"Be Bossy" a campaign for depop

“BE BOSSY”

A CAMPAIGN CONCEPT FOR DEPOP

A LOOK INTO GENDERSTEREOTYPES IN THE WORKPLACE ISABELLA HUDSON 20034792

(Depop, 2022h)

ONTENTS. CONTENTS. CONTENTS.

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3-4... Depop Overview 5-6... SWOT Analysis 7-8... Depop’s Consumer 9-10... Social Issue 11-12... Current Campaigns 13-14... Campaign Concept 15-16... Styling

17-18... Poses 19-20... Location 21-22... Editing Style 23-24... Narrative 25-26... Channels 27-28... Final Outcome & Website 29-30... Reflections

(Depop, 2022c)

DEPOP

Depop is a fashion marketplace with 30 million active users in over 150 countries. Depop has a mission to “build the world’s most diverse and progressive home of fashion, where you can tap into a collective of like-minded people and feel free to experiment, create and connect” (Depop, 2022b). Depop’s current objectives are to actively promote circularity; make Depop climate neutral; and provide support for entrepreneurial creatives from underrepresented groups (Depop, 2022b).

Depop’s brand is built on community. This community has inspired change within the second-hand fashion market, increasing demand for sustainable fashion on the app (Porterie, 2021). As its users so strongly represent Depop, many of its recent campaigns have been focused on their community. Depop ran their Now/Next campaign in 2021 that focused on developing the entrepreneurial skills of selected sellers on Depop to take them to where they wanted to be next. Following the success of this campaign leading to a feature in Forbes 30 under 30, Depop decided to release a second edition of the campaign in 2022 focusing on black sellers (Depop, 2022a).

Depop’s community pushes for change and Depop supports this by amplifying the voices of underrepresented groups through campaigns such as this.

(Depop, 2022f)

(Depop, 2022b) RELATIONSHIP

SELF-IMAGE

Depop wants to create an accepting community regardless of age, gender, or location.

Depop aims to show off the 'confidence' and 'attitude' of their community.

PHYSIQUE Red branding, GT America font, bright imagery

REFLECTION

BRAND IDENTITY PRISM

Depop wants to appeal to confident consumers contributing to their community and what they believe in.

(Streetfighterdj, 2022)

PERSONALITY Depop aims to communicate a 'fuck it' attitude CULTURE Honesty, Creativity, Kindness and Entrepeneurship

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• Depop encourages circular fashion within it’s marketplace (Depop, 2022). They also have a two year plan in place to improve their company’s environmental impact in order to meet rising consumer demand for sustainability (Petro, 2022).

• Depop encourages Inclusivity, Diversity and progressiveness, meeting their target consumer’s demands (Sanchez, 2021).

• Depop is built on its community and works to support this community by offering the tools and inspiration to help them succeed (Depop, 2022). This support creates strong customer loyalty.

W

O

• Recent years have seen a cultural shift towards buying second-hand clothing as awareness of one’s environmental impact increases.

The second-hand clothing market expects to see a 52% increase by 2026 (Russell, 2022), meaning increased sales for Depop.

• The current cost of living crisis has seen a boom in second-hand goods, creating a £150 billion global market (Consultancy.UK, 2022). As disposable income decreases, consumers have turned towards second-hand shopping for a bargain. Depop has the opportunity to meet this demand and capitalise on increased market share.

• The current cost of living crisis has made the gentrification of second-hand shopping more apparent as people struggle to afford basic clothing needs. This may cause threat to Depop as consumers demand regulation of clothing prices on the app and accuse the brand of promoting overconsumption (Overton, 2022).

• The sudden increase in demand for second-hand clothing has seen many new entrants into the market (Botting, 2021). This brings new competitors for Depop, meaning there is a threat of decreased market share.

Depop must remain dynamic with consumer demands in order to retain customer loyalty.

T

(Virtualrealiti, 2022)

(Depop, 2022a)

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S

• As a marketplace with individual sellers, Depop cannot regulate the level of customer service buyers receive, which can negatively impact their brand image.

Depop also struggles to regulate dropshipping on their site due to this (Smith, 2022).

