ARTD 3066
The Intensification of Popularity Surrounding Gender Fluidity within Fashion and How This Demand Has Been Ameliorated by Generation Z
Maisie Lee Student no: 30263158 Image 1 - GQ, 2016 Words: 4747
1 Introduction 3 Executive Summary 4 INTRODUCTION Representation and Identity: A 6 fashion overview Trend Behaviours 8 “More than ever, the gender-bending we’ve grown accustomed to seeing on the run- way is accompanied by a growing awareness of and sensitivity to the experiences Influential Figures 10 of trans and gender non-conforming individuals – people for whom the bending of gender is not merely a style, but an identity” (Sanders, 2019). The Current Disruption of 14 Gender Norms Within Fashion In recent years, gender fluidity in fashion has seen exponential growth Popular Culture 18 amongst brands and consumers alike. The diminishing of gender restrictions around clothing has led to a whole new fashion movement, making room for
CONTENTS much more creativity and expression. As society is becoming more accepting Toxic Masculinity & Men’s 22 of gender and sexuality as a whole, defying the boundaries of fashion is also more widely embraced. Consumers are free to browse and shop in any depart- Mental Health ment, showing the, now endless, possibilities for style and image. Diversity in Marketing 26 With most trends in the industry, runway is the catalyst for newness. In 2018, the “organiser of New York Fashion Week, added ‘unisex/non-binary’ as a new category” (Mcalpine, 2018) allowing designers, both established and contem- The Impact of Generation Z 32 porary, to showcase their take on the group. With an increasing number of Buying Behaviours 36 high-fashion designers adopting a more fluid approach to their collections, fast-fashion brands are also taking on a similar approach to bring a sense of wearability to the masses. This has created a demand from consumers, particu- Conclusion 40 larly those within Generation Z who are arguably the most inclusive genera- tion yet. Innovative Technologies 44 Gender Neutral Inclusion 48 Fashion provides an opportunity for individuality. A silent expression of one- self can be created through the outfits worn to showcase part of a personality that can not be articulated through words. The newest generation of consum- Appendix 52 ers are defying stereotypes and breaking boundaries to offer endless opportu- nity for expression that isn’t limited by the standard confines of gender con- ventions. Reference List 53
Bibliography 60
2 3 ExecutiveSummary
This report aims to focus on the rise in popularity of gender fluidity within fashion and which consumers this targets most. Generation Z has introduced an entirely new set of consumer behaviours due to them being digitally inclined and favouring fast, seamless experiences. More- over, because of their high level of acceptance, these young consumers are ditching old labels and finding new ways to express themselves out- side of typical gender norms.
There is evidence towards past and present influences on the industry and how they have impacted both the direction of fashion and fash- ion stereotypes throughout history. From David Bowie to Harry Styles, the landscape of gender and how it is seen in fashion, has drastical- ly changed. Stereotypes are being eradicated as consumers look past standard gender labels and adopt a more fluid approach to individual expression.
These topics will also be supported by primary research, indicating the opinions of current consumers and how they view gender fluidity in fashion today. There is reference to whether they would buy gender neutral clothing and the contrast between what is seen as socially ac- ceptable for women vs men.
This report concludes with reference to future shopping behaviours, potential store layouts and how technology can be used to evolve the way society consumes fashion. From avatars to virtual reality, brands are gradually introducing digital formats to target a younger demographic and appeal to those that favour innovative technologies.
