Amanda Mannell Final Major Project

How are the shifting macro trends influencing FUTURE INNOVATIONS within slow and SUSTAINABLE FASHION? Amanda Mannell ARTD3046 Final Fashion Management Project

1 How are the shifting macro trends influencing future innovations within slow and sustainable fashion? Final Major Project CON TE NTS

PART 2. INTRODUCTION PART 1. PART 3. PART 4. PART 5. CONCLUSION 18DOMINATING 30DETOXIFYING 38CONVERGING 46BRAND 8 10S LOW 64 FASHION MACRO THE SUPPLY MEGATRENDS PROPOSAL REVOLUTION TRENDS CHAIN

2 3 How are the shifting macro trends influencing future innovations within slow and sustainable fashion? Final Major Project

New and existing brands are incessantly looking for ways to exposed themselves. This included the rise in attention innovate their business models and thrive in a competitive towards slow living, moreover, embracing wellness through environment. However, Todeschini, B. V et al explains that products and services. Trend forecasters at LS; N global “sustainable business models are still in the exploratory phase,” believe that in our post-growth society, “success is no longer (2017) are yet to fully acknowledge and experiment with hinged on GDP, but on happiness and fulfilment.” (Smith, J emerging trends. New markets, new technologies and shifting and Firth, P. 2020) Obsessing over profit and revenue in turn consumer needs are presenting significant opportunities along leads to wrong decisions. Therefore, rejecting the idea that with costly risks. Currently the fashion industry is going under the economic sustainability of slow fashion is a matter to be transformational change due to unprecedented disruption of fixated on when innovating a slow fashion brand, but instead a global pandemic. The damage and recovery process is yet they need to be focusing on future innovations which embrace to be established however McKinsey explain the in the midst their overall purpose and values and reflect the positive of a macroeconomic event “only those brands who accurately contribution to environmental, social and ethnical progress. reflect the zeitgeist or have the courage to self-disrupt will A solution to this would be focusing on the detoxification of emerge as winners.” (McKinsey & Co. 2019) the supply chain which will encompasses ethnical values of Analysis on the shift towards a more sustainable approach slow fashion whilst meeting the demands of the conscious to fashion revealed how western retailers have started to consumer. Innovation in new materials, rise in legislations transform their business models by abolishing fast fashion and demand for transparency is helping slow fashion brand methods and implementing environmentally and ethnically innovate their business models to adopt a more economical conscious strategies. This comes at a time where “consumers viable and social and environmental conscious business are becoming increasingly concerned with social and model. Moreover, focus on more holistic and real approach environmental cause backing their beliefs with shopping to business has driven the idea that to do business in fashion habits and favour brands who align with their values.” you must stand for a bigger purpose rather than generating (Business of Fashion, 2019) In response, large scale retailers profit. Once again emphasis that economic sustainability is such as H&M & Zara have invested in sustainable actions not a defining success factor in this industry anymore. with the legitimized belief that this trend will persist. They The rise in digital technologies has also revolutionised the way are challenged by start-up brands who have also adopted this slow fashion brands can connect with their consumers and macro shift towards sustainability but centred their whole create an opportunity to create a more immersive experience. existence to providing consumers with environmentally Consuming digitally is much more sustainable and can be conscious products. These brand aim to encompass balance accomplished by providing alternative content which doesn’t by “slowing downing consumption, extending the lifecycle involve the production or consumption of new products. of products and creating a circular economy.” (Fletcher, K. Part 5 of this report explore the future of slow fashion with 2008) However, Jung, S & Jung B question how economically a brand propose which encompasses the trends discussed sustainable of slow fashion business models are as they believe and demonstrates how they can be implementing to create a their ability to generate and sustain profit is challenged when successful business model. trying to diminish consumption and select quality over quantity which unhandily increase product price. (2016) This report provides an investigative analysis into shifts in the macro environment which are leading to bigger ideas and innovative strategies likely to influence the future of the slow fashion movement. The shifts in consumer attitudes and demands will demonstrate how sustainability is creating a new consumer value whilst the analysis of macro trends will provide alternative approaches to sustainable business models which still encompass the triple bottom line. Upon exploring macro environment using the framework provided by Nystrom, dominating trends, which are causing a move towards slower consumption and sustainable products

EXECUTIVE SUMMARY 4 5 How are the shifting macro trends influencing future innovations within slow and sustainable fashion? Final Major Project

The aim of this report is to address a theoretical problem and provide speculative solutions and conclusions to how the macro environment is currently influencing innovations within sustainable fashion. In order to achieve a validated investigation, a mixed method approach was conducted using numerous quantitative and qualitative secondary sources to allow for a combination of numerical measurements and in- depth exploration. Due to the disruption caused by covid-19, obtaining primary research was made more challenging. Although efforts were made to obtain qualitative data in the form of an interview with sustainable fashion brands, the discrepancies of responses meant that it was not sufficient enough to include in the body of research or draw out any conclusions. Quantitative data was attained through investigative analysis of secondary surveys, reports and journals, such as Business of Fashions and McKinsey & Company ‘The State of Fashion’ series, which provided statements and conclusive data on consumer shifts and industry issues. Trend forecasting sites such as Euromonitor and Mintel were also paramount to the exploration into dominating macro trends and helped legitimise findings with statistics. The quantitative data and statements used to formulate an idea or conclusion were validated by rigorousness study into multiple sources which claimed the same or similar evidence. This approach achieved the best results for categorising and identifying patterns which generalisations could be made from. Secondary qualitive data, although less controlled and more interpretive, was used to gain an in-depth insight into specific concepts and theories. Books such as ‘Consumer Behaviour and Sustainable Fashion Consumption’ edited by Senthilkannan Muthu, S provided understanding into consumer behaviour regarding sustainable fashion, whilst ‘managing Sustainable Business’ edited by Lenssen G., Smith N suggested business model innovations for sustainability and the importance of creating shared value to achieve growth. The range of qualitive data used was more expansive than quantitative data used due to the nature of the investigation. These sources provided areas of interest within the report and worked the best for describing, interpreting and contextualising ideas and future innovations. They also underpinned knowledge and comprehensive understanding into themes such as slow fashion. ‘Sustainable Fashion & Textiles’ written by Fletcher, K contributed sufficiently to the Fig 1. Lazaridou, M (2020) general understanding of slow fashion and although didn’t provide evidence to conclude answers to the investigate, did enhance the justification of ideas and gave standardised information. Validity of this type of research was achieved by analysing trusted resources and using known industry expert materials. Alongside, maintaining a critical stance when meticulously analysing sources to help ensure that the content of this report is rational and balanced.

METHOD OLOGY 6 7 How are the shifting macro trends influencing future innovations within slow and sustainable fashion? Final Major Project

INTRO DUCTION

Sustainability-related business model innovations are thriving, approach. The uncertainty on how to innovate a sustainable with new ones arriving almost daily. The sudden proliferation fashion business model while pursuing not only economic of such innovation guided this exploration into the impactful but social and environmental value creation can be relieved Fig 2. Dukic, N (2020) macro trends and shifts in consumer behaviour which are by gaining perspective on the zeitgeist. Capturing the macro likely to influence the future direction of slow fashion. trends develops a “capacity for systemic thinking so that Slow fashion is an emerging form of retail “centred on they ‘connect the dots’ by separating the noise and everyday production principles that encourage increased lifecycle of activities from the fundamental shifts that are taking place in products, reduced volume of purchasing by individuals, and the industry.” (Thind, R. 2018) This report outlines some of ethnical care in production and sales.” (McNeil. L & Snowdon, the dominated trends driving change in the fashion industry J. 2019) The adoption of this system shifts incentives in the and which slow fashion brands can embody into their business value chain and encourages consumers to prioritise longevity strategies to stay competitive and provide alternative values to and consumption ethics over price and newness. However, consumers. “the necessity for profit making and market share underscores the difficulty in slow fashion position in the modern market” (McNeil.L & Snowdon, J. 2019) due to understandable higher prices and unique values. Unlocking opportunities to encourage consumer to support this shift and adopt a new approach to consumption will involve taking a new approach to value creation which rejects the traditional fast fashion

Fig 3. Dukic, N (2020)

8 9 Part 1. Slow Fashion Revolution Part 1. Slow Fashion Revolution

FAST FASHION

Slow Fig 4. Fashion Revolution (2020) Over the past 20 years the boundaries in the fashion industry to the “industry accounting for eight per cent of global green started to expand and key strategies such as ‘sense and respond’ house gases.” (The Guardian, 2020) were used by mainstream retailers to maintain a profitable Fortunately, the media has shone a light on the negativities position in the increasingly dynamic and demanding market. surrounding fast fashion and the conscious consumers have (Bhardwaj, V & Fairhurst, A. 2010) Large and sophisticated awoken and begun demanding more clarity on the supply Fashion fast fashion brands such as ASOS and Misguided are able to chain process used by their favourite retailers. McKinsey state respond quickly to trends because of agile and streamlined that internet searches for ‘sustainable fashion’ tripled between operating systems. This new business model has abolished 2016 and 2019 evidencing that the quest for knowledge traditional Spring- Summer and Autumn- Winter collections is mounting. (Business of Fashion, 2019) Sustainability is to incorporate constant deliveries of ‘seasonless’ merchandise. now arguably one of the biggest issues in fashion today McKinsey have reported that “92% of vertically integrated and has encouraged a growing movement among retailers Revolution players launch product monthly or even continuously.” (Berg, to incorporate ethical and sustainable practises into their A et al. 2018) This relentless rotation of different trends business. generated by celebrities, media, art and culture have “led consumers to seek products, sometimes regardless of quality and price, that are cool, fresh and relevant.” (Thind, R. 2018) Millburn and Nicodemus believe that this system has resulted in overconsumption and embedded an irresponsible attitude amongst consumers who believe that cheap products can be treated as disposable. (Minimalism: A Documentary About the Important Things,2015) Furthermore, it doesn’t help that the rapid and low cost manufacturing cycles needed to keep up with the trends produces low quality and low priced fashion products which prompts consumers to buy multiple clothes at once, to which they then dispose of them shortly after, resulting in increasing amounts of waste. (Fletcher, K. 2010) This profit driven industry ignored its destructive impact it was having on environment which, as a result, led

