Dissertation Proposal

SOCIAL CONFLICT AND VISUAL INFLUENCE.

CAN THE FASHION INDUSTRY GENUINELY REPRESENT RACE/ETHNICITY THROUGH MARKETING AND ADVERTISING IN THE UK?

FASH30013 Fashion Industry Trends & Innovations Summative Assessment N0725971 Ejide Tondu

WORD COUNT: 2184

CONTENTS 01/ ABSTRACT

06

02/ AIM

12

03/ OBJECTIVES

14

04/ RESEARCH METHODOLOGY

16

05/ BAME

20

06/ DIVERSITY OR DECEIT?

24

07/ INCLUSIVITY OR EXCLUSIVITY

30

08/ MOVEMENTS

32

09/#HASHTAG ACTIVISM

36

10/ A MORE DIVERSE, INCLUSIVE INDUSTRY

38

11/ POTENTIAL CREATIVE OUTPUT

42

12/ CONCLUSION

47

ABSTRACT

/01

“The fashion industry needs to embrace people that don’t fit the Eurocentric vibe and understand that times have changed” (Omar, 2020). Deploying ethnicity through marketing and advertising provides diversity within the fashion industry although it does not satisfy cultural inclusivity. Excluding minority groups within fashion marketing damages the potential social and economic expansion of the fashion industry internationally. The implementation of diversity and inclusion in the industry has forced brands to make internal efforts to adjust their core business and marketing strategies to enable growth in attempt to reduce cultural discourse. The shift in cultural acceptance and showcasing within fashion has increased significantly during the past few years, but what drove the change to happen?

01/ ABSTRACT

"DIVERSITY IS BEING INVITED TO THE PARTY; INCLUSION IS BEING ASKED TO DANCE" - VERNA MYERS (Myers, n.d.)

Idealistic and unattainable beauty standards formed the perception and definition of beauty today. The meaning of diversity within the fashion industry, has never attained a true definition. “The idea of beauty is always shifting. Today, it’s more inclusive than ever”. (Givhan, 2020). Inclusion and diversity are synonymously linked within the fashion industry.

These terms have now been integrated into the progression of the fashion industry.

However, “The fashion industry has long been called out for cultural appropriation, racist advertising, and its blatant lack of diversity across campaigns, catwalks and behind the lens.” (Raconteur, 2020). For decades, European standards of beauty have marginalised women of colour who do not fit the status quo of racially biased feminine ideals.

01/ ABSTRACT

Fashion impacts all communities as it is an industry accountable for inducing economic gain, by selling consumers the façade of ‘freedom of self-expression’ (Hamar, n.d), by creating identity with mass produced goods. According to Vogue, “Spring 2018’s fashion campaigns were the most inclusive to date, with 34% of models used representing women of colour” (Day, 2018). Marketing campaigns and fashion runways showcase garments on predominantly White models, although the intended consumer reach often excludes racial bias. Gen-Z are challenging the current social narrative by, “basing their purchasing decisions of luxury goods on strong environmental and social considerations” (Oluwole n.d). Advances in technology and social media utilities, aid the incline of brand exposure with marketing reaching an even wider demographic of digital landscape.

This controversial topic dominates the fashion scene and headlines in the UK fashion industry. This proposal will benefit brands and visual merchandisers, by gathering further insight and knowledge on consumer perceptions of diversified fashion marketing and the impact it has on purchase decisions. This will allow for merchandisers and brands to make adjustments to their current marketing strategies and make relevant improvements to their current visual representation of specifically BAME models. This stemming further conversations of diversity within the fashion industry and other interconnecting industries, to form a new and positive narrative on this once trend, now global demand.

AIM

/02

This proposal will specifically explore brand strategies and the ongoing impact cultural bias has on consumer behaviour by analysing the increase of visual representation of BAME female models within the fashion market.

/01.

To investigate current fashion brands marketing strategies in the UK with a focus on the integration of diversity within their campaigns and brand values.

OBJECTIVES

/03

/02.

To research into how current marketing strategies in the UK have been received, identifying key industry players and brands failing to meet these needs. /03.

To explore how the use of models from different ethnicities in advertising impacts on consumer behaviour. /04.

To identity if further promotion of diverse models could decrease cultural bias within the fashion industry.

There is an expansive amount of research on inclusivity and diversity within the marketing sector of the fashion industry, in specific to race and ethnicity. Former secondary research indicates that what was once anticipated to become an obsolete topic, is still as current as it was years ago. Indepth research and studies have allowed for a general understanding of inclusivity and diversity within the fashion industry and the challenges that surround it.

RESEARCH METHODOLOGY

/04

02/ RESEARCH METHODOLOGY

Reviews of prior research indicated how underrepresentation and outdated colonial mindsets has sparked movements and influenced consumer activism. Thus, being detrimental to many fashion brands, whose constructed ideals of beauty relied on their misconstrued perceptions of western media.

