RiseResale of By Ellen Hind

Figure 1, Patou campaign photo Executive Summary

Introduction

Methodology Literature Review Page 7 Questionnaire

Macro Trends The Circular Economy Page 10 The Rise of Second Hand

Charity Retail Market Current digital platforms Page 17 Analysis of Primary Research Consumer Perception Market Analysis Consumer Analysis Summary

Impact of Covid Impact on second hand Page 28 Impact on Charity Retail

Improving Customer Experience Case Study: Thred Up Contents Page 32 Case Study: Zeekit Case Study: Audi Case Study: Thrift +

Proposed Innovation Vision for the Future Page 42 Operating model illustration The Journey to the Vision Building consumer reach

Conclusion

Appendix

Reference List

Bibliography

Figure 2, Vogue street style photo

1 Executive Summary

This report explores the opportunity for desire for respondents to shop sustainably charities to help build an effective circular but highlighted a number of barriers. economy within the fashion industry. Further research assessed how others are Consumers are increasingly focused on innovating to improve customer experience sustainability and are very aware of the and also promote the circular economy. negative impacts of the fashion industry. As Four case studies are presented - Thred Up, a result, they are progressively moving away Zeekit, Audi and Thrift +. There are a number from fast fashion towards a more conscious of learnings regarding the use of technology, form of shopping. the ability to offer a compelling customer experience and the blurring of lines between The second-hand clothing market is growing online and physical shopping that could be fast and is estimated to be worth $51 billion adopted by the charitable sector. globally by 2023 (Smits & Cunningham, 2020). This is a big opportunity for the charitable Charity retail should act quickly to realise this sector to play its part in promoting these opportunity before other competitors in the positive objectives and raise vital funds for second hand market dominate the space. good causes. Currently, the charity sector New models could be adopted, including in the UK has a limited online offering while collaborations. One such potential UK partner retailers are increasingly operating and could be ethically-minded Thrift +, which has innovating online to enhance the customer an established online platform and distribution experience. Now is the time for charities to infrastructure. A partnership with a charity capture this market and tap into the ethical with physical stores could put Thrift + on the zeitgeist. High Street and the charity online, with all the Definitions logistics already built in. The research method used included a Second Hand: Consumption of all used apparel. Includes both the Resale literature review and primary research via This could act as a major focal point both for sector and the Thrift and Donation sector an online consumer questionnaire. This consumers and fashion brands to build a real focused on second hand clothing shopping circular economy. This will be significantly and user’s perceptions of charity shops. The more effective than an individual organisational Resale: A sector of the broader ‘secondhand’ market that includes more literature review highlighted the social and approach and will enable charities to play a curated product assortments, often well merchandised and/or higher end cultural trends towards a circular economy very valuable role in reshaping and reforming and the rise of the second hand. The primary the fashion industry for the good of society Thrift: A sector of the broader ‘secondhand’ market that includes research supported this analysis with the overall. traditional options such as Goodwill, Salvation Army, and yard sales

Defintions from ThredUp report (ThredUp, 2019)

2 3 Introduction Figure 5 and 6, Vogue street style photo

“Only 1% of textiles produced for clothing are recycled into new clothes” (Ellen MacArthur, 2017) Within the last decade, technology has Ltd, 2020). After a net decline in 2017 (Lepper, transformed the fashion industry to increase 2018), charity shops now occupy 7.76% of productivity, efficiency and creativity the High Street (Statista, 2019) with average (Todeschini, Cortimiglia and de Medeiros, sales per week per store of £2,500 within the 2020). However, the innovation stops at last 3 months of 2019 (Cooney, 2020). recycling and reusing clothes. “Only 1% of textiles produced for clothing are recycled However, as Coronavirus shuts down the into new clothes” (Ellen MacArthur, 2017). High Street, charity shops must quickly adapt The absence of an effective recycling strategy to navigate and prosper in this new climate. is causing a significant negative impact both environmentally and financially (British The primary aim of this report is to investigate Fashion Council, 2019), with more than the motivations and barriers of second- $100 billion lost annually (Ellen MacArthur, hand shopping and how those barriers can 2017). The economic loss coupled with the be overcome. It will also look at the circular environmental impact highlights the need for economy business model and how that is the fashion industry to establish strategies to being used within the fashion industry to reuse and recycle clothing. promote sustainability.

The role of charity shops is critical to this This report will be underpinned with theory development. Charity shops have been an attained from academic journals, core texts, integral part of the British High Street since wider reading, industry periodicals and will Figure 4, Vogue street style photo the 19th Century (Our History: Shops and incorporate both primary and secondary Recycling | Salvation Army Trading Company research.

4 5 Methodology The research generated for this report involved two key phases, a systemic literature review and an online questionnaire. Figure 7, Vogue street style photo

6 7 Figure 8,9 & 10, Vogue street style photo

Literature Review A systemic literature review was selected to limit Figure 11, Vogue street style photo the possibility of error in addition to improving its reliability and accuracy (Mulrow,1994). Using Tranfield’s process for a systemic literature review Questionnaire (Transfield et al, 2003), the following five steps were taken: (a) defining the research objective - “how can To compliment the secondary research, an 135 respondants completed the questionnaire charity shops innovate their business models to suit online questionnaire was carried out, which (Female: 113, Male: 22). The most dominant a changing consumer?” proved the most effective way of obtaining consumer for platforms such as Thrift + are (b) selecting appropriate platforms to acquire data during the Covid-19 lockdown. women (Metcalfe, 2020) so catering to them relevant research - Webcat, Delphis, Science Direct would be a more effective way of widening and Research Gate A questionnaire can be effective in measuring consumer reach. The results are presented in (c) pairing selected keywords in order to locate behaviour, attitudes and preferences from a Section 4.0: An Analysis of The Charity Retail relevant research to the primary aim - large group of people in a time efficient manner Market. circular economy, secondhand fashion and charity (McLeod, 2018). Participants can complete shops were paired with sustainability, innovation the questionnaire in their own time, which The results were split and analysed into three and motivations means the answers are well thought out and main age groups: Generation Z, Generation (d) selecting the most relevant articles - 40 articles accurate. The downside is participants can Y and Baby Booomers. The definitions and were selected from an initial search of over 200 lie about their answers to portray a positive drivers for each generation can be seen in (e) extraction of relevant quotes and information. image of themselves (Dudovskiy, 2020) or not Appendix 2. complete the questionnaire at all. This critical exploration ensures that insignificant research can be separated from pertinent studies. To ensure a broad mix of both qualitative and A thorough literature review aims to reduce bias and quantitative data many types of questions improve the reliability of the report (Mulrow, 1994). were posed. See Appendix 1 for table of questions.

8 9 Macro Trends Influencing Fashion

Figure 12, Vogue street style photo

10 11 closed loops of products, product parts, and materials” (Morseletto, 2019). In a fashion context, a CE focuses on extending the life cycle of textile and clothing products through reuse, recondition, repair and recycle (Stahel,1994). The aim of a CE is for products to circulate within society with maximum usage and little to none environmental effect (Jacometti, 2019; Rathinamoorthy, 2019). As well as improving sustainability, the circular economy model recognises the importance of socioeconomic benefits. At the moment, the fashion industry is currently responsible for £82 million worth of clothing ending up in landfill each year in the UK alone (Tickell and Williams, 2018; Ellen MacArthur; 2017).