PART 1. PART 10 11 Part 1. Slow Fashion Revolution Part 1. Slow Fashion Revolution

SLOW FASHION Fig 5. Aiayu (2020)

Awareness of an increasing population and diminishing This mindful production cycle originated from the slow food natural resources has enabled the sustainability concept movement in 1986 which “has gradually expanded to oppose to play a more important role within economic, social and the proliferation of corporate-centred dynamics such as fast environmental development. “It now has the core purpose of food restaurants in countries that have traditionally been meeting the needs of today’s generation without giving harm attached to the origins of food” (Mayer, H & Knox, P.L. 2006) to that of the future generation.” (Saricam. C & Okur. N. It since, has become a way of living and eating which remains 2019) In response, Slow Fashion Movement, came to play committed to the community and the environment. and rotated the current fashion system. Fashion sustainability enthusiast, Kate Fletcher explains it as a “new vision for The slow approach presents a prospect of fashion and can fashion in the era of sustainability: where pleasure and identify sustainable solutions to the extreme wastefulness and fashion is linked with awareness and responsibility.” (Fletcher, lack of environmental concern of the current system. Clark K. 2008) Slow fashion calls for increased environmental and identifies 3 lines of reflections associated with the slow fashion social consciousness from fashion producers when making movement, and if adhered to formulates a sustainable and choices in all areas of the products lifecycle. This includes conscious brand. (Clark, H. 2015) fabric choices, cultivation, production, manufacturing, distribution, consumer laundering, reuse and final disposal.

TRANSPARENT PRODUCTION SYSTEMS Transparency across the supply chain is now demanded by consumers and according to Business pf Fashion, “consumers now expect companies to reciprocate with radical transparency and sharing of information. (2018) It has become important further up the supply chain with increasing concerns about issues including fair labour, sustainable resourcing and the environment. Giving the consumer greater transparency can add to the value chain because retailers and brands will rigorously audit their business practises to identify potential areas that may erode consumer trust. LINE OF REFLECTION

VALUING OF LOCAL RESOURCES SUSTAINABLE PRODUCTS Fashion currently works on an international scale. We are consuming clothes that have been The slow fashion movement encourages responsible use on resources designed, manufactured and retailed in more than one country. “The textile and clothing and labour in the production of fashion good. The whole lifecycle of industries, which produce around 7% of all world exports manufactured by 26.5 million, the fashion products needs to be sustainably considered including the mainly women, workers, many of whom are paid below living wages and suffer sweatshop materials and fibres used in manufacturing down to its disposal and conditions” (Allwood, J.M. 2006) An emerging approach is to decentralise and localise the waste management strategy. “The introduction of alternative fibres production of fashion good, harbouring the physical and social resources of each origin. and innovative technologies such as organic cotton and lyocell can have Garments process offshore creates an environmental cost of transportation but reducing large positive effects of the environmental impact posed by the fashion carbon emissions is only one part of the move towards local. Fletcher notes that localisation industry.” (Fletcher, K. 2008) Valuing resources and minimising the brings “economic resilience, social engagement and cultural and aesthetic diversity.” impact on the environment is the fundamental credential to the slow (Fletcher, K. 2008) Developing product to sustain a community, providing people with fashion movement and creating more sustainable fashion products is meaningful work and a sense of connection to the place they live represents an opportunity the first step to improvement. for major change within the industry.

12 13 Part 1. Slow Fashion Revolution Part 1. Slow Fashion Revolution

WESTERN RETAILERS TAKING ON SUSTAINABLE PRACTISE CASE STUDY H&M

Fast Fashion brand H&M has begun to implement long term strategies into their business model which progress towards circular and climate positive future of fashion. They have described their deepest intentions are “to be fair and equal to the people and the communities around them. Use the planet’s resources consciously and become a Circular & Climate Positive company. And Lead the Change by pushing themselves and the industry to reinvent and transform.” (H&M. 2020) Their ambition to transform into a fully sustainable brand has reinvented the fast fashion industry and provided a clear example of how it can be done. In their 2019 `Group Sustainability Performance Report’ they detailed the launch of a “business-to-business service called Treadler, which offers textile and apparel retailers access to the group’s supply chain, enabling other companies to accelerate sustainable social and environmental change through their own value chains more quickly” (Fish, I &Whelan, G. 2020) This demonstrates that they are leading the way to a more sustainable industry, focused on true change with an authentic nature and not driven by competition and profit. Efforts H&M have taken include using one recycled or organic cotton, working with supplier who are enrolled in the Zero Discharge of Hazardous Chemicals programme and creating a transparent supply chain so consumers can see who and how their clothes were made.

Fig 6. Topshop (2019)

In a recent survey conducted by Euromonitor “61% of competitors in the market.” (Jung, S & Jin, B. 2016) Therefore consumers said they were worried about climate change and you could suggest that brands who are capturing consumer 53% of them feel that they can make a difference in the world shift and incorporating sustainable values into their strategies with their purchases.” (Euromonitor International, 2020) This are gaining a competitive advantage. However, Business of eco-anxiety is reshaping consumer values and expectations Fashion emphasis that it is important that brands “carefully increasing trepidation into businesses. In recognition to ensure consistency in their messages and actions” or they risk consumer shifts and new government legislations surround losing authenticity and consumer trust. (Business of Fashion. sustainable practises, existing retailers have adapted parts of 2018) Some companies are disrupting the industry further by the business strategy to incorporate sustainable and ethical putting purpose at the heart of their strategy and operations. strategies. Clinton and Whisnant have explained that “business models are the underlying structures of how companies create, deliver and capture value which form the engine of our economy.” (Clinton, L & Whisnant, R. 2018) The pressure from the circulating awareness of sustainability which is filtered throughout the macro environment has encouraged conscious brands to transform their existing models, so they are able to create, deliver and capture sustainable values and ultimately disrupt the industry. In order to capture the attention of the new conscious consumer, brands are having to innovate their business models and rethink their proposed values and brand identity. According to the customer value creation Fig 7. H&M (2020) framework set out by Jung and Jin, “firms that are capable of creating and providing customers with products of believed superior value may acquire a more favourable position than 14 15 Part 1. Slow Fashion Revolution Part 1. Slow Fashion Revolution

SLOW FASHION BRANDS

Start-up brands which have a brand ethos and values rooted However, the economic sustainability of slow fashion is towards sustainability are causing even more competitive questionable. This is because “low speed and small quantity disruption within the industry. These innovative and future production cannot compete with companies based of thinking brands act as challenger brands because they are economy of scale strategy, and higher pricing may not generate CASE STUDY TALA often considered “nimbler and more effective at reaching sufficient demand.” (Jung, S & Jin, B. 2016) Suggesting that younger audiences.” (Business of Fashion, 2018) These brands sustainable start up brands are actually unlikely to be seen as TALA is an on-trend and inclusive sustainable activewear brand. Their mission are characterised by rapid growth, social media fluency and competitors to established brands but can act as a dominator outlined goals to “help combat the effects of fast fashion, fight for climate action, e-commerce focused distribution and are able to match the in shift attitudes towards sustainability and put pressure on and continue the trend towards ethical consumerism.” (@wearetala, 2020) Their zeitgeist more quickly than established brands. Bigger retailers established brands to implement sustainable practices. products are made from materials which have been upcycled from factory cut offs with embedded values and brand identity have to fully disrupt The economic uncertainty of slow fashion will be discussed and waste. However, TALA claim that they are constantly choosing to “innovating in order to adapt to the shifts in macro environment, which through this report and will be matched with dominating by researching and trailing the best suitable materials.” (TALA, 2020) Being a start- are continuously rotating, therefore can cost a lot of money macro trends, which if adapted into a business model, will up brand with a core focus on affordable sustainable products means they are able and time. Start-up slow fashion brands are able to act more shine a light of reflection on the permanence of the business. to quickly adopt developments in new materials and fabrics without it effecting flexibly to the macro environment with the use of technology their brand identity or model. Their positive contribution to environmental issue and loose expectations. has been noticed by media and journalist, and accumulated huge amounts of press coverage, helping to sustain a drive towards more conscious attitude towards fashion.

