How can
protect‘Cultural the Credibility’ future of streetwear?
BA (HONS) Fashion Management 2019/20 ARTD 3038/3046
Amber Lane _ Final Fashion Management Major Project 1 word count: 7, 342 CONTENTS:
Executive Summary ______4
Introduction ______6
Methodology ______9
Part 1: Market Analysis: Streetwear ______11
Part 2: Focused Issue: Cultural Credibility ______26
Part 3: Response Plan ______37
Conclusion ______47
2 3 ABOVE: Fig. 1 Reddit (2019) Supreme x North Face street shot OPPOSITE: Fig. 2 Popcorn Fashion (2019) ‘Hypebae’
This report provides an Part 2 investigates the latest investigative analysis of the industry buzzword of ‘Cultural streetwear industry and questions Credibility’ and how this can be the future of the sector in a post defined. It explores the benefits Covid-19 landscape. in how streetwear businesses can utilize the term as a strategic goal Part 1 evaluates a deep dive in attaining long term relevance analysis of the streetwear sector’s to align with the cultural zeitgeist current environment, looking at into the future. Finally, Part 2 external and internal factors that investigates the implications of has transformed this market over brands incorporating purpose and the past decade, altering it from values into their business strategies consisting of sports and casual wear due to societies development of brands, representing the attitude ‘call out culture’ and accusations of underground subcultures in the of ‘woke washing’ US, to a multi-billion-dollar industry that has infiltrated into all fashion Part 3 provides suggestion channels. of tools, innovations and new opportunities for businesses within the streetwear sector and how Executive Summary they can gradually incorporate purpose, values and furthermore response to societal issues, whilst This section contrasts the origins remaining authentic and prevent of streetwear, to today’s highly accusations of ‘woke-washing’. oversaturated market due to the Additionally, included is a case dominance and influence of Gen Z study on streetwear brand NOAH, over this sector. Furthermore, Part who since being founded in 2015, 1 investigates the specific issues of has made waves in changing the sustainability and Covid-19, which perception of streetwear brands by can be seen as an immediate placing social and environmental threat to streetwear’s future. issues to the centre of their business, and can be seen as a guide and inspiration to brands within this sector. 4 5 Introduction Streetwear is one of the most striking retail trends of the past decade, having infiltrated channels both high and low throughout the fashion industry. It’s original identity of hoodies and t-shirts, expressing an anti-mainstream attitude has been transformed in the past decade into a multi-billion-dollar business through its recognition from youth cultures and further adoption “I think that streetwear is getting captured by luxury fashion and is losing from luxury powerhouses. Despite streetwear brand’s financial success, such as New York its edge,” states Tokyo-based polymath Hiroshi Fujiwara, commonly skate brand Supreme, hitting the billion-dollar mark last year, it is increasingly argued that the referred to as the godfather of streetwear (Suen, 2019). sector has peaked. With disregard to social and environmental issues, in addition to the battle of retaining relevancy to the fickle Gen Z consumer, the future of the streetwear sector breathes uncertainty, this being further brought to a head by the world pandemic, Covid 19. aim: The aim of this report is to explore, analyse and evaluate how brands within the streetwear sector can utilize the latest industry buzzword of ‘cultural credibility’ to achieve long term relevance to survive and succeed through the future post Covid-19 fashion landscape. objectives: 1. To identify and evaluate, using secondary data, the streetwears current environent, including the external factors impacting the current streetwear market that may compromise the future of this sector. 2. To deconstruct and analyse the new streetwear buzz word of ‘cultural credibility’, and its impacts and implications. Furthermore, how it can address the issues identified, and aid streetwear brands in a search for long term relevancy. 3. To explore practical suggestions LEFT: Fig. 3 Hypebeast and tools of how streetwear brands can (n.d) Biggest fashion strive towards cultural credibility and trend of the past decade relevance without risk of ‘woke washing’ OPPOSITE : Fig. 4 accusations. WWD (2006) Viktor & 4. To provide insight into post Rolf x H&M Covid-19 fashion landscape. 6 7 methodology
The research approach selected for this report comes from a variety of reliable sources in order to provide a wide scope of findings and conclusions surrounding the chosen issue.
Secondary research forms the majority of the given analysis due to the amount of information accessible on the chosen topic from a plethora of sources. Sources such as PWC, McKinsey and Co, Financial Times and Deloitte, are leading research companies, and therefore inhabit resources to conduct thorough, high quality, research, more than myself as a student. Online sources do suffer potential threat and limitation, due to the issue of “fake news” (Spring, 2020) however, this can be eased by critically evaluating the quality and reliability of sources used. Additionally, fashion industry specific sources, such as WGSN, Business of Fashion and LSN Global, are equally valuable.
Sources of academic journals and books can provide opinion- based information, which provides different insights to topics, backed up by in-depth research, curated by multiple writers. To prevent risk of bias, opinion-based findings must be weighed alongside factual information before developing conclusions.
The grouping of these different secondary sources provides both depth of information from research, in addition to conclusions made from evaluating various arguments and opinion-based writing from academic journals and books.
