Princess Wilson-Onyiriuka

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PEOPLE

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The idea of creating one’s identity is at the heart of Gen Z. Therefore, consumption has become a means for self-expression rather than the purchase or wearing of brands by group norms. According to Francis & Hoefel (2018), “Members of this generation value individual identities, reject stereotypes and practise identity expressions with pragmatism”.

Due to being considered the digital natives of society, the changing micro trends influenced by social media platforms like TikTok influence the consumption patterns of Gen Z buyers. “Gen-Zers […] make up 60 per cent of the app’s one billion-plus users,” (McKinsey & Company, What is Gen Z? 2023). In other words, 600,000,000 young people living in a risk society focused on ethical concerns and achieving stability absorb and contribute to mass consumption. This strongly relates to the people pillar as it seeks to understand both the consumers and people behind the production of garments.

Rising concerns in financial and environmental mean that Gen Z consumers seek brands and companies that allow them to express individuality and choice, whilst ensuring they’re investing in ethical practices that help secure a solid future. One way brands can attract Gen Z is by decreasing financial pressures and economic downturns by offering rewards or points for shopping. As well as easing pressures, this benefits companies and increases the chance of shoppers developing ‘brand loyalty’, promoting a sense of ownership by gathering digital points. Another is through offering environmentally friendly options to safely consume as they wish. However, brands must focus on “Aesthetics plus ethics,” Heinze, L. M. (2014), as identity is still a large part of Gen Z values.

Key people skills brands need to adopt to be successful in today’s society is the ability to respect and appreciate cultural differences. Representation and inclusion not only give marginalised communities a voice, it also widen their pool and attract different types of consumers. One brand that showcases a commitment to inclusivity for both people and the planet is Nike. Nike showcases a range of models and athletes from various ethnic backgrounds, celebrating the beauty and uniqueness of different people and cultures. By featuring individuals with diverse racial backgrounds in their advertisements, this brand sends a powerful message of acceptance and equality: and creates a more equitable and diverse world.

Reference list

HEINZE, L. M. (2014, September 14). *Fashioning sustainability: Understanding the dynamic practices of Sustainable Fashion*. CORE. https://core.ac.uk/reader/212692566 “Aesthetics plus ethics”

McKinsey & Company. (2023, March 20). *What is Gen Z?*. McKinsey & Company. https://www.mckinsey.com/featured-insights/mckinsey-explainers/what-is-gen-zFrancis, 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

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PLANET

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PLANET

The fashion business is a growing industry. A growing industry, however, results in an increased demand for garments made through non-renewable sources. Meaning, that as it grows so do global concerns for environmental pollution and calls to green activism and sustainability. Planet, one of the four pillars of the fashion business, requires us to study and understand the impact of the industry on the environment and how further harm can be mediated by ensuring garments are safely returned to the ecosystem. With the current state of the industry, there is no such thing as sustainable fashion although many brands claim to be “green”.  This is an act of greenwashing, making false claims or misleading information about a business’s impact on the environment. To commit to sustainability, new structures and systems must be put in place.

Circularity or Circular economy is the regenerative process that entails the reuse and maintenance of garments until they reach their lifecycle, which includes the initial design and manufacturing processes to distribution, consumer use, and eventual disposal. This creates a closed-loop system that ensures a reduction in energy consumption and waste minimisation. “By embracing circular practices, […] the fashion industry can break free from the linear model of production and consumption.” Gwilt (2020)

Amid the climate change crisis, sustainability concerning fashion has forefronted discussions in the industry due to its irreparable damage to the planet. The $ 2.5 trillion fashion industry produces 20 per cent of global water waste and 10 per cent of global carbon emissions. According to Allwood et al, water is depleted for crop cultivation, textile processing and laundering, and some of these processes pollute our waterways with chemicals (Allwood et al. 2006).

One SDG that has relevance to the industry is ‘Good health and well-being’ as each part of the industry is dependent on people. Environmental benefits aside, mitigating the negative impacts of a wasteful industry also headlines the social welfare of people as the state of the planet directly affects its inhabitants. For example, cheap fast fashion and overconsumption come at the expense of third-world workers with little to no rights: and in some cases, the exploitation of children. “In many factories, long hours, low wages, and dangerous working conditions are the norm,” (Finn, Angela L. (2007)). This sheds light on the harsh realities faced by workers in the fashion industry, highlighting the need for ethical practices and improved working conditions.

References

Finn, A. L. (2007). Ethical fashion: The human stories driving a fashion movement. In Fashion in Fiction: A Transdisciplinary Conference.

Gwilt. (2020). A practical guide to sustainable fashion (Second edition.). Bloomsbury Visual Arts.

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My favourite brand: Mowalola

My favourite brand: Mowalola

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Mowalola showcases the battle of upholding individualism and poise in a society where technology has covertly weaved into our lives. While referencing the interconnectedness between machinery and fashion, she finds a way to input intricate elements of Afro-futurism into her collections. This is evident through her application of 90/00s black streetwear into Darkweb AW23. Through Mowalola, you witness the bridging of old and new concepts which are neatly tied together with parts of our culture, Nigerian culture, to make it authentically her.

Darkweb AW23

Mowalola plays around with concepts such as rebellion; embodying what it means to deviate from socially constructed ideas. You see this when she deviates from the definition of and traditional use of clothing, previously thought as items meant to cover or categorize humans into man or woman. This extends beyond the clothing she creates and includes the models who although, all look different racially and often androgynous, draw the look together by enclosing what it means to physically rebel. One way she deviates is by rewriting what it means to “clothe oneself”, by using it to clothe fans and onlookers in an idea, rather than clothing to cover up “taboo” ideas or parts of the body i.e. Burglarwear SS23

Burglarwear SS23

Linking back to the prompt, I enjoy Mowalola as this brand takes back the idea of ‘the self’, the most defining part of humanity, from technology by pioneering and creating in a way that cannot be mimicked or parodied by machinery. Her brand captures parts of her ‘self’: her proximity to Nigerian culture, her British nationality, her position in the industry, and what it means to exist in a society approaching imminent transformation.

Her creations and ideas evoke emotion that can only be generated by human cognition which is the most defining part of the brand for me.

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