• Depop has faced backlash surrounding responsibility for the gentrification of second-hand clothing. Depop sellers tend to bulk buy from second-hand stores and resell items on their page. This has caused second-hand stores to increase their pricing in line with demand, making second-hand clothing no longer attainable for those who need it. (Wright, 2022)

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(Depop, 2022e)

DEMOGRAPHIC

• Depop’s target age range is 18-26 year old’s (Similarweb,2023) with 90% of their users being under 26 (Depop, 2022) • Depop targets both men and women with their audience being 59% female and 41% male. (Similarweb, 2023) • The acorn classification places Depop’s audience in the ‘student life’ group made up of students and educated young people (Acorn, 2022) • Depop’s consumer fits in the C1 social grade (NRS, 2016).

GEOGRAPHIC

• 49% of Depop’s users are in the US, followed by 26% in the UK and 7.5% in Australia (Similarweb, 2023).

• As an e-commerce business, Depop has a lack of geographical barriers and the Depop app is available to download worldwide.

P D B G

PSYCHOGRAPHIC

Depop’s consumer is young, innovative and fashion conscious, placing them in the “symbolic and instrumental’ category of fashion lifestyle segmentation (Shim et al, 1994). They are early adopters according to Roger’s model of diffusion, meaning they embrace and adapt to change easily (Rogers, 1962). Depop classifies their consumers as creative, sociable and supports brands fighting for change. This consumer is up to date on social media and takes inspiration from influencers.

BEHAVIOURAL

Depop’s consumer is strongly influenced to purchase from a brand with social and environmental commitments. 60%of Gen-Z are influenced by diversity and inclusion and 45% are influenced by a commitment to the environment (Depop, 2022). Depop’s audience are natural born entrepreneurs (Estraikh, 2016) and Depop caters to this consumer by meeting their esteem needs and providing a sense of individualism, confidence and recognition (Maslow, 1943).

(Refer to appendices for models referenced)

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Women have traditionally been stereotyped as polite, accommodating and nurturing (Hentschel, 2019). These stereotypes accompany a dated expectation of women to take care of domestic duties and raise children. Whilst this view of women has changed and progresses in gender equality have been made, these stereotypes are engrained in society and still have a strong influence over career choices. Common stereotypes associated with being female such as ‘nurturing’ and ‘emotional’ traits are internalised from a young age. These beliefs steer women towards more domestic careers and make careers such as sports or entrepreneurship seem unattainable (Mundt, 2022). Whilst there has been an increase in female-owned businesses in recent years, entrepreneurship remains a gendered field. 39% of women reported feeling viewed as too emotional in the workplace, 35% as too bossy and 18% as trying to be masculine (Avon, 2022). Barriers such as limited funding, gender biases and lack of government support make it difficult to succeed as a female entrepreneur (Gootha, 2021) 61% of female entrepreneurs believe that gender stereotypes have negatively affected their business growth (Blair,2021). Brands are beginning to take steps to tackle gender stereotypes, in order to support women in their fight for equality.

(Rolling Stone, 1995)

GIRLS! PINK IS FOR GIRLS! PI

(Golovkin, 2015b)

(Golovkin, 2015a)

GENDER STEREOTYPES

(Lustre Creme, 1968)

E’S A LADY. SHE’S A LADY. SHE’S

(H&M, 2016)

CURRENT CAMPAIGNS

Stereotyping women has become a recognised problem within the fashion industry, as campaigns have moved from selling an ultra-feminine lifestyle to a more realistic one. Campaigns such as “she’s a lady” by H&M have been drivers in this movement. This campaign plays on traditional views of what is deemed as unladylike, accompanied by the song “she’s a lady” which has sexist messaging throughout. This promotional film shows women manspreading; flexing their muscles and conducting a meeting, whilst young girls watch them in admiration. This campaign is an empowering take on what being a “lady” means and aims to encourage women not to conform to dated views of how a woman should behave (Ilyashov, 2016a). A similar campaign is “never settle, never done” by Nike. Nike has a history of campaigning for women’s rights in sports and this campaign released after England won the 2022 Euros further spreads this message (Glenday, 2022). This promotional film features fast-paced imagery of women acting ‘unladylike.’ Women are seen shouting, kicking and sweating, alongside their successes in the game. This campaign celebrates female athletes and the game today, whilst continuing to work for change in female sports (Nike, 2022). Both promotional films show lots of short clips edited together in an uplifting manner.