Primary research for this project was originally aimed to provide more depth, due to reaching beyond the parameters of pre-existing secondary research and would have been used through the use of interviews and focus groups. However, due to the effects of Covid-19, face to face group interviews were no longer viable, due to social distancing regulations and the furlough scheme. Despite having the facilities to be able to ABOVE : Fig. 5 Pinterest (2020) Graffiti carry out questionnaires through the platform of Instagram, Puffer Jacket this form of research can be extremely limiting, due to only As evident in this report, the lines between luxury and streetwear have been blurred, reaching a specific demographic due to it being publicized questioning what is streetwear? This evident with an example such as leading through my personal social media, which mainly consists of ‘streetwear’ brand Off-White, having their CEO, Virgil Abloh also sitting as Creative friends and acquaintances of similar age and background Director of Louis Vuitton. For the sake of this report, the use of ‘streetwear’ and ‘luxury’, to myself, which would be a distant demographic from the are also blurred into one meaning to define the same sector within the fashion market, sector this report focuses on. The use of primary research is of any brand who predominantly uses streetwear styles to front their brand. therefore absent from this report for this reason. 8 9 PART 1: Market Analysis
OPPOSITE : Fig. 6 High Snobiety (2020) PUMA RS-X³ 10 11 WHAT IS STREETWEAR?
When evaluating streetwear’s origins, it is evident that the sector has outright changed, and today is somewhat contradictory from its original roots. The origins of streetwear date back to the 70s and 80s, in the cultural hubs of America, Streetwear is one of the most striking retail and including LA and NYC. The style was essentially born from fashion trends of the past decade (Leeb, 2019), with the hobbies of youth cultures, such as Skate, Surf and Hip- its impact on retail culture having caught attention Hop, in which required ‘practical but cool’ clothes. However, and furthermore being adopted by many established the style was never about the product, instead a culture and brands in the luxury goods sector. The increased attitude, something which had not previously been seen in dominance of this sector being evident, with PWC fashion, and this characteristic remains to resonate with the reporting it today making up 10% of the apparel and youth of today. As depicted by I.D, streetwear evolved as footwear industry (PWC, 2019). Despite streetwear’s a ‘DIY reaction’ to the ideals of the luxury fashion industry, success in financial gain and business growth, its which lacked rawness, attitude, creativity, and community development into mainstream culture has resulted (Petty, 2019), effectively opposing the mainstream culture of in the argument that the term ‘streetwear’ can now the time. Today, streetwear can be seen to be absent from be seen as obsolete (Clarke, 2018). With the sector its original ideals and has transformed itself into a billion- today being recognised far from its original identity, dollar market, with the lines of luxury and streetwear being that was once graphic sportwear brands born blurred, having been adopted by luxury brands resulting from niche underground subcultures, in addition to in surged prices and financial and business growth. This industry wide issues, the future of the streetwear being most commonly seen through highly successful market exudes unclarity. This uncertainty being collaborations launching nearly every week, most notably further fuelled by a statement made by Virgil Abloh, the pivotal moment of heritage luxury brand Louis Vuitton : Fig. 7 The New Creative Director of Louis Vuitton and a leader in OPPOSITE collaborating with New York skate brand Supreme, which York Times (2019) Zani Bici at streetwear’s luxury evolution, declaring “Streetwear amassed a 21% year on year revenue growth for fashion and the opening of the Supreme is definitely gonna die” (Allwood, 2019) undoubtedly leather goods since (Nazir 2019). Triumphs such as these, store in Williamsburg sending shockwaves through the fashion industry. which are being driven by an evolving young consumer Fig. 8 Goodhood ABOVE: sees this sector expanding at an unstoppable force. (2019) Stussy Legacy 12 13 In today’s fashion landscape, the term streetwear can be seen universally, with industry icon Bobby Hundred, dubbing it the ‘bitcoin of fashion’ (Hundred, 2019). Having hit the mainstream in both high and low channels, the term is no longer an exclusive term preserved by classic brands such as Stussy and BAPE, evidencing the first mounting issue in this segment of oversaturation. The question is simple, what does streetwear actually mean today if the term can be seen across all areas of OPPOSITE: Fig. 9 HuckMag (2017) fashion, and is this overuse compromising The Best dressed gangs of NYC the future of true streetwear brands? ABOVE: Fig. 10 High Snobiety (2018) A$AP Rocky
14 15 The transformation and The rising number of millionaires, subsequent rise of the streetwear in addition to a larger average sector can be seen to align with consumer spend and disposable various industry wide changes income, with Credit Suisse’s and consumer shifts. 2018 Global Wealth Report calculating the average wealth As explained by Forbes, societal per adult at $63,100 (Alexandre changes naturally ‘trigger trends Arnault, 2018), has resulted in the and push behaviour in a certain new luxury consumer redefining direction’ (De Acentis, 2019), exclusivity, with desirable luxury this demonstrated in the upsurge product now requiring know how of the streetwear ‘trend’, which over financial capacity to buy. The aligns with the cultural shifts of new needs of the luxury consumer the casualization of fashion and resulting in streetwear and luxury the transformation of the luxury collaboration, with these lines consumer. being eventually blurred.
