Giulia Gramigna

About Giulia Gramigna

Posts by Giulia Gramigna:

Purpose Blog

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The purpose pillar could be considered the most important at the core of fashion industries. Without purpose, fashion brands would struggle to grow, create a relationship with consumers and stand out from competitors’ brands. The function of purpose is to communicate to consumers and targeted audiences the values and mission of a brand. In the last few years, individuals have become more aware of environmental issues, such as the damage that the fashion industry has on our planet, e.g., the large emissions of CO2. As a result, it highlighted how important it is to participate in sustainable shopping. Consumers want to shop from brands that resonate with their values, recognize the challenges that the industry poses and take active actions to improve their brand’s identity. Reports indicate that “consumers are four to six times more likely to purchase from, support, trust and recommend a brand with a vital purpose” (Narayanan & Das, 2022).  

A factor that can contribute to a brand’s philosophy is Corporate Social Responsibility and sustainability (CSR). With CSR, brands can strengthen their relationship with consumers because it encourages active participation in social and environmental changes, with the goal of having a better future for everyone. One brand that takes part in CSR and has been transparent across its supply chain is Stella McCartney. The brand has a large focus on the impact that the fashion industry is currently having on our planet. Their commitment stands on building trust between the brand and their consumers, being transparent in the steps involved in the garment’s making. Another example of a brand that incorporated CSR is Nike. The company started to cut down CO2 emissions, reduce water usage and start using eco-friendly materials, with a goal set for 2020 to enhance “transparency in the supply chain” (Londrigan, 2018).   

Generation Z grew up in a digital world, where online retailing began its success. For brands to effectively communicate their purpose to Gen Z, they should begin by understanding what makes this generation different and what factors contribute to their purchases. This generation is devoted to world matters that concern all human beings, not only their generation. From climate change to the violation of human rights in fashion industries, Gen Z desires brands that are aware and current with these issues and are willing to change/improve their image (Bäcklund & Martin, 2019). Individuality, personalisation and self-expression are at the basis of consumption habits for this generation (Francis, 2018).   

References:

  • Narayanan, S., & Das, J. R. (2022). Can the marketing innovation of purpose branding make brands meaningful and relevant? International Journal of Innovation Science, 14(3/4), 519-536. 
  • Londrigan, M. P., & Jenkins, J. M. (2018). Fashion Supply Chain Management (1st ed.). Bloomsbury Publishing Plc. https://doi.org/10.5040/9781501317798 
  • Bäcklund, E., & Martin, K. (2019). Reaching Generation Z: A qualitative study examining marketing communication channels for targeting Generation Z to establish brand awareness.  
  • Francis, T., & Hoefel, F. (2018). True Gen’: Generation Z and its implications for companies. McKinsey & Company, 12, 1-10.  
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Profit Blog

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The profit pillar is an important factor that shapes the fashion industry and contributes to the growth of businesses. The profit of a business changes over time due to, for example, economic challenges, where they would need to adapt, potentially developing new strategies. The fashion industry plays a major role in the world economy, with $2.5 trillion in annual revenue and “employs more than 1.8 million people in the United States” (Maloney, 2015). Over the past years, the industry’s sales have fluctuated, with sales growing in 2016, although certain sectors, such as the accessory, experienced a downfall (McKinsey, 2017).   

Due to the growing use of technologies and the COVID-19 pandemic, e-commerce (the selling and buying products online) was introduced to the fashion industry. An analysis carried out by Macchion et al. found that e-commerce, although not bringing a clear correlation with the performances of businesses, does help reduce the time for fashion houses to evaluate their marketplace. For example, through e-commerce, Burberry succeeded in producing a collection that met the latest customers’ preferences and the delivery of the products rapidly (Macchion et al., 2017).   