Fig 8. LOOKSLIKEAFILM (2018)

Fig 10. TALA (2019)

16 17 Fig 9. Lamparelli, A (2018) Part 2. Dominating Macro Trends Part 2. Dominating Macro Trends NYSTROMS THEORY

In 1928, Nystrom suggested a series of factors that guide and influence the direction of fashion. Brannon, E states that to this day, these factors are still used as a framework to observes the zeitgeist, which in turn help brands and retailers adapt their strategies to suit the current environment. (2012) This part if the report investigates dominating stances on society, which are likely to impact the slow fashion movement, either helping it to grow or causing a wave of uncertainty.

Genz Activists

Lifelong learners Conscious consumer Luxurians

Brexit Dominating Purpose Led Social Environ- Dominating Covid-19 Groups mentalists Dominating Events Black Dominating Lives Anxiety Macros Attitudes rebellion Matter Protest Dominating Trends

Health Trends E-commerce and Well- Dominating ness Technologies Dominating Slow Social living Ideals Rental Media

Gami- Digital Sub- AI fication Block- Fashion scription chain Mini- Weeks based Fash- malism ion AR

PART 2. PART 18 19 Part 2. Dominating Macro Trends Part 2. Dominating Macro Trends

COVID 19

Fig 13. Akmen (2020) Fig 12. Bloomberg (2020) Fig 12. Bloomberg

Fig 11. Microban (2020)

On 11th March 2020 the world Health organization officially labelled Covid-19 as a global pandemic. As a result of this, countries turmoil into a lockdown state rewriting the rules for urban living. This international concern put pressure on fashion retailers to close their doors and freeze retail experiences as well as supply chain operations, which consequently has damaged the economy. The crisis is installing anxiety and uncertainty in almost everybody’s minds and it is not known how the scope of the pandemic will play out. Fashion is particularly vulnerable to the changing environment; McKinsey have reported that 80 percent of publicly listed fashion companies in Europe and North America will be in financial distress. (McKinsey, 2020) As lockdowns were imposed, manufacturing in effected countries halted meaning fashion players and business leaders had to focus on crisis management and contingency planning to shift towards re-imagining the industry. The global shifts in the economy and consumer behaviour will re-wire the pre-coronavirus system, therefore Business of Fashion “believe the companies surviving this crisis will make bold and rapid intervention to stabilise their core business before seeking new markets and strategic opportunities.” (Business of fashion, 2020) The fashion industry is undergoing dramatic transformation and although the future of the post-pandemic remains tentative, fashion brands can still seek out opportunities to innovate and transform their strategies. Fig 14. @zhijunwang (2020)

20 21 Part 2. Dominating Macro Trends Part 2. Dominating Macro Trends

CONSCIOUS MILLENNIAL

Aged between 24-36 years old, millennials are the largest profiling their target consumer and delving deeper into their generation, standing at 1.8 billion and are set to revolutionise consumer attitudes, opinions and interests.” (Fedder, C. et al. the economic market. (Daneshkhu, S, 2018) They are an 2018) Slow fashion brands need to unlock the buying attitudes educated and entrepreneurial cohort has formed a powerful and motivations of those millennials who are determined to wave of employees, consumers and citizens. “Their spending drive social change and have a conscious attitude towards ATTITUDES power is on the rise and is set to overtake gen X by 2020” environmental issues. Who are these conscious millennials Finding from the global Oeko-Tex study that focused (Daneshkhu, S, 2018) so will be making a large direct and what do slow fashion brands need to do to gain their on millennials, “70 percent of participants indicated that contribution to the economy. This puts pressure on consumer attention? they are committed to living a sustainable, environmentally facing businesses to conform to millennials demands and friendly lifestyle.” (Oeko-Tex, 2018) This involved buying into spending habits. In order to successfully attract a fitting Brand need to avoiding targeting the stereotypical view of brands with sustainable values and supporting businesses which are target audience for their brand, businesses need to take millennial consumers, as Deloitte analysis shows that “not believed to be acting responsible and authentically In a study, conducted by Deliotte, conditions that “46 percent of millennials the following steps: “one, penetrate the right segment; two, all commonly held beliefs about generations are true and were labelled as responsible go-getters who “plan purchases in advance and give unlock what motivates that segment to spend money; and clinging to stereotypical beliefs about each age group can quality more importance when buying apparel and fashion products.” (Fedder, C. three, act on strategies that build loyalty through on-going limit profitability and growth.” (Fedder, C. et al. 2018) Slow et al. 2018) This attitude is likely to encourage conscious millennials shift towards consumer engagement.” (Finneman, B, et al. 2017) However fashion retailers can crack down an in-depth understanding sustainable brands who value quality over quanity. the exposure to disruptive forces of globalization, technology, of their target consumers by consumer profiling, which will Millennial are savvy online consumers however still want to benefit from the innovation and social media can cause a blending of attitudes encourage them to consider developing their own approach in-store experiences. However, they are after easier and quicker mediums of purchases which satisfy their fast-paced lifestyles. Data analyst, OPINIONS and behaviours, making it “important for consumer- to segmenting consumers. Accenture, found that “68 percent of all Millennials demand an marketing organisations to take a more nuanced approach to integrated, seamless experience regardless of the channel.” Millennials believed that the brands they buy into act as (Donnelly, C. & Scaff, R. 2019) extensions of themselves and can reflect their own identity. Therefore, matching the values of millennials is essential to guiding them to purchase into a new product. Schumacher explains that the experience economy is growing, and people are buying into experience that create long-lasting memories.” (Schumacher, M 2020) Hedonism and exploration is sought after by millennial consumers who believe “consumption can be defined by enjoyment, joy, and dynamic community affiliation.” (Schumacher, M. 2020) INTERESTS Products with no apparent purpose or value don’t bode well with millennials. “Nearly two thirds of consumers are ‘belief driven’ buyers who will They are seeking out brands that are contributing choose to switch, avoid or boycott brands based on the political and positively to societal causes. Forbes state that millennials social issues they care about.” (Scott, R. et al. 2020) social awareness stems from their Internet and social media infused upbringing. “79 percent of millennials appreciate companies that care about their effect on society and believe that corporate social responsibility is key to alleviating poverty and improving life outcomes.” (Cheng, M. 2019) Creating a positive buzz amongst millennials can strength brands adoption to market. Social media is an influential factor in the path to purchase for millennials. Platforms such as YouTube and Instagram are popular amongst this age range and Forbes have reported that “57 percent of millennials discover fashion trends on social media.” (Loeb, W. 2020) Not only that, but this population are also spending more time online communicating with friend, family and brands. This is creating new opportunities to engage with consumers as “people spend their money where they spend their time, and more and more people are spending their time in digital eco-systems.” (Amjad, M & Josephs, R. 2020) Therefore optimising the use of digital content can increase interest with millennials and be a new medium to generate revenue.

22 23 Fig 15. Femestella.com (2019) Fig 16. Dazeyla.com (2019) Part 2. Dominating Macro Trends Part 2. Dominating Macro Trends

HEALTH AND WELLNESS

Healthy lifestyle habits are topical mega trend amongst global consumers identifying health with mental wellbeing, the consumers of today as concerns over obesity, food the prospect of commercialising concepts that endorse sensitivities and different types of diseases continue to the principles of spiritual and body balance will become rise. However according to Euromonitor International a more appealing.” (Euromonitor International, 2020) This more holistic approach to wellness is being adopted, which establishes that consumers are easily persuaded by the latest encompasses spiritual and mental wellbeing alongside and revolutionising products and services that suggest they physical health. (2020) As urbanisation spreads across the provide the answer to improving their mental and physical globe and workplaces intensify, people are busier and more wellbeing. Slow fashion has the potential to deliver a mindful mentally engaged than ever before. Many are felling stressed and holistic fashion which emphasis phycological wellness and stretched in this modern world. Mintel has reported through the use of conscious consumption. Delivering trends that 50% of UK consumers go to a fitness facility to relieve at a slow pace and giving them time to be fully digested by stress. (Mintel, 2019) This entails a wider lifestyle shift and consumers may help relieve stress and anxiety among trend evolving attitudes towards healthcare, nutrition, beauty, demanding consumers who feel the need to buy into the fast physical activity and overall self-improvement. “65% of fads. “ The prospect of commercialising

concepts that

endorse the principles

Fig 17. Salem, O (2018) of spiritual and body

Due to current disruption from covid-19, millennials spending is set to halter as they enter financial uncertainty. “Consumer pessimism about the economy is widespread, with 75 percent of shoppers in the US and Europe believing that their financial situation will be negatively impacted.” (Business of Fashion, 2020) Therefore their spending habits are due to change, inevitably balance will become impacting the fashion industry. Slow fashion brands may benefit and retain loyalty from this social group, because of their appraisal responses to brands incorporating more corporate social responsibility surrounding the affects covid-19 is having on different areas of the supply chain and communities. Cracking the millennial sustainability gap is a major commercial opportunity waiting to be exploited by new slow fashion brands. Brands and retailers are right to assume that sustainability will be the next major battlefields where they will compete for millennial spend. more appealing. Fig 18. Portraitphotography (2020) Euromonitor International (2020) ” 24 25 Part 2. Dominating Macro Trends Part 2. Dominating Macro Trends

DOMINATING TECHNOLOGIES

“ 88% of UK Generation Z say they

would prefer brand experiences

delivered by blending digital and

physical channels. Amjad, M & Joseph, R (2019) ”

