Dissertation: GEN Z, BRANDING, MID-MARKET WOMENSWEAR by ellajaye

THIS REPORT BELONGS TO...

EllaSwanson N0827963 6156 words

How do mid market womenswear brands use BRANDING to make themselves DISTINCTIVE to the GENERATION Z consumer?

introduction

aims | methodology

contents

0bjective one 0bjective two

0bjective three 0bjective four

primary research

CONCLUSION

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SUPPORTING MATERIAL 65

introduction This research report aims to explore how mid-market womenswear brands can utilise their branding to become distinctive in the market and attract Generation Z consumers. Generation Z have a “purchasing power worth $143 billion” making this generation the newest group of influential consumers (Davis, 2020). This generation has the ability, power and characteristics to “change the retail and business landscape” (Morgan, 2020). Generation Z’s growing purchase power has opened up an opportunity for mid-market womenswear brands to expand their consumer base and therefore revitalise the market. The mid-market womenswear market had been struggling as “footfall” declines prior to the COVID-19 pandemic which led many brands to go into administration when the pandemic hit (Mintel, 2020). However, this could “benefit the surviving players in the market” as the market becomes less saturated (Mintel, 2020). Therefore, this may be a prime opportunity for mid-market retailers to rebrand and attract new consumers.

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In order to produce recommendations to mid-market womenswear brands, this report investigates the past, present and future of branding. Exploring the future of branding shows how augmented reality is rising in use and popularity among Generation Z (Marr, 2018). Known as ‘digital natives’ this generation were born after the “internet was commercialised” leading this generation to think of technology as a key part of their everyday life (Williams, 2020). Their technological savviness means that they are more open to the development of technology than other generations with 64% of this group believing that AI will have a “positive effect on the world” (Williams, 2020). As the most “racially and ethnically diverse” generation yet, Generation Z have strong views on subjects such as equality and diversity (Parker, 2020). This was evidenced through the Black Lives Matter movement that occurred in 2020 which researchers believe to be a “tipping point” for attitudes on “racism, diversity and equality” (Drapers, 2020). Not only do Generation Z support these causes, they use their consumer power to support businesses that are vocal on these issues (Handley, 2018). This highlights the importance of marketing teams understanding how Generation Z think in order to appeal to them. This report will explore how brands can utilise their branding and messaging to become distinctive to these consumers.

rationale This study is being conducted in order to investigate the impact that branding has on Generation Z and understand how brands can use their branding to communicate sufficiently with this generation. There is little secondary research around the topic of how branding can alter Generation Z’s opinion of a brand and therefore this research report will provide some scope on the subject. This research is also important as the current mid-market womenswear market is struggling to appeal to this generation of consumers which has ultimately led many brands into administration. This research report may assist in their pursuit of generation Z consumers and their understanding of this generation. This research report will be useful to marketing teams and branding professionals to understand both how their branding affects their relationships with Generation Z consumers and how to adjust their branding to become distinctive to this generation.

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the aim aim the To understand how branding theory and strategies can be used in order to make mid market womenswear brands distinctive to Generation Z.

the objectives objectives the 1 2 3 4

To examine how brands have traditionally used branding to make themselves distinctive to their consumers. To understand the current mid-market womenswear market and explore how they are using their branding to try and be distinctive. To identify and understand what makes a brand’s branding distinctive to Generation Z consumers. Investigate the future of branding and explore how mid-market womenswear brands can utilise this in their branding strategy.