Through the years, fashion brands will likely experience a downfall in their sales and growth when met with economic challenges. At this stage, it is crucial to understand the “brand’s health, which is naturally affected by both internal and external factors” (Mitterfellner, 2023). However, the brand’s lifecycle can continue if they tailor their market and accommodate the new customer’s preferences. As previously discussed, the COVID-19 pandemic was one of the fashion industries’ biggest challenges. Through this time, to stay competitive and continue their profit, luxury fashion brands started adapting to e-retailing. Brands like Louis Vuitton used online live streaming to broadcast exclusive brand launches, such as a “Valentine’s Day exclusive pop-up store” (Xie, 2020). Transparent communication is another key factor when discussing uncertain economic times because it is at the root of a brand’s image and will build/maintain loyal consumer-brand relationships.     

Creative directors can balance creativity and commerce by working hand in hand with different teams, for example, marketing, that are part of the fashion house. One of their roles is to deeply understand the fashion brand image and target audience and stay updated with customers’ trends to maintain the “brand’s heritage” and create profit. Their job can also entail working for other fashion houses that are not their own. For example, Karl Lagerfeld was appointed as creative director for Fendi and Chanel whilst still being a creative director at his fashion brand (Mitterfellner, 2023).   

References:

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People

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Fashion has always been present throughout generations, a staple in everyone’s lives and constantly evolving. With the rise of new trends and sustainable brands, it is possible to capture each generation’s impact on the fashion industry. One generation that has revolutionised the workforce and the way we shop is Generation Z or the so-called Gen-Z. This generation includes people born between 1997 and 2010 and comes after the Millennials, with people born between 1981 and 1996 (Dimock, 2019). What characterises Gen-Z is their wanting to stand out to shop, not necessarily luxury items and brands, but items that bring a sense of uniqueness that contributes to their self-expression. This brings a difference in the Millennial’s shopping habits, where purchases are made for the “showcase status” (McKinsey, n.d.).

Throughout the years, brands had to constantly adapt to the changes in preferences and behaviours that all generations brought. For a brand to build a loyal and lasting relationship with its consumers, it needs to mirror its values; otherwise, it will start losing sales. For brands to succeed in the Gen-Z marketplace, they need to be transparent in their business, for example, addressing social and environmental issues. This can be seen in brands such as Gucci and Levi’s, where campaigns launched to raise awareness regarding gun violence. Employee protection, inclusivity and diversity are also core values for this generation. Brands have started to take action to meet this generation’sgeneration’s values; for example, “H&M released its Pride collection in 2018 to back the LGBTQ+ community” (Wang, 2021).

For a brand to succeed in today’s competitive business world, it must be flexible to the change of preferences that consumers and the industry bring (Marques, 2017). However, most importantly, it must adapt certain “people skills, ” which will contribute to its growth and identity. Empathy and adaptability are two skills that can work together for a brand’s success. Let’s take Generation Z as an example of consumers. Evidently, they were born during a significant technological increase and now spend most of their time on their mobiles. Therefore, a marketing strategy could be to move the marketing campaigns to social media platforms. Additionally, brands should focus on understanding what characterises their target audiences, for example, how many Generation Z buying habits are based on how ethically sustainable brands are, e.g. the carbon emissions. (Adriana-Camelia, 2014).

References:

  1. McKinsey. (n.d.). Five Fifty: Solving for Gen Z in the workplace Www.mckinsey.com. https://www.mckinsey.com/quarterly/the-five-fifty/five-fifty-the-gen-z-equation
  2. Dimock, M. (2019). Defining generations: Where Millennials end and Generation Z begins. Pew Research Center, 17(1), 1-7.
  3. Adriana-Camelia, B. U. D. A. C. (2014). Strategic considerations on how brands should deal with generation Z. Revista Economică, 66(5). STILL NEED TO APPLY
  4. Wang, W. (2021). How has the fashion industry reacted to Gen z’s completely different consumption concepts and shopping habits. Academic Journal of Humanities & Social Sciences, 4(10), 72-80.
  5. Marques, E. B. (2017). Building successful brands through marketing communications: development of a framework Parfois case study (Doctoral dissertation).
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Screenshot 2023-10-08 at 11.31.07

Planet

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Fashion is a form of self-expression that goes beyond cultural boundaries. It is a dynamic industry that constantly changes, driven by creativity, innovation, and consumer demand. However, as glamorous as the fashion industry can be, a light has been shed on the many impacts it has on our planet. These issues, ranging from the endangerment of ecosystems, the significant emissions of CO2 and ethical practices, are calling for action with the development of new sustainable strategies.