The ever-changing wants and needs of consumers need to be met by brands to ensure they stay relevant. Gen Z are choosing to disregard labels and place more emphasis on the emotional side of fashion and what this can do for expression. This report gives an insight into the state of the industry now in terms of fluidity and how the continued ac- ceptance of gender fluid fashion will impact the industry in its entirety. Image 2 - Glossy, 2017 Image 2 - Glossy,
4 5 REPRESENTATION & IDENTITY A Fashion Overview
6 7 Image 3 - Twitter, 2020
TREND BEHAVIOURS
Fashion trends occur in cycles, fluence fashion as we know it today. meaning any ‘current’ styles are sim- Mainstream media, particularly ce- ply an evolution or reintroduction lebrities, have the ability to impact of trends from throughout history. A how and what consumers buy at an theory posed by historian James La- alarmingly fast rate. This is support- ver, stated that “a trend does not start ed by the ‘trickle-down’ theory which to look appealing until 50 years after was initially introduced by econo- its time” (Winterman, 2009). Howev- mist Thorstein Veblen in 1899. He er with the introduction of new tech- suggested that consumer goods were nologies, clothes are being designed initially sold at a price to target those and manufactured in a completely in a higher class as “wealth or pow- new and different way. Trends con- er must be put in evidence” (Banta, tinue to follow a cycle, but it is one 2007) and those in a lower class then that is much more concise and seam- adopt an altered version to better less. suit them. This is most accurately Many popular looks today have strong seen when looking at the influence influences from past decades that of the Kardashian’s. There was a “45 have shaped where fashion is today. per cent jump in online searches for For example, the Y2K aesthetic is very compression garments in September prominent in 2021 with many young 2019” (King, 2019) just after the ini- consumers showing influence of this tial release of Kim’s shapewear brand within their clothing choices. ‘Baby ‘Skims’. This highlights the direct tees’, which are typically “cropped influence from celebrities onto con- above the belly button and are high- sumers and the impact they can have er fit across the chest” (Feiam, 2021), on buying behaviours. Falling un- low-cut jeans and velour tracksuits der the bracket of “early adopters” are just some examples of garments (Rogers, 1995), those that experience that are slowly regaining popularity. successful fame are typically some of As well as generalised styles from the first to introduce new trends and certain decades, there are many spe- popular styles which are then duped cific people that have helped to in- by the majority of the population. 8 9 Image 4 - Okay Player, 2014 Player, Image 4 - Okay
When looking at those who spe- cifically went against the grain in terms of what they wore, Amer- ican singer Prince provided a lot of influence through his daring ensembles and unique person- al style. Perhaps the most nota- ble look was that from the ‘Purple Rain’ video in which he sported a “slightly peaked shoulder jacket, ruffled blouse, and stacked heel boots” (Yotka, 2016). His freedom to defy gender stereotypes and push the boundaries of sexuality opened doors for others to follow suit and create their own personal tic-prone heavy metal and hip hop freedom. For his admirers in par- in the late 1980s” (Vogel, 2018), ticular, “his difference and willing- it was more than a statement to INFLUENTIAL FIGURES ness to transgress boundaries was contrast this norm and break the a large part of his appeal” (Vogel, boundaries of fashion for men and 2018). They praised his confidence women. Moreover, being one of and ability to sport any style and the first to do this meant he took the androgyny he brought to the the brunt of hate and abuse as this music industry. However, it is im- was something people were not portant to remember the particu- used to. But it’s those that rebel lar time he was performing in against society’s standards, that re- and the views held at this time. sult in being the catalyst for major, Through the “rise of misogynis- beneficial change. 10 11 Similarly, and even slightly before- er dubbed as the ‘man dress’. He “re- hand, The Rolling Stones used their peatedly re-wore the “man dress”… own rock style to experiment with fash- throughout his US publicity tour in ion and its boundaries, often choosing early 1971, despite being reportedly to wear colourful jumpsuits and ruf- ridiculed by the general public on the fled shirts. Keith Richards specifical- street” (BoF, 2018) showing his dedica- ly was said to be often found “rifling tion to expressing himself and his per- through his girlfriend Anita Pallen- sonal style.
berg’s closet for his groundbreaking These kinds of figures shaped the 2016 Wear, What Who Image 5 - ensembles” (Williams, 2016). evolution of fashion rules and ignited Equivalently to Prince and The Roll- a change within the industry. As the ing Stones, David Bowie was a seminal views of society change over the years, figure in the introduction of gender fashion adapts to suit these new ideals fluidity within fashion. One deliber- whilst ate moment being the release of his third album cover in which he sport- “gradually preparing another per- ed a long, velvet dress which was lat- ception of sex, gender and actually corporeality” (Tormakhova, 2019).