The democratisation of online shopping is radically an integrated way with cutting edge consumer engagement. transforming the customer journey and changing consumer (McKinsey, 2020) Kathryn Bishop, Deputy foresight editor at dynamics states (Hawkins, A & Scott, R. 2020) The lines LS:N Global argues this and emphasis that “brands striving between e-commerce, entertainment and socialising are to be sustainable need to re-think social platforms.”(Bishop, blurring as Generation Z comes of age, highlighting new K. 2020) Social media platforms have seen pockets of ways to shop that are powered by curation, connection and momentum and have delivered much-needed solutions for co-creation. some brands and retailers during the pandemic. But bishop Social distancing has highlighted the importance of digital believes “if your brand is all about encouraging people to take channels among all business, however the fashion industry a more considered approach to the products they buy, the reliance’s on elevated digital content has accelerated faster styles they select and the materials used, does it make sense to than anticipated. Pioneering new ways to engage with exist and engage in a space that’s leaning so heavily towards consumers digitally, now that lockdowns have put a stop to incessant newness and impulsive purchasing?” (Bishop, K. retail experiences, is the only way to preserve the relationships 2020) Therefore, in summary, brands need to utilise new built with consumers. Using physical experiential retail to technologies and escalated digitalisation in favour of their Fig 19. Mannell, G (2019) Fig 20. Mannell, G (2019) create enriched e-commerce experiences, innovative customer values and ensure they align with their purpose. engagement on digital platforms such as Instagram, twitter and WeChat has seen consumers increasingly engaged with brands and embraced a solution for shopping, entertainment and communication. The Business of Fashion explains that strong players in the fashion industry who are taking on digital escalation are staying ahead of this shift. However, it is evident the digital channels can be less profitable than physical retailers so McKinsey emphasis that brands will need to establish a model which prioritise digital growth in 26 27 Part 2. Dominating Macro Trends Part 2. Dominating Macro Trends

SLOW LIVING “ Being a minimalist

doesn' t mean you' l l

The biggest dominating factor affecting slow fashion antipathy towards waste-producing business models and right now is the rise in slow living otherwise referred to as heighten expectations for purpose-driven, sustainable action. minimalism. Online retail has created a fixation on convince Dr Schumacher stresses this with his belief that isolation and immediacy, but some fashion brands have rejected these has driven positive aspect to consumerism. He believes that demands and taken a more considered and slower approach. “quality is given priority over quantity, and self-reflection never buy anything This matches the ideologies of slow living, a mega trend comes before new experiences. Shopping is no longer a manifesting it-self in a range of social phenomena. The so- pastime and every purchase is carefully thought through, called ‘wellness revolution’, for example, places emphasis on while possession is seen as a burden and status symbols are a bodily well-being and is linked to the increasing popularity thing of the past.” (Schumacher, M. 2020) of ‘slow’ practices such as yoga and meditation (Parkins, W The coronavirus crisis has presented the fashion industry with and Craig, G. 2006) Care, attention and mindfulness are a chance to reset and completely reshape the industry’s values ' terms associated with this trend, This has also powered the chain. However, Business of Fashion argue that “some experts again. It means you l l community in the neighborhood trend, which focuses on predict that consumer sentiment may never recover to pre- sustained growth and utilization of local resources and skills 2020 levels as anti-consumerism and economic fallout cast to fuel the economy. Minimalist activists Joshua Millburn a shadow over global markets.” (Business of Fashion, 2020) and Ryan Nicodemus discuss the impact social media has Therefore this anti-consumerism trend can have damaging had in installing ideologies into society about consumption effect on the economy if not handled sufficiently by fashion and happiness in their documentary, ‘A documentary about retailers, resulting in a decline in capitalism and lack of do so with intention. important things.’ They believe that advertising and social economic growth making it difficult for some retailers to stay media have created a disillusioned culture, which has wired in business. Brands must remember that that as economies Millburn and Nicodemus (2015) 1” society to believe that the consumption of new products will change, “the physical landscape will transform to match it. lead to greater happiness, self-affiliation and social inclusion. It’s necessary to create new products and services that allow However, the consumers goods sector has become an object for slower, sustained consumption.” (Smith, J & Firth, P. 2018) of fashion ability and trends are in constant rotation, so consumers are never truly satisfied. This lack of satisfaction has built an unsustainable emperor of businesses trying to fuel consumer’s satisfaction but causing detrimental effects on the environment and society whilst doing so. The conscious consumer is recognizing this and taking an anti-consumerist approach. Millburn and Nicodemus describe this attitude as “being a minimalist, where every purchase brings joy and is justified to add value to your life.” (Millburn, J & Nicodemus, R. 2015) Slow Fashion has taken on the responsibility to enforce minimalistic values in the fashion industry such as rejecting the 52-week seasons of the year implemented by fast fashion retailers. The pandemic has given consumers time to reevaluate lifestyle choices, materialism and consumption of fashion goods being considered as unnecessary. This has been reflected by a lull in sales and “a reported 5 to 20 percent decline in online sales across Europe and the UK.” (Business of Fashion. 2020) Although anti consumerism and the economic fallout walk Fig 21. Aiayu (2020) hand in hand, the pandemic may have accelerated mindful consumption and the shifting consumer mindset on themes such as ‘sustainability first’ and ‘getting woke’ hence growing 28 29 Part 3. Detoxifying the Supply Chain Part 3. Detoxifying the Supply Chain

Slow fashion starts with the detoxification of the current supply chain practises and creating an environmentally conscious production process, which reduces amounts of waste and resource consumption. Jung and Jin state that “slow fashion is a broader concept that encompasses caring for the producers and local communities for sustainable life, connoting history for a sustainable perceived value of the product, seeking diversity whilst maximising product lifespan and efficiency for a sustainable environment” (Jung, S and Jin, B. 2014). Clinton and Whisnant capture this in their new business model for creating and delivering value which requires moving beyond product modification but to the reshaping the process to generate sustainability and financial performance.

Rental

Closed loop BUSINESS MODEL

Shared Economy

Recycled Materials Product as Detoxifying PRODUCTa service Digital Experiences VALUE TO THESOCIETY TO VALUE

Experience the Supply Economy PROCESS Peer to peer Transparency Experiental Chain Localisation Retail Codes of Conduct Circular Supply Chain certifications Innovative Economy Materials renewable energy sources

Enthical Practices Content Providing responsible use of resources Differentated USP

VALUE TO THE BUSINESS

Adaptation of Clinton, L & Whisnant, R Innovation Framework (2014)

PART 3. PART 30 31 Part 3. Detoxifying the Supply Chain Part 3. Detoxifying the Supply Chain

LEGALISATIONS TRANSPARENCY

Fig 23. Fashion Revolutions (2013)

Generally speaking, large business exerts an enormous amount of influence on society and the environment, therefore it doesn’t come as a surprise that consumers are asking how, what and who made their clothes. Business of Fashion recently wrote, “Fashion companies must come to terms with the fact that a more distrusting consumer expects full transparency across the value chain... consumers have become more active in scrutinizing the brands they do business with.” (Business of Fashion, 2018) Quite often brands are sharing information on business values and positive progress without actually sharing honest systematic challenges they face and the effort to protect human rights and the environment. This can come across as green washing. Fashion Revolution state that “transparency is more than just sharing good work that brands are doing. Transparency must be a public disclosure of credible and comprehensive and comparable data and information about the fashion supply chain, business practices and the impact of these on workers, communities and the environment.” (Fashion Revolution, 2020) Equipping consumers with Fig 22. Fashion Revolutions (2013) more and better-quality information about the social and environmental impact of the clothes they buy can encourage McKinsey reported, “Sustainable fashion is becoming part of Core guidelines to sustain environmentally conscious better decision making. This authenticity in transparency a broader movement, driven, in part, by the concern, activism, production of fashion products was driven by the UN builds consumer trust but a lack of transparency can damage and rising spending power of Generation Z consumers. At sustainability guidelines set in 2015. These incorporated brands’ reputation. the same time, political action has changed the framework factors such as climate action, responsible consumption and In Fashion Revolutions, Fashion Transparency Report 2020, within which apparel companies operate, and regulations production, reduced inequalities and sustained cities and H&M preformed the best, reaching a score of 73%. They have become stricter.” (McKinsey & Company, 2019) communities. Companies that incorporate a sustainable were able to reach this score by sharing knowledge about Legislations have been a key driving force in innovating this development goal into the purpose of their brand are likely to the business and disclosing which material the products are sector of the industry as well as codes of conduct (sometimes be credited for authenticity and ethnical trading. Pressure to made from and which countries it was produced in and referred to as ‘soft laws’) and voluntary agreements, frequently recognise their responsibility to end poverty, improve health which suppliers and factories partnered with them to make drawn up by the companies themselves and are passed onto and education, reduce inequality whilst tackling climate it. This has been achieved through a series of technological through the initiative, with information provided around the contracted factories and auditors. Issues such as “Low wages change has spurred growth in the adoption of purposeful developments such a Block chain and AI. Using the H&M benefits of sustainable components compared to conventional and excessive working hours are endemic and persistent brand missions. It’s common for brand to form partnerships app on your phone, you can use the scan feature to scan the materials.” (Buller, A & Scott, S, 2020) Big brand like these issues in global supply chains, which leave full-time workers with organisations or sign agreements to legalisations which price tag, which will bring you to the product page, revealing who are taking more responsibility to engage the consumer and their families, trapped in a cycle of poverty.” (Behind see them incorporating ethnical practises and leading to the the product background. Bringing consumers closer to the within the supply chain will have a competitive advantage the Barcode, 2019) As a result, legal boundaries and pressure detoxification of the supply chain. supply chain with innovations like these will establish different over those who don’t and will lead the revolution to radical for the consumers, non-government organizations and the dimensions of the product, which will allow the consumer to transparency. media have acted as important mechanisms for controlling evaluate value for money and product authenticity. Following The slow fashion business model tackles concern over fair exploitation. “Examples include the NGO campaigns in this, Nike recently launched a new online program that labor, sustainable use of resources and the environment, 1990s that exposed labour abuses in the supply chains of makes it easier to search, shop and learn about sustainable therefore the pressure on brands to be more transparent will major brands such as Nike and Gap, leading eventually to the credentials of its products. Nike believe “As well as being hopefully call for more collective industry action to positively introduction of codes of conduct setting out minimum levels empowered to shop more sustainably, Nike hopes customers disrupt the production chain like the brands discussed. of workers’ rights and legislation driven change.” (Fletcher, will also develop eco-conscious awareness more generally K. 2008) 32 33 Part 3. Detoxifying the Supply Chain Part 3. Detoxifying the Supply Chain