In order to successfully implement a CE, the key principles of value creation and retention must be recognised and implemented at Figure 13, Vogue street style photo all levels of a company, including the micro aspects of business functions. The concept of value is critical to achieving a full understanding of CE Circular (Kant Hvass and Pedersen, 2018; Rathinamoorthy, 2019; Wells, 2013; Economy Hofmann, 2019). Within the CE model, there are Today’s fashion industry consists the fashion industry the need for a radical four loops: reuse; repair; Figure 14 & 15, Vogue predominantly of linear business models, shift towards a sustainable business model recondition and recycle street style which adopt a take-make-waste process is clear (Jacometti, 2019). A sustainable (Stahel, 1994). photo (Kant Hvass and Pedersen, 2018; Birtwistle business model works to give priority to all and Moore, 2007; Rathinamoorthy, 2019). facets from a triple bottom line perspective: CE is widely recognised This results in “one truckful of clothing and economic; social and environmental value as being a step towards textile materials being incinerated or landfilled (Kant Hvass and Pedersen, 2018). A subgroup a more sustainable future every second” (Ellen MacArthur Foundation, of the sustainable business model is a (Gardetti, 2019; Hofmann, 2017). This clearly exposes the paradigm Circular Economy (CE). CE is considered to 2019). However, there are many barriers Some academics believe that CE is a “green shift required in the design, production and be one of the key drivers towards sustainable preventing CE becoming mainstream in the coated business approach” (Hofmann, 2019), consumption of products for the survival of the development (A New Textiles Economy: fashion industry, with a pre-conceived notion with misguided ideas about the challenges fashion industry (Kant Hvass and Pedersen, Redesigning Fashions Future, 2017). of the attractiveness and quality of sustainably associated with a CE. The sustainability of 2018; Preston, 2012; Shirvanimoghaddam, made products (Rathinamoorthy, 2019) by recycled products has also been brought into Motamed, Ramakrishna and Naebe, 2020). Walter Stahel, in 1994, was one of the first shoppers being the biggest. The resistance question. Currently, the majority of clothes to link circular economy to resource cycling from consumers to spend extra money on available today are a polyester-cotton blend. Sustainable development is defined as “the and efficiency loops (Rathinamoorthy, 2019; sustainable products means that the market This type of material is extremely complex development that meets the needs of present Kant Hvass and Pedersen, 2018). Since then, has been considered as “niche”, therefore and therefore costly to separate effectively generations without compromising the ability Ellen Macarthur’s research has been key in preventing industry giants to invest (Lee et al, (Rathinamoorthy, 2019). It is also only of future generations to meet their own needs” the development of CE and how it can be 2020). The success of implementing a CE is recyclable up to a certain point or unrecyclable (Brundtland, 1987). Currently, “If the industry applied to current business models. A CE largely determined by consumer behaviour completely, therefore preventing a closed loop stays on its current trajectory, emissions from aims to improve the “efficient use of resources (Pederson et al, 2019; Koszewska, 2019). and retention of the value within the system textile production will rise by more than 60% through waste minimisation, long-term value (Pederson et al, 2019). by 2030” (CEO Agenda 2020, 2020). Within retention, reduction of primary resources, and

12 13 Figure 16 & 17, Vogue street style photo shopping experience (Guiot and Roux, 2010; Bardhi, 2003). The purchase of a second-hand product tends to be opportunistic rather than one of necessity as there are no guarantees of what products are stocked (Bardhi, 2003).

The second-hand market fulfils the needs of two different consumers: those from a higher class demographic who want to buy second- hand items for their exclusivity and lower-class shoppers with a financial motivation (Turunen and Leipämaa-Leskinen, 2015). Ferraro et al (2016) has built on the work of Guiot and Roux (2010) to identify factors that typically motivate second-hand consumers. They cover four different categories: economic; recreational; critical and fashion.

The price of second-hand products pulls consumers to shop second-hand, Second Hand as getting a bargain is Resale and second-hand is often thought of like visiting a museum, being able to explore gratifying (Cervellon et al, as being the most sustainable approach to the stories behind the products with touchable 2012; Guiot and Roux, 2010; increase the life cycle of any product as there merchandise (Ferraro et al, 2016). Buying Machado, 2019). Recreational is no demand for the use of further resources something second-hand makes the consumer motivations refer to the visual to maintain the value (Rathianmoorthy,2019; part of the story and history of the product stimulation and experience Machado, 2019). The past decade has (Duffy et al, 2012). Second-hand shopping that second-hand shops seen an exponential global growth in the mimics a treasure hunt, which satisfies provide, feelings of nostalgia Figure consumption of second-hand products consumers’ hunger for a more meaningful attached to some products 18 & 19, (Business of Fashion, 2020). After a period of and the social interaction with Vogue street “decline and stigmatization” during the 20th shop owners, salespeople style century (Ferraro et al, 2016; Machado, 2019; and other customers (Duffy photo Cervellon et al, 2012), the social stigma et al, 2012; Machado, 2016). attached to second-hand shopping has Now, critical motivations are significantly diminished (Brace-Govan and playing a greater part, with Binay, 2010; Ferraro et al, 2016) with 66% of consumers more aware of the shoppers now shopping pre-loved clothing environmental impacts of fashion (LSN, 2020) Recycling clothes appears to be the perfect (Wall, 2020). Second-hand shopping is now and wanting to reduce waste and the use of solution to fashion’s sustainability issue considered cool rather than an economic natural resources. Shopping second hand but there are negatives. Jacometti, 2019, necessity (Ferraro et al, 2016; Tuttle, 2014). enables consumers to “exercise rebellion identifies that in Europe a large proportion of “It has completely captured the fashion against a society” that promotes wasteful second-hand clothing is exported to poorer zeitgeist” (Mclure, 2019). The growth in the consumption (Roux and Korchia, 2006). East Asian and African countries. A third of second-hand fashion market is thought to Fashion plays to consumers’ desire to be all globally donated clothes are sold in Sub- have been spurred on by the rise of a more unique and original (Bardhi and Arnould, 2005; Saharan Africa (Hoskins, 2013), threatening conscious consumer (Machado, 2019). Machado, 2019). The disapproval of wearing the local textile industry, which is often in the the same outfit on Instagram drives the need early stages of development. It also creates a Second-hand fashion involves the customer to be constantly updating one’s personal huge amount of waste that these countries are in a more emotionally complex way inviting style. Although described as separate entities, unable to deal with effectively or sustainably a collaborative experience between the Ferraro et al suggests that the motivations are (Sajn, 2019). These issues thereby undermine shopper and retailer that is vital in creating all intertwined. Second-hand clothes enable all the sustainability benefits proposed for a CE (Machado, 2019; Ferraro et al, 2016). fashion consumers to frequently update their second-hand fashion (Manji, 2019). Going to a second-hand shop can be more wardrobe at a reduced price.

14 15 Charity Retail Market Charity shops have been key players on the UK High Street since the 19th century (Our History: Shops and Recycling | Salvation Army Trading Company Ltd, 2020). In recent years sales in charity shops have shown a year on year growth of 3.2% (Cooney, 2020), consistently outperforming other retail stores over the past year (BDO, 2020).