In addition to societal changes, SOCIETAL CHANGES the rise of streetwear can also be seen as a cultural movement, relating micro trends within art, Over the past decade, sport and music and popular culture. In CONSUMER SHIFTS leisure wear has converted into particular the rise in popularity an acceptable dress code for of hip hop and rap music. The almost any occasion, with this ‘Kanye effect’ refers to the link societal trend being embraced between the rise of streetwear as Despite the impact of these cultural shifts, This change in buying behaviour by a majority as seen with the a result of rap icons, with huge as stated by the Business of Fashion ‘the evidencing the fundamental change global activewear sector being fanbases, widening their fortes heart of the shift (and subsequent surge in the power balance between brands predicted to reach nearly $547 into the fashion industry, spreading in streetwear) is a new generation of and consumers (Bain, 2019), which billion by 2024 (Marci, 2020). This publicity and increasing demand consumers’, who are gaining increasing today shows the consumer and brand shift in casualization of fashion for product. Icons including Kanye dominance over the luxury market. collaborating, rather than a one-way is seen to be stemmed from the himself, who started his own brand Gen Y and Z can be identified as the dictation. Streetwear brands prevail in changes in consumer lifestyles Yeezy back in 2007, is now set to main growth engine in luxury goods reference to this relationship change, which today centres ‘health, be worth over $1 Billion (Harpers market, due to these consumer groups due to historically presenting strong wellness and activity’ (Howland, Bazaar, 2020), in addition to collectively driving its 85% expansion communication with consumers, in 2019). Furthermore, this societal Travis Scott, who’s collaborations in 2018 (Business of Fashion, 2019). addition to providing the right product shift and the consequent rise of such as his Nike ‘Cactus Jack’ Streetwear delivers more to the needs due to many designers coming from sports and activewear brands can sneakers turned the whole sector and values of today’s younger consumer, the same culture as their audience, and be seen under the umbrella term into a frenzy. with Gen Z and Millennials considering therefore know who they are selling to of the ‘democratization of fashion’ luxury brands characteristics of heritage, (Bain, 2019). As a result of effective that has ultimately transformed craftmanship and extravagance as communication with consumers, brands the whole industry in the past outdated and uninspiring, and instead are able to produce ‘unique, rare and decade. This referring to the power are looking for something more unique. highly desirable products’, often under shift, in which luxury brands and Youth culture today holds individuality at a collaboration, resulting in ‘hype’ and magazines historically held full high importance, and therefore look for financial growth. command over the industry (Don- brands to provide products to aid them in Alvin, 2018), which is no longer self-expression, which today, “trumps the ABOVE: Fig. 11 High Snobiety (2019) welcomed by today’s consumer. prestige of labels’ (Nazir, 2019). Supreme by Gen Z Under this has seen the change of the luxury goods sector resulting16 in 17 rise of the ‘new luxury’ consumer. Despite streetwear’s growth and financial success, when delving deeper there are mounting underlying issues relating to oversaturation and lag on social issues, which questions if the streetwear bubble is soon to burst. Furthermore, as discussed, the streetwear phenomenon is a result of reflecting’s today’s cultural zeitgeist, however, cultural relevancy is dynamic, especially within the fashion industry due to its fast-paced nature. Furthermore, the younger consumer, particularly Gen Z, are constantly evolving and notoriously fickle, with their beliefs and values not always being reflected in buying behaviour. Streetwear is unlikely to survive the test of time if they continue to simply act based on catering for the young consumer in that moment in time, they must strategize and think forward. They instead must seek opportunity from the pause created from the world pandemic, to re-align themselves to find the correct Other tweaks in which streetwear can be seen balance of looking inwards to their own brand narrative and equally look outwards to seek to be more in tune with younger generations cultural relevancy, not simply through easily digested, meme-able Gen Z targeted social media include, incorporating the concept of content. Some may argue that to face the test of time, streetwear may need to go back to their ‘internet culture’ into product (Bromwich, roots. 2019). From the ‘graphic visual approach’, to brands referencing ‘memes’ that present snark and irony (BoF, 2018), streetwear provides constant cultural relevancy, with ABOVE : Fig. 12 Pinterest (2019) many brands claiming to use tools such Streetwear meme as ‘meme-baiting’ as intrinsic parts of their LEFT: Fig 13 NSSmag (2018) Virgil Abloh. marketing strategies. The preference for this new type of brand persona can be seen The key drivers identified have propelled to have influenced across the industry, streetwear from being a counter-culture an example including luxury powerhouse attitude into a fashion phenomenon with a Gucci, which has evolved itself from a ‘high multi-billion-dollar retail market, estimated gloss, status- conscious aesthetic towards at a global value of $185 billion in sales focusing on radical identity fluidity’ under (PWC, 2019). Streetwear organically creative director Alessandro Michele (BoF, grew as a result of identifying as product 2018). that aligns with today’s societal shifts and responsively delivers to the needs of a new generation of consumers, who are further driving the luxury goods market. Its further surge can be put down to its adoption by Brand Element luxury powerhouses, which through financial resource and wide consumer bases, have Choice Criteria moved streetwear into the mainstream to provide highly desirable product. Streetwear model (Kotler, Brand elements are devices which identify and differentiate the brand can also be seen through Highstreet to create as much brand equity as possible. Kotler’s Brand Element brands, often using to term to target the Choice Criteria model (Kotler, 2019), provides insight into brands and younger buyer when marketing casual wear 2019) sector’s position in terms of brand building, referring to growth and garments. The use of the term industry wide brand defending, referring to survival of external factors which may indicates the sectors oversaturation and limit the future of a business, through assessment of 6 elements. argument that ‘streetwear’ can be seen as a Memorable, meaningful, likeable, transferable, adaptable, protectable. fleeting fashion trend, contrary to its original In the infographic shown, after evaluating the market analysis, the anti-mainstream attitude. streetwear sector is lagging in 4 of the 6 criteria has outlined, most notably the 3 ‘defending’ elements which prolongs a brands life span and protects brands from external factors, that are out of their control, such as a pandemic. This model therefore clarifying how the 18 streetwear sector is 19at a pivotal moment, and in order to survive long term must improve of the defending criteria outlined. Despite Streetwear having held the upper hand PENDING in the fashion industry over the past decade, as mentioned there are various external factors that if not addressed, will see the sector fall into ISSUES: immediate demise.