In recent years the acceptance of gen- der stereotypes has increased, ridding the view of traditional masculine and feminine roles and taking on a much more progressive approach. This has allowed generations of people to free- ly express themselves and their identi- ties, most often seen creatively through art, music and importantly, fashion.
12 13 THE CURRENT DISRUPTION OF GENDER NORMS WITHIN FASHION
14 15 Many recent collections saw an in- of visibility at a luxury level ensures crease in brands championing uni- that other market sectors and levels sex and gender-fluid styles. From will follow suit. For example, this can Balenciaga’s digital fashion collec- be seen within the high-street, when tion to Marc Jacobs’s ‘Heaven’ line John Lewis introduced genderless which aims to celebrate polysexu- childrenswear to their brand. New ality by representing “the freedom labels will be added to every garment to be multifaceted and the endless showing ‘Boys & Girls’ and “will be romance found in mutating forms” put on all own-brand garments from (Newbold, 2020). There was also an newborns to age 14” (Newbold, 2017). increase last year, in the variety of Introducing this kind of progressive- models used for runways. “Models ness at a high-street level will en- identifying as non-binary, trans men, courage other similar brands to do and cis men walked alongside cis the same and eventually create a new women at Valentino’s Fall 2020 wom- normal. enswear show” (Cohn, 2020). Creat- The limitations that once bound the ing garments that cater to all is one fashion industry are now no longer thing, but ensuring all identities are relevant, with many younger con- Image 6 - Hypebae, 2020 showcased and acknowledged brings sumers favouring individuality and a whole new level of progression to not restricting themselves to previ- the industry. In addition, this kind ous gender stereotypes. 16 17 Image 7 - Dazed, 2020
POPULAR CULTURE
Similarly to the influences throughout history, there are many poign- ant figures today that continue to break boundaries and defy gender norms. In 2016, actor and musician Jaden Smith participated in a Louis Vuitton campaign showcasing their newest collection. In this campaign he can be seeing wearing a skirt whilst posing with other female mod- els in similar outfits. The controversy came as, at the time, “the idea of men appropriating women’s clothes [was] still largely taboo” (Friedman, 2016). Whilst now in 2021 where there is much less appropriation and much more acceptance, men dressing in commonly female clothing can still cause somewhat of a stir. This was evident after the release of Harry Styles’ Vogue front cover in 2020 in which he was sporting a pale blue, lace trimmed dress un- derneath a black tuxedo jacket, both by Gucci. Being the first, solo, male artist to grace the cover, this image was already historical, but created even more of a buzz after conservatives were quick to brand the musician as ‘unmanly’. The goal of the photoshoot, and the cause of aggravation, was “precisely how mundane the image was supposed to be” (Dickson, 2020). The mere idea that someone could be so confi- dent and secure was triggering for some who maintain more traditional views. However, this was only a very small majority with most viewers accepting and supportive of Styles’ achievement. With Gen Z being arguably the most inclusive generation yet, they have “rejected the so- cietal restraints previously put upon them and demanded we look be- yond the binary” (Elan, 2020). It is no longer necessary to confine your- self but instead encouraged to see gender signifiers as mere constructs. In a recent Twitter report titled ‘Gender Redefined’, it was found that conversation around gender and gender roles increased by 176% (Twit- ter, 2020) showing the shift in consumer mindset and improvement in overall progressiveness today.
