Madalin Peterson

About Madalin Peterson

Posts by Madalin Peterson:

Purpose blog

⋅

The ‘Purpose’ pillar refers to a brands long-term proposal, reflecting the goals they aspire to achieve and fulfilment of customer needs. It is a primary value consumers seek due to the requirement that their internal values align with the company, which results in the establishment of a loyal relationship. ‘Purpose’ involves a brands intention with addressing the importance of sustainability, while also actively uncovering alternative solutions to reduce the negative impacts fashion can have on both people and the planet. 

By discovering a brand’s identity, consumers are able to determine whether they want to be associated or labelled alongside what they symbolise. Luxury brands have an expectation to supply high quality products, with a vision of exclusivity and presenting “observance of heritage and history” (Mitterfellner, 2023). Providing the meaning behind a garment can assist consumers when deciphering the story underlying the brand, allowing it to establish its own unique personality and strengthen “brand image” (Rageh Ismail & Spinelli, 2012). This argues the need for transparency, especially among luxury brands, as clothing expresses a form of communication through recognisable symbols and designs individuals wear to give the “right impression” (Auty & Elliott, 1998). 

Shifts in brand purposes have occurred in order to meet principles centred towards the social and environmental values of this generation. For example, Burberry shifted their purpose to become more aligned with the changing values of millennials and Gen Z. They converted their identity and established a new vision by converging to digital platforms, such as social media, allowing them to share their story and authenticity more easily. They modernised the way of communicating with customers and produced new products, whilst still keeping their signature brand pattern as a representation of their history. The creation of digital campaigns, including “Burberry love”, was designed to develop a brand community through online interaction and trigger emotional stimulation by providing an opportunity for personalisation. (Straker & Wrigley, 2016).

A focus towards developing “emotional attachment” to consumers, rather than solely “building social status”, has been evident amongst the luxury fashion market (Theng So et al., 2013). Therefore, ‘corporate social responsibility’ is a necessity as it regards the importance of sustainability and ethical conducts, sharing information about each division of the fashion supply chain. However, a brands purpose is only obtained when customers actively follow through into sustainable fashion. Around 61% of ‘Gen Zers’ expressed they are more drawn to purchase from companies that share similar sustainable and social values, concluding that both the brand and consumer have to form an alliance in order to fulfil its mission (Londrigan & Jenkins, 2018, pp. 41–60). 

References:

Auty, S., & Elliott, R. (1998). Fashion involvement, self‐monitoring and the meaning of brands. Journal of Product & Brand Management, 7(2), 109–123. https://doi.org/10.1108/10610429810216874

Londrigan, M. P., & Jenkins, J. M. (2018). Fashion supply chain management (pp. 41–60). Fairchild Books, An Imprint Of Bloomsbury Publishing Inc.

Mitterfellner, O. (2023). Luxury Fashion Brand Management: Unifying fashion with sustainability. Taylor & Francis.

Rageh Ismail, A., & Spinelli, G. (2012). Effects of brand love, personality and image on word of mouth. Journal of Fashion Marketing and Management: An International Journal, 16(4), 386–398. https://doi.org/10.1108/13612021211265791

Straker, K., & Wrigley, C. (2016). Emotionally engaging customers in the digital age: the case study of “Burberry love.” Journal of Fashion Marketing and Management: An International Journal, 20(3), 276–299. https://doi.org/10.1108/jfmm-10-2015-0077

Theng So, J., Grant Parsons, A., & Yap, S. (2013). Corporate branding, emotional attachment and brand loyalty: the case of luxury fashion branding. Journal of Fashion Marketing and Management: An International Journal, 17(4), 403–423. https://doi.org/10.1108/jfmm-03-2013-0032

Liked Liked
No Comments

Profit blog

⋅

The fashion industry faces the difficult challenge of achieving an eco-social sustainable brand, while also obtaining a growth in profitability. Brands are regarded as successful by satisfying consumers desires, which enhances brand visibility in society and establishes economic status. A mediation between creativity and commerce must be maintained, whilst also achieving a positive customer experience.  

In business, one of the main goals is profit. The sector of fashion has become one of the major contributors to the economy by being a “$2.5 trillion global industry” (Maloney, 2019), providing millions of jobs to people due to the variety of different sectors within the industry. Approximately 300 million people have been employed in the fashion “value chain” (Ellen MacArthur Foundation, 2017) and 1.7 million people have been employed in the “European manufacturing industry” contributing to an estimated profit of 166 billion euros (European Commission, 2022). 

