consumer engagement
principles. Each has put their stores at the forefront of their branding strategy, using their
flagships as an extremely effective channel of communication, solidifying their corporate
image and brand identity. Both have demonstrated focused, innovative and cohesive VM
design strategies in their respective markets and shown its crucial importance in
engaging and retaining customers.
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The role of sustainability within the fashion industry and the application of sustainable practices within fashion businesses.
Introduction
Within the global fashion industry, concerns about the long-term viability of its current business model and practices have led to a growing focus on the role of sustainability and sustainable practices. This has been driven by a number of factors: the global warming scientific debate; the significant and often detrimental environmental impact of such a large global industry on natural resources; overuse and misuse of these limited natural resources; scandals about some fashion sectors’ exploitation of cheap labour; and changes in customer attitudes and behaviour. The industry has begun to take steps to address these concerns by adopting more sustainable practices (Saner, 2017).
This realisation that the current model is not sustainable has led some brands to take a hard look at their manufacturing processes, supply chains, carbon footprint, waste and recycling, social and economic impact, to find strategic, long-term solutions to these issues. These solutions commit the industry to strategic sustainability planning and sustainable practices.
Such strategic planning will require long-term investment, commitment and technological innovation. This report will examine and evaluate the growing role and importance of sustainability within the fashion industry and explore how some fashion businesses are already applying sustainable practices and innovative solutions to meet these 21st century challenges (Black, 2012, p. 9).
The Context: the global fashion industry ́s impact.
Although the fashion industry had experienced a very challenging year in 2016 in terms of growth, it was still worth an estimated $2.4 trillion in 2016 and accounted for 2 percent of the world ́s Gross Domestic Product (GDP). The industry is also the fifth largest sector in the global economy (Ahmed et al, 2016, p. 6). The economic and social impact of such a huge industrial ecosystem is obvious.
For developed countries where consumers have higher disposable incomes the economic benefits are clear and largely positive. Consumers enjoy access to ever-changing, easily available and cheap apparel which in turn encourages them to spend more. This has clear financial benefits for fashion companies, investors and economies.
In developing countries, however, the picture is mixed. The fashion industry has been accused of taking advantage of these weaker economies to exploit their natural resources, cheap labour markets and lax regulatory systems, to maximise profits. The social and economic benefits for third world countries and their populations from the activities of the fashion industry are debatable. Undoubtedly the fashion industry brings much needed employment, supply chain expertise and investment to these countries but there are also major problems in its exploitation of natural resources and labour markets.
The environmental impact of the fashion industry is also enormous and controversial. The industry is well aware that many of its current business practices have detrimental effects on the environment, deplete natural resources, abuse labour rights and conditions, contribute to poor waste management and add significantly to carbon emissions. The current business model, for example, of fast, cheap throw-away fashion has huge ramifications for cotton production, water usage, use of synthetic chemicals and pesticides, carbon emissions, biodiversity and labour markets in developing countries (Hermes, J, 2014).
Sustainable practices are seen as crucial for the fashion industry to mitigate this global impact. There are emerging strategies across the industry as to how these sustainable practices might be implemented and be effective: energy conservation; investment in technological innovation; internal and external improvements of the supply chain; recycling; educating and changing customer behaviour through more transparency; and resolving the competing interests of the fast fashion business model and sustainability (Black, 2012).
Of course, there will be different strategic directions and competing priorities within different sectors in the industry. But there is a growing consensus that sustainability has a major role to play within the industry and sustainable practices must be adopted.
The next section of this essay will examine the luxury and fast fashion sectors of the fashion business to evaluate their strategies and sustainable practices in responding to the social, economic and environmental effects of their global activities.
The effects of sustainable practices within the luxury and fast fashion businesses, particularly on the supply chain.
The luxury fashion industry ́s business model is based upon making beautifully crafted products from the finest quality materials. But this model has an inherent weakness. If the supply chain of rare, high quality materials, such as leather, silk or cashmere, is disrupted through the predicted effects of climate change, then luxury fashion is particularly vulnerable to changes such as drought and rising sea levels, as it often sources its materials from small-scale farmers in rural and coastal communities. Luxury supply chains are, therefore, most at risk from climate change because of the rarity and scarcity of their materials.
Recognising this systemic vulnerability has led to a conglomerate like LVMF to critically evaluate its supply chain, both internally and externally. This in turn has meant that its luxury brands have had to build sustainable practices into their strategic planning. The management structure and the resources of such a conglomerate allow it to make these deep and fundamental changes in strategic direction and these sustainable practices are binding for all its brands.