methodology Secondary research sources provided detailed analysis of quantitative data in regards to how Generation Z act as well as divulging previous branding tactics completed by brands. Whilst investigating these topics, a variety of reliable sources were used including books, marketing reports, journals and podcasts. In order to ensure their reliability, background research was conducted into the authors professional history. The secondary sources available did not detail the behaviours, attitudes and beliefs of Generation Z which resulted in primary research being undertaken. To understand how Generation Z are influenced by a brands branding as well as to know what they want to see from brands a qualitative survey was created with 85 respondents. A qualitative survey was chosen as the data needed, such as Generation Z’s “attitudes and habits”, was not “easily quantified” (Pollfish, 2014). This allowed the participants to “describe” their “feelings, opinions and experiences” whilst producing “detailed” data (Denzin, 1989). In order to collect answers “rich in detail”, open ended questions were used (Mathers, 2007). However, this data is “difficult and time consuming to code” as open ended questions can provide many different answers (Mathers, 2007). Due to the nature of the research, convenience sampling was chosen to select respondents. Convenience sampling is to be used cautiously however it is a “preferred choice for … undergraduate[s]” due to its “low cost and ease of use” (Laerd, 2010). This technique is “frowned upon” by researchers however it is “regarded as an acceptable approach” when doing qualitative research as “generalising” is not the aim of the research study (Mathers, 2007).

In addition to the qualitative survey, email interviews were conducted in order to gain industry insight. Email interviews were chosen due to current COVID-19 regulations in order to reduce the risk between interviewer and interviewee. It also allows the participants to respond at a time that is convenient to them (Gibson, 2014). This method was also chosen as previous researchers found that participants appreciated the “convenience” of email interviews as it allowed them to “have time to reflect on their answers” before responding (Fritz 2017; Hawkins 2018). The four participants were chosen for their experience in the fashion branding field and all of them are independent brand consultants and will be referred to as Brand Consultant A,B,C,D (See Appendix B-E) in this report. Independent brand consultants were chosen as they work for a variety of different brands and therefore are less likely to be biased towards one particular brand. There was potential for the sample to be biased of “younger, more technologically savvy” participants due to using email communications however due to the nature of the participants job this should not be an issue (Fritz, 2017). It was important whilst conducting these interviews to structure the questions so to avoid “short, concise answers” from participants (Hawkins, 2018). This is a frequent disadvantage of using email interviews however the advantages of this method outweigh the limitations. The sample sizes of both the qualitative survey and the brand consultant interviews were relatively small due to the nature of the project. This is a limitation of the research conducted and would recommend that a larger sample be used for both research methods if further research was conducted. In addition to this, all the email interviews were with independent brand consultants and therefore it may be more insightful in the future to do interviews with both in-house and independent brand consultants. I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project.

objective one

objective one: To examine how brands have traditionally used branding to make themselves distinctive to their consumers

objective two

objective three

objective four 13

1.1

What branding branding theories theories have have been been created created in in order order to to What assist brands brands in in their their journey journey to to becoming becoming distinctive? distinctive? assist In order to assist brands with their branding and to gain brand equity, Keller created the Customer Based Brand Equity (CBBE) model (See Fig 1). Brand Equity is defined as “the difference in consumer choice” between a “branded product and an unbranded product given the same level of product features” (Yoo et al, 2000). The CBBE model highlights how you can accomplish brand equity “in a sequence of steps” by “accomplishing certain objectives with customers, both existing and potential” (Keller, 2001). This model allows brands to build the “right identity” to make “customers believe that the brand is relevant” to them (Keller, 2001). This model focuses on the happiness of customers as companies realised building strong relationships with customers led to profit (Qualtrics, n.d). This model has been “widely accepted and used by numerous researchers” as they explore branding theory (Yoo et al, 2000). The CBBE approach is the most widely accepted perspective of building brand equity and the one “preferred by … academics and practitioners in marketing research” (Cobb-Walgren, 1995). Keller’s brand equity model has been critiqued by David Aaker, a business professor, who believes it’s more simple than Keller's model. Aaker’s model focuses on recognition as he believes brand loyalty and it’s memorability is key to brand equity (Qualtrics, n.d.). Aaker’s model focuses on a “multidimensional concept” consisting of “brand associations”, “perceived quality” and “brand awareness” (Yoo et al, 2000). Other researchers such as Schocker and Weitz support this idea as they found that brand loyalty and brand associations are extremely important in their research (Shocker, 1994). Aaker stated that a brand name or symbol has high importance and if changed “some or all of the assets… could be affected and even lost” (Aaker, 1991). This implies that brand image and association is the key to becoming a distinctive brand (Yoo et al, 2013). Over time, criticism of Aaker's model has increased however this is only to be expected as the model was published over 20 years ago (Kumar, 2018).