The COVID-19 pandemic interrupted traditional shopping and altered consumer buying patterns due to the restricted access to physical stores. This induced a shift to e-commerce, which provides quicker and more accessible purchasing options to customers. Shopping online has become the social norm of this generation, increasing profitability for both small and luxury brands through global exposure and the development of new technology. For example, “virtual clothing technology” has been introduced such as virtual fitting rooms and the creation of avatars (Guercini et al., 2018), which has been embraced by brands including “Uniqlo, Rebecca Minkoff and Timberland” addressing the issue of fitting online (Lee et al., 2020). Social media and online marketing tools also enable brands to utilize advertisements as a way of communicating their distinctive uniqueness and exclusivity through their designs (Ong et al., 2021) as once fashion reaches a status of art, it not only serves a creative value, but also becomes profitable. However, due to a growing awareness of the negative environmental impact, the fashion industry is discovering alternative methods including vintage and collectible items gaining a “global appeal”. Textile graders sort clothing for various markets, including “vintage collectibles” and “exports to developing countries”, generating over $700 million in annual sales (Hethorn & Ulasewicz, 2015, pp. 204–230). 

In order to succeed, creative directors play an integral role within the fashion brand, balancing the needs and artistic values of the designer, whilst also taking into consideration financial management in order to generate economic capital. The designer’s task of symbolising a brand and creating an identity is supported by the creative directors handling of “business strategy, marketing” and operational logistics as the establishment of a “duel leadership” is a requirement to be “the most successful revenue generator” (Overdiek, 2016)

References

Abdelmeguid, A., Afy-Shararah, M., & Salonitis, K. (2022). Investigating the challenges of applying the principles of the circular economy in the fashion industry: A systematic review. Sustainable Production and Consumption, 32(1), 505–518. sciencedirect. https://doi.org/10.1016/j.spc.2022.05.009

Guercini, S., Bernal, P. M., & Prentice, C. (2018). New marketing in fashion e-commerce. Journal of Global Fashion Marketing, 9(1), 1–8. Tandfonline.

Hethorn, J., & Ulasewicz, C. (2015). Sustainable fashion : what’s next? : a conversation about issues, practices and possibilities (pp. 204–230). Bloomsbury, Fairchild Books, An Imprint Of Bloomsbury Publishing Inc.

Lee, H., Xu, Y., & Porterfield, A. (2020). Consumers’ adoption of AR-based virtual fitting rooms: from the perspective of theory of interactive media effects. Journal of Fashion Marketing and Management: An International Journal, 25(1), 45–62. https://doi.org/10.1108/jfmm-05-2019-0092

Maloney, C. (2019). THE ECONOMIC IMPACT OF THE FASHION INDUSTRY. https://www.jec.senate.gov/public/_cache/files/ffe17b78-b14d-4b23-8e19-fea4480959a3/economic-impact-of-the-fashion-industry.pdf

Ong, A. K. S., Cleofas, M. A., Prasetyo, Y. T., Chuenyindee, T., Young, M. N., Diaz, J. F. T., Nadlifatin, R., & Redi, A. A. N. P. (2021). Consumer Behavior in Clothing Industry and Its Relationship with Open Innovation Dynamics during the COVID-19 Pandemic. Journal of Open Innovation: Technology, Market, and Complexity, 7(4), 211. https://doi.org/10.3390/joitmc7040211

Overdiek, A. (2016). Fashion designers and their business partners: Juggling creativity and commerce. International Journal of Fashion Studies, 3(1), 27–46. https://doi.org/10.1386/infs.3.1.27_1

Liked Liked
No Comments
beautycon_pop_2_-__w_584_

People Blog

⋅

The second pillar, ‘People’, is a major focus in the fashion industry, demonstrating how the study of society can be used to predict the relationship between people and their wardrobe. This provides the industry with an insight into consumption patterns based on a desire for individuality and self-expression, which is concordant to social and environmental views.  A greater demand for equality, diversity and sustainability has resulted in a dramatic shift in fashion from previous generations. 