NEW MATERIALS

Fig 25. BigCartel. (N/A)

The fashion industry is facing a critical moment in tackling However, it is argued sustainable production can become the challenges of climate change, environmental pollution, unsustainable when garments made of eco-materials are and responsible use of resources. Fast fashion business worn only a few times and discarded quickly. Making models have extenuated the industry’s production of 10% products out of organic cotton for them to be mass consumed of global carbon dioxide emissions every year as well as an and disregarded quickly, contradicts the sustainable factors. estimated use of 1.5 trillion litres of water annually according Expediting technological innovation in recycling will be to Intergovernmental Panel of Climate change. (Davis, N. paramount to fulfil the new demand and creating the desires 2020) The fashion industry’s consumption of vast quantities of a circular economy. Materials like Circulose are favourable of raw materials, production of hazardous levels of pollution, in creating closed loop system because they can be recycled creation of a weighty carbon footprint, and alarming levels over and over again. Moreover, it is fair to suggest that of waste all pose particular problems to environmental consumers also have a responsibility to make conscious and sustainability. sustainable decisions when consuming new products. Fashion The slow fashion movement “naturally promote sustainability Revolution believe consumers play the biggest role in tackling through more ethical sourcing and production techniques as overconsumption and therefore need to “buy responsibly and well as by using organic, recycled, or more durable materials.” with integrity, investing in pieces that will last and, wherever (Brewer. M.K. 2019) Organic systems are currently changing possible, where you can confirm their provenance.” (Taylor, the way we procure raw materials making opportunities to I. 2019) Consequently, accountability for responsible use of reduce the impact on the environment. Organic cotton resources lies in both the consumer and the brands hands. is popular among sustainable brands “because it reduced pesticide, fertilizer and water use whilst creating better working conditions for farmers.” (Fletcher, K. 2008) Organic farming can be used to lead social change, however accelerated investment in research and development is driving innovations bio-based fabrics which are focused on improving the environment and have created new commercial opportunities. “45 percent of apparel companies surveyed by McKinsey are looking to integrate more innovative bio-based materials and over 67 percent of sourcing executives state that the use of innovative sustainable materials will be important Fig 24. Thegoodtrade (N/A) Fig 26. Circulose (2020) for their company.” (Business of fashion & McKinsey, 2020) Brands, even in fast fashion, experimenting with fabric alternatives such as Piñatex, a leather which is made of pineapple leaf fibres. Other innovative materials include Circulose, a fibre made by extracting the cotton from recycled clothes and turning it into a reusable martials. E-textiles and closed loop recycling are helping to form a circular economy, a “alternative to a traditional linear economy, designed to keep products and materials in use for longer.” (Macarthur, E. 2019) 34 35 Part 4. Converging Mega Trends Part 4. Converging Mega Trends

A sustainable solution to competitive advantage

Converging Mega The goal for most fashion brands, whether they are sustainable or not, is to maintain a competitive position in the market and generate profit. In order to do so, brand need to recognised shifts in consumer attitudes and behaviours, along with changes in the macro environment and react to them with innovative strategies. This section of the report examines the convergence of macro trends discussed in Part 2 and how they are reshaping the industry and helping to influence a more sustainable approach to fashion and consumption. The current humanitarian and financial crisis have caused major disruption to the Trends. fashion industry leaving business exposed to a vulnerable future. However, Buchanan, Senior futures analyst for The Future Lab, believes “Consumers will be encouraged to get out and spend to stimulate the economy post-pandemic.” (Buchanan, V. 2020) So, a big question bouncing around is, how can retailers stimulate meaningful consumption whilst contributing to the economy. Business are having to adapt and innovate to a pandemic proof structure and incorporate sustainable values to gain a prosperous position in the market.

PART 4. PART 36 37 Part 4. Converging Mega Trends Part 4. Converging Mega Trends

Purpose- Led Brands

“Increasing recognition of Corporate Social Responsibility as “brand purpose can help continually re-orientate the core a core business activity raised as social responsibility became capabilities to remain relevant.” (Scott, R et al. 2020) Fast a growing area of concern in increasing globalised supply fashion brands have been incorporating CSR strategies into chains.” (Perry, P & Towers, N. 2013) As discussed in part 3, their brand purpose as they support functional and emotional many mainstream brands based their values of comprehensive benefits which helps them to stand out. According to Thind, codes of conducts which are built on notions of purpose a “clear brand purpose is a self-certification of its values and and sustainability and proactive responses to societies enduring narrative which aims to provide a consistent message challenges. These codes of conduct are used to implement for the consumers across various touchpoints.” (Thind, R. CSR and create a more sophisticated business model. This 2018) Therefore, as consumers become more knowledgeable way business can reconnect company’s success with social about their choice and demand better reasons to buy, brand progress and shared value. According to M, Porter and M. purpose supported by a good strategy is likely to propel the Kramer “creating shared value is believed to a new way to business into commercial success. achieve economic success,” (2019) which could prove to be the next major transformation for slow fashion business who constantly face economic uncertainty (Discussed in part 1). However, because the macro environment is always changing

Fig 27. Nike (2020)

CASE STUDY NIKE

Nike is a company taking the lead to bring business and society back together. The reported purpose is “to unite the world through sport to help create a health planet, active communities and an equal playing field for all.” (Nike: FY19 Nike, Inc. Impact report. 2019) They aim to achieve this with various goals such as attracting and developing an increasingly diverse and engaged workforce who engage with their communities and support their giving of expertise, time and money. Nike have a deep-rooted legacy as committed partners in the communities where they live and work. According to their 2019 impact report “Nike invested $81.9 million to drive impact in communities around the world.” (Nike: FY19 Nike, Inc. Impact report. 2019) This aimed to get kids moving, training coaches and bringing people together to experience the power of play and sport through their global “made to play” commitment. Fig 28. Nike (2019)

38 39 Part 4. Converging Mega Trends Infatuation with constant Part 4. Converging Mega Trends newness has resulted in blurred boundaries of To offer a meaningful differentiation. Patagonia experience brands have distinguished a Patagonia is ahead of need to be real whilst position divergent to their the game when it comes maintaining the consumers by rejecting to engaging consumers. flexibility and agility newness and more They take responsibility to stay authentic consumption by utilising in linking sports with and genuine to a repair, shar and recycle activism by involving their brand DNA. strategy. “Worn Wear’ their employees in Patagonia aim to be is Patagonia’s secondary sport communities to reflected the values brand which allows drive positive social from which the brand consumers to recycle their and environmental was built on, which work products so they can change. The aim to is to build the best be resold. The aim is to use the resources such products causing now cut down consumption as their voice, business unnecessary harm and get more use out of and community to do in their business stuff we already own. The something about climate REAL activities. also help you to repair ALIVE crisis. and care for you existing products using the site DIFFERENT IFIXIT.