JUDGEMENTS

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IMAGERY

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Sean Macdonald, global chief digital officer at mcCann Worldgroup, stated that the Four Ps have changed completely as the DTC (Direct to Consumer) Marketing market has matured (MacDonald, 2021). The most recent 4Ps of marketing include; “purpose, positioning, partnerships and personalisation” (Modalek, 2021). This is due to rising consumer power as brands have to prioritise the “human element” of their brand voice (Massenet, 2021). The new 4Ps shows that that branding theory has developed over time to acknowledge digital developments, the consumer's role within a brand and the consumer expectations of brands.

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Neil Borden, a Harvard economist in the 1950s, created the marketing mix which consisted of a “list of elements” that “cover the principal areas of marketing activities” (Borden, 1964). This theory suggested that any business needed the right “product”, “price”, “place” and “promotion” which led to this theory being recognised as the “4 P’s” (Jackson, 2008). This marketing theory is stated to have had one of the “greatest impacts” upon the “growth of consumerism” as well as “directly contribut[ing] to the general economic well-being of society as a whole” (Jackson, 2008). This theory has however been criticized for not “incorporating the characteristics of services” and therefore other marketing experts have adapted the model (Cowell, 1984). Boom and Bitner’s 7Ps mix suggests that not only does the 4ps need to be adapted to acknowledge services it also needed to include “participants, physical evidence and process” (Rafiq, 1995). This model has been the “most influential of the alternative frameworks” for many decades however others believe that the extensions are unnecessary and can be “incorporated into the existing framework” (Rafiq, 1995).

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What have have brands brands previously previously done done in in order order to to make make 1.2 What

their branding branding distinctive? distinctive? their

In the 1990s, branding was developing into a relationship between the consumer and brand. A common branding technique was metaphorisation where brands would borrow characteristics from elsewhere in order to communicate their personality to consumers (King, 1991). Metaphors were used by marketers in order to “influence consumer beliefs and attitudes'', “provoke comparisons'' and “gain consumer attention” (Bremer, 1997). Examples of this include Andrex adopting the puppy to flaunt their “soft, durable and whole-some” brand traits (King, 1991). The use of the Andrex puppy has become “inextricably linked with the brand itself” and has developed to become a brand icon (Campaign, 2003). This has allowed Andrex to take the metaphor and use the puppy in a variety of promotional and marketing devices in order to bring their brand to life (Campaign, 2003).

im lovin it 19

In addition to the use of metaphors, brands began redeveloping their brand slogans during the 1990s/2000s. The use of slogans “play[ed] a role in reinventing a brand and taking it to the next level” in order to “stay ahead of competitors” (Cantor, 2020). An example of this is McDonalds whose brand communications had “lost its connection with the heart of its user base” as consumers “lost trust in the brand” (Light, 2020). In order to combat this, McDonalds rebranded their slogan from “We love to see you smile” with “I’m lovin’ it” to try and attract a “younger, hipper crowd” (CNN News, 2003). The “importance of taglines in brand communication” has declined in recent years as different communication channels and shorter attention spans revolutionised the way brands communicate with consumers (Yohn, 2017).

objective one

objective two: TO UNDERSTAND THE CURRENT MID-MARKET WOMENSWEAR MARKET AND EXPLORE HOW THEY ARE USING THEIR BRANDING TO TRY AND BE DISTINCTIVE

objective two

objective three

objective four 21

What is is the the current current situation situation of of the the mid mid market market 2.1 What

