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.