There are around 11,000 charity shops in the UK, helping to raise £295m for good causes every year. Annual revenues are over £1m per year with net margins ranging from 10% to 30% (Kay, 2018; BDO, 2020; ). Revenues cover all goods sold, including branded goods (such as Christmas cards, t-shirts etc). Compared with their High Street counterparts, charities also benefit from significant relief from business rates and the support of over 233,000 volunteers (NCVO, 2020)

An in-depth analysis of the market has highlighted the key factors influencing the charity shop market.

Figure 20, Vogue street style photo

16 17 Current Figure 21, Vogue street style photo ‘‘55% of charities not Digital Platforms selling online’’ In Market Lepper. J for Charity Times (2018) Over the past couple of years, charity shops an untapped market, with 55% of charities have been driven by convenience to embrace not selling online (Lepper, 2018). Of the four technology and start selling goods on online biggest charities (by number of UK stores) - platforms (Finley, 2020). Bigger charities such Oxfam, British Heart Foundation, Barnardos as Oxfam have set up individual platforms. and Cancer Research - Oxfam uses its own Oxfam’s online shop profits have risen by online platform for selling second-hand 3.6% from last year (Oxfam, 2019). However, clothing whereas Barnardos and Cancer majority of the items sold on these platforms Research use eBay. In general, the use of are “brought in goods” and only 4% of sales online platforms for selling second hand are donated (Charity Retail, 2019). Smaller clothing is relatively basic compared to the charities have set up a page on eBay to competition. (Lepper, 2018) sell donated goods (Charity Retail, 2019). As eBay is an established clothing resale The economics of an online business is platform, donated garments sell better than significantly different to a High Street model. the charities online platform (Charity retail It requires investment in a visually appealing 2019). website that can drive and track consumer traffic, as well as all the supporting logistical Using these online platforms enables charities and marketing skills to run the business to boost revenue and expand their consumer successfully. Figure 22, Vogue street style photo base (Finley, 2018). Yet, e-commerce is still

18 19 Analysis of Key of Generations:

Baby Gen Z Gen X Primary Research Boomer

What most prevents you from How sustainable Where do you prefer to How often do you shop in charity shopping in charity shops? do you shop? shop second hand? stores?

100 100 10

100 90 90 9

90

80 80 8 80

70 70 7 70

60 60 6 60

5 50 50 50

Percentage 4 Percentage 40 40 Percentage 40 Scale of Sustainabilty 30 30 30 3

20 20 20 sustainable, 0= Not sustainable 10= Very 2

10 10 10 1

0 0 0 Time Struggle to Find Poor Shopping Other 0 Consuming Good Quality Items Experience Charity Shops Online Vintage Other Every Week A Few Times a Month Once a Month Less Than Once a Month Gen Z Gen X Baby Boomer Barriers Channel of second hand shopping Frequency Generations

Figure 23, graph analysing primary research Figure 24, graph analysing primary research Figure 25, graph analysing primary research Figure 26, graph analysing primary research

62% of under Gen Z respondents reported The majority of respondents reported less 71% of Gen Z reported that the biggest Respondents considered themselves they used online platforms to shop second- than once a month (Gen Z: 76%, Gen X: barrier preventing them from shopping in “averagely sustainable”, placing themselves hand fashion, compared to 12% of Baby 39% and Baby Boomers: 59%). These charity shops is the struggle to find good in the centre of the scale from 10 (very Boomer. This was expected as the younger results were unexpected as the background quality items. The respondents for the older sustainable) to 1 (not sustainable). generation are digital natives (Francis and research into the macro trends influencing age groups were split between the struggle Respondents often wish to portray a positive Hoefel, 2018) and by shopping online the the fashion industry suggest that consumers to find good quality items and finding the image of themselves (Dudovskiy, 2020), but consumer can search for an item in seconds are opting more for second-hand fashion process time consuming. These results are the lack of variation was between younger and compared to searching for items in store. The over fast fashion (Wall, 2020). As consumers unexpected as both barriers are linked to older respondents was surprising. Younger consumer can also sell their own clothes, are becoming equally sustainably and the idea of the “treasure hunt” (Guiot and respondents are labelled as “conscious enabling them to make some extra money. ethically minded (LSN Global, 2020), it could Roux, 2010; Bardhi, 2003). The background consumers” (Machado, 2019) and it was These results add to the benefit for charity also be expected that they appreciate the research indicates that this is often a expected they would consider themselves shops to create an effective digital shopping added benefit of supporting a good cause. motivator to shop second-hand. However, more sustainable. This lack of variation could platform if they want to capture this growing However, the results suggest that the barriers perhaps these contradictory results are due be due to the term “sustainable” being vague consumer segment. As they are a key driver are stronger than the motivations for most to the motivating driver of shopping differing and open to interpretation (Mondalek, 2020). for the growth of the second-hand market, consumers, preventing them making specific on a daily basis (Bardhi, 2003). it is important for them to cater to customer trips to charity shops. needs in order to stay relevant (Fernandez, 2020)

20 21 Figure 27, Vogue Street Style Consumer

perception of Figure 28, Word cloud for negative consumer perception Second Hand Negative Positive

Please see Figure 28 oppposite. Other Please see Figure 29 opposite. By far the barriers to shopping in charity shops are: biggest motivation is the low price of clothing hygiene (smelly, messy and stains) and in charity shops. Previous research might frumpy. These were not expected as they are have indicated that the driver is the rise of linked to the negative social stigmas that were the more conscious consumer who wants thought to have been diminished (Brace- to invest in sustainable fashion (Machado, Govan and Binay, 2010; Ferraro et al, 2016). 2019), but this result shows that the However, the research that investigated this consumer’s mindset has not fully shifted from was undertaken pre Covid-19. The results that of a fast fashion consumer. This driver from the survey were collected during the is a positive factor and is something that early onset of Covid-19. An increased focus should continue to be promoted. However, it on hygiene (NHS, 2020) will probably lead to represents a bigger issue of the sustainable a more negative perception of charity shop market being “niche” (Pederson et al, 2019; fashion. Koszewska, 2019), and the need to influence the customer to adopt innovations that promote sustainability.