SUSTAINABILITY
Sustainability can be seen to be one of the most pressing issues facing the fashion industry over the past decade, with it constantly evolving to take dominance over the actions of all fashion businesses. The development of a more conscious consumer is evident with the term “Climate Emergency” being declared the word of the year 2019 by Oxford Dictionaries (Zhou, 2019). As reported by McKinsey, 73% worlds clothing today ends up in landfill, in addition to more than $200 billion of unsold stock is sitting on shop floors and in warehouses around the world. Despite this, the number of garments produced annually surpassed 100 billion for the first time in 2014, doubling since 2000 (McKinsey & Co, 2019), showing that the fashion industry is a huge feeder of such ecological disaster. Despite these unnerving realities, in addition Reasoning for streetwear’s lack of focus on the sustainability ABOVE : Fig. 14 to 80 percent of consumers finding it essential for issue is argued to be linked to the value of cultural credibility High Snobiety (2019) companies to behave ethically and take steps to in products. High Snobiety’s editor in chief, Chrisopher Streetwear’s Sustainability diminish their environmental impact (Deloitte, 2019), Morency explains how “cultural relevance defines the value Issue streetwear as somehow slipped through the net. At of streetwear over the intrinsic value of its materials and both ends of the spectrum, from fast fashion brands labour.” (Morency, 2019), claiming how wider societal issues to high end luxury, brands face constant scrutiny such as sustainability isn’t yet written into streetwear’s from consumers over sustainability action. From ‘narrative’, due to the counter-culture nature rooted into H&M facing intense backlash from their ‘conscious such brands. However, it can be argued that such an collections’ to Burberry choosing to incinerate $37 excuse of sustainability not fitting streetwear’s ‘aesthetic’ is million worth of overflow inventory to prevent loss in weak. Reflecting on the young consumers high importance value, whether a brand is trying or not, they’re equally sustainability, in addition to streetwear claiming to reflect likely to face backlash. However, this ‘cancel culture’ the values of youth culture today, sustainability can be is seen to be absent in the streetwear sector, with the incorporated to a brands ‘cultural credibility’ and it can see majority of brands surviving scathe free. As stated as a serious business risk for those not taking a stance or by Eva Kruse, CEO and president of Global Fashion action. The cruciality of such response being evidenced with Agenda, “It’s actually within this segment of our Pulse of the Fashion Industry’s statement that “more than industry where most companies are lagging behind.” 50 percent of consumers plan to switch brands in the future (Morency, 2019), evidencing how streetwear brands if another brand acts more environmentally and socially could soon face demise if they don’t take action on friendly than their preferred one”.(Moore, 2019) such a pressing issue. 20 21 Other operational reasons for the gap can be put down to the streetwear market being made up of a large percentage of small designers and businesses, through the platforms such as Instagram. Despite a rise in small businesses being positive in the fashion environment, this results in many designers not having received formal training or knowledge on matters as important as sustainability, in addition to a mindset of not identifying as a feeder to the issue due to not being as volume driven as larger brands. Streetwear will always be “tied into a culture of over- consumption”- complex
With leading streetwear brand Supreme, reaching the billion-dollar value mark last year, after investment from the Carlyle Group (Kansara, 2017), it is undisputable that a brand, which could now be identified as a large business corporation, should be taking social responsibility of such issues. The streetwear model is a key feeder of the sustainability issue in fashion, arguably as damaging as fast fashion, just with a luxury preface. As explained by Complex, Streetwear will always be “tied into a culture of over-consumption”. Through the use of drop models to constant flow of trends to follow on Instagram, “it’s difficult for anyone to stop buying and think about the impact of their spending habits” (Takanshi, 2019). This drop model, commonly used by brands to creative and excitement of product through false scarcity, can be seen as particularly damaging due to often causing last week’s purchase to be no longer relevant only a week later, pressuring consumers to buy again. Returning to the question of what streetwear means today, High Snobiety RIGHT : Fig. 15 Melanin states that the sector is on the road to be Wonder (2017) Jayden formed by mindless consumerism over Smith the counter-cultural attitudes and beliefs it once stood for (Morency, 2019). 22 23 COVID 19
The recent strike of the global pandemic, Covid Despite the fashion industry being affected This change in a consumer mindset, is again 19, can be seen as an unprecedented event as a whole, across all channels, it has set to hit the streetwear sector hard, due to its that businesses across all industries, including been anticipated by McKinsey that mid- nature of clout and hype being its key drivers. fashion, could have never predicted or prepared market retailers are to be hit the hardest. Consumers can be seen to be addressing for. In coming years, it shall categorically This as a result of ‘cash-strapped shoppers the issue of ‘mindless consumerism’, such shape the industry and force it into a complete shall trade down to the value segment for as “re-evaluating their relationship to luxury overhaul, bringing previously brewing issues essentials and middleclass consumers and clout.” (Wilson, 2020). Despite the and questions to a head, with no fashion player turn more to heavily discounted affordable major issues set to face brands as a result standing unaltered from the events of this year. luxury and premium goods.” (McKinsey of Covid- 19, the crisis can be seen as a As reported by McKinsey and Company, 2020 & Co, 2020). This therefore hitting the force of change and a strategic overhaul for already was expected to witness an increasingly streetwear sector. In addition to economic businesses to adapt to key issues that may volatile market, being termed ‘on high alert’. As a impact shifting consumer behaviour in be have previously been difficult to respond result of Covid 19, conditions have gone from bad spending habits, the pandemic is also likely to in the unformidable pace of the industry. to worse, moving into ‘red alert’, with the fashion to lead to a change in consumer mindset. Value and brand purpose sitting particularly industry being seen as particularly vulnerable due As stated by trend forecaster Li Edelkoort, poignant through the issues mentioned. to its ‘discretionary nature’ (McKinsey & Company, “The virus, can be seen as a representation 2020). Despite still standing in the midst of the of our conscience... it brings to light what ABOVE: Fig. 16 LSN (2020) peak of the virus, Covid 19’s economic impact on is so terribly wrong with society and every Palace NHS charity hoodie the industry as a whole is already evident with a day that becomes clearer,”. In addition to OPPOSITE: Fig. 17 People 40% drop in capital from January to March 24th, a observing society as a whole, consumers Magazine (2020) Covid 19 far steeper decline than overall stock market. are set to look internally, and evaluate their belongings, which may now seem “pointless in a world where consumers can’t leave 24 their houses.” (Wilson, 2020). 25 PART 2- : ‘Cultural credibility’ is the newest buzzword that has waded into the streetwear industry, with streetwear tycoons such focused issue: as Christopher Morency and Bobby Hundreds stressing its essentiality yet also stating it as ambiguous and unable to be defined. “Cultural cred is intangible. It transcends geography and demographics and isn’t created by one group alone. It’s ambiguous and imbued with nuance, making it hard to define and put into practice.” (Morency, 2019). Debunked, ‘cultural cred’ is the ingredient which demonstrates a CULTURAL brand’s relevancy and ability to keep up with today’s cultural zeitgeist, this resulting in a brand’s product offering holding intrinsic value, such as Supreme products, which in past decades have transformed into status symbols for youth tribes around the world (Morency, 2019). As identified in CREDIBILITY the Market Analysis, due to the streetwear sector having undergone a transformation in the past decade, from moving into the mainstream to growing at formidable pace, brands have primarily retained relevance purely through churning out easily digested content to entertain the evolving needs of the young consumer.