? VALUE

womenswear market? market? womenswear

The mid-market womenswear market has been struggling for many years with a 10% fall in the number of shoppers between 2012-2019 (The Guardian, 2019). Retail specialists state that mid market players have been outperformed by value specialists such as H&M and Primark which has led to a polarisation in price and fashion (PwC, 2016). Polarisation within the fashion market has led to “luxury and value advancing [whilst] mid-market players” fall behind (BOF, 2019). In addition to this, as the market polarises mid-market retailers have succumbed to pressure and focused on value fashion offers which has “undermined their image and value” (Vogue, 2020).

LUXURY

Retail Intel’s Executive Director stated that the reason for the polarisation of the market in the US is the decline of the middle class. The retailers who “traditionally served the middle class” no longer have as many “middle class to serve” which has resulted in declining sales and administration (Forbes, 2018). This is mirrored in the UK as the middle class are “squeezed” due to the “increasing cost-of-living” crisis (The Guardian, 2019). This “budget-conscious” middle class has given value retailers new opportunities and new consumers (State of Fashion, 2020).

Fig 4. *Polarisation of the womenswear market

2012

Mid-market players that are more “aligned with consumer tastes” have “eroded the relevance of traditional mid-market retailers among consumers” (Vogue, 2020). This suggests that traditional mid-market brands do not follow fashion trends and therefore are losing consumers to brands that do. Sandra Perriot reiterated this statement and believes that the quality of garments that mid-market players create are their “sweet spot” that can’t be recreated by value retailers (Retail Gazette, 2019). Ultimately, mid-market womenswear brands are able to offer a better service and experience than value retailers but they need to ensure this is “distinctive and valued by consumers” in order to succeed (Retail Gazette, 2017).

2019

Fig 5. *10% footfall drop between 2012-2019 (The Guardian, 2019).

Due to being in an already sensitive position, the COVID-19 pandemic led to midmarket players being majorly affected in 2020. Mid-market players were “likely to be the hardest hit” due to high unemployment and financial uncertainty (Mintel, 2020). Brands such as Monsoon, Warehouse and Oasis all went into administration due to the pandemic as they were unable to obtain sales without their stores (Mintel, 2020). The existing weaknesses of the mid-market such as the “widening income inequality” and the impact of the pandemic conclusively led to the demise of these brands (Fortune, 2020).

How are are brands brands currently currently using using branding branding to to try try and and 2.2 how

make themselves themselves distinctive? distinctive? make

Branding is by definition, a point of “differentiation” (Brunfaut, 2018). However, the current trend of blanding has taken over the fashion world and has led to fashion brands such as Saint Laurent and Burberry to swap their “storied logos for minimalistic ones” (Whelan, 2019). This trend has led to many brands not standing out but “blending in” (Brunfaut, 2018). Rudnick, a graphic designer and typeface specialist, believes that the use of blanding allows brands to transform themselves into global brands (Stanley, 2018). However, Rudnick acknowledges that this process “can have a negative impact” as brands lose their “heritage” and uniqueness (Stanley, 2018). The negative impacts are loudly supported by other graphic designers as they dislike the trend. Whelan, creative director of The Guild of Saint Luke, believes that “homogeneity is dangerous” in a “global creative industry” as it “stifles the ability for different cultures to express themselves in their own distinctive voice” (Whelan, 2019). He goes on to state that he believes the fashion industry will turn into “50 shades of greige” if this continues (Whelan, 2019). Ultimately, this trend has stopped brands from making themselves distinctive and instead are following the same “standardised” use of branding (Torres, 2019).

