How and Why Are Fashion Brands Attempting to Connect With, and Market Themselves to Millennials?

ABBIE FRANKS

RESEARCH METHODS H o w a n d Wh y A re Fash i on B rands At t em pt ing t o Connect w it h, and Marke t Th em selv es t o Millennials?

CONTENTS I II

5: Introduction Authentic Marketing 6: About Authentic Marketing 8: Authentic Marketing Examples 10: Analysis

III

Experiential Marketing 12: About Experiential Marketing 14: Experiential Marketing Examples 16: Analysis

IV

See-Now-Buy-Now Model 20: About See-Now -Buy -Now 22: See-Now -Buy -Now Examples 29: Analysis

V

31: Conclusion

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INTRODUCTION. Growing up in a time of rapid change, Millennials have become one of the largest generations in history. Soon to be moving into their prime spending years, the generation – born between 1980 and 2000 – are set to reform the economy and influence companies to examine and change how they do business (Goldman Sachs, 2016). According to the U.S Census Bureau, April 2016 population approximations, American Millennials now account for 75.4 million, exceeding 74.9 million Baby Boomers (cited in Fry, 2016). Here in the UK, the generation make up a quarter of the population, and by 2019 are predicted to reach 17 million (Inkling, 2016).

Studies conducted by the Bureau of Labor Statistics have shown that lower employment levels and smaller incomes have left US Millennials with less money than previous generations (Goldman Sachs, 2016). Along with this, UK Millennials “earned £8,000 less during their 20s than their predecessors” (Elliott, 2016), meaning that with less to spend, Millennials’ priorities differ from previous generations, and these need to be acknowledged and addressed by brands. Goldman Sachs Global Investment Research also states that the generation have been hesitant, and in most cases unable, to purchase items such as “cars, music and luxury goods" (Goldman Sachs, 2016), consequently forcing brands to find new ways to influence and enhance consumers’ purchasing patterns.

The aim and objective of this essay is to discuss and debate how fashion brands are currently marketing themselves to the technologically sophisticated generation, through chapters focussing on: authentic marketing, experience marketing, and the see-now-buy-now model. The literature review references data conducted by both the United States, and the UK, as “many current perceptions and conclusions related to the Millennial generation have been extrapolated from America research data only” (Inkling, 2016). Providing data from both countries will instead create a more in-depth analysis surrounding the adoption of these marketing strategies.

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AUTHENTIC MARKETING

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Authenticity – meaning “real, genuine, of verifiable origin” (Bryon, 2016), is seen as the most important element of a company, for 91 per cent of modern day consumers (Cohnwolfe.com, 2014). Cohn & Wolfe’s 2014 report includes the views of 12,000 people, in 12 ‘important’ markets across “North America, Europe and Asia” (Beattie, 2014a). Although this piece of extensive research does not solely focus on the fashion industry, or the Millennial generation, it does still exhibit that in general, 63 per cent of global consumers “would buy from a company that they consider to be authentic, over and above competitors” (Beattie, 2014a).

The quantitative and qualitative research was conducted by “leading research company Toluna” (Toluna, 2016), who’s partners – that are mostly research companies – create online surveys and questionaries’ for the public to answer. The results from the research were cross-examined by a variety of experts in fields such as business, market and branding; this overall creates a deep, reliable analysis focusing on the overall appeal of authenticity (Cohnwolfe. com, 2014). It is interesting to note here that authenticity is seen as a strong desire for the consumer, and this creates opportunities for brands to exhibit or, in some cases, exaggerate their authenticity

to the public. With authenticity being so important to Millennials, in the future brands’ may attempt to promote themselves as authentic, even if they are not; this causes issues with transparency, as consumers’ may no longer trust the brand story that is being forced to them.

With the digital world evolving fast, and powerfully, authentic marketing is a way in which brands can connect with, and relate to their Millennial audience. Today consumers are argued to be ‘reporters’ for brands (Beattie, 2014b), as posting content online can promote or hinder the reputation of a company, product or service. For many brands, this may be an uncomfortable prospect, as the control now lies with the modern day consumer. A 2014 study conducted by Boston Consulting Group, shows that 60 per cent of younger consumers’ rate products on the Internet, along with “60 per cent uploading content about products and services” (Abtan, et. al. 2016). For the fashion industry, this means that brands are becoming more transparent, even if they do not wish to be.