However, the reality is in these challenging times, brought to a head by Covid 19, in order for streetwear to extend into the future, brands must seek a deeper meaning and narrative in addition to responding to pressing social issues identified. Streetwear businesses can currently be seen to be lagging in developing purpose and what they stand for, by not anticipating a long term vision and need for strategy. Brands should see ‘Cultural Credibility’ as a long-term goal of retaining relevance through effectively responding LEFT: Fig. 18 Hunger (2018) Gen to important issues, that authentically and Z Imagery consistently aligns with their developing brand narrative.
26 27 LEFT: Fig. 19 High Snobiety VALUE & PURPOSE (2018) Frank Ocean
As discussed, for streetwear brands to succeed in brand purpose a post pandemic fashion landscape, they must re- align brand purpose and value to the centre of the model (Kotler, strategy. Moreover, due to the pace the industry has grown in the past decade, many brands are 2019) For brands to hold long term likely to have unclarity on what that purpose is. authentic relevance within an For brands to re-align and explore this, the Brand oversaturated market, by effectively Purpose Model and the ‘Golden Circle’ model can responding issues, businesses be seen as guides. Both models, suited to brands must look inwards to develop their with varying clarity of purpose and values, guide internal purpose and values. brands to firstly look internally at what they do as a business, what they succeed in as a business and what they strive towards. Furthermore, the Brand Purpose model then leads an external view, for The need for brand purpose and values brands to evaluate what the world around them in not only essential for long term needs and desires, this could identify from current strategy but is equally vital to engage consumer needs to societal issues. From busi- today’s consumer. As identified, the nesses cross-referencing the information gath- youth market, consisting of Gen Z and ered from these models, allow them to self-ana- Millennials, are the main drivers of lyse from an internal and external view on what growth in the streetwear and new luxury their purpose is and how this can authentically re- sector, due to its provisions of providing spond to the environment surrounding the brand. consumers with individuality and a redefinition of exclusivity. However, when analysing this consumer, it is clear this group are in fact looking for something deeper than surface level qualities and aesthetics.
As part of youth culture’s search for individuality, the goods they purchase they wish to not only convey their personal aesthetic but also the values they hold. This importance evidenced in the statistic that 53% of Gen Z consumers will not buy if a brand fails to inspire or appeal to their positive emotions (Owen, 2018). This conveying evidence of the rise of the purpose lead brand. Furthermore, as identified by Accenture, as a result of today’s era of radical visibility, technology and media this have given individuals the power to stand up for their opinions and beliefs on a grand scale, infiltrating every aspect of people’s lives, including their purchasing decisions. (Accenture, 2018). Moreover, out of 30,000 consumers, 62 percent of customers want companies to take a stand on current and broadly relevant issues like sustainability, transparency or fair employment practices (Barton, 2019), as examined, this an area very lacking in the streetwear sector. Consequently, identifying and incorporating purpose and value into a brand, as evidenced by figures, is essential to engage today’s most dominant consumer, in addition to retaining relevance for the young consumer of the future. brand golden circle (sinek, 2020) 28 29 Customer intimacy
Furthermore, from brands re-aligning themselves to centre their purpose and values, this can be utilized to enhance customer intimacy, to achieve long term loyalty and engagement, further prolonging streetwear’s relevancy. It is reported that today’s consumer craves authenticity from every aspect of their lives, with fashion purchasing habits being no exception for this demand for realism (McKinsey & Co, 2019). Societal influences such as peoples increasing dependence on technology, has left consumers seeking for human connection beyond their social circles, however, it is argued that sectors within fashion, especially in luxury, is lacking this touch. In the annual ‘Brand Initimacy Study’ carried out by MBLM (MBLM, 2020), which analysed 56,000 brand evaluations across 15 industries, the luxury sector was ranked 14th out of the 15 industries studied, showing a clear demand for improvement. Brand personality has always been seen as vital in the fashion industry particularly, due to its diverse and creative nature, this being even more prevalent with today’s market being more volatile than ever. Therefore, brands could result in serious consequences if failing to communicate their brand personality, differentiating themselves in the marketplace and creating loyalty by building