These practices can be summarized under three initiatives: firstly, its Life program which applies sustainable practices across all its activities to reduce its environmental impact, conserve energy and water resources, and protect ecosystems; secondly, its carbon reduction program with investment in renewable energy and an ambitious target of energy reduction by 20% by 2020; thirdly, sustainability at its retail stores by introducing innovative energy saving measures to radically reduce their green house emissions. LVMH is applying both external and internal sustainable initiatives across the conglomerate to ensure these have the maximum impact on its supply chain (LVMH, 2015).
These are very positive initiatives motivated by a strategic acceptance that climate change is a reality and that sustainable practices have a key role to play in protecting LVMH ́s major fashion brands` future and profitability. The company is seeking to future proof its supply chain by building resiliency policies into its sourcing of scarce materials, by reducing its impact on the environment through the adoption of renewable energy systems, by actively protecting water resources rather than polluting or depleting them and by long term investment and innovation in green infrastructure. These internal and external actions are supported by all its luxury brands, its executive and its investors. LVMH has not yet launched a marketing strategy for its customers, emphasising its green credentials. This perhaps points to the still tentative relationship between luxury and eco-fashion and its wealthy customers ́ suspicions about the quality of eco-designs and products.
LVMH has yet to fully embrace eco-friendly luxury products made from sustainable materials and designed by environmentally committed designers, or be fully transparent about its supply chain, but the sustainable practices it has initiated are major steps in the right direction.
Not marketing its good work may be a missed opportunity, as we should not underestimate the influence such a prestigious conglomerate as LVMH has in shaping public opinion and customer attitudes. The ‘Energy P&L’ initiative, for example, implemented by its competitor, Kering Group, does raise public awareness of climate change and encourages other luxury retailers to adopt similar policies. This seems to make marketing sense. Where luxury fashion brands go, others are sure to follow.
The Kering Group has also responded positively to the challenges of maintaining sustainable supply chains. Kering made its first commitment to transparency and sustainability in 2012 when it voluntarily set targets to reduce its carbon footprint, use of hazardous chemicals and police rigorously its sourcing of gold, leather and precious skins.
What led to this change? Kering also saw clearly that its current operational model was unsustainable, given the accelerating effects of global warming and its reliance on high quality raw materials.
In 2016 Kering published its first comprehensive report on its successes and challenges in meeting its ambitious 2012 targets. The picture is mixed on the targets set for sourcing raw materials, emissions and the social impact of its use of natural resources (Abnett, 2016). One headline achievement was its 99 percent success in the reduction of PVC use in its products. Another was 81 percent success in sourcing its paper from certified sustainably managed forests. A 100 percent target of sourcing its gold from verified sources, however, only resulted in a 15 percent success rate.
The challenge of ethically sourcing raw materials is exacerbated when the sources of these materials are in countries with poor or virtually non- existent regulatory or compliance systems. Kering is reliant on co- operation from these countries, their suppliers, their proper management of resources and workers. In these circumstances, enforcing regulations and imposing penalties for non-compliance are often not realistic. Increasing vertical integration, where Kering can locate its operations in Europe is a possible, if more costly, solution.
Targets on carbon emissions, waste and water use were also missed. But again with, for example, carbon emissions, Kering has no control over factories producing raw materials in poorly regulated countries. Its answer is to contribute financially to environmental projects in developing countries to offset this. Kering has, however, predicted huge cost saving over the longer term from improved waste reductions by applying pressure on its suppliers and offering incentives for them to adopt more sustainable practices.
Its target for the removal of hazardous chemicals was set for 2020, perhaps recognising that the solution to this challenge would only be found in properly funded research into ‘green’ chemicals. The key to solving this problem is innovation, research and investment.
Substantial investment in research and development is needed by the fashion industry as a whole to promote the use of ‘green’ chemicals. The price of these environmentally friendly chemicals must be brought down if they have any chance of being used. Damaging chemicals and pesticides will continue to be used in developing countries where raw materials are outsourced and regulatory controls are lax. Luxury brands can, however, invest more in innovation and research to make better and more efficient technology available to developing countries and thus avoid some of the worst environmental damage. These are internal and external controls which profitable companies can put in place through strategic investment.