Figure 29, Word cloud for positive consumer perception

22 23 Market Analysis

Through a PESTLE AND SWOT analysis of the charity shop market, the key drivers for change have been identified below. See appendix 3

Figure 31, Vogue Street Style Pre-Covid-19, profits from charity shops reach and allows charities to get the best have risen by an average of 5.1% from 2018 price items (Green, 2020). to 2019 (Kantaria, 2019). Coronavirus has Online platforms such as Depop also help forced the closure of nearly all retail stores consumers to sell their own clothes, potentially including charity shops impacting severely resulting in a significant reduction in quality on charities’ income. However, the pandemic donations received by charity shops (Charity is also causing an accelerated uptake of Retail, 2017). sustainability trends (Business of Fashion, 2020). In recent years, charity shops have become the ‘the dumping ground for the high streets Charity shops are enabling consumers to dirty little secret’ as described by Mary close the loop on fast fashion (Benmeriem, Creagh, former chair of the Environmental 2020). It is estimated that 95% of all goods Audit Committee (Telegraph, 2018). Due to received by charity stores are either reused or the rise of fast fashion, charity shops are recycled, diverting 331,000 tonnes of textiles being flooded with donations, of which only from landfill (Osterley and Williams, 2019). As half are of acceptable resale quality (Horton, well as benefits to the environment, charity 2018; Delap, 2019; Petter, 2018). Consumers retail also enables consumers to donate to are then discouraged to sift through these a good cause through their purchases. With lower quality items in order to find the ‘hidden over 60% of respondents now considering gems.’ ethics when shopping (EY, 2018), these multi-faceted benefits will appeal to the new To reduce excess stock, charity shops could conscious consumer (LSN Global, 2020. focus on upcycling items they find hard to sell (Charity Retail, 2017). Some charities To further capture the attention of this ethical have also opened superstores, for example zeitgeist, charity shops could improve their the Oxfam superstore in Oxford, at out of online communications through social media town retail parks to create a multi experience and online platforms (StartDesign, 2020). space (Powleland, 2020) with a mix of curated Some charities have started to access stock and new ethically sourced products this market through the use of eBay and (Powlesland, 2020). They often contain a online platforms, but during Covid-19 many café that stocks ethical produce, which platforms have been shut down as they are encourages the consumer to linger (Gardner, unable to process and upload donations. This 2019). Figure 30, Vogue Street Style move towards digital increases the consumer

24 25 Please see below for a table summarising consumer motivations and barriers to buying second-hand clothing from charity shops using a simple customer segregation. This table has been developed using primary reserach and the classifications from Acorn (Acorn, 2014). It provides a general image of who second hand customers are and both the motivating and preventative factors for them to shop.

Figure 32, Vogue Street Style Consumer Analysis Summary Figure 33, Table assimilated from primary secondary research, coupled with the classifications within the Acorn user guide (Acorn, 2014)

26 27 Impact on second hand

Covid-19 has caused businesses across the seen an increase in online listings (Harwood, globe to grind to a halt. It has been predicted 2020). that the spread of coronavirus could cause the biggest economic downturn since World The pandemic has drawn a harsh spotlight War 2 (Business of Fashion, 2020), negatively on the importance of digital channels to the impacting on every industry from finance success of a business (Business of Fashion, to hospitality (Business of Fashion, 2020). 2020). Going forward, players need to be However, due to the hedonistic nature of questioning how their brick and mortar fashion, it is likely to be hit the hardest (Ilchi, stores can complement their digital channels 2020). Mckinsey predicts that if lockdown (Business of Fashion, 2020). continues for two months, 80% of all publicly listed fashion companies in Europe and North Previously, trends of sustainability, purpose America will be in financial distress. led brands and consumers getting ‘woke’, were predicted to dominate the fashion market Second-hand fashion could be the most in the coming years (Business of Fashion, affected. Sucharita Kodali, a retail analyst at 2019). The global pandemic has accelerated Forrester, comments, “The last thing people the growth of these trends (Business of want right now is pre-owned merch — even Fashion, 2020). Impact of if viruses don’t survive on fabrics beyond a few hours...people want to minimise any In just a month of lockdown, animals have risk.” (Business of Fashion, 2020). The lack of returned to cities that are usually overrun with knowledge about the capabilities of the virus people and air pollution has plunged across (World Health Organisation, 2020; Murray, the globe (Watts, 2020; Singh, 2020). This 2020) is making consumers wary of bringing offers consumers a glimpse of the damage any new objects into the house. Yet there is humanity is causing, bringing sustainability Covid evidence of more online shopping between the into sharp focus (Business of Fashion, 2020). hours of 9am – 6pm, fitted in around working There is a growing animosity within consumers from home, with e-commerce purchases up (especially Gen z and Millennials) towards by 52% since this time last year (Chen, 2020). over consumption. Consumers are expecting brands to bring purpose into their lives. 54% Many consumers have been liquidating their of millennials and gen z have stated that they belongings, which has resulted in a boom in want to connect to brands that enhance their the luxury second-hand market in Hong Kong ‘spirit and soul’ (LSN Global, 2020). (Vogue Business, 2020). 27% of consumers are expecting to spend less on luxury In order for brands to successfully recover products and 29% of consumers expect from the effects of Covid-19 they must adapt to save more, which could boost second- promptly to changing consumer trends. Any hand fashion as a way to save money (LSN, innovations proposed by brands must be 2020; Boston Consulting Group, 2020). The anchored securely into their business model uncertainty caused by the virus is encouraging to harmonise between pre and post pandemic consumers to take back control by clearing activity (Business of Fashion, 2020). out and organising their homes. Therefore, . Figure 34, Vogue Street Style many resale platforms such as Thred-up have

28 29 ‘‘Charities form the backbone Figure 35, Vogue Street Style of many Impact on communities’’ charities

Charities form the backbone of many shops has added to this (Penna, 2020). Many communities, offering life-saving support charities have had to take drastic actions to for those in need (Frue, 2019). Covid-19 stay afloat (Brady, 2020), furloughing staff and has caused more people to turn to charities relying more heavily on volunteers (Weymouth for help, while their income has dropped 2020). However, with most volunteers aged significantly due to the cancellation of nearly over 65, those volunteers have been made to all fundraising activity. The closure of charity stay at home (Butler, 2020; Brady, 2020).

Figure 36, Vogue Street Style

30 31 Improving Customer Experience

Pre-pandemic, the resale market was on track to double to $51 billion globally by 2024 (Business of Fashion, 2020). This figure may now surge higher as consumers are becoming increasingly more aware of their consumption and the effect they have on the environment (LSN Global, 2019). With Millennials and Gen Z paving the way, the lines have now blurred between new and used apparel, creating a radical shift in the fashion industry (Mcdowell, 2018).

The following are a number of case studies regarding innovations in the second-hand market and also in wider markets

Figure 37, Vogue Street Style

32 33 Figure 38, Thred Up “clean out kit” be posted online (SmartAssist, 2019). This results in a build-up of an incredibly complex data environment, with a huge number of Stock Keeping Units (SKU’s) and a broad supply chain (Looker, 2016).

As ThredUp’s success relies upon accurate inventory management (Looker, 2016), the mundane task of classifying items was undertaken by more knowledgeable senior members of staff. This prevented them from completing more high-level tasks (SmartAssist, 2019), which highlighted the need to adopt a more automated system.