(Weidan+Kennedy, 2022)

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CAMPAIGN CONCEPT

The “be bossy” campaign by Depop encourages women to embrace their femininity without feeling bound to a stereotype. This campaign aims to evoke feelings of realisation and self-identification in the consumer, which have shown high levels of receptiveness when using “femvertising” (Sternadori, 2019). Female entrepreneurs are faced with constant criticism. When leaning into gender stereotypes they tend to be viewed as “too polite or accommodating” but when going against gender norms they are accused of being “too bossy or demanding”. Despite criticism, studies have shown an increase in female entrepreneurs using these traits in successful strategies that counterbalance masculine biases in the field (Constantinidis, 2020). Depop wants to help spread this message, it’s time women embraced their uniqueness in their journey to success. Recent studies have shown the word ‘bossy’ as an invisible barrier to women’s success in the workplace. The same behaviours that are rewarded as leadership skills for men are branded as bossy for women (Clerkin et al, 2015). Depop encourages women to “be bossy” despite the criticism and embrace their leadership skills. This campaign will feature a promotional film showcasing women being themselves, they will appear confident, feminine, and most of all bossy. This promotional film will be the face of a wider campaign. Depop will use their previous experience supporting sellers’ entrepreneurial goals, to spread advice on growing small businesses. Depop’s online blog will have access to online workshops and ted talks that teach sellers to develop these skills and encourage female entrepreneurship. This campaign will be shared to social media and success will be measured through engagement with these social media posts, as well as the number of visits to Depop’s blog posts surrounding the campaign. This campaign raises awareness for Depop’s brand value of entrepreneurship whilst supporting the social issue of gender stereotyping. Supporting this issue improves Depop’s brand image and gains customer recognition.

(Depop, 2022b)

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hair ribbons

decorative belts

(Adkins, 2022a)

favourite influencers are wearing (Benson, 2018). When looking for inspiration for Depop’s promotional film, two Gen-Z influencers come to mind who perfectly encapsulate Depop’s aesthetic. @Loveveie is known for her colourful looks that include; crochet, mini skirts; coloured sunglasses and hair ribbons.

Similarly, @Laraadkins is also known for her bold style, often combining super feminine looks with more masculine pieces as well as incorporating chunky ‘charity shop style’ accessories into her outfits. This promotional film will incorporate a selection of these styling techniques.

@Laraadkins

Depop is a marketplace designed for finding unique pieces and therefore Depop’s community has a ‘unique style. This style is made up of several statement pieces and accessories put together for a bold look. Depop has seen a 57% increase in searches for ‘Y2K’ fashion and a 37% increase for vintage pieces (Hines, 2022).

Depop encapsulates the Gen-Z style, with that being their target audience. Depop users take inspiration from influencers when looking for clothing on the app.

With many influencers having a Depop account, users can easily find clothing similar to what their

corsets

@Lovevie

STYLING INSPIRATION

(Clark, 2022c) sunglasess

(Clark, 2022a)

(Adkins, 2022b)

(Clark, 2022b)

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POSES

((McManus, 2014)

The model’s posing in this campaign should be appropriate for the narrative, in order to make the overall message clearer to the audience. Depop is a fun and creative brand, and want to convey this, however with the strapline for this campaign being “be bossy” they also want to communicate bossy language with their poses. This will be achieved through a series of different poses. By using candid talking or laughing poses, a lighthearted fun message is conveyed that aligns with Depop’s existing brand image (Sasso, 2018). Depop currently brings lightheartedness into their campaigns by having models reaching out to the camera, pulling faces and playing with accessories. The ‘bossy’ imagery is created by taking inspiration from existing campaigns, “she’s a lady” by H&M shows models manspreading and crossing their arms to bring a more powerful feel to the shoot (Ilyashov, 2016b). By contrasting these more masculine poses with feminine styling, it supports Depop’s message that being feminine doesn’t define you to a stereotype. Shooting from a ‘bottom up’ angle also creates bossy language. This angle became popular in 90’s fashion campaigns when grunge was popularised in order to capture attitude in the image (Cherrydeck, 2019). This promotional film will also incorporate walking shots in order to keep the movement up, creating a fast-paced fluid film.

(Carlson, 2022)

(Hampton, 2021b)

(Hampton, 2021a)

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(Film, 2016a) (Lebon, 2016)

(Cohen, 2017)

LOCATION Location plays a key role when trying to convey a narrative through imagery (TLG, 2022). When looking at Depop’s previous promotional films, the locations appear to tell similar stories.

The locations feature unkept suburban areas with graffiti.