Despite this trend, some brands are flaunting their creativity and differentiating themselves away from the blanding trend. An example of this is Buffy, a sleep brand, who have used a “rainbow of muted colours and illustrations” that reiterate the “calming and soothing” but “playful” nature of their brand (French, 2018). Buffy is an innovative brand and therefore they needed branding that reflected that and so they created “the fluffies” which are line drawn characters made out of the comforter itself (Pentagram, 2017). These characters interact with photography to create an “imaginative, dream-like place that is distinctly Buffy” (Pentagram, 2017). Design specialists have complemented Buffy on their “creative, cool and professional” website that stands out from the crowd and has made “mattresses cool” (Design Rush, 2018). This highlights that brands can and should use creative techniques to create a distinctive brand that is loved by both consumers and other branding experts.

Fig 6.

coolness realness uniqueness self identification hotness A major branding trend that has developed is “Y2K” style which has moved away from the calm millennial design to bold, bright design (Mondalek, 2020). This trend has developed out of nostalgia as young adults look back on simple childhood memories for comfort (Alva, 2020). Abeyta, a psychology professor, argues that people “naturally turn to nostalgia during difficult times” and with the current affairs in the world it is unsurprising that this has become a trend (Abeyta, 2020). The Digital Fairy, an agency specialising in this aesthetic, use “bubble and cursive lettering” that is “reminiscent of the Powerpuff Girls logo” which is extremely popular with Generation Z (Mondalek, 2020). Brands such as Depop and Starface are adopting this aesthetic into their brand identity. This evidence shows that Generation Z are desiring bolder, more creative design as opposed to calm millennial design.

crush model

Marketing experts have developed branding models such as CRUSH to encourage brands to consider how they can ‘stay hot’ for Generation Z. CRUSH stands for; coolness, realness, uniqueness and self identification with the brand and happiness (Behrer, 2016). This model highlights the importance of realness of brands as Generation Z are deeply motivated by “authenticity and a brand’s emotional DNA” (Beverage Industry, 2018).

objective one

objective three: TO IDENTIFY AND UNDERSTAND WHAT MAKES A BRAND’S BRANDING DISTINCTIVE TO GENERATION Z CONSUMERS.

objective two

objective three

objective four 31

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What key key characteristics characteristics do do Generation Generation ZZ have have as as 3.1 What

consumers? consumers?

Generation Z have a powerful influence over the fashion market as they are on track to becoming the “largest generation of consumers ever” (Autumn Fair, 2019). They have a spending power “$142 billion” worldwide giving them major influence over brands as they try to accommodate them (Davis, 2020). Due to their spending power, marketers need to understand their characteristics which has led to a surge in research being undertaken into their behaviours. Despite the preconception that all Generation Z are technologically superior, they generally care more about brick and mortar stores and retail basics than “shiny” new apps (IBM, 2017). As shoppers, Generation Z are mature as they care about factors such as product quality and brand values (IBM, 2017). A survey was completed with approx 15,600 consumers between the ages of 13 and 21 in order to understand Generation Z habits and preferences when choosing a brand. From this, they concluded that in order to gain consumer loyalty the retail basics needed to be in place before using communication channels to entice them. This has been backed up by a Generation Z expert, Jeff Fromm, who states that Generation Z are a value driven group. He states, in order for brands to be successful they need to have “societal, functional and emotional benefits” for both “consumers and the greater good” (Fromm, 2019).

As Generation Z investigate brand values, they are attracted to smaller brands with “genuine human faces” behind them. This is due to this consumer group becoming “increasingly disillusioned” with brands that run fast fashion models with “low quality” items that are designed “to make money fast” (Tungate, 2012). A case study conducted on American Eagle revealed that Generation Z care about “engaging with brands that have values that align with their own” (Fromm, 2015). This evidence shows that Generation Z have strong, individual values and want these to be reflected in their choice of brands. Branding and Marketing expert, Joeri Van den Bergh, found that 60% of Generation Z would be more likely to pick a brand “if they are trying to improve the world” which supports Fromm’s findings (Bergh, 2016). As well as wanting a brands values to imitate their own, Generation Z use brands to “craft their identities” (Autumn Fair, 2019). A marketing survey with 300 respondents by Campaign Monitor reiterated this point as it revealed, Generation Z place a “high value on identity” and will seek brands that fit “their own unique identity” (Campaign Monitor, 2018).