The Kering Group, like LVMH, is committed to sustainability because, in its view, it is not an option but a necessity. It has looked at the science and concluded that if its luxury brands are to have a sustainable future, then its business model must be based on sustainable practices (Abnett, 2016, p. 5). The strategic decisions of these large conglomerates will undoubtedly benefit the environment, encourage innovation and contribute to the long-term sustainability of their suppliers and their communities.
If luxury brands ́ vulnerability lies in the perceived fragility of its supply chain to ensure the constant supply of rare materials, the fast fashion sector ́s problems arise paradoxically from its success in ensuring the abundant supply of cotton, which is the basis of the apparel business. This headlong rush for growth, regardless it seems at times of the social, economic and environmental impact such a strategy has, has presented this sector with a sustainability dilemma.
Cotton accounts for 90 percent of all natural fibres used in textiles, and in 40 percent of apparel produced worldwide. The process of growing cotton is water intensive. An estimated 8,000 synthetic chemicals are used globally to turn raw materials into textiles. Seventeen to twenty percent of industrial water pollution comes from the dyeing and treatment of these textiles with many of the chemicals released into freshwater sources (Ditty, 2015, p.12).
The Carbon Trust reports that clothing accounts for around 3% of global CO2 emissions. Roughly half of these emissions happen simply wearing, washing, tumble drying and ironing this clothing. Even after treatment of the wastewater, residual chemicals from the process can still be found in water supplies which are proven to be detrimental to human health and reproductive systems. (Ditty, 2015, p.12).
The textile industry ́s damaging impact on the environment is well understood within the industry and its overuse of water and chemicals is well documented. (Hermes, 2016)
The challenges now are: how does the fast fashion industry reconcile meeting the demands of the mass market for cheap clothing with its responsibilities to the environment and conserving precious natural resources such as water, sustainable agriculture and communities? The way forward is clearly to introduce sustainable practices and long-term strategic change.
A paradigm for such strategic change is the clothing and retail giant, H&M. Given its success in the fast fashion industry, selling more than 550 million garments per year, banking quarterly profits of $412m, this radical shift in strategic direction is remarkable. Its aim is to become completely climate positive by 2040. Its Garment Collection Initiative has collected 39,000 tonnes of clothing since its inception in 2013 and in January 2017 H&M launched its Bring It garment recovery campaign, with the aim of recycling 25,000 tonnes of clothing a year (Mellery-Pratt, 2017).
H&M is not indulging in greenwashing or clever marketing around organic cotton and sustainable materials. It is instituting change across its entire value chain, setting itself strict goals to achieve a 100% circular business model and introducing a Sustainable Impact Partnership Programme to assess the performance of its suppliers. Transparency is also a strategic goal. H&M shares a list containing 98.5% of its first tier suppliers ́ names and addresses (H&M, 2017).
This is systemic change, engaging all layers of management and stakeholders in their mission to be one of the high street ́s most ethical brands. The effects of such a change of mission will have clear benefits for the environment through recycling, better management of its suppliers and more transparency for its key stakeholders, its customers.
Changes in consumers` attitudes towards sustainability, sustainable and ethical practices
We live in an age of instant gratification and fashion immediacy. One of the consequences of discounted, cheap “fast fashion” in wealthier, mature markets is the priority consumers now put on value, on being able to buy more for less. Worldwide, consumers are demanding more ‘fast fashion’ and a greater variety of goods at affordable prices. The fashion industry is responding with ever increasing levels of production to meet this global demand.
Fashion shopping has also become an enjoyable leisure activity, where consumers seek to express themselves through style, colour, design, and to look and feel good. The serious political, social and environmental issues which arise from mass fashion production and consumption are not in the forefront of most consumers ́ minds when they are engaging with their favourite high street brands.
There is evidence, however, that consumer behaviour is changing. The McKinsey Report highlighted this. Brand loyalty is on the wane and consumers are characterised as more unpredictable, demanding and discerning. There is some evidence that consumers are also becoming more aware of sustainable issues, especially among younger consumers. But surveys have also shown that millennial consumers still prioritise “value, quality and image” (Ahmed et al, p. 73).
That’s not to say however, that there are no ethically conscious consumers. In fact Generation Y are leading the way for ethical shopping, and proving that they are becoming more strategic in their purchasing decisions than previous generations. A study published by Choosi in January 2017, found that more than 90% of respondents are considering their environmental and social footprint when making everyday purchasing decisions (Choosi, 2017).