Fig 29. Patagonia (2020)

Customers, employees, and a new generation of young people to develop new skills and knowledge—”such as a far deeper are asking business to step up and broaden their constricted appreciation of societal needs and a greater understanding concept of capitalism which has prevented brands from of the true bases of company productivity.” (Porter, M & understanding that societies needs are growing. According Kramer, M. 2019) It is possible to suggest that the future of to Mintel, “Consumers are in search of a more mindful fashion brands is more wholesome as it has been reported that approach to their spending, they also desire something that the “brands that will thrive in this decade will take a more is authentic and unique to them.” (Mintel, 2020) The ‘less- realistic, honest and iterative approach to development.” talk-more-action attitude resonating amongst the younger is (Scott, R et al. 2020) Fashion brands who are putting in adapting how brands interact with consumers and igniting effort to create shared value by reconceiving the intersection action towards issue such as, mental health, environmental between society and corporate performance provide greater This related to having consciousness or community betterment. LS; N global chances to legitimize business. This will drive the next wave distinct qualities and clear emphasis that “the value a brand brings to the consumer, of innovation and productivity growth in the global economy Patagonia have pledges propositions relating to emotionally and functionally, will be the future measure of as brand begin to recognise that their offering must match the 1% of sales to the what the target consumer They remain relevant success.” (Scott, R et al. 2020) Hence why brands who use current global mood. Patagonia is a successfully establish slow preservation and perceives as value. by following activist their business to share modest values and support bigger moving fashion brand with encompasses minimalist views restoration of the natural Patagonia have targeted movements, engaging issues can establish more meaningful relationships with their and sustainable strategies to build brand purpose. environment since 1985. vocal, conscious and with consumer’s using consumers and increase brand loyalty. With sustainability at active consumers so have social platforms and their core, they have never matched the position and creating movement for However, many fashion brands remained trapped in an failed to understand the propositions by operating change. outdate approach to value creation and it is believed that necessity of protecting a business model which is the fashion industry can view “value creation narrowly, RELVENT the natural environment driven by implementing optimizing only short-term financial performance,” (Porter, and run this deep within social and environmental M & Kramer, M. 2019) by focusing on the immediate future all areas of their business change. instead of thinking ahead. To implement purpose into an COMPREHENSIBLE

CONSISTENT model. established business effectively require leaders and managers 40 41 Adaptation of Thinds, R Brand Purpose Model (2018) Part 4. Converging Mega Trends Part 4. Converging Mega Trends

Fig 21. Eriksson, F (2019)

Experience More, Consume Less

According to LS: N Global the answer lies in using phyigtal approach to consumption will be favoured by the conscious content to create an enriched customer experience and satisfy consumers. “People are slowing down, looking inwards for their hunger for stimulating and unique experiences whilst greater meaning and challenging themselves to find fulfilment helping to generate and maintain profit. Whilst customers in the everyday.” (Hawkins, A and Haughton, L. 2020) Fig 30. Owens, M (2019) can’t “physically touch or interact with a product, brands This approach will be leaned towards digital experiences must tell them a story while educating and entertaining and interactive content which is more personalised to the them.” (Singh, R. 2020) Sustainable clothing brand, TALA, consumer, enhancing its value and authenticity. Slow fashion have been thriving through the pandemic by connecting with brands can adopt this trend and use this strategy to provide their consumers using social media platforms. They have their consumers with engaging and immersive experiences incorporated a ‘get to know TALA’ series into their marketing which continues to build relationships between consumer method which consists of TALA employees vlogging on and brand without them having to consume. In order to Instagram through their day showing consumers how they generate and maintain enough profit, whilst encouraging Stimulation experiences and differentiated brand interactions have been demanded by consumers for a while, hence the rise in are managing to maintain the brand whilst staying at home. less consumption, slow fashion brands can innovate and find use of ‘experiential retail’. This enabled retailers to bridge the gap between consumer and the brand by offering a deepened This favours a brand identity which “will be shaped around ways to authentically gage profit through unique and content connection and memorable experience. A famous example includes the experience provided at Charlotte Tilbury’s flagship and by seamlessly-integrated conversation and intimate driven experiences. Part 5 explores a potential strategy which store in London, where customers had access to touchscreen ‘Magic Mirrors’. This fairy-tale-style screens allowed you to try digital interactions.” (Scott, R et al. 2020) Hence, helping adopts the ‘experience more, consumer less’ trend. on each of Tilbury’s 10 signature looks-in as little as 40 seconds. The offering of an unparalleled service provides benefits of to establish a deeper consumer journey and priorities digital “long-lasting brand equity and deeper customer relationships.” (Singh, R. 2020) However, Mintel stress that “technology has growth in an integrated way. This can be further developed in made experiences available to the masses,” (Mintel, 2020) and elevated digital creativity empowering brands to transform their the future by turning transactional web interactions in to full online offering. This type of digitalisation offers a new route for consumers seeking to engage with retailers and is allowing on experiences. Rosh Singh, managing director of UNIT9 brands to explore new ways to present their heritage, values and core purpose. Moreover, the current climate in which we believes these experiences “will ladder up to word-of-mouth have endured social distancing and seen the shutdown of physical store; digitalisation have turbocharged the fashion industry. and word-of-mouth into long-term brand equity.” (Singh, Business of Fashion believe that ‘digital escalation’ will be a big factor implemented by those brands who want to remain R.2020) relevant and in control. They have reported that, “for strong players looking to accelerate demand online, staying ahead of fashion’s digital step change will mean adopting these next-level modes of engagement.” (Business of Fashion, 2020) In the future brands will need take a “more holistic approach Therefore, as the remote consumption becomes the new normal, digital content creation is likely to become the primary mode to experiences where being in the moment of a mindfulness of brand interaction. Consumers are questioning also their consumption habits – a shift that has accelerated thanks to social activity is as important as the end benefit”. (Mintel, 2020) A distancing and self-isolation as well as climate crisis concerns – therefore may want to buy less. focus towards purpose filling experiences with a more circular 42 43 Part 5. Brand Proposal Part 5. Brand Proposal BRAND ACTION

ONIONDisrupting the way we innteract with fashion brands and the meaning of consumption. Engaging with consumers by Using sustainable materials to offering a interactive service formulate new products PERSONALITY

Sharp Engaging Innovative Revolutionary

VALUES Dynamic Counterintuitive Sustainable Relevent Ethnical Focused Converging

Real Conscious Brand ESSENCE Community Urbane Slow fashion wellness brand connecting with millennial consumer Logical using digital experiences and Consumer Driven sustainable products. Approchable Proposal Deyfying Transparent Slow

Wellness Refined Attentive Encompassing

Pioneering Mindful Comprehensible Sophisticated

Calming Current

Inspirational Comforting

Rejecting traditional linear Working towards a transparent business models to create a circular supply chain. economy Adopting a recycling scheme to Rejecting seasonless trends mitigate waste

Localising manufacturing and bringing it back to Europe

PART 5. 5. PART 44 45

Part 5. Brand Proposal Part 5. Brand Proposal PURPOSE 46 BRAND 47 Part 5. Brand Proposal Part 5. Brand Proposal BRAND MOODBOARD

48 49 Part 5. Brand Proposal Part 5. Brand Proposal

Innovation and Differentiation

Fig 32. Authors own (2020) Fig 34. Authors own (2020) Therefore, ‘In Practise’ will connect with their consumers will include ‘In practise’ products as well as podcast, playlist Promiscuous consumerism makes it hard for retailers to of advanced creativity to develop a content driven app. As using an app with a digital Bullet Journal feature. Consumers and audiobook suggestions to enhance the users experience. retain meaningful relationships with customers however new discussed in Part 4, experiential retail is breaking boundaries and advocates of the brand will have access to this Consumers are looking for greater meaning and fulfilment in developments in technology are extending our experiences and shifting towards a scaled up digital reality allowing brands subscription-based service and be able to jump one step everyday online consumption, so this app allows for a more and facilitating an entirely new way of engaging with products to deliver stimulating experiences to consumers online. further and reach ultimate connectivity with the brand. immersive route to satisfy their content cravings. Not only and brand. According to McGregor et al. “Consumers are The feature will empower consumers to personalise their this, the Bullet Journal feature, acknowledges consumers entering an era of fluid interaction that will dramatically alter experiences and reconnect with their mental wellbeing. desires for self-help and wellbeing products which lifts the every element of the branded experience.” (McGregor, R. Hawkins et al, believes “the experience economy is pivoting stress of everyday life, so embodies values of wellness and 2019) Reduction in brand loyalty and rise of woke consumers towards personal transformation as the public imagination health. This is achieved by providing consumers with daily who are consuming less as they consider the environmental looks inwards, favouring self-discovery over shared spectacle.” breathing exercises and meditations practises. and psychological worth of products has created a shift (Hawkins, A and Houghton, L. 2020) The bullet journal towards fewer possessions and less waste. ‘In Practise’ is not feature will provide consumers with a mindful and thought- just a fashion retailer but a lifestyle enhancer that aims to provoking experience where they can document their feelings, encompasses slowness into the consumer lives through the use stay on-top of their day to day tasks and plan for the future of digital touchpoints. The brand has harnessed the potential in a stress-free manner. Personalised recommendation (which of real-time phyigtal fluidity and looked towards a future 50 will be based on how they are feeling/ tasks ahead of them) 51 Part 5. Brand Proposal Part 5. Brand Proposal

Fig 35. Authors own (2020)

‘In Practise’ ability to implement a strategy which adopts the shift from materialism to experientialism, allows them to centralise a business around consuming less products but more content as well as sustaining an ongoing relationship with customers that extends beyond the point of purchase. Scott and Piras suggests that digital tools which encompasses immaterial fashion and physical products can co-exist” such as the ‘In Practise’ bullet journal app to “offer new ways to entice fashion fans” (Scott, R & Piras, L. 2018) Allowing consumers to connect and engage with a brand without having to over consume, is the next step in creating a profitable slow fashion brand. The development of stronger consumer relationship and brand equity will help build a community of brand supporters and revolutionise the consumer expectations from fashion brands.