The company turned to Artificial Intelligence (AI), provided by Vue (Ponce de Leon, 2019) enabling ThredUp to streamline three key features of their business model: pricing; personalization and styling services (Ponce de Leon, 2019). By incorporating automatic upcycle centres, ThredUp has redistributed 65 million garments to date (ThredUp, 2020). Figure 39, Thred Up marketing image

AI ‘instantly determines resale value, factoring AI uses customers’ previous purchases and in retail price, fair market value, age, quality, data to create a curated selection of garments, style and level of similar inventory already resulting in a convenient experience of the available and features a dynamic pricing resale market. Accurate classification means model that accounts for seasonality and high users have the ability to set preferences and filter through thousands of items (Williams, Offers a 2019). AI is also used to track consumer “ loyalty, history of spending and interest in other services such as ThredUp’s box Case Study: convient and services or retail partners platform, UpCycle (Ponce de Leon, 2019). Consumers receive a personalised marketing message that is sustainable relevant to their interests - especially relevant ThredUp when trying to capture the attention of Gen Z (Sweet, 2019). Clothing resale marketplace leader using AI technology for fast classification, way to clean pricing, personalisation and new services such as personalisation and new services One of ThredUp’s recent ventures is the such as personal styling out your curated box. Consumers fill in preferences and size information and they will be sent Operating with a consignment store business Established in 2009, ThredUp takes a fresh a hand-picked box containing 10-15 items model, ThredUp has grown its brand to look on the consignment shop model (Perez, closet (ThredUp, 2019). AI is used to ensure boxes become the world’s largest clothing resale 2012). It offers a convenient and sustainable ” are season appropriate and trend focused marketplace, stocking 35,000 different way to clear out your closet (Williams, 2019). demand’ (Williams, 2019). Accounting for a (Ponce de leon, 2019). Here the AI is used brands (ThredUp, 2019; Williams, 2019). Consumers are sent a “clean out kit” which broad range of factors enables ThredUp to by a human stylist to ensure all boxes match They effectively tapped into the growing includes a bag and prepaid postage label. provide consumers a fair price for their used the consumer’s preferences (Payments, resale market by offering convenience and The consumer fills the bag and then leaves it garments, that they can either receive as cash, 2019). This can be a one-off purchase or a transparency. ThredUp promises high quality for the mail carrier to pick up (Williams, 2019). credit or donate to charity (ThredUp, 2019). subscription service. authentic items at a fraction of original retail Once arrived, the garments are classified price (ThredUp, 2019). and professionally photographed ready to

34 35 Figure 40, Zeekit marketing image Fashion has quickly become the fastest growing e-commerce category (Wang, 2014). Forrester predicts that the number of consumers shopping online will reach 911 million by 2022 (Meena, 2018; Gilliland, 2019). However, online clothing retailers are seeing return rates of 20-30% (Butler, 2016), which is costing millions in lost revenue plus the expense of shipping (Wang, 2014).

For the consumer, shopping online often causes stress as there is a disconnect between the way garments look on a professional model, compared to a ‘normal’ human body (Gil, 2016). As the fashion industry is becoming more diverse, consumers are not buying a product if they think that it is made for a professional model (Buhr, 2016). As the lines blur between online and offline retail, the need for experience is becoming increasingly important (Giannini, 2019). Many fashion brands are struggling to juggle the needs of the evolving consumer and break into the Case Study: market of digital innovation (Shanahan, 2016). Zeekit “Holy grail The virtual fitting room solving return rates and promoting Figure 41, Zeekit marketing image positive body image of online The App has the ability to mix and match items from different retailers and can be saved shopping” in the consumer’s virtual closet (Shanahan, 2016; Novellino, 2016). It connects the dots Lisa Arbetter (2016), Editor of Style Watch between what is seen online and what is and The Outfit delivered to the consumer’s door. “The most This issue sparked the idea for Zeekit, hailed advanced virtual fitting room” (Zeekit, 2020) “the holy grail of online shopping”, according is revolutionizing the way in which consumers to Style Watch and The Outfit Editor, Lisa shop e-commerce (Business Wire, 2016). Arbetter (Mcdowell, 2016). Yael Vizel (Co- founder of Zeekit), came up for the idea whilst Zeekit showcased its revolutionary technology serving in the Israeli Air Force (Business at the 2016 Rebecca Minkoff Show at New Wire, 2016) and converting 2D photos into York Fashion Week for the benefit of its internet 3D graphics for intelligence missions. Vizel viewers, successfully blending the virtual realised the algorithm-based technology and physical world. Zeekit technology has could be used create a “topography” of the also been adopted by online retailer, ASOS human body (Novellino, 2016), enabling a introduced as “See My Fit”, which enables garment to be mapped out onto a consumer’s consumers to see a garment on the model own shape, offering a truer image of what it they most identified with (Rogers, 2020). The would look like on. aim of this feature is to reduce return rates and empower consumers and it has allowed ASOS to continue to operate through the current pandemic (Fish, 2020).

36 37 Figure 42, Audi VR

Figure 44, Audi VR For luxury brand Audi, the showroom is a significant touch point with its customers, Case Study: helping to build brand loyalty (Tan and Page, 2017). As alternative platforms now provide consumers all the information necessary to purchase a car, Audi needed to offer an Figure 43, Audi VR Audi “Customers alternative, heightened experience (Synter, 2017), so it introduced a VR (virtual reality) Premium luxury car brand blending the physical and experience, in 2017 in their showrooms. virtual into a compelling high street retail experience are able to With the help of a VR headset, customers are able to build their dream car and examine build their even the smallest details with hyper realistic visuals for the inside and the outside of the dream car car (Dreschel, 2016). The customer has the option to select from several hundred million variants, an opportunity that was impossible and examine in a traditional showroom (Synter, 2017).

Customers can also experience special Audi even the moments (VR First, 2018), such as getting up close and personal with a crew of racing mechanics at a pit stop at the iconic Le Mans smallest 24 hours race (Dreschel, 2016). details Leveraging this VR in their showrooms ” enables even the smaller branches to be able to offer the customer the best possible experience (Tan and Page, 2017; Synter, 2017), strengthening the relationship between them and the customer (VR First, 2018).

38 39 Figure 45, Thrift garments which they send back to Thrift + plus instagram where it is processed and sold online. The image profits of the items are split three ways; the charity (chosen by the seller); Thrift + and the seller. The consumer can request that their third of money to also be donated to charity (Workspace, 2020).

Logistic operations and technology are supported by automation and computer vision to rapidly process and sort large quantities of clothing. The current system allows the costs to be kept low and growth high (Green Angel Syndicate, 2020). The company is preparing to upgrade its headquarters to a much larger space, to facilitate their growth (Green Angel Syndicate, 2020).