18 19 Vogue’s annual Met Gala provides an oppor- tunity to take influences and create dramatised looks. In 2019 the chosen theme was ‘Camp: Notes on Fashion’, with a plethora of celebrities attend- ing in costumes based around extravagance and drama. This particular year was a chance for the celebrities to push the boundaries of the binary and try pieces they perhaps would normally shy away from. Looking specifically at the male at- tendees, many chose to incorporate sequins and glitter into their looks, embracing an exaggerated version of their typical outfit choices. Over the years there has been a notable increase in ex- perimentation, with many male stars beginning to “adopt a more free-wheeling spirit” (Allaire, 2020). The idea of men and womenswear is slowly eroding, leaving a lot more room for individuality. In a recent survey, it was found that “83% of re- spondents would buy a garment that was brand- ed as gender-neutral” (Lee, 2021). The demand for more gender-fluid clothing is growing amongst consumers as the need to conform to certain stereo- types diminishes. People are no longer restricting them- selves to the clothing limi- tations of their own gender but instead feeling free to express themselves howev- er they choose. The notion now, is that “masculinity and femininity are now treated simply as part of a reper- toire of ‘looks’ that individu- als can adopt irrespective of their gender” (Negrin, 2009). With “the stereotypical het- eronormative macho male image…beginning to erode” (Gosling, 2018), Millennials and Gen Z’s are spearhead- ing this movement to a more fluid and less confined fu- ture and eliminating patriar- chal oppression. 20 Image 8 - Stuff, 2019 21 TOXIC MASCULINITY & MEN’S MENTAL HEALTH
22 23 Image 9 - Instagram, 2019
Referring to “harmful behaviour medication” (BBC Sounds, 2018), and attitudes commonly associat- further enforcing the reality that ed with some men” (Barr, 2019), the men are less likely to confide in term toxic masculinity has become others about personal issues. A increasingly popularised. In 2018 recent documentary showed that it was found that only 1% of society “three quarters of all suicides in in the UK associate respectfulness the UK are by men” (Kemp, 2021). with the word ‘masculine’ (Future Vulnerability is often neglected Men, 2018). Toxic masculinity is amongst men, typically dismissed, also associated with deeming any therefore resulting in damaged particularly ‘feminine’ traits in a mental health or difficulty em- negative light, and favouring typ- bracing emotion. ically ‘masculine’ characteristics as a way to assert dominance over The effects of toxic masculinity others. are also emphasised by the stere- It has also been associated with otypes between boys and girls and issues surrounding men’s mental what they can or can not do. Young health and their own identities. girls are typically “taught that their Historically being told to toughen identity can be more fluid, [whilst] up and suppress emotion, leaves boys are often told to toughen up little room for the acknowledg- and take things ‘like a man’” (Chi- ment of mental wellbeing. It was trakorn, 2019). Perpetuating this found that “25% of women, but belief reinforces these ideas and only 15% of men take psychiatric inhibits positive change amongst society. 24 25 DIVERSITY IN MARKETING
In another light, balance is vital in out- weighing extremes and keeping a sense 2019 Vogue, Image 10 - of order. Whilst this isn’t to say all men need to be less masculine, it is more important to channel certain character- istics such as aggression or protective- ness, to ensure they do not violate the rights of other people. In a bid to lessen the severity of toxic masculinity, it is important to educate young boys and men on the different forms of masculinity, with 12-18 being one of the most impressionable age gaps (Gwon & Jeong, 2018). It is also im- portant to encourage them to consider their own behaviours towards others. Overcoming this issue will require “the participation of men committed to be- ing allies in the fight against gender in- equality” (Elliott, 2018). The fashion industry also sustains this issue through the lack of body diversity within menswear marketing. The major- ity of male models used in campaigns and runways are slim, muscular and tall, providing standards that the population feel they should reach. Whilst the wom- enswear market has dramatically in- creased in terms of inclusivity, the same cannot be said for menswear. Unfortu- nately, profit is typically always at the forefront of the industry as it favours “what makes the old guard of fashion money. Sample sizes and a lack of diver- sity up until now have made [the indus- try] money” (Jensen, 2020) therefore this is the formula that is continuously used.