52 53 Part 5. Brand Proposal Part 5. Brand Proposal PRODUCT MOODBOARD

54 55 Part 5. Brand Proposal Part 5. Brand Proposal PRODUCT LIFECYCLE

Materials and Fabrics

Production

Circulose is made by gently recovering the cotton made from worn out clothes. “The clothes are shredded, de- buttoned, de-zipped, de-coloured and turned into a slurry.” (Circulose, 2020) Plastic and polyester are taken out which then creates the biodegradable organic polymer- Cellulose. Once dried, the sheets of Circulose can be made back into new garments ready for conscious consumption.

Consumption

People who buy into garments made from Circulose are cutting their waste, climate, water, microplastic and deforestation fashion footprint to almost zero. Once they Fig 36. Circulose (2020) Fig 37. Circulose (2020) have maximised the use from their product, for example Recycle the product is too worn out or desperately out of style, consumers will be able to return their used products so they can be recycled. The range will consist of sustainably developed athleisure a free returns policy found on their website. All consumers garments made from Circulose; a material made from 100% will have to do is package their used products, print the Usually when consumers throw away clothes they recycled cotton. Circulose is a new material that closes the postage label and post it. Although some may argue that the end up in landfill or incinerators where the carbon is loop on fashion and aids the creation of a circular economy. environmental cost of delivery is negatively impacting the release back into the atmosphere. To create the closed Instead of growing more cotton and using more water and sustainability credentials of the brand, Botsmon and Rodgers loop cycle, ‘In Practise’ will provide consumers with an spraying more chemicals, Circulose, made from cellulose, can believe “the transfer creates less impact that the material easy recycling scheme. The recycling process at Circulose is be sustainably produced from garments that already exist. and transportation required in the production on every new powered by renewable energy and carbon filled material is This extends the lifespan of raw materials and reduced the product or its eventual disposal into landfill.” (Botsmon, R & extracted and made into new clothes therefore keeping the environmental impact causes by production of new clothes. Rodger R. 2010) With this strategy ‘in Practise’ will be able to carbon in the clothes and out of the atmosphere. Rachel Simms, Head of strategy at The Future Laboratory, keep resources circulating, maximise their use and extend the explains “It’s just not going to be acceptable for brands to sell life span, hence creating a product which can be considered more stuff without also providing options for it to be recycled slow and sustainable. or resold.” (Scott, R et al. 2020) Therefore, ‘In Practise’ will adopt a business practise which allows consumers to recycle their used product by sending them back to ‘In Practise’ using

56 57 Part 5. Brand Proposal Part 5. Brand Proposal

Supply Chain

Fashion revolutions approach when analysing the transparency and sustainability of a brand covers four strategic areas which they call the 4C’s. They explain that “these topics are selected, and indicators formulated in consultation with industry experts Sourcing and are designed to align with and support the United Nations Sustainable Development Goals.” (Fashion Revolution, 2020) Adoption of this model can be used to analysis ‘In Practise’ Business model and reveal how they aim to build a better world for people and the planet.

CONDITIONS CONSUMPTION It is time for retailers to address concerns of overconsumption An area of concern in slow fashion is the conditions for and minimise waste, moving towards circularity. ‘In Practise’ workers within the company and their supply chain. ‘In aims to achieve this with a free returns scheme where Practise’ is an ethnical brand which believes in fair wages and product at the end of their lifecycle can be recycled. They working conditions. Production process in Sweden and UK have also rejected traditions strategies of mass production make it easier for the brand offer the consumer transparency and aim to only release new garments collections four times on their supply chain, which would be harder if they were a year. Maintenance of current stock levels can be controlled to outsource production. These countries also have tighter using data collection and averages can be used to predict regulations and laws which means workers will receive a fair order quantities to reduce dead stock. Having the same living wage. This in turn will result in happy and healthy products in circulation for long periods may be deemed as workers who can exert their passion and energy into making less inventive but the use of a content driven app which good quality clothes. immerses the consumer into a digital experience will help to keep consumers engaged with the brand and limit their consumption.

COMPOSITION CLIMATE ‘In practise’ will be increasing the use of sustainable materials In order to maintain their purpose and portray their positive in the fashion industry by using Circulose. Investment in contribution to environmental and ethnical fashion, ‘In this circular recyclable material will drive awareness of easy Practise’ can publish their carbon footprint and disclose the Fig 38. Recycling international (2019) and management sustainable resources which can still make amount of renewable energy used in their supply chain. This stylish and trendy clothes. Circulose also minimises the use can be achieved by using a model similar to the Kering Groups of hazardous and wasteful resources and can have a positive EP&L framework. This will allow the brand to understand impact on the environment. where their impacts are, develop a knowledgeable decision- making process and steer the business strategy responsibly. In a globalised world, no industry is more dispersed that the textiles industry. “Reliance on complicated supply chains spanning the globe and “just-in-time” production cycles mean that fashion companies drive a high-carbon transport network in which raw materials travel from one country to another.” (Brewer, M.K. 2019) Reducing carbon emissions is only one part of the move towards local; the other concerns include economic resilience, social engagement and cultural and aesthetic diversity. The material, Circulose is produced in Sweden which enables ‘In Practise” products to retain the made in Europe label which is heavily sought after by slow fashion players. The ability to near shore production closer to the UK, reduces carbon emissions from transport but can help to cut lead times and increase speed-to-market when needed, whilst also adding a premium price to their products, due to the higher labour costs.

58 59 Part 5. Brand Proposal Part 5. Brand Proposal

THE VALUE NET

Product Leadership

‘In Practice’ offers high product leadership by providing the consumer with an additional immersive yet purchasable service alongside a sustainable clothing collection. With knowledge and understanding of the conscious consumer, ‘In Practise’ can utilise technology and innovations to adapt to their fluid needs. This will help “position themselves as brand marketers, constantly experimenting with new digital offering that deliver great experiences.” (Thind, Operational R. 2018) Excellence

‘In Practice’ offers operation excellence with their agile and innovative supply chain process. The adoption of a circular economy has demonstrated innovation and ultimately meets the needs of consumers without costing the environment. The forecasting and planning for replenishment can be worked on through the first year of sales to create a more streamlined supply chain and reduce the chance of sold out stock. Therefore, this is regrettably an area of trial and error within their business model but as data is collected from sales, AI can be used to predict quantities need for future orders.

Customer Intimacy

‘In Practise’ create customer intimacy through the use of digital content which immersive the consumer with exclusive services and experiences. Their personalised experiences which gages mental wellbeing, a personal matter, can help consumer connect with the brand on an emotional level, strengthening the bond between consumer and brand. This enriched experience is part of the shift in understanding our emotions and creates a new dialogue which the brand can use to engage with the consumer. Szymanska and Maciejowska believe adding different senses to the experience of consumption and bringing products with a unique USP requires layering of elements, (Szymanska, A and Maciejowska, K. 2016), in this case ‘In Practise are laying e-commerce with a phygital experience. Adaptation of Thinds, R Brand Purpose Model (2018) 60 61 How are the shifting macro trends influencing future innovations within slow and sustainable fashion? Final Major Project