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objective one

objective four: INVESTIGATE THE FUTURE OF BRANDING AND EXPLORE HOW MID-MARKET WOMENSWEAR BRANDS CAN UTILISE THIS IN THEIR BRANDING STRATEGY.

objective two

objective three

objective four 37

How will will branding branding develop develop in in the the future? future? 4.1 How

The introduction of “augmented reality” will give branding the opportunity to “add another dimension” to a brand's voice in the future (Foroudi, 2019). This will allow brands to resonate “even deeper” with their target audience as they are able to “transport” their consumers into an “entirely new world” (Foroudi, 2019). In order to understand how consumers felt about this transformation of branding a Nielsen study was conducted and they found that “31% of consumers are more likely to recall brands they have experienced in VR'' (Gilland, 2018). This study highlights that this is an exciting new opportunity for both consumers and brands as they begin to explore the world of augmented reality. An additional study conducted by Maltepe University agreed with the previous statement as they believed AR has the possibility to allow brands to “develop and sustain strong relationships with their consumers'' as they “create positive brand attitudes'' and “customer satisfaction” (Eyüboglu, 2011). Currently, 47% of both Generation Z and Millenials have not experienced AR in connection with brands but “would like to if given the opportunity” highlighting the potential for brands to develop their personal AR (Statista, 2021).

more human human more 41

Voice devices such as “Google Home” are growing in popularity with “52 million devices” sold in 2018 (Stasha, 2021). The excitement around these products have allowed brands to add a voice to their brands and use these devices to convey a different side to the brand. Estée Lauder was one of the first “major consumer brands” to use voice to interact with consumers by being available to answer questions regarding their products via Google Home (Wu, 2018). This strategy has allowed brands to “bare its soul to the ones who care” and “promote brand loyalty” by becoming “more human” (Dalmia, 2017). The use of brand voice creates a more human identity and this is predicted to become a norm for brands in the future. Currently, brands are consistent in their messaging however it is predicted that by 2030 brands will be more fluid as they constantly change their brand image (Foresight Alliance, 2014). A brand embracing fluidity is regarded by some marketers as being “more engaging” and “more effective” with consumers (BoardWalk, 2019). Despite this, other marketers believe that technology is affecting brand consistency which will alter the brands ability to have a “consistent identity with all consumers'' (Klein, 2017). This suggests that there needs to be some structure for brands as they become more fluid in order to not lose their brand identity. However, brands “have to evolve” as being “static” reduces “innovation, functionality and personality” (DS Emotion, 2019).

EMOTIONAL TERRITORIES CULTURAL TENSIONS

EGACY DL

SIGNS

N RA

In order for brands to successfully manage the future of their branding they need to explore the whole “brandscape” made up of “consumers, brands and cultural contexts” (Trezova, 2014). The ‘consumer brandscape’ model has been created by marketing expert Laura Oswald to support brands with their brand management. Oswald has expanded Aaker’s model (See section 1.2) to suit the modern market by integrating “social, cultural, and semiotic dimensions of brands” as major factors to be considered when discussing brand equity (Oswald, 2012). Oswald states that by ‘mining the consumer brandscape’ brands will discover ‘sources of innovation and cultural creativity” (Oswald, 2012). This development in Aaker’s model shows how branding has developed over the past decades and consumers are placing more importance on representations of the brand e.g. “packaging and advertising” (Oswald, 2012).