Here it is interesting to refer to Figure 1, as this is an example of how social media and the Internet can be used negatively towards a company.

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EXAMPLES Levi’s marketing strategies can be seen as a current example of authentic marketing to Millennials. The 2014 global campaign: ‘Live in Levi’s’, was inspired by millions of stories that consumers have told about the things they do in their Levi’s (Wonderland Magazine, 2014). The campaign spanned digital and social platforms, and again built upon the brand values of “empathy, integrity, originality, and courage” (Levi. co.uk, 2016). Including thoughts and ideas from followers created a strong sense of communication between brand and customer. Diesha Barnett, Senior Director of Corporate Communications for Walmart, believes that this sense of communication is a strong desire for Millennials, which proposes that Levi’s global marketing campaign met the needs of the Millennial consumer (Beattie, 2014b).

In addition to Levi’s, Dr. Martens also tap into the raw emotion of a consumer. In 2014 the company released a fully integrated marketing campaign, that played upon what wearers of Dr. Martens “stand for” (Odd London, 2014). Although the brand prides itself on being ‘authentic’, this is not merely a brand attribute, because their marketing campaigns consistently enforce this value and feed it to the consumer. The campaign has continued through to 2016, allowing for constant communication between the brand and the consumer.

Along with this, the campaign lends itself to people who want to express their own identity and beliefs, which is where the roots of Dr. Martens also lie (Drmartens. com, 2016). This campaign is interesting to discuss, as Dr. Martens saw a “30 per cent sales uplift by March 2014 … the brand’s most successful sales month in its history” (Odd London, 2014). Along with an increase in sales, the brand saw “500 per cent over-delivery of target impressions” (Odd London, 2014), suggesting that the promotion of authenticity has increased trade, along with creating a genuine connection with the consumer.

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A N A LY S I S It is clear that tapping into, and engaging with the Millennial generation should be carried out with thought, and must also be done so authentically (Fromm and Garton, 2013). Unlike other generations, Millennials like to know details surrounding the source and manufacturing process of a product, along with the story behind the brand (Business Wire, 2014). It is interesting that throughout this chapter, authenticity has often been directly related to a brand’s heritage and history only. During an Inkling (2016) report in collaboration with Censuswide, only 29 per cent of respondents cited these elements of a brand as attributes of authenticity. This is interesting, as although only approximately a third of participants quoted this, “three quarters of all the survey respondents agreed (in varying strength) that this [authenticity] would impact their purchase decision” (Acharya, 2016). The report was created from a 100 per cent UK Millennial audience, which poses the question of what else this generation are seeking for in relation to ‘authenticity’ in the UK. One must accept that further research is going to be conducted in the upcoming years in order to answer this question surrounding authenticity, however examples such as Levis and Dr. Martens overall do suggest that authenticity has increased sales and interaction with Millennials.

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EXPERIENTIAL MARKETIN

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other strategy fashion companies take to connect with, d market themselves to the Millennial generation, is eriential marketing. Extensive academic literature been concerned with the rise of experiential rketing (Quader and Omar, 2013) and its affect on lennials (Cowling, 2015), thus emphasising that the neration are fueling the experience economy with ir preference to spend their money and time on events d social experiences (Harris, Stiles and Durocher, 12). A study conducted by Harris, Stiles and Duocher 12), which evaluates the preferences and plateaus the Millennial shopping experience, explains that 72 cent of Millennials expect to direct their spending purchase that can provide a “lasting impression and opportunity to connect” (cited in Cowling, 2015). h studies emphasise the difference in a Millennial’s rarchy of Needs, in comparison to previous generations aslow, 2013). Here it could even be suggested that the ditional Hierarchy of Needs has been altered by the unger generation, meaning that brands will also need alter their strategies in order to become parallel with se innovative needs.