However, this has also led to slight progressions within industry practice. There is currently limited research on whether the lack of diverse models within fashion marketing campaigns, influences consumer purchasing decisions. Primary research in the form of an online questionnaire will be conducted to share formative experiences and to investigate this matter further.

A focus group will be conducted to examine and understand consumer perception on how diverse, modern day advertisements and marketing campaigns are? This will be applied with an intersectional approach, by gathering qualitative data from the interview. The framework interconnects social categorisations such as race, gender and sexual orientation. These factors overlap to inform and understand levels of discrimination, disadvantage and oppression. This approach will help to explore narratives from different racial and ethnic identities, this is imperative to avoid a biased response. The focus groups aim is to examine whether a diverse group of consumers, exhibit harmonious perceptions towards diversified fashion marketing and how inclusive the fashion industry really is.

“IT’S A PLEDGE TO ‘IMPROVE DIVERSITY AND INCLUSION’, LEGISLATION THAT HAS SYSTEMATICALLY DESTROYED ANY REAL FOCUS ON THE INSTITUTIONAL RACISM SUFFERED

BY BLACK PEOPLE BY LUMPING US INTO A BAME BOX” (Pitt, 2020)

BAME

/05 “Chairman Ammo Talwar said BAME was a ‘careless catch-all acronym’ and should be replaced” (Shaw, 2020).

The acronym BAME stands for Black, Asian and minority ethnicities. ‘Minorities’ being politically correct, however connoting a sense of patronising segregation between cultures. The term initially derives from BME (Black minority ethnicities) which was invented in the 1970s. As a development of BME, BAME was introduced to suit the current social climate in the UK (Definitions -institute of race definitions, 2020). The boundary creates a clear standpoint on White superiority, which echoes into all industries internationally.

This leaves the question on whether the term should still exist in future, as it contorts the growth of racial cohesion in business.

FASHION + DIVERSITY

DIVERSITY OR DECEIT?

/06

Diversity is often misconstrued by brands as shown in their poor execution to portray various ethnicities simultaneously, instead of considering all, brands continue isolating White models to dominate the industry. “The autumn/winter 2015 runways for instance, were 80% white” (Seth, 2019). As a result of a biased gaze, a racial prefix overrides the creative direction within fashion, weakening the aesthetic vision which incorporates all ethnic groups. This could potentially stem from the racial hierarchy amongst the core business of fashion. “The role of casting directors is important because they can give us access to designers and CEOs” (Seth, 2019).

An increase in ethnic variety employed for the business of fashion could widen the creative perspective, creating a new norm. This could allow a better working environment for the industry, therefore making it easier to maintain inclusivity permanently. The seemingly endless cycle concluded in the disregarding of BAME models within the industry until recent upheaval.

07/ DIVERSITY OR DECEIT?

“Advertisement is extremely important; it is seen as a demonstration of what is beautiful, unique and what should be celebrated.” (Hamar, n.d). Regardless of class, age or race, fashion is heavily influential worldwide as it contributes to the distinctive divisions within the societal hierarchy. Brands can manipulate masses by creating a pedestal of trends which dictate what should be ‘celebrated’. “It is not enough to include diverse faces in our consumer-facing ad campaigns” (Amed, 2019). Although respectful intentions stand behind the development in diversity within advertisements of late, the execution needs delicate reconsideration. As an industry selling self-acceptance, it is crucial for all consumers to feel seen, respected and celebrated, not as a separate commodity but as an equal contribution to the cultural representation in fashion.

FASHION + INCLUSIVITY

INCLUSIVITY OR EXCLUSIVITY?

/07 Inclusivity differs from diversity as it is not the act of remembering to satisfy a criterion but having the respect to showcase all without discrimination to any. “Inclusivity has become more of a norm, not a buzzword, this year.” (Day, 2018).

With a profound shift in societal and political perspective, the rapid awakening of cultural equality propelled businesses (amongst the fashion and technology industries) to support the necessary changes to help disassemble current racial bias within advertising and marketing. Unprecedented changes essentially work through trial and error, but consequently, consumer behaviour is driving brands into pivotal positions to address affairs publicly, while putting action behind their words just as fast. As an urgency of BAME fashion models is currently rising in demand, it become imperative for brands to adapt and conform to consumer desires. “It’s not just about representing black people positively” (Johnson, 2020), the focus is about moving past the passive oppression of minority ethnic groups within the fashion, eternally.

MOVEMENTS

/08

Is Beauty In The Eyes Of The Colonizer?