CULTU RE

CULTURAL CATEGORIES Fig 7.

co nsumers 43

what next? next? what The secondary research conducted revealed that there is a lot of research into areas such as Generation Z’s consumer behaviour, branding theories and the future of branding. This has assisted in understanding the way that branding has been used in the past and present as well as predicting how future technologies may assist in branding development. The reason for the expansive amount of research into these areas may be due to the type of data analysis required. As these topics are all fact based, not opinion, there is easily quantifiable data that allows marketing experts to make these statements. However, there was a gap in the secondary research that explored consumer opinion on these topics. This may be due to difficulty in research or a lack of interest but is essential in discovering how brands can make themselves distinctive to Generation Z. Due to this, research objective 3 (To identify and understand what makes a brand’s branding distinctive to consumers) was extremely challenging to analyse and discuss. The available information that would answer this objective was limited and only discussed generalised statements about how Generation Z act as consumers. This led to primary research being conducted to investigate Generation Z’s opinions on branding trends and the way that brands use their branding to attract consumers. The primary research will explore what Generation Z finds appealing about branding as well as what they want to see from mid-market womenswear brands in the future.

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findin dings gs fin research research

"graphics" "creativity" "bright colours!"

the future is bright

To gain an understanding of what Generation Z finds exciting and appealing about branding a qualitative survey was conducted. This research revealed that this generation cares about both the external and internal qualities of branding (i.e. the aesthetic and their values). Popular responses to the question, ‘when you see a brand on an advert (online or offline) what makes it memorable to you?’ were “bright colours”, use of “graphics” and “creativity”. This supports the literature review findings in section 2.2 that state Generation Z are moving away from the calm millennial look to bold, bright design (Mondalek, 2020). Brand Consultant A reiterated this point as she stated “innovative details” such as “shape” and “colour” will attract attention from this generation. The excitement around “bright colours” and “graphics” show that new trends such as ‘Y2K style’ are resonating with Generation Z consumers despite them not having an extensive knowledge of branding trends. These comments also highlight the movement towards ‘Y2K’ style as more creative and daring design is gaining popularity and attention (Mondalek, 2020). Brand Consultant D gave Lazy Oaf and Monki as examples of brands that are using their branding to their advantage. She felt that their, “branding and brand are expressive and playful” highlighting the importance of upholding similar imagery and personality across an entire brand.

gen z want brands to improve the

world what is is what inside counts counts inside Generation Z respondents highlighted that the internal qualities of a brand are equally important to them as the aesthetic. When asked, ‘what makes a brand memorable to you?’ many responses mentioned “brand values”, their “ethos” and “what they represent”. With 36% respondent answers containing these topics, it emphasises the importance of brands using their position to make positive changes. This reiterates Bergh’s research (See section 3.1) that found 60% of Generation Z would be more likely to pick a brand “if they are trying to improve the world” (Bergh, 2016). This is also evidenced as Brand Consultant C suggested that “brands with purpose are much more likely to attract Gen Z shoppers”. Brand Consultant B reiterated this point stating that “new age consumers” look for what “other impact [a brand] is here to make in the world” before they make a purchase. This shows the need for brands to have brand values and to use their branding to communicate these messages to their consumers. Brand Consultant D agrees that “brands who wish to appear to [Generation Z] need their company ethics central to their brands”. These opinions held by Generation Z indicates the need for an updated ‘4Ps’ model as the purpose of a brand has become evermore important to consumers. Rather than mainly concentrating on the price or product, Generation Z shows that a brand's purpose is what makes it truly memorable.

make change make change makechang make change make change makechang make change make change makechang make change make change makechang make change make change makechang make change make change makechang 52