ording to a survey conducted by Goldman Sachs, mere 10 per cent of Millennials questioned believe t owning a luxury bag is “extremely important” oldman Sachs, 2016). This statistic proposes that if uxury fashion house wishes to target a consumer of h generation, thought must go beyond marketing a duct alone, as consumers are seeking much more n something tangible. Along with this, Eventbrite’s ionwide research of American Millennials stated that per cent of Millennials believe that “attending events kes them feel more connected to other people, the mmunity, and the world”, and 82 per cent of Millennials ended or participated in a number of live experiences, r the last year (Eventbrite, 2014: 1). It is useful to e here, that although this study states that experiential rketing does have a positive effect on Millennials, the vey – including 2,083 adults aged 18 and older, 507 hese being Millennials – was solely conducted within United States. Such study does create a marginally s collection of results towards the American market, wever it is still useful to discuss, as luxury fashion uses have consumer markets globally. Developing on m this research, it is therefore interesting to discuss number of examples of experiential marketing, to derstand its success and impact on consumers.

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Owning products is much easier today due to the internet, apps and websites, and therefore brands are now bridging experience with merchandise (Cowling, 2015). The rise of the ‘Conviviality Culture’ – described by LS:N Global as a community of people that believe the most exciting things in life are offline – show that Millennials enjoy “experiencing the unmitigated magic of a live event” (LS:N Global, 2010).

An example of this theory in practice, is Tommy Hilfiger’s Fall 2016 fashion show: ‘Tommy Now’. The experiential event was promoted on social media through the hashtag #TOMMYNOW, and was hosted at ‘Tommy Pier’ at the “South Street Seaport” in New York City (Global.tommy.com, 2016).

The two-day carnival event was made accessible to a global audience through digital channels, but was also open to the public, splitting the attendees 50/50 of invited guests and members of the public (Maxwell, 2016). Theory covering experiential marketing has thus influenced the marketing strategies of Tommy Hilfiger, and consequently they have been able to build an emotional connection with their consumers, based on shared interests of the brand.

As previously discussed, Levi’s promote themselves as authentic, and in order to do this they also adopt experiential

marketing strategies. The brand has recently partnered with The Victoria and Albert Museum, to build on their link with music, innovation and rebellion, and produce an experiential exhibition for consumers, named “You Say You Want a Revolution? Records and Rebels, 1966-1970” (Victoria and Albert Museum, 2016).

Along with Levi’s, North Face’s ‘Mountain Festival’ 2016 is again another example of theory in practice (Smith, 2016). Senior brand marketing manager, Girogio Saviane insisted that the festival was not a sales exercise, and instead the brand aimed to track participation, and “the reach and engagement generated from the content created for the festival” (Deighton, 2016). With research undertaken by Mintel, suggesting that the UK festival sector has grown by 45 per cent over the last five years (Mintel, 2015), North Face, and Tommy Hilfiger have experimented with a healthy market in order to create an experience for the consumer. Here both brands have been able to integrate experiences into their marketing strategy, however one could suggest that smaller brands may struggle to involve consumers at such a large scale, due to funding and the size of the target audience.

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EXAMPLES Publications such as Garage Magazine, are also allowing the consumer to take part in an immersive experience, and thus push the boundaries of traditional marketing.

The ‘Garage Nº10’ app “explores the intersection between the physical and the digital” (Garage Magazine, 2016), and therefore offers the consumer exclusive access to content that goes beyond a printed magazine. Relating this example back to theory, the publication reinforces the Millennials “affinity for technology” (Goldman Sachs, 2016) and conforms to the buyer’s demand for a new level of brand experience (Fromm and Garton, 2013).

Research conducted by Jeong, et. Al (2009), clarifies that consumers “increasingly expect engaging experiences”, and Garage’s contemporary work is one example of how this desire can be fulfilled. Garage’s practice, and its future, is interesting to discuss, as if other publications take inspiration from the innovative strategies of Garage, the fashion publication industry could change completely; It is questionable whether combining the digital and real worlds would also strip back the authenticity of many printed fashion publications.