- NPR (Donnella, 2019)

08/ MOVEMENTS

In response to the recent uproar of brands publicly supporting the Black Lives Matter movement, the increase in representation of Black models has been pushed to the forefront of advertising. “Fashion was forced to stop, take stock and examine its own prejudices. Businesses responded by promising to investigate internal practices and launching new diversity initiatives.” (Sutherland, 2020). The pressure to conform to societal trends encouraged brands to show racial inclusivity. This indicates just how existential the social responsibility of brands can be over consumer behaviour, or is this just a marketing scheme being utilised as a gateway to gain consumer approval?

The influence is constantly provoked and challenged by cultural shifts in society which requires further evaluation.

Visions of an all-inclusive fashion industry seem attainable, yet obstructions still hinder concrete progress. “When will the door be opened to BME participants on a better and greater scale?” (Johnson, 2020). Further research and evaluation are required to delve into the intricate issues the fashion industry can overcome with the right attitude towards cultural cohesion, to “inevitably reduce blind spots” (Osadolor, 2020), that the industry keep missing.

#HASHTAG ACTIVISM

/09 Social media activism has been a catalyst for large social movements. These hashtags provide reference points for engagement, discussions and also as a vice to call for change from brands and the fashion industry. Gen-Z and millennials have heavily fuelled the use of hashtags to campaign against these oppressive norms. Movements such as #BLM, #Unfairandlovely and #Blackmodelsmatter, focus on bringing awareness to issues such as colourism and the marginalisation of minority groups.

A MORE DIVERSE, INCLUSIVE INDUSTRY

/10

Significant moments within the industry have changed the course of fashion. Model, Donyale Luna pathed the way for acceptance and recognition for women of colour in the world of fashion. Fronting the most foremost magazine, “in March 1966 Luna was featured on the cover of the publication’s British edition--thus making her the first black woman to appear on the cover of any Vogue magazine.” (Wilson, 2017). This broke barriers for other upcoming models such as the iconic Naomi Campbell, Tyra banks and Iman. However, there was still an apparent acclimatization to colonial beauty standards. All of these women of colour still wore straight wigs and weaves to minimise their features as black women, to keep up with the illusion of Caucasian archetypes. The common biases viewed black natural textured hair as undesirable and unprofessional in compassion to fine straight hair.

“78% of models in fashion adverts are white” (Elan, 2016)

There is an apparent gap in perception between the brand and consumer on what diversity encompasses. There is overwhelming evidence of this within the industry, a survey found that 78% of models in fashion adverts are white (Elan, 2016). Brands such as L’oreal, Versace and Dolce & Gabbana have become notable for their lack of diverse representation, across their visual marketing outlets. Themes of underrepresentation and tokenism within fashion have been sequential. Many reputable brands have missed the mark when attempting to represent racial diversity. “In 2018, H&M’s campaign showcasing a Black boy wearing its ‘Coolest Monkey in the Jungle’ jumper caused controversy, while Gucci was forced to apologise last year for releasing a balaclava design that resembled blackface.” (Omar, 2020). Tokenism has been used as a disingenuous practice, for brands to hire a minimal number of underrepresented groups, alluding to fit into the diversity quota.

11/ A MORE DIVERSE, INCLUSIVE INDUSTRY

However, there are credible brands that are championing diversity and inclusivity. Rihanna’s Savage X Fenty show made runway history. “Majority of the time, slight glimpse of diversity and inclusion on the runway only happens in order to tick boxes. Rihanna’s show did not tick boxes, instead, it drew a circle around all the boxes. She packaged beauty in all shapes, sizes and colours and ensured no one was left behind.” (Mindless mag, 2020)

Another notable industry moment was the Tommy Hilfiger collaboration with Zendaya, “for her TommyNow SS19 collaboration, the Gen-Z actress invited 59 black women between the ages of 18 to 70 to strut down a Soul Train-style runway in epic, ’70s-inspired outfits.” (Murray, 2019). Brands need to take example of these brands pathing the way, as diversity and inclusivity is developing from just being a fad.

Brands will put themselves at risk of scrutiny from consumers if they don’t conform to these shifts.

POTENTIAL CREATIVE OUTPUT

/11

Creating a campaign to highlight the issues of underrepresentation within the industry, will be a credible way to signify the importance of these issues and will help to visualise this through the same mediums the fashion industry already adopts. This potential creative output will detail the constructed ideals of beauty, the underrepresentation of BAME models and the genuine narrative of how they’ve impacted consumers. The importance of this campaign narrative will fundamentally create a true representation of diversity and what it stands for in today’s society. Whether being in a magazine spread or a television advert, the face of fashion has been exclusively white. This being at the expense of BAME models within the industry

“NOT ONLY DO CUSTOMERS WANT TO SEE DIVERSITY, THEY REJECT BRANDS THAT WHITEWASH THEIR ADVERTISING. INSTEAD OF SCAPEGOATING THE MARKET, FASHION SHOULD FOCUS ON ITS OWN BELIEF SYSTEM — A BELIEF SYSTEM THAT NORMALISES A FASHIONABLE BODY AS A UNIFORM AGE, SIZE AND RACE.” (BARRY, 2015).