Thrift + has recently partnered with the luxury online resale platform, Farfetch (Jahshan, 2019). Similar to the original process, the Farfetch consumer will sell their used goods Figure 46, Thrift plus instagram image through the platform but they will receive operating model is that only single sizes are Farfetch credit (Hughes, 2019). This model held but this compares very favourably to proves how Thrift + can be utilised as an wider online fashion brands (Metcalfe, 2020). effective circular loyalty model, that is both attractive and beneficial to brands (Wired, The company has been successful in 2020). The partnership improves the donation generating £150,000 for charities over the experience for Farfetch consumers as well past year as well as extending the life cycle of supporting multiple charities (Hughes, 2019). thousands of garments that were destined for landfill (Thrift +, 2020). As the second-hand Case Study Amazon market is predicted to grow 1.5x the size of “ fast fashion over the next 10 years, Thrift + will continue to cater for this generation of Thrift + of charity second-hand consumers (Wired, 2019). UK based innovator creating an ethically aligned circular fashion economy The four case studies above provide insight into shopping” innovations in the sector. These cover digital operating models and the use of technology Thrift + is a UK based company created in revenue for charity shops in the digital market. The importance of this digital innovation to enhance the customer experience (THRED 2017 with the vision of becoming the Amazon The Thrift + platform offers a more effective within the charity retail sector has been UP), the creation of a virtual fitting room to of charity shopping. It was founded on the way to donate, both for the consumer and highlighted by the Covid-19 crisis, due to minimise returns (ZEEKIT) and the blending idea that charity shop consumers should have the charity (Workspace, 2020). As it does not the forced closure of all brick and mortar of digital and high street into a compelling the same or improved level of experience as have the same overhead costs of running a stores (Johshan, 2020). Since the lockdown, consumer offering (AUDI). The final case shopping in a regular store (Thrift +, 2020; high street store, a higher percentage of sales Thrift +’s demand for their nationwide home study showcases a new model for charitable Hughes, 2019). are donated to the charity (Workspace, 2020). collection has surged. The platform is made giving and a circular economy for fashion via A typical charity shop has a 19% profit margin attractive by offering the consumer control an innovative online platform. These provide The founder, Joe Metcalfe, created the whereas Thrift + donates 33 to 66% (Wired, over which charity receives the money raised insights into how the charity sector could concept when he discovered that only a 2020). (Green Angel Syndicate, 2020). approach their second clothing offering in the small percentage of the revenue from charity future. shops was from online platforms (Workspace, The platform follows a simple business plan. The return rate for Thrift + is relatively low at 2020). He recognised the untapped potential Donors are given a box to fill with unwanted circa 7% (Metcalfe, 2020). The nature of the

40 41 Proposed Innovation

Figure 47, Vogue Street Style

42 43 Figure 48, Vogue street style

Figure 49, Vogue street style

source of income, especially for fashion speed will be important. The economics of items. Not taking this opportunity will mean a an online platform is that scale develops a loss of revenue and ceding the advantage to virtuous circle enabling further investment and more nimble competitors. further growth. Lastly, the impact of Covid 19 has been devasting but within the aftermath To successfully implement a digital platform, of the impact, it could act as restart button for charities have two main options, create their moving forward online. own platform or partner with an existing online platform such as Thrift +. Hence the rest of this section will explore a vision for an online partnership model Vision for Creating an online platform is an expensive between the charitable sector and Thrift+ as undertaking to set up and operate. Given the an illustrative example. By implementing this availability of a viable partner in the UK (Thrift approach, the charities will successfully: +) with mutual objectives, the partnering • Access a significantly wider consumer the future approach could be the strategic choice. base Charity shops also have significant value • Significantly improve the customer The Consumer Activist Logic (Branstad With regards to charity retail, the brick and that they can bring to the Thrift +, such as experience and Solem, 2020) investigates the “contest mortar stores are the incumbent. Many an established charity supporter base, shared • Leverage macro trends aligned to ethical between two conflicting fronts”, for example, consumers who are supportive of the circular resources and joint PR and marketing, not objectives of virtuous consumers the incumbent and a consumer group. The economy, second hand and charitable to mention a presence on the High Street • Blur lines between physical and digital consumer is seen as an agent for potential objectives are increasingly using digital (Business of Fashion, 2020) to help with spaces change, their ideologies heavily influencing platforms. supply and distribution. • Increase revenue and profit their practices. This potential has manifested itself as digital platforms (Labrecque et al., However, many of these see significant Additional significant factors are speed of An overarching benefit would be that this 2013; Giesler, 2008). Consumers are drawn barriers to the current high street model. This movement and the ability to build a market potentially powerful coalition could make to digital platforms as it offers them an outlet is particularly relevant to the Gen Z consumer. place with significant consumer traffic. The a very significant impact on creating a to express their opinions. The conflict has A solution could be for the charity sector to trends highlighted in Section 3 are creating sustainable circular economy within the the potential to develop into a new market aggressively adopt an e-commerce platform, significant market opportunities. However, fashion industry. opportunity (Giesler, 2008). which could eventually become their main these are also recognised by others and

44 45 Figure 50, Vogue street style Operating Model Illustration The charities can request their supporters to virtually try on clothes. These can also to shop at Thrift +. Donations can be sent provide a connection into enhanced services directly to the Thrift + warehouses and brick such as curated boxes, personal styling and and mortar stores can be used as local and even tailoring adaptions and accessories. By regional hubs with volunteers sorting the connecting the physical and digital platforms, donations and selecting the best quality a new and more enjoyable experience is pieces to be sold online. created for the consumer. This could extend to VR experiences to illustrate the work being At the warehouses, the donations will be done by the charity (similar to Audi Le Mas sorted and classified using an AI system experience) to tie back to the overarching (similar to Thred Up). Not only is this the most charitable objectives. Figure 51, Vogue street style time efficient way to sort through clothes but it would also enable the charity to ensure they Finally, the partnership of the charity sector “By connecting the are getting fair prices for the products (Ponce and a compelling customer experience via de Leon, 2019). When shopping on the the Thrift + platform and further combined physical and digital platform the consumer will have the option innovation could act as a powerful unifying to use VR 3D model technology to facilitate force on the fashion sector to really bring about them to find the perfect fit bringing in similar a meaningful circular economy. This would platforms, a new technology to Zeekit. build on the Farfetch example and enable big brands to actively support both sustainability The bricks and mortar stores can be used and charities. Curated subscription-based and more enjoyable as distribution channels and an extension models could help fashion brands promote of the online platform. Certain stores can second hand. Partnering with brands with be designated digital hubs with dedicated sustainable objectives (such as Burberry, Gap experience is created virtual shopping experiences. Consumers & H&M) could lead to making durability more will be able to shop for physical products as attractive with brands actively designing for for the consumer well as browse the full collection online with and promoting reuse of their clothing. ” 3D modelling mirrors to enable consumers

46 47 Figure 52, Vogue street style Horizon 1

Current Situation

• Charity retail continues to rely on stores as main source of income • Core consumer group of Baby Boomers begins to shrink as digital becomes more relevant • Charities miss out on whole new market of ethically minded Generation Z, who prefer to shop online and utilise platforms such as Debop to recycle their own clothes or support more ethically recycling via Thread Up Horizon 2 Journey to the 3-5 Years

• To maintain relevance, charities retailers, have the option of forming partnerships with Vision online resale platform Thrift + or create own platform • Thrift + and participating charities engage in joint marketing The Mckinsey’s Horizon framework can be used to illustrate how this innovation would • Traffic to the online site increases significantly build and develop the current charity retail market. This has been used to provide a brief • Increased funding enables the use of AI to effectively classify and sell garments online illustration of the journey to the vision outlined above • Brick and Mortar stores used as distribution channels • Physical stores used to compliment the online platform with dedicated stores set up as digital hubs with space dedicated to digital offering • Charities improve the consumer experience by eliminating “bad smells” and “messy” store layouts. Horizon 3 • Smaller curated selection of clothes available in store 5+ Years

Horizon 2 Seed Future Horizon 3 3-4 Years Businesses Value 5+ years

Foster Emerging New Horizon 1 Businesses • Further funding enables the use of VR 3D mannequin technology on the online platform, Now reducing returns and improving customer experience • 3D mannequin technology in stores, allowing consumers to browse the online platform Defend and Expand • Collaboration with fashion brands, offer brand credits for their clothes recycled via the Eurrent platform Core Business • Launching of curated boxes and subscription services with high street stores used as collection points • The platform and operating model expand to cover household items Time • Charity shop experience combines an enjoyable experience, value shopping and ethical objectives Figure 53, Graph developed from Mckiney’s Horizon Model , See appendix 4

48 49 Building The following table provides a brief summary of how the innovation will enable the charity sector to build their consumer reach and sales revenue Consumer Reach

Figure 55, Table developed from previous table of consumer perception of second hand

This table illustrates how the innovation can effectively target new consumer and widen the reach without alienating existing consumers. By overcoming the main barriers discovered through primary and secondary research, charity shopping will appeal to a wider range of consumers. In turn, this will enable charities to educate more consumers on the sustainable issues in fashion as well as raising money for a good cause.