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A N A LY S I S Throughout this chapter, it has been noted that a Millennial’s Hierarchy of Needs differs from other generations, which suggests that in the future brands may need to adopt different marketing strategies for different generations. This poses a question for brands that target a number of generations; should they begin to focus specifically on targeting the Millennial generation with certain strategies, and other generations with different strategies? Or will brands oppose to this and create general marketing campaigns that target a number or age groups?

Inkling’s (2016) survey again shows that over half – 53 per cent – of UK Millennials would rather spend money on an experience rather than a possession. It is interesting to imagine what this means for the fashion industry, as in the age of Instagram, the worlds of design and retail are becoming “more tightly related than ever” (Cyrus, 2016). Although brand events have been discussed throughout this chapter, retail is also necessary to discuss, as stores are being forced to change their brick-and-mortar spaces for good. A number of ‘tech concept stores’ by brands such as Volvo are now appearing, and although Volvo is a car manufacturer, this example presents the question of whether or not fashion brands are going to completely eliminate selling items instore in the future (Johnson, 2016). The impact of this is yet to be established, however it will be fascinating to see which brands will adopt this strategy in the future.

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S E E - N O W - B U Y- N O W For many companies, a significant element of fashion marketing is the use of fashion shows, however in today’s society many issues and debates currently surround the “broken” fashion system (Lockwood, 2015). With the number of fashion brands rising; the dominance of pre-collections rising, and brands trying to target the consumer directly, the future of both fashion shows, and the system, is rather unclear (Conlon, 2016b). Diane von Furstenberg, chairman of the Council of Fashion Designers of America, believes that consumers, designers and retailers are not happy with current fashion shows, and that because of social media people are becoming confused with the purpose behind shows (Lockwood, 2015).

Relating these issues back to the title of this essay, it is interesting to discuss the introduction of the ‘see-now-buy-now model’ (Chrisman-Campbell, 2016), how this model will affect the Millennial generation, and also how the generation will have an impact on the model.

Traditionally, the purpose of Fashion Weeks’ is for designers to show upcoming collections, that will be delivered to stores and become available four to six months later (CFDA.com, 2016). Throughout the 20th century the aesthetic conventions of a fashion show have developed and with the rise of technology, and the change in consumer needs, a new system is being adopted by a growing number of

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designers (Theunissen, 2006). The see-now-buy-now model, is a “consumer-facing concept” (Hoang, 2016), that allows collections to become available for purchase immediately after a show ends (Wood, 2016). Suggestions have been made that the key driver behind the shift in models is the rise of digital media, and that fact that consumers, and in particular Millennials, see something on social media and crave instant gratification. Without changing the system, brands cannot “cash in” on such marketing events if “products have not yet even been produced” (Wood, 2016).

Research from Verdict Retail, undertaken in June 2016, shows that 85.6 per cent of shoppers say “they like to buy clothing they can wear straightaway”, and 51.4 per cent of shoppers do not like buying clothing in advance (Roberts, 2016). The see-now-buy-now model has therefore developed from such research, and allows consumers to purchase on-trend clothing for the present. The new model appeals to Millennial shoppers, as research conducted by Monitor, shows that 67 percent of the generation “love or enjoy shopping”, and 39 per cent shop for apparel ideas online (Salfino, 2016). Millennial shoppers can now watch shows online and purchase straight after, even if they are not physically in attendance. It is useful to note here that although the aforementioned research suggests that Millennials will be proud of the new model, overall it is questionable whether the entire industry will be happy, and whether sales will increase for everyone (Arica, 2016).

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ADOPTERS While the model seems to be a new phenomenon, fashion houses such as: Michael Kors, Tommy Hilfiger, Tom Ford, Burberry, and Rebecca Minkoff, have already adopted the strategy and taken the opportunity to close the gap between brand and consumer (Conlon, 2016a). A spokesman from Tommy Hilfiger believes that the new model is about listening to consumer needs and being able to adjust the business around those needs “through popular culture” (Sherman, 2016).

The innovative concept that pushes the boundaries of the global fashion industry, has been fully integrated into Burberry’s marketing strategy, and has seemingly created positive results. As previously mentioned in Chapter 2, the communication between the brand and Millennials is incredibly important.