intimacy with their customers (Biggs, 2020). Due to streetwear’s changing and somewhat diminishing personality in the past decade, due to its infiltration to the luxury sector, it would be encouraged for brands to re-align themselves and look inwards to their original brand values and roots. As explained by Glendining, brands should seek opportunity in telling ‘great brand stories, not just with transparency and authenticity, but with an understanding of how these messages will run…with a long term vision of strategic consistency’ (Glendenning, 2016). As identified when analysing the origins of streetwear, brands’ character and rawness is what originally differentiated them from the rest of the RIGHT: Fig. 20 Chnge.com fashion industry. Cultural credibility could therefore be (2020) Chnge Sustainable utilized to see streetwear brands move back to their streetwear roots. 30 31 The term ‘woke-washing’ can be seen as a somewhat by product that has surfaced with the rise of brands increasingly centring ‘purpose’ into their business and marketing strategies. The term itself was first generated by Unileiver CEO Alan Jope, who stated that the new phenomenon of woke washing is ‘not only polluting purpose but threatens to further destroy trust’ (Christe, 2019) in which he goes on to state is already in short supply. Moreover, the term can be seen as a further development of ‘green washing’ which has been an issue in the fashion industry for decades. As defined by Business of Fashion, greenwashing is when a ‘brand’s marketing around sustainability runs counter to its business practices’ (Mondalek, 2020), likewise, woke washing can be seen to be brands marketing surrounding purpose, social impact and brand culture not aligning with all business practices. Despite the issue sounding easily avoidable, increasing numbers of brands are being scrutinised and ‘cancelled’ nearly every day. ‘Cancel culture’ refers to the negative implication’s brands face from problematic behaviour from a misleading advertising campaign to leaked emails. As stated by Time Magazine, the result can be extreme, ‘you automatically lose all your currency. Your voice is silenced. You’re done.’ (Hagi, 2019) this demonstrating the extremity of implications if brand action is not thoroughly assessed. The extent of this evidenced with the figure by the New Economics Foundation who calculated the negative consequences of such advertising – from promoting indebtedness to “social and environmental damage” results in every pound of value generated by an advertising, £11 worth was implications & ‘woke washing’ destroyed (Jones, 2019) Examples such as Lacoste, who announced it would swap its trademark crocodile logo for 10 limited-edition polo shirts featuring a different endangered species instead; but was soon pointed out that the company was offering “gloves made from deer leather, can indeed be seen as ill-advised and a demonstration of ‘tone dead activism’ (Adams, 2019). However, today it seems that brands across all channels are constantly being bashed. Even TOMS, a footwear brand who has kept social impact central to their brand for decades, including providing footwear, safe water and sight restorations, have faced scrutiny with it being reported that research shows that the shoes had almost no impact on children’s lives, and that shoe donations were helping to wipe out job-providing ABOVE: Fig. 21 HoMie.com industry in Africa. 32 (2020) HoMie streetwear 33 However, the reality is that smaller brands that have not previously spoken up in terms of social and environmental issues cannot authentically make moves as strong as the likes of Nike after a history of saying nothing. Brands must instead curate tools and strategies to gradually incorporate the purpose and values identified, to eventually develop a powerful voice in our both our increasingly pressured society and fashion industry. Despite the pressure of ‘call out culture’ within our society, when looking into the future of purpose lead brands, LSN Global argue that brands that shall ‘thrive in this decade will take a more realistic, honest and iterative approach to development.’ (LSN, 2020), exploring the view that consumers prefer brands to be honest and trying, rather than be afraid of failing so do nothing, which streetwear are likely to be guilty of.
As explored within the section, the latest streetwear buzzword of ‘cultural credibility’ is the act of brands providing long term relevance within the ever-changing streetwear sector. However, whilst most brands have relied on obtaining relevance by solely satisfying the current Gen Z consumer, to retain this long term and survive consumer shifts and the challenges identified in the market analysis, businesses must now look to convey relevancy by looking beneath the surface. With the fashion industry today being expected to take a stand on societal issues more than ever, streetwear brands will only be able to achieve and authentic response by looking inwards and develop their purpose and values in order to then convey a consistent and meaningful outward message.