Figure 54, Vogue Street Style

50 51 Figure 56, Vogue Street Style Conclusion

As it is becoming increasingly clear that the DNA of the fashion industry is effectively built upon exploitation of both people and the planet, consumers are moving away from fast fashion towards second-hand. By 2023, the resale and second-hand market will be worth 51 billion US dollars (Smits and Cunningham, 2020). As the industry moves away from the linear model that has dominated the sector for the last decade, charity retail needs to be ready to capture the conscious spirit of the Gen Z and the wider consumer base (Amed et al., 2019)

Charity shops have helped shape the UK High Street since the 19th century. Nevertheless, the benefits that charities offer has never been more pertinent. The sus- tainable benefit coupled with the support they offer to communities means they are integral to the promotion of CE and the development of a more purposeful fash- ion industry.

In order to have the maximum influence on the sus- tainable and ethical issues within the current fashion industry, charity shops must appeal to a wider range of consumers. By creating an accessible digital platform, charities can ensure they get the best price for items as well as overcoming the barriers that prevent con- sumers from shopping. This innovative platform uses technology to encourage collaboration between char- ities, which is the key to successfully promote a CE (Machado, 2019). Charity shops have the potential to revolutionise the consumer’s mindset and the future of the planet.

52 53 Appendix

APPENDIX 1

APPENDIX 2

Definitions of generations referred to in report and used for analysis of primary research Table is adapted from the research of (Malhorta, 2006) and (Dudovskiy, 2020). Table of different types of questions to ensure a broad range of data collection

54 55 APPENDIX 3 APPENDIX 4

Mckinsey Horizon Framework used to illustrate how the innovation will fit into current market and how it will develop over time.

PESTLE and SWOT Framework used to analyse the charity shop market and provide insight into possible innovations.

56 57 jclepro.2019.03.115.

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58 59 fall-2018-menswear-street-style (Accessed: 31 May 2020). Shirvanimoghaddam, K., Motamed, B., Ramakrishna, S. and Naebe, M., 2020. Death by waste: Fashion and textile circular economy case. Science of The Total Environment, 718, FIGURE 8 p.137317. Oh, P. (2020) Best Street Style of the season. Available at: https://www.vogue.com/article/ phil-oh-top-40-favorite-street-style-photos-fall-2020 (Accessed: 31 May 2020). Todeschini, B., Cortimiglia, M. and de Medeiros, J., 2020. Collaboration practices in the fashion industry: Environmentally sustainable innovations in the value chain. Environmental FIGURE 9 Science & Policy, 106, pp.1-11. Oh, P. (2020) Best Street Style of the season. Available at: https://www.vogue.com/article/ phil-oh-top-40-favorite-street-style-photos-fall-2020 (Accessed: 31 May 2020). BOOKS Stephany, A. (2015) The business of sharing. 1st edn. London: Palgrave Macmillan. FIGURE 10 Wells, P. (2013) Business models for sustainability. 1st edn. Cheltenham: Edward Elgar Oh, P. (2020). Available at: https://www.vogue.com/vogueworld/slideshow/best-street-style- Publishing Limited. photos-from-london-fashion-week-fall-2020 (Accessed: 31 May 2020).

Butterworth- Heinemann, Hewson M and Vinken B (2004) Fashion Zeitgeist: Trends FIGURE 11 and Cycles in the Fashion System Berg publishers Journal of Fashion Marketing and Lowe, A. (2020). Available at: https://www.vogue.co.uk/gallery/london-fashion-week-street- Management (Emerald) style (Accessed: 31 May 2020).

Keller, K. (2013) Strategic brand management. 4th edn. Pearson. FIGURE 12 Oh, P. (2019). Available at: https://www.vogue.com/slideshow/street-style-new-faces-spring- Kotler, P. and Lee, N. (2011). Corporate Social Responsibility. Hoboken: John Wiley & Sons, 2020-fashion-week-phil-oh (Accessed: 31 May 2020). Inc. FIGURE 13 Kim, Fiore and Kim ‘Fashion Trends: Analysing and forecasting’ Bloomsbury Oh, P. (2020). Available at: https://www.vogue.com/vogueworld/slideshow/phil-ohs-best- street-style-photos-from-new-york-fashion-week-fall-2020 (Accessed: 31 May 2020). IMAGES FIGURE 1 FIGURE 14 Elgot, A. (2019) Patou Campaign. Available at: https://www.patou.com/blogs/journal/arthur- Roberts, D. (2018). Available at: Oh, P. (2020). Available at: https://www.vogue.com/ elgort-shot-our-first-advertising-campaign (Accessed: 31 May 2020). vogueworld/slideshow/best-street-style-photos-from-london-fashion-week-fall-2020 FIGURE 2 (Accessed: 31 May 2020). (Accessed: 31 May 2020). Acielle (2018) Street Style at Tibilsi fashion week. Available at: https://www.georgianjournal. ge/society/34525-vogue-presents-best-street-style-looks-from-tbilisi-fashion-week- FIGURE 15 fall-2018.html (Accessed: 2 June 2020). Roberts, D. (2019). Available at: https://www.vogue.com/vogueworld/slideshow/sydney- fashion-week-best-street-style (Accessed: 31 May 2020). FIGURE 3 Oh, P. (2014) Street Style: Milan Fashion Week Fall 2014. Available at: https://www.vogue. FIGURE 16 com/article/street-style-milan-fashion-week-fall-2014 (Accessed: 2 June 2020). Oh, P. (2020). Available at: https://www.vogue.com/vogueworld/slideshow/best-street-style- photos-from-london-fashion-week-fall-2020 (Accessed: 31 May 2020). FIGURE 4 Vierig, C. (2018) Copenhagen Fashion week. Available at: https://fashionista.com/2018/02/ FIGURE 17 scandinavian-copenhagen-danish-street-style (Accessed: 31 May 2020). Oh, P. (2020). Available at: https://www.vogue.com/vogueworld/slideshow/best-street-style- photos-from-london-fashion-week-fall-2020 (Accessed: 31 May 2020). FIGURE 5 Acielle (2018) Copenhagen Fashion Week. Available at: https://www.vogue.com/slideshow/ FIGURE 18 copenhagen-fashion-week-fall-2018-street-style (Accessed: 31 May 2020). Oh, P. (2020). Available at: https://www.vogue.com/vogueworld/slideshow/best-street-style- photos-from-london-fashion-week-fall-2020 (Accessed: 31 May 2020). FIGURE 6 Acielle (2018) Copenhagen Fashion Week. Available at: https://www.vogue.com/slideshow/ FIGURE 19 copenhagen-fashion-week-fall-2018-street-style (Accessed: 31 May 2020). Oh, P. (2020). Available at: https://www.vogue.com/vogueworld/slideshow/best-street-style- photos-from-london-fashion-week-fall-2020 (Accessed: 31 May 2020). FIGURE 7 Oh, P. (2018) Milan Fashion Week. Available at: https://www.vogue.com/slideshow/milan- FIGURE 20