Graeme Moran, head of content at Drapers, believes that Burberry have allowed the catwalk to “now become a platform to speak to customers, rather than the industry” (quoted in Wood, 2016), which again feeds the desire of the consumer.

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ADOPTERS Burberry have been the head of innovation in the fashion industry for a number of years, and in 2010 were the first to live stream their runway shows online, “in 3D custom venues” (Emerson, 2016). This shows that the company is consistently aware of the Millennial generation, and is using their £6bn company to stay ahead of the competition (Wood, 2016). With sales down 10 per cent during 2015 (Butler, 2016), it will be interesting to see Burberry’s next set of figures, as this will determine how successful the new model has been long-term. With regards to the immediate success of the new model for Burberry, Indvik (2016) reports that their Regent Street boutique had sold out of a number of styles from the collection before midday, the day after the show. Following on from this, it was reported that a number of key pieces were also sold out on the brand’s website. Although these reports appear that Burberry has seen great success, the credibility of the report is debatable, as one does not know what strategy Burberry utilised in terms of stock control. It is not clear how many items were in the boutique store, and how many were online and this suggests that in order to gain a full understanding of long-term success, one must await Burberry’s end-of-year figures.

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A N A LY S I S Overall, the wide-spread success of the new model is yet to be established, however it is obvious that such system makes sense as the way forward for many brands to connect with the Millennial market. Fashion houses such as Henry Holland, who along with the aforementioned designers, has embraced the ‘in-season’ runways, has seen large success with the model. Holland saw a surge on his e-commerce platform when a selection of his collection was made available instantly (Conlon, 2016b). This practice, along with large brands such as Tommy Hilfiger and Burberry, suggest that the new model is a positive way to target the Millennial consumer.

Although the system may be the future when targeting the Millennial audience, there are however still arguments that suggest opposing views. During conversation with Ronan Klein (November, 2016), he stated that couture shows were traditionally not available in the press for a month, which meant that there was “anticipation for something which the consumer really wanted”. He followed on by saying that today this anticipation is lost, as “many brands are making products available with just a click”. This creates a turning point and a divide for brands, as although he believes that the model can never “go back” because of the Internet, it suggests that there will be a split between which paths brands take.

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A N A LY S I S Head of fashion at Stylus, Emily Gordon-Smith, also believes that since the social media phenomenon, catwalks have been opened to “an enthusiastic public” and there is “no going back” from see-now-buy-now consumer-facing shows (Emerson, 2016). While this may make sense for a number of brands, it is clear that there are still debates that surround the topic.

These debates refer to the effects on the supply chain, pressure on designers, and how small brands will adapt (Hoang, 2016).

In terms of those smaller brands – who have not gained the underpinning connection with consumers that large fashion houses have – switching to the new model may even seem “impossible”, says Neil Saunders, managing director at retail research agency and consultancy firm Conlumino (Hoang, 2016). Although large-scale brands can adopt the model with ease, it is uncertain to what extent small businesses can do this if they do not have the funding or fan base. Agreeing with Saunders, Mr. Lagerfeld believes that the new system would actually be “disastrous for smaller designers still dependent on wholesale to achieve sales” (Ellison, 2016).

Overall it has become clear that there are a number of arguments for and against the new see-now-buy-now model, and one can only assume that the model will cause a rift in the fashion industry. Although these arguments may divide designers, CDFA have recently released results of the Boston Consulting Group’s study surrounding the future of New York Fashion Week. B CG liaised with “50 fashion industry insiders, including 20 designers and fashion executives” and there was an overall “unanimous consensus” (Phelps, 2016), that there is a need for change to the traditional, outdated Fashion Week system. Being mindful about this, to move forward companies must decide which option is most fitting for their business, and utilise this to continuously connect with the Millennial consumer.

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CONCLUSION To conclude, throughout this essay three main marketing strategies have been discussed in order to display how and why fashion brands are attempting to connect with, and market themselves to the Millennial generation.

Through data research and expert opinions, it has become apparent that these strategies indeed have, and will have, a number of positive and negative effects on the fashion industry.

Throughout each chapter a key theme has arisen, that in order to market and connect with Millennials, the use of social media platforms and the Internet is evident. As aforementioned in Chapter One, the impact of social media on brands can have a positive and a negative effect, as unlike previous years, the power of marketing does not solely lie with the brand.