26 27 Image 11 - The Gryphon, 2020 The Gryphon, Image 11 -
However, society has the “ca- in advertising allows consum- A significant example of this The singer has previously been pacity to deconstruct gender bi- ers to “imagine themselves in would be when Rihanna show- praised for “reset[ing] the dial naries and criticize hegemonic the clothing and… [feel] valued cased plus-size male models on size, race and gender inclu- masculinity” (Connell & Mess- by the brand” (Barry, 2014). Ex- for her Savage X Fenty under- sivity” (Elan, 2020) within her erschmidt, 2005), in an attempt posure helps to normalise body wear collection. This particular brand, consistently showcas- to make brands more diverse shapes and sizes and customers show inspired viewers to “take ing models of all sizes, races and offer a more accurate rep- want to feel represented by the ownership of their body and to and abilities. However this has resentation of consumers. These brands they follow. harness their sexuality” (Henry, been pushed further by this binaries are not of importance to 2020) by embracing who they brand now being one of the the new generation of consum- are, no matter their appear- first companies to present an ers and therefore businesses ance. inclusive range of male, as well need to reflect this ideology. It’s as female models. been shown that a varied and diverse range of models used
28 29 There is a signif- icant lack of inclu- sivity within mens- wear advertising, with most brands focusing on embrac- ing a diverse range of female models to target this de- mographic. Whilst this is equally im- portant, with female bodies being crit- icised much more frequently and per- vasively, this should not disregard the notion that mens- wear should be just as inclusive. Change is a result of con- sumers using their voices with the “re- sponsibility [lying] Image 12 - Tank’s Good News, 2020 on men to create a demand for inclusive body representa- tions” (Mcdonald & Adlman 2015). Without this demand, change will not occur however it is also the responsibility of brands to recognise these changes needed within the industry and adjust accordingly. Questioning systems of power will allow society to be able to work “towards a masculinity of empathy, alliance, equi- “a masculinity of empathy, ty and justice” (Rios, 2019). Holding necessary people ac- countable for their actions will help to provide a more in- clusive environment for all, and alter the way masculinity is alliance, equity and justice” viewed within society. Inclusivity brings with it acceptance, ensuring the evolve- (Rios, 2019) ment of the fashion industry by “asserting the interlocked significance of gender issues and consumption in under- standing men’s fashion” (Edwards, 1997). It should also not be gender specific, helping to create a more accepting en- vironment for all consumers.
30 31 THE IMPACT OF GENERATION Z
32 33 Image 13 - Instagram, 2020
Making up 26% of the global population (Brown, 2020), Generation Z are arguably the most diverse generation yet, as they are also “far more comfort- able with shifting views of identity than older gen- erations have been” (Levin, 2019), adopting a more accepting approach in all aspects of their lives. Their digitally native lifestyle means they embrace technology and favour seamless and digital experi- ences, with 58% of consumers getting most of their fashion inspiration from social media (Lee, 2021). This has created a whole new form of marketing with one in five of Gen Z making a purchase in- spired by an influencer (Droesch, 2020). This need for seamlessness and immediacy has also given them the “ability to pivot quickly as new cir- cumstances arise” (Raynor, 2021). Their adaptabil- ity and open-mindedness has created a generation built on progression and acceptance, prioritising “diversity — across race, gender, and orientation” (Deloitte, n.d.). With an estimated spending power of up to “$143 billion in the US alone” (Barkley, 2018), Gen Z are spearheading consumerism by favouring brands with clear, ethical values. The decision making pro- cess for young people is calculated with “a greater degree of thinking and discipline behind purchas- es” (McKinsey, 2020). More thought is put into the consequences of each investment and what impacts it would have. For example due to the impacts of Covid-19, 33% of consumers are finding themselves with less disposable income compared to before the crisis, and are shopping more cost consciously (Ac- centure, 2020).