60 61 Senese, G. (2020). Available at: https://www.vogue.com/slideshow/london-spring-2020- FIGURE 35 menswear-street-style (Accessed: 31 May 2020). Acielle (2020). Available at: https://www.vogue.com/vogueworld/slideshow/the-best-street- style-photos-from-the-fall-2020-shows-in-copenhagen (Accessed: 31 May 2020). FIGURE 21 Oh, P. (2020) Best Street Style of the season. Available at: https://www.vogue.com/article/ FIGURE 36 phil-oh-top-40-favorite-street-style-photos-fall-2020 (Accessed: 31 May 2020). Oh, P. (2018) Milan Fashion Week. Available at: https://www.vogue.com/slideshow/milan- fall-2018-menswear-street-style (Accessed: 31 May 2020). FIGURE 22 Pryce, J. (2020) AW20 Men’s Fashion Week. Available at: https://www.vogue.co.uk/fashion/ FIGURE 37 article/street-style-moments-mens-fashion-month (Accessed: 2 June 2020). Oh, P. (2020). Available at: https://www.vogue.com/vogueworld/slideshow/best-street-style- photos-from-london-fashion-week-fall-2020 (Accessed: 31 May 2020). FIGURE 23 Hind, E. (2020) ‘Where do you prefer to shop second hand?’ FIGURE 38 Scialabba, F. (2019). Available at: https://www.morningbrew.com/retail/stories/2019/08/21/ FIGURE 24 thredup-launching-resaleasaservice (Accessed: 31 May 2020). Hind, E. (2020) ‘How often do you shop in charity stores?’ FIGURE 39 FIGURE 25 Thred Up (2020). Available at: https://www.instagram.com/p/CAiUsr2HJLH/ (Accessed: 31 Hind, E. (2020) ‘What most prevents you from shopping in charity shops?’ May 2020).

FIGURE 26 FIGURE 40 Hind, E. (2020) ‘How sustainable do you shop?’ Zeekit (2018) Zeekit Marketing. Available at: https://zeekit.me/about (Accessed: 2 June 2020). FIGURE 27 Roberts, D. (2019). Available at: https://www.vogue.com/vogueworld/slideshow/sydney- FIGURE 41 fashion-week-best-street-style (Accessed: 31 May 2020). Zeekit (2020). Available at: https://apkpure.com/zeekit-try-buy-repeat/com.zeekit.client. android (Accessed: 31 May 2020). FIGURE 28 Hind, E. (2020) Word cloud for negative consumer perceptions FIGURE 42 Audi (2017). Available at: https://www.audi-mediacenter.com/en/press-releases/audi- FIGURE 29 launches-virtual-reality-technology-in-dealerships-9270 (Accessed: 31 May 2020). Hind, E. (2020). Word cloud for positive consumer perceptions FIGURE 43 FIGURE 30 Unknown (2019). Available at: http://retail-innovation.com/index.php/looking-inside-an-audi- Roberts, D. (2019). Available at: https://www.vogue.com/vogueworld/slideshow/sydney- car-with-virtual-reality (Accessed: 31 May 2020). fashion-week-best-street-style (Accessed: 31 May 2020). FIGURE 44 FIGURE 31 Audi (2017). Available at: https://www.campaignlive.co.uk/article/audi-rolls-global-vr- Acielle (2019). Available at: https://www.vogue.com/vogueworld/slideshow/tbilisi-fashion- experience-people-back-showroom/1441935 (Accessed: 2 June 2020). week-fall-2019-street-style (Accessed: 31 May 2020). FIGURE 45 FIGURE 32 Butler, S. (2019). Available at: https://www.instagram.com/p/B1bhRcXJeTs/ (Accessed: 31 Acielle (2018) Street Style at Tibilsi fashion week. Available at: https://www. May 2020). georgianjournal.ge/society/34525-vogue-presents-best-street-style-looks- from-tbilisi-fashion-week-fall-2018.html (Accessed: 2 June 2020). FIGURE 46 Unknown (2020). Available at: https://www.instagram.com/p/B0rFqodHUXB/ (Accessed: 31 FIGURE 33 May 2020). Hind, E. (2020). Table of consumer perceptions of second hand FIGURE 47 FIGURE 34 Oh, P. (2020). Available at: https://www.vogue.com/article/phil-oh-top-40-favorite-street- Roberts, D. (2019). Available at: https://www.vogue.com/vogueworld/slideshow/sydney- style-photos-fall-2020 (Accessed: 2 June 2020). fashion-week-best-street-style (Accessed: 31 May 2020).

62 63 FIGURE 48 2020). Acielle (2019). Available at: https://www.vogue.com/vogueworld/slideshow/tbilisi-fashion- week-fall-2019-street-style (Accessed: 31 May 2020). Bird, J. (2020) Fashion’s Dirty Little Secret And How It’s Coming Clean, Forbes. Available at: https://www.forbes.com/sites/jonbird1/2018/09/09/fashions-dirty-little-secret-and-how-its- FIGURE 49 coming-clean/#4611e1eb1771 (Accessed: 15 April 2020). Acielle (2019). Available at: https://www.vogue.com/vogueworld/slideshow/tbilisi-fashion- week-fall-2019-street-style (Accessed: 31 May 2020). Chen, C. (2020) Rental and Resale Were Supposed to Be the Future. Could Coronavirus FIGURE 50 Change That?, The Business of Fashion. Available at: https://www.businessoffashion.com/ Oh, P. (2019). Available at: https://www.vogue.com/vogueworld/slideshow/phil-ohs-best- articles/professional/what-is-coronavirus-doing-to-the-rental-and-secondhand-luxury- street-style-photos-from-paris-fashion-week-fall-2020 (Accessed: 31 May 2020). market (Accessed: 24 April 2020).

FIGURE 51 Fish, I. (2020) Asos scales up model social distancing measures, Drapers. Available Oh, P. (2019). Available at: https://www.vogue.com/vogueworld/slideshow/phil-ohs-best- at: https://www.drapersonline.com/news/asos-scales-up-model-social-distancing- street-style-photos-from-paris-fashion-week-fall-2020 (Accessed: 31 May 2020). measures/7040325.article (Accessed: 6 May 2020).

FIGURE 52 Fashion industry faces up to Covid-19 disaster (2020). Available at: https://www. Acielle (2019). Available at: https://www.vogue.com/vogueworld/slideshow/tbilisi-fashion- voguebusiness.com/companies/fashion-industry-faces-up-to-covid-19-disaster-coronavirus week-fall-2019-street-style (Accessed: 31 May 2020). (Accessed: 27 April 2020).

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