These are places that the everyday person experiences and reflect Depop’s accessibility for the everyday person. Graffitied locations allow Depop to bring an element of creativity and street style into the imagery that resonates with their consumer. The “be bossy” campaign aims to break down social barriers that lead to inaccessibility, so the use of everyday locations, such as this, works well with the narrative of the campaign. This promotional film will be shot in imperfect locations with graffiti, chipped brickwork and exposed pipes. Whilst traditional fashion films aim to sell an often unrealistic lifestyle (Lynn, 2020) this promotional film, in contrast, aims to relate to the consumers existing lifestyle. The acorn classification guide defines Depop’s target consumer as living in these suburban areas (Acorn, 2022). By filming in these locations, Depop can resonate a sense of self-identification with the consumer and engage with them on a more personal level, creating emotional investment in the campaign (Decker, 2014).

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(Film, 2016b)

(Depop, 2018a)

(bararia, 2021)

(Depop, 2018b)

EDITING STYLE

When editing this promotional film, it is important to keep the target consumer in mind. Gen-Z have become accustomed to the fast-paced, jump-cut style of editing that has been popularised through ‘vlogging’ (Harding, 2018). As media consumption increases, attention spans become shorter, which has seen a rise in short-form videos (Boger, 2020).

The “be bossy’ promotional film will feature lots of short clips edited together through jump cuts to mimic the style of video Gen-Z are used to consuming. Creating fast-moving imagery helps to keep the consumer engaged and entertained. To add to these fast-moving visuals, this campaign will take inspiration from previous Depop campaigns for visual effects. Effects such as flashing text, cropped videos and fisheye lenses can be found in existing campaigns, and will be brought into this campaign to build brand cohesiveness.

(Depop, 2018c)

Gen-Z have slowly moved away from highly stylised imagery and are drawn more towards unfiltered content (Kashyap, 2022).

This promotional film will stay away from highly edited lighting effects and instead stick to a simple grain effect to create authentic looking imagery.

Bringing together these clips will be the fast-paced beat of ‘Reason’ by Pleight.

This tech-house track will set the pace of the film and make the quick clips flow seamlessly together.

(Fortin, 2018)

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(Depop, 2022d)

NARRATIVE The narrative of this campaign is targeted at the everyday person, the film will purposely avoid any use of influencers or celebrities and focus on models that the consumer can relate to. Consumers are shown to be more heavily influenced by a campaign if they can recognise a sense of self within it (Escalas, 2012). The overall imagery of this campaign will convey a relatable lifestyle to encourage the narrative that anyone can “be bossy”. The women in this campaign will appear confident and assertive through poses and facial expressions. The models are designed to be seen as aspirational and encourage women to question their fears of being labelled as ‘bossy’ when they observe the confidence it brings the women they see in the campaign. The words “BE BOSSY” will flash across the screen multiple times to reinforce the narrative that is being conveyed through this promotional film. Depop’s logo will also appear throughout the film to build an association between the campaign and the brand, enhancing Depop’s brand personality (Decker, 2017).

(Cobithrift, 2022)

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(Labucq, 2018)

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(Hudson, 2023a)

Depop’s target audience is Gen-Z. Appropriate channels must be selected to reach this consumer. Gen-Z reportedly spends 1-5 hours a day on social media and use it as their main source of research when looking at brands (Worldstream, 2022). This campaign will be shared through Instagram and YouTube. Instagram is responsible for 40.14% of Depop’s social media traffic and is their most followed social media account (SimilarWeb, 2022a). Instagram allows you to share videos as well as blog posts, making it an ideal platform for this campaign. Instagram also gives Depop the option to provide a direct link to their website, where the consumer can learn more about the campaign. Depop’s second-highest social media traffic comes from YouTube at 27.58% (SimilarWeb, 2022b). As a video-sharing platform, YouTube is the ideal site to share Depop’s promotional film for this campaign. The promotional film shared on YouTube will be accompanied by a link in the description to Depop’s website.

(Hudson, 2023b)

INSTAGRAM

YOUTUBE

CHANNELS

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(See call sheet in appendices for credits)

WEBSITE

The promotional film shared to Depop’s social media will lead consumers to Depop’s website. Depop’s website has an existing blog section where Depop’s users can find articles on buying and selling tips. In this blog section, there will be educational articles on gender stereotyping in the workplace to support the “be bossy” campaign. There will also be articles on developing entrepreneurial skills with links to workshops and ted talks for Depop’s users to join. By placing these articles on Depop’s website, consumers can engage directly with the brand. The longer a consumer engages with Depop’s content, the more invested in the brand they will become.

This investment in the brand moves the consumer further down the marketing funnel (see appendices) and builds Depop’s community.