The increased criticism and accusations of woke washing throughout the battle for brands to convey purpose and social responsibility but not be ‘cancelled’ can be linked to a wider issue within the fashion industry that has occurred over the past decade, which has seen it to have entered the ‘culture wars’. The rise of the internet and social media has given consumers the power to broadcast their opinions more than ever, resulting in brands being held directly accountable for their actions to a degree that would have been unthinkable even a decade ago (Business of Fashion, 2019), being expected to voice opinions and take stances on political, social and environmental issues worldwide. Leaders in the movement include Nike, who amassed huge triumph, through their ‘Dream Crazy’ campaign using Colin Kaepernick, demonstrating the brands risk appetite when it comes down to standing for a cause. Not only did it galvanise their brand purpose, but also followed in $163 million in earned media, a $6 billion brand value increase, and a 31% boost in sales (Beer, 2019). The ABOVE: Fig. 22 La Times (2018) demonstration of such strong brand purpose from Nike, Colin Kaepernick Nike Campaign effectively shook up the industry, forcing other brands to RIGHT: Fig. 23 Twitter (2019) look internally and assess if their messages and purpose Brands ‘Get Woke’ Meme align. 34 35 BELOW: Fig. 24 Appear Here (2018) How streetwear grew a PART 3: Response plan coveted community
36 37 Collaborations within the streetwear sector can be seen as exhausted. With the surge of this market being accompanied with collaborations launching every week. Today, collaboration fatigue is evident across all channels, with Vogue labelling the letter ‘X’, its unofficial signage in fashion as ‘used and abused’ (Yotka, 2018), describing how the term has moved from ‘artful statements of the power of teamwork to a corpo-cool buzzword’. Despite the term being seen as exhausted, it may not be the use of collaboration that is the issue, but rather the choice of partner and how they are utilized. When researching streetwear collaborations over past years, it is clear that there has been next to nothing in terms of brands using their platforms to collaborate and spread awareness on issues, which is shocking when evaluated against Gen Z’s importance of brands taking a stand. Instead the majority showcase collaborations only choosing the hottest influencers, or other established brands with both sides As evaluated in Part 2, ‘Cultural Credibility’ only looking to reap ‘clout’ from widening their consumer bases, or can be identified as a long-term strategy for adding to product lines, this adding little to brand narrative or long- streetwear brands to strive towards to retain long term strategic vision. Instead, is can be suggested that brands should term relevance, through providing consistency lean their focus towards ‘Cultural Voices’. As explained by High in responding to the cultural zeitgeist and own Snobiety, a cultural voice is someone “who’s earned their stripes and brand narrative. Furthermore, as identified, due not just told a story. They’re the ones who have been part of the to increasing pressure of consumers being quick change and have helped shape the culture.” (Morency, 2019). to assume of ‘empty gestures and opportunistic strategies’ (Fernandez, 2019), efforts towards The use of cultural voices can equally spread brand awareness across different industries and consumers, but instead focuses on
cultural credibility must be thoughtful and voices & cultural collaboration gradual to provide authenticity. A brand who may consumers with similar mindsets over demographics. Furthermore, have lagged and provided no previous narrative the use Cultural Voices can be highly advantageous for brands or response to social issues cannot immediately due to collaborations with figures such as activists educating the focus an issue, such as sustainability, to the brand and can provide advisory on how to authentically execute centre of their strategy, movements instead must a campaign tackling issues whilst aligning and developing brand be gradual but effective. As follows, is a selection narrative. An effective match should express co-creation not of tools and methods of which streetwear brands appropriation and result in mutual benefits from both brand and can incorporate into their businesses and cultural voice. Additionally, brands could look not to only figures or marketing strategies to build cultural relevance. activists, but also business to business collaboration, such as to develop sustainability efforts. The impact of Covid-19 has somewhat triggered streetwear brands to begin to develop product linked to a cause, examples including popular skateboard brand Palace, who launched a limited-edition iconic tri-logo collection, branded with ‘National Health Service’. The collection was so successful it sold out in under five minutes, ‘showing consumers keen engagement to do their bit through brands that already mean something to them.’ (Wilson, 2020). This evidencing the potential success that streetwear brands have previously missed out on and should act as motive to continue these efforts post pandemic. Once developing an authentic narrative, not only can product provide relevancy and purpose, it can also evidence risk appetite when standing for a highly debated cause. BELOW: Fig. 25 An example including clothing brand Mackintosh, who launched a Sepstep (2020) Stussy t-shirt in aid of Steven Lawrence, a black British teenager who was murdered in a racially motivated attack. 38 39 Storytelling is essential in today’s increasingly competitive fashion environment, particularly when communicating a brands narrative. The increased use of social media platforms, predominantly Instagram, but also increasingly used TikTok, has resulted in brands relying and overusing such apps to create easily digestibly story telling story content, resulting in the effect of the internet having ‘democratized Responsive product has sat marketing’ (Da Costa, 2019). central to streetwear’s success Furthermore, businesses today in achieving relevancy. Brands are “only tapping into the logical use of simple products such as part of our brains.” by only pushing hoodies and t-shirts allow them to product and are therefore missing quickly respond to new trends and out on the other “social and content due to printing onto these emotional factors which people garments requiring shorter lead are really looking for in order to times, and therefore delivering connect with a brand.” (Hawkins & to the cultural zeitgeist quicker. Stott, 2019). This showing how the Despite such responsiveness consumer is looking for emotional being effective, these garments engagement, but instead has are often unsustainably made, developed immunity to content and despite many streetwear
described as ‘homogenous and brands using the ‘drop model’ by responsive product disengaging’ (Morency, 2019). only producing limited numbers to This narrative must move away create hype, this does ensure less from this force of purchase, into excess stock is wasted however, storytelling for all followers that it equally drives the consumption wish to follow the brand, not just cycle, due to keen streetwear purchasers. As explained by consumers being driven to buy Trotter (2017) ‘Storytelling can new garments every week. Brands help to humanise your brand. Done such as Everpress and also H&M right it can educate, entertain and have responded to these issues, engage, helping create memories by providing an alternative. These that root a brand in the customers’ systems allow designers to uploads consciousness’. Storytelling designs for a ‘campaign’ period devices can vary from regional of two weeks before ‘producing campaigns to in-store experiences. the exact amount that has been ordered, thus eradicating waste and surplus stock and minimising ABOVE: Fig. 26 Everpress.com the financial risk involved’ (Willson, (2020) Everpress 2020), this answering problems of sustainability and breaking the RIGHT: Fig. 27 Dazed (2019) reckless streetwear consumption Cultural Voice: Dapper Dan cycle.