The start of this report identifies a fear that slow fashion the conscious consumer and paving the way for a more of business models are economically unsustainable and their responsible and mindful production systems. position in the modern market marketplace is challenged by Development in technology have increased the availability consumers desire to remain fashion conscious. Slow fashions of new sustainable materials which is aiding the production ethos of selecting longevity and quality over price and of eco products; however, you can conclude that it is not the newness scarifies this consumer desire and makes it harder most practical solution to slowing down the movement of to align their unique business strategies with consumer needs. fashion and maintaining maximum sustainability. A more McNeil, L & Snowdon, J also emphasis that the “hedonic sustainable solution would be to manifest slow practises such benefits of consumption are sought after by consumers due as slowing down production of new products and offering to their need for fun, social and fulfilled interactions with new methods of brand interaction. brands.” (2019) Slow fashion needs to address this issue and look towards future innovations which can support the needs The shifts in converging megatrends provide slow fashion of consumers and maintain a competitive position in the brands with a new solution to sustainability by cutting down market whilst remaining ethnical. consumption whilst still maximising consumer engagement. Digital eco-systems have created new opportunities for CON After an investigative analysis of the current macro trends consumer to engage with brands in a meaningful way multiple conclusions and potential solution can be drawn creating a shift from materialism to experientialism. The upon which suggest that the future of slow fashion retailers future of retail is seeing the adoption of the ‘experience in promising and if the proposed strategies are implemented more, consume less’ trend which is compelling brands to successful can lead a revolution change in the dynamics of re structure their content and products to accommodate fashion retail. for a more dynamic approach to brand and consumer interaction. Amjad, M and Josephs, r explain that “new The exploration into dominating macro trends in part 2 drew technologies have provided different tools, platforms and upon a few conclusions firstly, the rise in environmentally channels for brands to engage with consumers.” (2020) conscious millennials, who are seeking brands who value This phyigtal infrastructure has enable brands to maintain corporate social responsibility and are taking an active relationships and retained connections with consumers approach to tackling climate change. Therefore, you could through a period of time where physical retailing was argue that this cohort are likely to start valuing ethnical restricted. This has heighted the idea that consumers CLUS products over fast fashion goods so cracking the millennial approach to consumption is changing. According to Scott, sustainability gap is a major commercial opportunity waiting R and Piras, L, “consumers are looking for ways to interact to be exploited by slow fashion brands. Brands and retailers with brands without necessarily buying more.” (2011) This are right to assume that sustainability will be the next major trend is allowing brands to offer a something more than just battlefields where they will compete for millennial spend. a new product which slow fashion brand can incorporate This is followed by shifting attitudes surrounding slow living into their business models to help encouraged reduced and minimalism which are also dominating the product product consumption whilst still maintaining connections and service sector. Consumers care much more about how with loyal consumers. their purchases reflect their world view and creating their own circular economy. Friend, H and Smith, J believe “we However, we can’t ignore the rapid and dramatic shifts can now expect a more gracious approach to consumerism which unexpectedly unsettle the fashion system. The global – one in which pleasure, inactivity and the desire to live pandemic could be one of many disruptions this decade, ION ordinarily are equally valid metrics of living.” (2020) This so it is vital the slow fashion brands maintain contingency is emphasised by Thind, R who believes “in today’s context planning to help cope with larger shifts in the macro fashion encompasses a wider sociological and cultural environment. Anxiety persists as we enter the phase of post significance beyond the economic and technical relationship pandemic, now is a time to be more vigilant of the zeitgeist between brands and consumer.” (2018) Consumers are now and control the influences affecting sustainable brands. favouring personal wellbeing and happiness over economic growth. GPD doesn’t reflect how values around consuming have changed suggesting that economic sustainability of slow fashion is not a concern when aiming to innovation a slow The fashion industry has emerging from an ambiguous inter-connected environments.” (Thind, R. 2018) The end fashion brand, but instead they need to be focusing on values decade in which political, social and economic waves of of the last decade saw slow and sustainable fashion retailers which encompass a more mindful approach to living and disruption have changed the way brands do business. At experiencing an increased adoption rate as well as generalised consuming. the dawn of a new decade, uncertainty and anxiety has awareness. Throughout this report, light has been shed on accelerated by the catalyst that is covid-19, consequently, areas and ideologies which are also gaining attention and Pioneering trends feeding into the supply chain such as a rise keeping pace with the tumultuous and complex environment redefining industry practises. These finding have the potential in legalisations, demand for transparency and innovations in has becomes a major challenge for all fashion players. Brands to influence the future innovations within the way sustainable new materials increase slow fashion opportunity to match the are becoming a part of a new equilibrium which Thind brand do business. zeitgeist whilst adhering to their ideologies. The detoxification explains leans “towards dynamic, diverse, complex and hyper of the supply chain is supporting the sought after needs of 62 63 Fletcher, K., 2010. Slow Fashion: An Invitation for Systems Change. Fashion Practice, 2(2), pp.259-265.

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66 67 mate-change-amazon-fires-antinatalism/ [Accessed may 28th 2020]

Fig 16. Dazeyla.com (2019) Brave babe collection campaign imagery [Image} Available at: https://www.dazeyla. FILMS com/?rfsn=973397.bf17b [Accessed May 28th 2020] Minimalism: A Documentary About the Important Things. 2015. [DVD] Catalyst Productions. USA. Directed by Matt D’Avella. Fig 17. Salem, O (2018) Reto Schmid for Buffalo Zine SS18 [image] Available at: https://www.itsnicethat.com/articles/reto- Produced by Josh Millburn and Ryan Nicodemus. schmid-clean-it-beach-photography-240518 Buchanan, V., 2020. Webinar: Covid-19 Future Planning. [Available online] LS:N Global. Available at: https://www.lsnglobal. [Accessed May 28th 2020] com/big-ideas/article/25405/webinar-covid-19-future-planning [Accessed 12 May 2020]. Fig 18. Portraitphotography (2020) Available at: https://www.pinterest.co.uk/pin/491666484323008309/ [Accessed May 28th 2020]

Fig 19. Mannell, G (2019) Private Portfolio

Fig 20. Mannell, G (2019) Private Portfolio

Fig 21. Aiayu (2020) Aiayu 2020 volume 1 collection. ‘the simple perfect nostalgic flair with modern easy’ [image] Available at: https://www.aiayu.com/en/journal/2020-vol-1 [Accessed 27th May 2020] FIGURES Fig 22. Fashion Revolutions (2013) Rana Plaza accident in 2013 [image] Available at: https://www.fashionrevolution.org/hunga- Fig 1. Lazaridou, M (2020) Mara Lazaridou Exclusively for Fashion Editorials with Juliet Elijah [image] Available at: https://fash- ry-blog/miert-van-szukseg-a-fashion-revolution-ra-a-divatforradalomra/ [Accessed 30th May 2020] ioneditorials.com/mara-lazaridou-exclusively-for-fashion-editorials-with-juliet-elijah/ [Accessed 27th May 2020] Fig 23. Fashion Revolution (2019) [Image] Available at: https://www.fashionrevolution.org/tag/who-made-my-clothes/ Fig 2. Dukic, N (2020) Nik Dukic Exclusively for Fashion Editorials with Tayla Shaw Angle 1 [image] Available at: https://fash- [Accessed May 28th 2020] ioneditorials.com/nik-dukic-exclusively-for-fashion-editorials-with-tayla-shaw/ [Accessed 27th May 2020] Fig 24. Thegoodtrade (N/A) Cotton pod [image] Available at: https://www.thegoodtrade.com/features/sustainable-sup- Fig 3. Dukic, N (2020) Nik Dukic Exclusively for Fashion Editorials with Tayla Shaw Angle 2 [image] Available at: https://fash- ply-chain-best-practices [Accessed May 28th 2020] ioneditorials.com/nik-dukic-exclusively-for-fashion-editorials-with-tayla-shaw/ [Accessed 27th May 2020] Fig 25. BigCartel. (N/A) Mila scarf [image] Available at: https://komma.bigcartel.com/product/mila-scarf [Accessed May 28th Fig 4. Fashion Revolution (2020) Fast fashion label [image] Available at: https://www.fashionrevolution.org/blog/ [Accessed 27th 2020] May 2020] Fig 26. Circulose (2020) shredded Jean being turned into Circulose [image] Available at: https://circulo.se/ [Accessed May 28th Fig 5. Aiayu (2020) Aiayu 2020 volume 1 collection. ‘the simple perfect nostalgic flair with modern easy’ [image] Available at: 2020] https://www.aiayu.com/en/journal/2020-vol-1 [Accessed 27th May 2020] Fig 27. Nike (2020) Move to Zero shoe [Image] Available at: https://www.nike.com/gb/sustainability [Accessed May 28th 2020]

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Fig 8. LOOKSLIKEAFILM (2018) [image] Available at: https://www.pinterest.co.uk/pin/491666484322875891/ [Accessed Fig 30. Owens, M (2019) Nike use of experiential retail. [image] Available at: https://info.retailspacesevent.com/blog/7-retail- 27th May 2020] ers-successfully-reinventing-physical-stores [Accessed May 29th 2020] Fig 9. Lamparelli, A (2018) Vogue Portugal June 2018 Luca Adamik by Angelo Lamparelli [image] Available at: https://fashioneditorials.com/vogue-portugal-luca-adamik-angelo-lamparelli/ [Accessed 27th May 2020] Fig 21. Eriksson, F (2019) image portraying media obsessed teen [image] Avaliabel at: https://www.dazeddigital.com/tag/arvi- da-bystrom [Accessed May 29th 2020] Fig 10. TALA (2019) Campaign photo for ‘Edge’ collection at TALA. [image] Available at: https://www.wearetala.com/ [Ac- cessed 27th May 2020] Fig 32. Authors own (2020) Page one of the ‘In Practice’ Bullet journal app. [image] Private collection

Fig 11. Microban (2020) Post-Coronavirus Defensive textiles. [image] Available at: https://www.wgsn.com/content/board_view- Fig 34. Authors own (2020) Calendar page in the ‘In Practice’ Bullet journal app. [image] Private collection er/#/86703/page/1 [Accessed 27th May 2020] Fig 35. Authors own (2020) Personal recommendation page in the ‘In Practice’ Bullet journal app. [image] Private collection Fig 12. Bloomberg (2020) Online spending [image] Available at: https://www.businessoffashion.com/articles/news-analysis/ us-consumer-confidence-stabilises-amid-reopening-optimism [Accessed 27th May 2020] Fig 36. Circulose (2020) Circulose logo with pile of Circulose underneath [image] Available at: https://circulo.se/ [Accessed May 28th 2020] Fig 13. Akmen (2020) A pedestrian walks past closed-down shops on an empty Regent Street in London on April 2, 2020, as life in Britain continues during the nationwide lockdown to combat the coronavirus pandemic. [image] Available at: https://www.cnbc. Fig 37. Circulose (2020) shredded Jean being turned into Circulose [image] Available at: https://circulo.se/ [Accessed May 28th com/2020/04/14/uk-economy-could-shrink-by-35percent-between-april-and-june-obr-says.html [ Accessed 27th May 2020] 2020]

Fig 14. @zhijunwang (2020) Nike Face Mask worn by girl in an urbanised setting [image] Available at: https://www.wgsn.com/ Fig 38. Recycling international (2019) worked sorting through recycles clothes to be made into circulose [image] Available at content/board_viewer/#/86703/page/14 [Accessed 27th May 2020] https://recyclinginternational.com/technology/textile-recycling-pioneers-weave-their-magic/28471/ [Accessed May 28th 2020]

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