12/ POTENTIAL CREATIVE OUTPUT

Generating community content, specific to the UK, will form a personal connection with the campaign and UK consumers. This campaign will demonstrate how the UK population should be reflected within the British fashion industry. Taking an inclusive approach with women of all races/ethnicities, enabling individual expression on racial discrimination within the UK fashion industry, alongside their requests, solutions for change in the industry.

“FROM DESIGN TO MARKETING, EACH PART OF THE FASHION INDUSTRY CONTRIBUTES TO A SYSTEM THAT ERASES DIVERSITY AND EACH OF US CAN INTERVENE TO CHANGE IT — SHIFTING THE CURRENT DIALOGUE FROM CRITIQUE ABOUT THE LACK OF DIVERSITY TO THE CREATION OF AN INDUSTRY THAT CELEBRATES IT.” (BARRY, 2015).

CONCLUSION

/12

From a marketing perspective, brands need to implement effective and diverse strategies into their marketing campaigns and visual mediums. This will help to form a bona fide connection between brands and BAME consumers.

Through the research methods detailed in this proposal, this with help to gain further research on the topic of inclusivity and diversity in the UK fashion industry. In addition to, reshaping the means of fashion, marketing and visual merchandising by facing up to a racial reckoning and rather than marginalize, celebrate the quintessential qualities of BAME models. The campaign as a creative output, will be an appropriate means to target this.

Conclusively, visibility alone, will not eradicate racial discrimination. Further industry efforts have to be made to support and reflect diversified practices. This topic will be examined further in the overall project, to determine whether the fashion industry can genuinely represent race/ethnicity through marketing and advertising in the UK?

Amed, I., 2019. Dapper Dan, Adut Akech, Pierpaolo Piccioli And Chika Are Our #Bof500 Cover Stars. [online] The Business of Fashion. Available at: <https://www.businessoffashion.com/articles/news-analysis/dapper-dan-adut-akechpierpaolo-piccioli-and-chika-bof-500-cover-stars> [Accessed 23 January 2021].

Barry, B., 2015. Op-Ed | Diversity In Fashion Advertising Does Sell. [online] The Business of Fashion. Available at: <https:// www.businessoffashion.com/opinions/marketing-pr/op-ed-diversity-in-fashion-advertising-does-sell> [Accessed 15 January 2021].

Cavusoglu, L. and Atik, D., 2019. Diversity Delusion in Fashion Industry. ACR North American Advances in Consumer Research Volume 47, pp 489-490.

Day, E., 2018. 9 Ways The Fashion Industry Embraced Inclusivity In 2018. [online] Vogue Arabia. Available at: <https:// en.vogue.me/fashion/news/how-inclusivity-became-a-norm-not-a-buzzword-in-2018/> [Accessed 23 January 2021].

De Klerk, A., 2020. Black fashion creatives outline what needs to happen next. [online] Harper’s BAZAAR. Available at: <https://www.harpersbazaar.com/uk/fashion/a33070751/black-fashion-creatives-outline-what-needs-to-happennext/> [Accessed 21 January 2021].

Donnella, L., 2019. Is Beauty In The Eyes Of The Colonizer?. [online] Npr.org. Available at: <https://www.npr.org/ sections/codeswitch/2019/02/06/685506578/is-beauty-in-the-eyes-of-the-colonizer?t=1611100634511&t=1611781630683> [Accessed 13 January 2021].

Elan, P., 2016. Survey finds that 78% of models in fashion adverts are white.. [online] The Guardian. Available at: <https:// www.theguardian.com/fashion/2016/may/10/survey-finds-that-78-of-models-in-fashion-adverts-are-white> [Accessed 23 January 2021].

Fashion Minority Report. n.d. Fashion Minority Report. [online] Available at: <https://www.fashionminorityreport.com/> [Accessed 23 January 2021].

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Fernandez, C., 2018. What Can the Fashion Industry Do To Be More Inclusive?. [online] The Business of Fashion.

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Murray, D., 2019. Grace Jones, Beverly Johnson And Pat Cleveland Just Turned Up At A Paris Fashion Week Show. [online] ELLE. Available at: <https://www.elle.com/uk/fashion/a26606860/tommy-hilfiger-zendaya-paris-fashionweek/> [Accessed 22 January 2021].

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Johnson, F., 2020. How Can The UK Fashion And Textile Industry Encourage Greater Diversity?. [online] UKFT. Available at: <https://www.ukft.org/uk-fashion-and-textile-industry-diversity/> [Accessed 23 January 2021].

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