The current generation, born between 1996 and 2010, are referred to as ‘Gen Z’, who display greater value towards authenticity, demanding that their moral values are met by fashion brands. As this is the “first generation to grow up with the internet”, they are also known as the “true digital natives” (Francis & Hoefel, 2018), with social media becoming an essential segment in majority of people’s daily routines (McKinsey, 2023). Platforms such as TikTok, with 60% of users being Gen Z (Stahl & Literat, 2022), have provided individuals an area to showcase their creativity and communicate their thoughts through their digital persona. The fashion industry utilizes social media through strategies, such as emotional branding, storytelling, and “addressing relevant social issues” developing meaningful relationships with customers (Kim & Sullivan, 2019). 

Due to Gen Z’s desire of being perceived with certain political ideals, clothing is used as a mask in order to “strengthen the self-image”, yet if a brand is negatively viewed as unauthentic it may conclude in “brand avoidance” (Kapferer, 2008). However, social media has brought greater exposure to unrealistic beauty standards resulting in the deterioration of mental health as a result of decreased self-worth and increased levels of anxiety (Stahl & Literat, 2022). For example, Groesz et al conducted a meta-analysis into “the effects of thin ideal media” on body image and found that, after being shown “thin media images”, women shared greater dissatisfaction to their bodies (Mills et al., 2017)

‘Third love’, a lingerie business, has been one brand that responded to the need of diversity and inclusivity in the fashion industry. The company provides 78 different sized bras with a wide range of shades, making it inclusive for all women with any skin and body type. They set up the “To Each, Her Own” campaign in September 2018, showing women from different diverse background, body sizes and ages, allowing consumers to identify better with the company. The campaign further encouraged women to post photos of themselves on social media, using “#ToEachHerOwn” and used real women rather than models in advertisements, bringing awareness to the brand’s inclusivity to all women (Kavilanz, 2019).

Reference list

Coe, E., Doy, A., Enomoto, K., & Healy, C. (2023, April 28). Gen Z mental health: The impact of tech and social media | McKinsey. Www.mckinsey.com. https://www.mckinsey.com/mhi/our-insights/gen-z-mental-health-the-impact-of-tech-and-social-media

Francis, T., & Hoefel, F. (2018, November 12). “True Gen”: Generation Z and Its Implications for Companies. McKinsey & Company. https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/true-gen-generation-z-and-its-implications-for-companies

Kavilanz, P. (2019, January 16). Bra sizing is wildly confusing. Her company seeks to change that | CNN Business. CNN. https://edition.cnn.com/2019/01/16/success/thirdlove-fresh-money/index.html

Kim, Y.-K., & Sullivan, P. (2019). Emotional Branding Speaks to Consumers’ heart: the Case of Fashion Brands. Fashion and Textiles, 6(1), 1–16. Springer. https://doi.org/10.1186/s40691-018-0164-y

McKinsey. (2023, March 20). What is Gen Z? | McKinsey. Www.mckinsey.com. https://www.mckinsey.com/featured-insights/mckinsey-explainers/what-is-gen-z

Mills, J. S., Shannon, A., & Hogue, J. (2017). Beauty, body image, and the media. Perception of beauty, 145-157. 

Stahl, C. C., & Literat, I. (2022). #GenZ on TikTok: the collective online self-Portrait of the social media generation. Journal of Youth Studies, 26(7), 1–22. https://doi.org/10.1080/13676261.2022.2053671

Vajkai Kovács, É., & Zsóka, Á. (2020). Brand avoidance behaviour of Gen Z towards fast fashion brands. Vezetéstudomány / Budapest Management Review, 51(5), 39–50. https://doi.org/10.14267/veztud.2020.05.04

Image Reference

XSM. (2022, March 24). The Genderless World Of Gen Z. XSM. https://xsmultimedia.com/2022/03/24/the-genderless-world-of-gen-z/‌

Liked Liked
No Comments
184237-from-lvmh-to-shein-new-yorks-fashion-sustainability-act-could-affect-everyone

Planet Blog

⋅

The Fashion industry’s irresponsibility in the overproduction and overconsumption of clothing has been a major contributor towards the planets destruction. While awareness is rising, a solution must be rapidly identified to reverse the environmental footprint its unceasingly leaving. This is evident in its assistance to increasing global carbon emissions, depleting natural resources and the overall impact on humanity.

A circular economy stresses the importance of the longevity of a garment, following it throughout the entirety of its life cycle until the end of its usage. This includes recovering and regenerating materials at the end of each service life, avoiding its disposal and focusing on solutions, such as upcycling and recycling materials. It was not until 2016 when the circular economic model was introduced, replacing the previous linear economic model of ‘take – make – consume – eliminate’. Since 2002, fashion production has nearly doubled, ‘whilst less than 1% of these materials are recycled into new clothing’ (Ellen MacArthur Foundation [EMF], 2017).