Empowered by technology, Gen Y are making sustainable shopping a way of life, utilising apps such as Good On You, Shop Ethical, DoneGood, and aVoid to ensure they make informed choices. These apps provide real opportunities for savvy marketers promoting their brands` sustainable and ethical practices. The most common reason cited for choosing ethical brands is the human factor, recognising that fashion does not exist in a vacuum: it impacts workers and communities as the Rana Plaza disaster brought tragically home.
These new shifts in consumer behaviour contrast with previous generations where ethical concerns were not important. New data does indicate a trend towards a more ethical consumer, even suggesting that the younger generation are willing to shun brands that are deemed to be unethical.
For brands, predicting these trends in consumer behaviour is vital for their long-term strategy, production methods and supply chain. Brands must align with their customer base, to not only better engage with the more ethical consumer, but also to educate those who are not so aware of the issues. Both brands and retailers need to engage more fully with their consumers by being more transparent and being truly committed to bringing about change (Heinze, 2016). This means deliberately positioning their brands as sustainable and ethical and marketing them as such. Consumers are becoming more aware as well of their power to make a difference and they can punish brands which do not align with their ethical values.
The question then is what motivates consumers to make ethical choices? Consumer attitudes in the past towards sustainable fashion products may have been lukewarm, believing them to be of inferior quality and design. While price and availability do impact the extent to which consumers engage with ethical brands, quality is of utmost importance. (Confino & Muminova, 2011) Ethical clothing which is well designed, using high quality materials, is becoming ‘desirable’ giving rise to several newer, more niche brands like Edun, Suno, Honest By and Bodkin. These brands aim to combine the aesthetic and the sustainable in an affordable range.
A more established brand like Stella McCartney which sources recyclable materials, uses natural raw materials and even uses wind power to generate energy in its UK based studios and offices, has power to influence consumer choice and behavior in a more ethical and sustainable direction. The influence of luxury brands and celebrity endorsement cannot be underestimated. Ralph Lauren has, for example, hired sustainability directors to make changes to its business model and to overhaul its supply chain. Such strategic decisions have an impact on the industry as a whole and on consumer perceptions.
Conclusion: the sustainable model
Fast fashion still, however, poses real challenges for the environment, workers ́ rights and conditions and despite the growing trend in more ethically responsible consumers, many brands will need to undertake radical strategic action. Apparel supply chains must allow for a level of transparency that today’s shopper seeks. Movements such as #whomademyclothes and #showyourlabel demonstrate that consumers are calling for tighter regulation and monitoring, while expecting brands to adopt transparency within their basic marketing model. Smart branding that places sustainability at the core of its identity will allow informed consumers to express their values through their fashion choices, to support brands which are investing in sustainability and to contribute, as fashion stakeholders, to a greener and more sustainable planet.
Fashion brands that have adopted a leaner, more sustainable model have clearly defined social, economic and environmental objectives and a marketing strategy to explain these objectives. Brands embracing this model embed a sustainability and ethical strategy throughout their design and supply chains and work towards vertical integration. This ensures that all their internal and external activities are measured against these three overarching strategic aims.
Sustainable brands know the true costs involved in fashion production. This requires all activities and resources to be accounted for. Such brands systematically measure land usage, water wastage and labour costs, the environmental impact of the use of chemicals in water systems and land, health and safety and working conditions. All of these operations are monitored and properly costed to identify the true cost of these practices in the supply chain. The introduction of a tool like the Higg Index, a standardized supply chain measurement, by the Sustainable Apparel Coalition, will enable consumers to tell at a glance from a garment ́s tags its environmental effects. This will give sustainable products a distinct advantage with the ethical consumer.
For this sustainable model to work all stakeholders must also be involved: management, investors, shareholders, suppliers, workers and customers. The model not only requires personal commitment from all stakeholders but also investment in innovation, big data and a long-term strategy.
At this year ́s Copenhagen Fashion Summit it was agreed that a circular economic model must be adopted, by increasing the volume of textiles collected, reused and recycled by 2020. (Mellery-Pratt, 2017) Such a model, rooted in reuse, will eradicate waste and use the leftovers to create new garments, continuing the life-cycle indefinitely. This initiative should be thoroughly embraced by brands at the forefront of sustainability, in a movement towards slow fashion and quality. A number of Slow Fashion designers are already working to ensure the longevity of their clothing by sourcing high quality fabrics, offering traditional cuts and creating sophisticated, timeless pieces. These sustainable practices signpost the way forward.
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