(Hudson, 2023c)

WEBSITE

L OUTCOME. FINAL OUTCOME. FI

SCAN ME

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REFLECTIONS For the summative assessment in week 7, I presented my initial ideas. I began by looking into women’s history month and women’s fight for the right to work. I also researched Depop’s brand values and found that supporting entrepreneurship was a big part of their brand, which could help shed a light on how females still struggle in the workplace. The main feedback I received was that the brand and the social issue worked well together and would make for an authentic campaign. I was also advised to look into specifically how women face barriers in the workplace to support my claims, and to look at how Depop has previously supported underrepresented entrepreneurs.

With this feedback, I started to look at barriers to female entrepreneurship and found that gender stereotyping was the main issue that affected not only entrepreneurs, but all women. I felt that this was a more appropriate social issue, so decided instead to look into gender stereotypes and how they affect women with a focus on the workplace. I also did some research on Depop’s now/next campaign and took inspiration from their use of workshops that support entrepreneurs for use in my campaign. This feedback allowed me to refine my campaign ideas to be more relevant and inspired me to do research that informed my final idea.

Overall, I am satisfied with how well I have applied myself to this project. However, I would like to have developed the workshop element of the campaign further. I’d do this through research on how Depop has previously used workshops and consider how this could be applied to the “be bossy” campaign. My biggest achievement with this project is my use of references and citations to back up my statements, which is something I have previously struggled with and aimed to work on. My main takeaway from this project is understanding the importance of research and refinement to create an authentic campaign. I plan to use this when working on future campaigns by exploring initial ideas more extensively before deciding on a final idea.

(Depop, 2022g)

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APPENDIX

CALL SHEETS

MODEL CONSENT FORMS

MASLOWS HEIRACHY OF NEEDS

ROGERS DIFFUSION ON INNOVATION

NRS SOCIAL GRADE

ACORN CLASSIFICATION

MARKETING FUNNEL

IMAGE REFERENCES 1. Depop (2022h) Sustainable practices. Depop.com.

2. Depop (2022c) Crochet Models. Instagram.

3. Depop (2022f) Depop sustainability. Depop.com.

4. Streetfighterdj (2022) Moto Staples. Instagram.

5. Depop (2022a) About depop. Depop.com.

6. Virtualrealiti (2022) Model off duty. Instagram.

7. Depop (2022e) Depop Media. Depop.com.

8. Golovkin, D. (2015a) Cleaning. Behance.

9. Golovkin, D. (2015b) Ironing. Behance.

10. Rolling Stone (1995) Alicia sylverstone. Instagram.

11. Lustre Creme (1968) Pink is for girls. GhostOfTheDoll.

12. H&M (2016) ‘H&M Autumn Season 2016: She’s a Lady.’

YouTube.

13. Weidan+Kennedy (2022) Never Settle, Never Done | Nike. www.youtube.com.

14. Depop (2022b) Bags Seller. Instagram.

15. Clark, E. (2022c) Evie Clark Sunglasses. Instagram.

16. Clark, E. (2022a) Evie Clark Crotchet Top. Instagram.

17. Adkins, L. (2022b) Lara Adkins corset. Instagram.

18. Adkins, L. (2022a) Lara Adkins chunky belt. Instagram.

19. Clark, E. (2022b) Evie Clark Pavement. Instagram.

20. McManus, A. (2014) Downtown girls basketball. thefader.com.

21. Carlson, K. (2022) Y2K inspiration. KelsieCarlson.com.

22. Hampton, T. (2021a) Zendaya for GQ. GQ.com.

23. Hampton, T. (2021b) Zendaya for GQ. GQ.com.

24. Film, S. (2016a) Boys of Summer. PAUSE. 25. Lebon, T. (2016) Stussy New York. Dobedorepresents.

26. Film, S. (2016b) Boys of Summer. PAUSE. 27. Depop (2018a) ‘Depop | Streetwear.’ YouTube.

28. Cohen, R. (2017) Northern Quarter. Itscohen.

29. Bararia (2021) Dava fisheye. Beyond The Stage.

30. Fortin, M. (2018) Andrew Kayla 2018. behance.net.

31. Depop (2018b) ‘Depop | Streetwear.’ YouTube.

32. Depop (2018c) ‘Depop | Streetwear.’ YouTube.

33. Cobithrift (2022) Running Errands. Instagram.

34. Labucq (2018) Laurn Bucquet for Vogue. Vogue.com.

35. Depop (2022d) Depop in the news. Depop.com.

36. I, Hudson. (2023) Youtube. [graphic design]. Manchester 37. I, Hudson. (2023) Instagram. [graphic design]. Manchester 38. I, Hudson. (2023) Website. [graphic design]. Manchester 39. Depop (2022g) Exploring Depop. Instagram.