34 35 BUYING BEHAVIOURS
This particular generation also has showing consumers the main values the power to manipulate the image of the brand and that their actions of brands. In most cases, brand im- aren’t solely performative. Due to age is established by the business their disloyalty and ever changing and their marketing tools. However needs, businesses must ensure they in recent times, “it’s the consumer accurately target their demograph- using the brand or the product in ic to ensure devotion as “74 percent
Image 14 - Instagram, 2021 Image 14 - Instagram, whatever ways they want” (Hanbury, [say] they would switch to buying n.d.), showing their power and abili- from a different retailer if they re- ty to completely reinvent businesses. ceived poor customer service” (Busi- Gen Z are extremely environmen- ness Wire, 2017). tally conscious, with ethics and sus- Social media also plays a large role tainability at the forefront of most in the buying behaviours for those of their purchasing decisions; “54 % in Gen Z. “With 54% of social brows- state that they are willing to spend ers us[ing] social media to research an incremental 10 percent or more products” (Beer, 2018), it’s vital that on sustainable products” (Petro, brands take advantage of this and 2020). Brands must start implement- establish an online presence. Not ing sustainable practises to ensure only is social media used for re- they maintain the loyalty of their search but also to share and discuss younger consumers. certain products and opinions, with Generation Z also place great impor- “93% of consumers say[ing] that on- tance on brands supporting causes line reviews influenced their -pur they are passionate about. For ex- chase decisions” (Kaemingk, 2020). ample, many businesses took to so- As Gen Z themselves are very vocal cial media to share their support for about their views, this leaves little the Black Lives Matter movement, room for mistakes, with “over 60 with Glossier specifically donating percent of Gen Zers say they leave a ‘$500K to organisations helping to review often, if not every time” (Nick- combat racial injustice and a fur- alls, 2019). Therefore, brands must ther $500K in the form of grants be transparent with their offerings to Black-owned beauty businesses’ and have strong customer service to (Glossier, 2020). ensure they sustain the connection Showing respect for and advocat- with their consumers. ing for specific movements is key to 36 37 For many young people, “The act of buying products or services… [is] about expressing individual identity” (Fontein, 2019). The boundaries within fashion that were once in place in terms of gender and social constructs are now no longer relevant, as consumers are more open to expressing themselves and defying these stereotypes. Using “consumption as an expression of individual identity” (Francis, 2018) is a main way consumers experiment with different styles which, in turn, help them to shape their unique identities. Gen Z’s view of gender in its entirety has changed as 59% say forms or online profiles should include additional gen- der options (Parker & Igielnik, 2020) to ensure they are rightfully represented. There is no longer a need to label your- Image 15 - Medium, 2019 self or conform to the typical gender bi- naries in general and within fashion. The majority would rather be viewed by “their personalities, their passions and their values” (Campaign, 2019) rather than superficial traits such as their looks. More emphasis is placed on accurate representation and building relationships based on substantial characteristics. Personalisation is also a factor that affects Gen Z’s buying behaviour. They seek sites that use personalised data to “proactively create an online experience that predicts what they want to see” (Torlini, 2019). Amongst a generation that favours uniqueness, personalisation ensures loyalty towards brands and helps to emphasise that sense of individual identity. It has been found that “44% of U.S. internet users would leave a brand that didn’t personalize content” (Jankowski, 2020) emphasising the importance of this and giving brands an opportunity to differentiate them- selves from their competitors. Moreover, this creates a unique selling point for the business to ensure consumer loyalty. 38 39 CONCLUSION
40 41 Image 16 - Vogue, 2019 Recent years have shown a dramatic evolution in the acceptance of gender fluidity within fashion and the ability to combat typical stereotypes in terms of individual expression. The leading gen- eration has shown an increase in de- fying the standard gender binaries, in- stead choosing to express themselves creatively without limitations. This has allowed the fashion industry to also de- velop, with many designers creating uni- sex and fluid collections with high-street brands following suit. Whilst many lux- ury brands in the past have shown a nod towards fluidity within their shows; an example of this being Thom Browne’s 2018 Spring Menswear collection which refrained from trousers and embraced skirts. This development has transcend- ed throughout the market levels and helped to eradicate certain boundaries that are now no longer relevant. The confines of menswear and womenswear are no longer of importance, with many consumers disregarding these limits and embracing a neutral approach to fashion and expression.
42 43 INNOVATIVE TECHNOLOGIES
When looking to the future of fluid fash- ion, the advancements in technology have echoed this need for neutrality. The introduc- tion of online ‘avatars’ has opened up the in- dustry to an entirely new marketing format, creating the ability to design fashions that perhaps could not otherwise be created. Con- sumers are able to construct avatars of them- selves to develop a digital identity and further their expression. For example, avatar creation app Genies allows users to generate a clone of themselves to use as representation “as the lines between the physical and digital worlds becomes increasingly blurred” (Genies, n.d.). With the importance of technology in the 21st century and the new generation of consumers being digital natives that spend “more than 70 hours a week on their devices” (Rapacon, 2019) , the move for fashion to online is a nat- ural progression.