40 41 A predominant factor of streetwear’s origins lies in its use and development of community, having developed a two- way dialogue with its consumers, this leading them to cultivate relevancy of their products. However as developed through this report, due to the fast expansion of the sector and its move into mainstream this community has since faltered. Brands communication to their consumers now lies heavily on social media, predominantly Instagram, however due to the high usage, with 1 billion user every month (Newbury, 2020), the reality of a consumer actually being able to connect and converse on such This can be seen as going back to apps is dubious. With consumers basics, similar to the likes of NikeTalk re-evaluating their relationship with and Sneakerpedia.com, which were brands, this particularly triggered the original streetwear forums in by Covid-19 and not currently which original consumer ‘hype beasts’ experiencing in-store interactions to connected on to share passions, communication & transparency communication retain connection, brands urgently which eventually disappeared due to must assess and improve their the likes of social media, however, it communication with consumers, could be argued that these platforms not only relating to PR campaigns. could make an effective comeback. Streetwear brand NOAH can be seen Transparency has been a term as an inspiring example, who use increased in value over the past year, their blog to as a ‘vocal mouthpiece’ after identification from McKinsey’s for fundraising drives, charitable State of Fashion 2019 report. The causes and activist organizations, use of businesses having a more seeking to educate customers more open relationship with consumers about a world beyond brands at a time has been predominantly interpreted in where brands have become our world terms of sharing sustainability efforts. (Gordon, 2016). However, the use of transparency requires a change in brand culture, and heavily links to the increased communication and need for two way dialogue identified, with the two coming hand in hand. ABOVE: Fig. 28 Hypebeast (2016) Stussy imagery
42 43 INITIATIVES:
-Black lives matter campaign- only American fashion brand to speak out Streetwear brand NOAH, founded in 2015, about the movement, despite black by former Supreme Design Director, Brendon culture being such a rich source of Babenzien, can be as a revolutionary and CASE STUDY inspiration for so many streetwear forward-thinking brand, when evaluating its labels. T-shirts sold with 100% of current actions against the issues identified profits donated to the movement. in this report. Despite being only 5 years old, (Gordon, 2016) the brand has successfully incorporated a plethora of issues that many classic decades “I know many people don’t think it is old streetwear brands have been unable to. our place to voice our opinion on this This case study outlines particular highlights matter. I disagree. Those of us with of the business and marketing strategies, and businesses who create graphics or can be seen as an inspiration and guidance to speak to people through our various small streetwear brands that wish to follow the media channels have a responsibility same path. to address these issues.”
Being dubbed the ‘Buy less, buy better’ -Enrolled in the 1% for the Planet streetwear brand (Rookwood, 2017), NOAH network, pledging to donate 1% of showcases an ‘eclectic mash-up of interests annual sales to effective environmental and inspirations holding cross generational nonprofit organizations. appeal’, that centres social and environmental responsibility within its business. High - Focus on working with most ethical Snobiety describes the brand to have ‘carved factories. a comfortable niche for itself as a safe haven for well-weathered older heads and style- “Our first agenda was to work with savvy younger generations looking for on- better factories that employ people Despite NOAH’s immense success through point pieces away from the hype, hysteria, and pay them well, and give them various aspects of its business and being seen security guards’ (Foley, n.d). This noting vacation time. Factories where as an inspiration to other streetwear brands on the brands success in both engaging the people are happy and healthy. The how to effectively operate in today’s complex original streetwear consumer, in addition to other component was building better industry, in an interview with Business of the increasingly dominant young consumer product, things that will last longer Fashion (Business of Fashion, 2019), he by setting itself apart from the negative so we’re not just creating throwaway stresses the importance for brands to try their connotations developed from competitors, stuff, you know?” best over the pressure to be perfect, despite hence looking into a clearer future. pressure and accusations from consumers. “It is not possible for small companies with Babezien’s brand consistently acts upon his limited resources to be all the way right”, he desire to reclaim space in the ‘streetwear scene explains, further describing the importance for dialogue, conversation and collaboration LEFT & ABOVE: Fig. 29 30 Mr in working with ethical factories and talking beyond sticking two logos on a label’ (Foley, Porter (2017) NOAH to your consumers being ‘fundamental basic n.d.), in which NOAH has acted and spoken stuff’ that will set you up for success. out on a plethora of issues within today’s society. 44 45 conclusion
The streetwear industry has transformed in the past decade, both for better and for worst. Small clothing brands that started in the trivial skate and surf hubs of LA and NYC, have renovated into billion-dollar businesses, creating mass worldwide fanbases. In spite of this global growth, these brands continue to resonate with the youth of today. BELOW: Fig. 31 Despite streetwear brand’s success over the past decade, Wear Testers (2019) Complex seen in immense business growth and financial triumph, Con heavily linked to its adoption from luxury powerhouses, the immediate impact of Covid 19 and the continual pressures of sustainability within the fashion industry, triggers this sector into a pivotal moment. Consumers are now predicted to more than ever re-evaluate their relationships with businesses they interact with and products they consume, with fashion being at the brunt of this due to its discretionary nature, furthermore, as identified the middle premium market is set to face the worse of this demise in consumer spending.
As identified in this report, it is advised that streetwear brands take the pause forced by Covid-19 as a time to re- strategize and re-align. Due to the pace the industry has previously been functioning, it can be seen that streetwear brands have lost their brand identities by simply striving for cultural relevance only based on the needs of Gen Z, rather than what benefits them as a brand, therefore this is not equipping them with long term strategy or vision into the future. To further this need, consumers are developing a continually rising expectation for brands to respond and take action within all issues in our society, from political stand points, racism, sustainability and LGBTQ+ visibility. Despite this expectation, consumers are quicker to spot and are more accusing of inauthenticity in brands motive or purpose when responding to these issues, with the term ‘woke washing’ being rife within marketing. However, with the tools and opportunities identified, streetwear brands can gradually look to increase their cultural relevance whilst also deepening their brand narrative, with the two aligning seamlessly to reach ‘cultural credibility’. In addition to the cultural relevance achieved, these actions can also improve brand intimacy, customer engagement and brand loyalty, providing streetwear brands with the qualities and strength needed to progress beyond a post pandemic landscape. 46 47 Moore, K., 2019. New Report Shows Sustainable Fashion Efforts Are Decreasing. [online] Forbes. REFERENCES Available at:
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