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Benson, S. (2018) How Depop is defining style for a new generation. Dazed. [Online] [Accessed on 10th October 2022] https://www.dazeddigital.com/fashion/article/41107/1/depop-aesthetic-gen-z-style-90s-00s-y2k-fashion-social-media-shopping-app.

Blair, C. (2021) Gender Stereotypes and Their Impact on Women Entrepreneurs. Cherie Blair Foundation for Women. [Online] [Accessed on 11th November 2022] https://cherieblairfoundation.org/what-we-do/research/gender-stereotypes-report/.

Boger, K. (2020) The Rise of Short-Form Video & the Gen Z Social Revolution | IAB UK. www.iabuk.com. [Online] [Accessed on 21st December 2022] https://www. iabuk.com/opinions/rise-short-form-video-gen-z-social-revolution.

Botting, N. (2021) Circular e-commerce | The second-hand market booms. Lengow Blog. [Online] [Accessed on 13th November 2022] https://blog.lengow.com/circular-ecommerce-second-hand-market-booms/.

Cherrydeck (2019) 17 Poses for Portrait Photography — with Great Examples! Cherrydeck. [Online] [Accessed on 9th December 2022] https://cherrydeck.com/blog/ examples-best-poses-portrait-photography/.

Clerkin, C. and et al (2015) Bossy: What’s Gender Got to Do with It? Seattle, Washington: Center for Creative Leadership, pp. 10–12.

Constantinidis, C. (2020) How female entrepreneurs build strong business relationships: the power of gender stereotypes. University of Quebec in Montreal: Emerald Publishing Limited, pp. 2–4.

Consultancy.UK (2022) Cost-of-living crisis driving a second-hand shopping boom. www.consultancy.uk. [Online] [Accessed on 22nd December 2022] https://www. consultancy.uk/news/33077/cost-of-living-crisis-driving-a-second-hand-shopping-boom.

Curry, D. (2022) Depop Revenue and Usage Statistics (2022). Business of Apps. [Online] [Accessed on 5th November 2022] https://www.businessofapps.com/data/ depop-statistics/.

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Depop (2022a) Circular fashion definition. news.depop.com. [Online] [Accessed on 12th December 2022] https://news.depop.com/company-news/circular-fashion-definition/.

Glenday, J. (2022) Nike tells both famous and aspiring footballers to ‘never settle’ in Euro 2022 ad. The Drum. [Online] [Accessed on 7th October 2022] https://www.thedrum.com/news/2022/07/07/nike-tells-both-famous-and-aspiring-footballers-never-settle-euro-2022-ad.

Depop (2022b) Depop achieves climate neutral certification. news.depop.com. [Online] [Accessed on 20th November 2022] https://news.depop.com/ company-news/depop-achieves-climate-neutral-certification/.

Goorha, S. (2021) Council Post: Overcoming Some Of The Barriers To Women Entrepreneurship. Forbes. [Online] [Accessed on 9th November 2022] https:// www.forbes.com/sites/forbesbusinesscouncil/2021/09/21/overcoming-some-of-the-barriers-to-women-entrepreneurship/?sh=1311ea927800.

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Depop (2022d) Depop reveals how much you can save by shopping secondhand. news.depop.com. [Online] [Accessed on 24th November 2022] https:// news.depop.com/company-news/depop-reveals-how-much-you-can-save-by-shopping-secondhand/.

Hentschel, T. (2019) dimensions og gender stereotypes. Frontiers. [Online] [Accessed on 19th November 2022] https://www.frontiersin.org/articles/10.3389/ fpsyg.2019.00011/full.

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Depop (2022f) Meet the Six Sellers from Depop’s Latest Now / Next Initiative. news.depop.com. [Online] [Accessed on 14th October 2022] https://news. depop.com/company-news/meet-the-six-sellers-from-depops-latest-now-next-initiative/.

Ilyashov, A. (2016b) This Fashion Ad Completely Rethinks What A ‘Lady’ Acts (& Looks) Like. www.refinery29.com. [Online] [Accessed on 7th October 2022] https://www.refinery29.com/en-gb/2016/09/123768/hm-fall-2016-commercial-shes-a-lady.

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