Sustainability is embraced by the concept of ‘slow fashion’, utilising better design processes and product reusability in the supply chain, with an aim to establish long-term relationships and transparency (Ertekin and Atik, 2014). Fast fashion is a complete contradiction due to its highly unsustainable nature and sole focus on business economic growth through its easy accessibility and rapid response to new, upcoming trends. Consumers have established ‘negative attitudes and negative purchase intentions’ with luxury brands associated with environmental harm (Cervellon Citation2012). Fast fashion brands like Zara responded to consumer demand for sustainability, releasing the ‘Join Life’ line in November 2015, in which ‘organic cotton, recycled wool, and Tencel fibres’ where used in their clothing. However, some termed fashion brands as ‘greenwashing’, accusing businesses of deception and overexaggerating environmental claims of their products to ‘build a positive corporate image’. 

The UN’s 17 sustainable development goals (SDGs) are aimed to be achieved by 2030. SDG 12,‘Responsible Consumption and Production’ addresses overconsumption patterns and the wasteful nature of the fashion industry. 80 billion garments are made annually. Yet due to a great excess of apparel, the majority is not used, resulting in 85% of textiles sent to landfills. Kegan argued the development of ‘psychological sophistication’ has caused consumers to consciously consider sustainable fashion options, reducing the concern of oneself and greater desire of well-being for the planet. However, ‘ethical clothing consumption’ might result from personal feelings of guilt or desire to appear ethically responsible to society, viewing it as an ‘ethical obligation’ (Shaw et al., Citation2006). 

References

  • Gazzola, P., Pavione, E., Pezzetti, R., & Grechi, D. (2020). Trends in the Fashion Industry. the Perception of Sustainability and Circular Economy: a Gender/Generation Quantitative Approach. Sustainability, 12(7), 2809. MDPI. Retrieved from https://www.mdpi.com/2071-1050/12/7/2809
  • Gwilt, A. (2020). A practical guide to sustainable fashion. London: Fairchild Books, An Imprint Of Bloomsbury Publishing Plc.
  • Henninger, C. E., Alevizou, P. J., & Oates, C. J. (2016). What is sustainable fashion? Journal of Fashion Marketing and Management: An International Journal, 20(4), 400–416.
  • Jägel, T., Keeling, K., Reppel, A., & Gruber, T. (2012). Individual values and motivational complexities in ethical clothing consumption: A means-end approach. Journal of Marketing Management, 28(3-4), 373–396. https://doi.org/10.1080/0267257x.2012.659280
  • Ki, C. (Chloe), Chong, S. M., & Ha‐Brookshire, J. E. (2020). How fashion can achieve sustainable development through a circular economy and stakeholder engagement: A systematic literature review. Corporate Social Responsibility and Environmental Management, 27(6). https://doi.org/10.1002/csr.1970
  • Ki, C. (Chloe), Park, S., & Ha‐Brookshire, J. E. (2020). Toward a circular economy: Understanding consumers’ moral stance on corporations’ and individuals’ responsibilities in creating a circular fashion economy. Business Strategy and the Environment, 30(2). https://doi.org/10.1002/bse.2675
  • Kim, Y., & Oh, K. W. (2020). Which Consumer Associations Can Build a Sustainable Fashion Brand Image? Evidence from Fast Fashion Brands. Sustainability, 12(5), 1703. MDPI. https://doi.org/10.3390/su12051703
  • McNeill, L., & Moore, R. (2015). Sustainable Fashion Consumption and the Fast Fashion Conundrum: Fashionable Consumers and Attitudes to Sustainability in Clothing Choice. International Journal of Consumer Studies, 39(3), 212–222.
Liked Liked
No Comments

My Favourite Brand

⋅

My favourite fashion brand is Miu Miu, which was founded in 1992 by Miuccia Prada and is the sister brand to Prada. The brand shares the same style of elegance and classic looks as Prada, yet I believe it to be more unique, establishing a more attractive and lively style. Miu Miu focuses more on a youthful audience through the greater use of cropped clothing and miniskirts, but it still upholds a mix of minimalism and inventiveness. In my opinion, Miu Miu is a brand that allows Muiccia Prada to be more expressive and imaginative in her work. 

Liked Liked
No Comments