This suggests that the Millennial generation is clearly powerful and unique, and brands must become aware of this when moving forward and creating new marketing campaigns. This importance of the Internet and social media also suggests that in order to fully connect with the generation, companies should continue to create fully integrated marketing campaigns, that combine online and offline marketing.

Finally, throughout the literature review, it has become apparent that there are a number of debates that surround each topic of authentic marketing, experiential marketing, and the see-now-buy-now-model. One believes that these debates are vital in order for the fashion industry to carry on moving forward, as without debate, problems would not be addressed.

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Hoang, L. (2016). How Burberry is Operationalising 'See Now, Buy Now'. [online] The Business of Fashion. Available at: https://www.businessoffashion.com/articles/intelligence/how-burberry-is-operationalising-see-now-buy-now [Accessed 11 Oct. 2016].

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Inkling, (2016). UK Millennials Report. [online] London: Inkling. Available at: https://static1.squarespace. com/static/566824117086d7d425e48806/t/575e873f8259b5bbefd5e6da/1465812805335/Inkling+Millennial+Report.pdf [Accessed 20 Nov. 2016].

Jeong, S.W., Fiore, A.M., Niehm, L.S. & Lorenz, F.O. 2009, "The role of experiential value in online shopping", Internet Research, vol. 19, no. 1, pp. 105-124.

Johnson, E. (2016). Global retail concepts: How stores and showrooms are embracing tech. [online] https:// www.wgsn.com/blogs. Available at: https://www.wgsn.com/blogs/global-retail-concepts-how-stores-andshowrooms-are-embracing-tech/ [Accessed 20 Nov. 2016].

Klein, R. (2016). ‘Personal Interview Regarding See-now-buy-now Model.’ Levi.co.uk. (2016). Levi: About. [online] Available at: http://www.levi.co.uk/US/en_US/about/our-company [Accessed 27 Oct. 2016].

Lockwood, L. (2015). NYFW Going Consumer? CFDA Studies Idea. [online] WWD. Available at: http://wwd. com/fashion-news/designer-luxury/cfda-boston-consulting-fashion-shows-consumer-10297602/ [Accessed 2 Oct. 2016].

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RESEARCH METHODS

Salfino, C. (2016). Demanding Consumers Influence See Now/Buy Now Retail - Sourcing Journal. [online] Sourcing Journal. Available at: https://sourcingjournalonline.com/demanding-consumers-influence-see-nowbuy-now-retail/ [Accessed 4 Nov. 2016].

Sherman, L. (2016). How Tommy Hilfiger Is Rewiring For Fashion Immediacy. [online] The Business of Fashion. Available at: https://www.businessoffashion.com/articles/intelligence/tommy-hilfiger-gigi-hadid-fashion-immediacy-direct-to-consumer [Accessed 4 Nov. 2016].

Theunissen, J. (2006). From dandy to fashion show: fashion as performance art. In J.Brand & J. Teunissen (Eds.), The Power of Fashion: About Design and Meaning (pp. 194-222). Arnhem: Terra and ArtEZ Press. Vinken, B. (2005). Fashion Zeitgeist. Trends and Cycles in the Fashion System. (English ed.) Oxford: Berg.

Toluna (2016). Toluna - Opinions for all. [online] Available at: https://uk.toluna.com [Accessed 21 Nov. 2016].

Qader (Corresponding author), I. and Omar, A. (2013). The Evolution of Experiential Marketing: Effects of Brand Experience among the Millennial Generation. International Journal of Academic Research in Business and Social Sciences, 3(7).

Victoria & Albert Museum, (2016). You Say You Want a Revolution? Records and Rebels 1966-1970. V&A. 23/11/2016 Wood, Z. (2016). From catwalk to checkout: how Burberry is trying to reinvent retail. [online] the Guardian.

Available at: https://www.theguardian.com/business/2016/sep/24/burberry-reinvent-retail-from-catwalkto-checkout-see-now-buy-now [Accessed 24 Oct. 2016].

RESEARCH METHODS