It is reported that the fashion industry is responsible for around 10% of greenhouse gas emissions (Raj & Bajpai, 2022). The majority of these emissions are synthetic fibres, such as Polyester, which are characterised by their non-biodegradability and are not easily broken down in natural ecosystems. Additionally, the spike in the growth of these emissions is due to the high demand for low-priced clothing (Mitterfellner, 2023).

Another way to better understand the relationship between the planet and the fashion industry is through Goal 12 (Responsible Production and Consumption) of the Sustainable Development Goals (SDGs), which seeks to detach economic growth from the escalating use of resources. Findings from a study by Šajn (2019), where ‘Europeans bought 6.4 million tonnes of new clothing per person in 2015’ (Shafie et al., 2021), are a perfect example of how goal 12 was violated. For a society to meet goal 12 of SDGs, they need to encourage individuals to reuse, recycle and buy clothes from, for example, second-hand shops (Thakker & Sun, 2023). In this way, it is possible to engage in a ‘circular fashion economy.’

The circular economy is a model focused on recycling and, therefore, “keeping around” the clothing being produced by the textile industry for as long as possible (Jacometti, 2019). Thus, the waste generated can be minimised, and profitability could also be increased (Thakker & Sun, 2023). Another critical element for a circular fashion economy is understanding the life cycle of a garment, which begins with the design process. The following stages consist of identifying and eliminating factors of the garment produced which could pose an environmental and social threat. These courses of action are carried out with sustainability as the end goal for the garment’s life cycle (Gwilt, 2014).

The triple Bottom line (TBL) is a business strategy that could also improve how fashion industries operate. This strategy emphasises that businesses should put a balance between making money and being socially and environmentally responsible. Therefore, when faced with a business decision, they should consider the cost and benefits of the TBL’s three pillars (People, Planet and Profit) (Lee, 2007).

References:

  • Gwilt, A. (2014). A practical guide to sustainable fashion. Fairchild Books, An Imprint Of Bloomsbury Publishing Plc.
  • Mitterfellner, O. (2023). Chapter 7- Luxury Fashion and the Sustainable Approach
  • Raj, M. M., & Bajpai, P. (2022). Mathematical Analysis of the Environmental Impact of Throwaway Fashion. European Journal of Sustainable Development, 11(4), 211-211.
  • Shafie, S., Kamis, A., Ramli, M. F., Abu Bedor, S., & Ahmad Puad, F. N. (2021). Fashion Sustainability: Benefits of Using Sustainable Practices in Producing Sustainable Fashion Designs. International Business Education Journal, 14(1), 103-111. https://doi.org/10.37134/ibej.vol14.1.9.2021https://link.springer.com/article/10.1007/s11356-023-29453-1
  • Thakker, A. M., & Sun, D. (2023). Sustainable Development Goals for Textiles and Fashion. Environmental Science and Pollution Research, 1-21.
  • Lee, K. M. (2007). So what is the ‘triple bottom line’. International Journal of Diversity in Organisations, Communities and Nations, 6(6), 67-72.
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Favourite Fashion Brand

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My favourite fashion brand is Prada, because I personally like how they vary between classy and modern casual looks. I also like the brand because is on the way to convert their clothing lines to recycled materials, which I think is something really important especially for the world that now live. Something else that captivated me is how they always sticked to neutral colours in their clothing lines but also accessories.

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