Image 17 - Instagram, 2021
44 45 Image 18 - Hypebeast, 2018
Similarly, Scandinavian retailer their role in the new service econo- Carlings launched an entirely digital my” (Pantano & Timmermans, 2014), collection in 2018, “consisting of 19 also aiding in the development of the genderless, sizeless pieces” (Pitcher, industry and helping to ensure the 2020) which are then digitally tailored loyalty of new, digitally inclined con- onto images consumers upload. This sumers. For example, those in Gen Z helps to diminish the ‘wear once and use “new technology, hyperconnec- throw away’ mentality, appealing to tivity, and collaboration to drive in- Gen Z’s need for sustainable fashion. novation and change” (Morgan, n.d.) With the rise of sites such as Depop due to them being early adopters of and Vinted, young consumers have processes or innovations that help to developed popularity around buying improve their existence. They have second-hand and helping to reduce “more power than any previous gen- the impacts of fast-fashion. By creating eration to re-define production and demand for digital collections, buyers consumption” (Priporas, Stylos and will be able to constantly update their Fotiadis, 2017) and change the way image and stay up to date with trends brands manufacture and market en- without contributing to the pollu- tirely. Businesses need to adapt to tive nature of clothing development. new consumer behaviours and look Moreover, “firms and consumers use to innovative technologies to develop technology to reinvent and reinforce their brand. 46 47 GENDER NEUTRAL INCLUSION
Bringing a sense of gender fluidi- higher sense of progressiveness. ty can be done outside of garments As well as evolving physical stores, the themselves. Whilst unisex and fluid evolution of online needs to echo the clothing is on the rise with “fifty-six same movement. Brands should focus percent of Gen-Z consumers already on optimising their sites and improv- shop[ping] outside of their gender” ing their search engine optimisation (BoF, 2019), this should also be re- to “capitalize on users searching for flected within stores. As an exam- gender-neutral products and surface ple, menswear and womenswear do them relevant results” (Test, 2020). not have to be separated but rather Whilst most top search results show display all clothing within the same niche gender fluid brands or unisex physical space. This allows consum- marketing campaigns, this disregards ers to see clothing as “an expression any mainstream brands that also ca- and an extension of who they are and ter to this demographic. Increasing what they stand for” (Maguire, 2020), exposure will help brands bring in a as opposed to labels they feel they wider consumer base and target those need to apply to themselves. Moreo- outside their main market. ver, this strive towards a more inclu- In addition, websites can adopt a sive environment “offers the oppor- similar style of navigation to physical tunity for retail brand values to play stores in which brands lean more to- a positive role in diffusing these con- wards keywords such as ‘new arrivals’ cepts through mainstream consumer and ‘footwear’ etc, rather than group- society” (Boyd, Ritch, Dodd & McCo- ing items under ‘men’ and ‘women’. ll, 2020). Further embracing diversi- Coupling this with gender-neutral ty allows businesses to reach a wider imagery such as using androgynous range of customers and defy patriar- models or showcasing one item on chal gender stereotypes. As the ide- both a male and female model, ena- ologies of consumers become more bles consumers to feel represented and more progressive, the industry and supported by the brands they will reflect this by also embracing a follow. Image 19- Harper’s Bazaar, 2020 48 49 Trends within fashion are con- stantly evolving as new consum- ers take charge and introduce new purchasing behaviours. As ac- ceptance is at the forefront of this generation, this is then translated into the fashion industry causing Image 20 - Vanity Fair, 2021 the deconstruction of gender bi- naries and stereotypes. More emphasis is placed on the emotional aspects of fashion rather than appealing to the masculine or feminine, helping to de-value the idea of gender. Fashion is evolving towards an environment that transcends stereo- types and creates freedom around fluidity as it“ shouldn’t require bravery to do something as simple as being yourself” (Menon, 2019).
50 51 Appendix Reference List Figure 1 - ERGO Form Books/Journals • Banta, M., 2007. Theory of the Leisure Class, The. Oxford World’s Classics. Oxford University Press, p.29. • Barry, B., 2014. Expanding the male ideal: The need for diversity in men’s fashion advertise- ments. Critical Studies in Men’s Fashion, [online] 1(3), pp.275-293. Available at:
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