re fresh start Brands have always used rebranding as a way of updating their image but there is little secondary evidence to answer how Generation Z feel when this happens. The qualitative survey found that 50% are excited by rebrands as shows they are “evolving and changing with the times”. This evidences that brands are able to use a rebranding strategy without losing their entire Generation Z consumer base. A further 20% of respondents did not like or dislike rebranding but felt that it needed to be done with consideration of their past and future image. Generation Z respondents felt that they did not want the rebrand to stray too far away from the original branding as it may then lose its identity. This would lead to them not resonating with the brand in the same way. Other respondents felt that it was appropriate to rebrand when “realigning” to what the brand values are and “what [their] consumers want”. When a similar question was proposed to the brand consultants, Brand Consultant C used Oasis as an example of a brand that could use a brand refresh. She stated that “it’s a brand that has lost its way” and in order to appeal to Generation Z they “need to look at new ways of expressing themselves through colour, visuals and logos”. In addition to this, she compared high street retailers to online e-tailers stating that they need to focus on their branding messages in order to captivate their consumers in the same way. A survey respondent similarly commented that “high street brands” could do with a rebrand as they need to “become modernised enough to stay relevant”. This infers that failing mid-market womenswear brands could use a rebrand in order to rejuvenate their brand image and become distinctive to Generation Z. However, Brand Consultant D believes that a brand updating their branding would not be sufficient enough to attract Generation Z consumers. She states that although it is part of the way to attract Generation Z there are other factors that need to be considered such as their ethical stances and personality.

innovative

ethical ethical classy classy

serious serious

One of the key findings from the survey was that in order for a brand to become distinctive to Generation Z it had to have a personality. Brand Consultant B addressed that brands need “a brand story” that speaks “to the heart and souls of the target audiences needs and what they value”. This needs to be part of the brand's personality and shown through every part of their branding. Some Generation Z survey respondents stated they like a brand that is “fun” and “doesn’t take itself too seriously” whilst others liked a brand to feel “simple and luxury”. Despite this difference in opinion, it shows that these consumers want a brand to have a personality suited to their likes and desires. The word cloud (fig 8) shows the answers to the question, ‘what characteristics would you like a brand to have’. The most common answers include funny, playful, innovative and creative. Brands need to be aware of the specific desires of their segment of the Generation Z consumers in order to use their personality in their branding effectively. In order to become a distinctive brand, mid-market womenswear brands could adopt personality traits that resonate with Generation Z and apply these to their branding. This would lead to more engaging content as it “conjures an image and makes a positive emotional connection” (Brand Consultant C).

creative creative

personality personality is key key is

fun

witty witty

cute cute

funny Fig 8.

sustainable sustainable 56

conclusion conclusion This research report was conducted to investigate how mid-market womenswear brands can utilise their branding in order to become distinctive to Generation Z consumers. In order to answer this question, thorough secondary and primary research was conducted which has led to the following findings.

Branding has evolved from concentrating on just products to being used to communicating brand values. In the past, consumers loved catchy slogans that made a product memorable to them. Whilst slogans are still used in branding, it is more important to consumers to hear about what the brand believes in and what they are doing to change the world for the better. Marketing models have evolved in the same way as the 4ps moves from product and price focused to purpose driven. This mirrors changing consumer desires. In order for a mid-market womenswear brand to become distinctive to Generation Z, they need to use their branding to communicate their purpose. They need to consider what they are doing to assist society and ensure that their consumers are aware of this. This is a key factor in what makes Generation Z attracted to a brand.

Generation Z consumers are less attracted to brands that are using the ‘millennial’ branding trend and ‘blanding’ techniques. This look of simplicity and pastel visually pleasing colours suit many brands however Generation Z are becoming attracted to the brands that are doing something different. The ‘Y2K’ branding trend which includes bold and bright design is becoming increasingly popular among Generation Z. Findings from a qualitative survey uncovered that Generation Z are happy for brands to rebrand if it is to create a new, more modern aesthetic. In addition to this, responses showed that Generation Z consumers are more likely to remember a brand if they have used bright colours and creative design in their branding. Many current mid-market womenswear brands use simple branding and this may affect how Generation Z interact with them. This is a change that many mid-market womenswear brands could adopt in order to become distinctive to Generation Z consumers.

Finally, brands are becoming more humanised and this trend is predicted to grow. Generation Z consumers want brands to have personality traits and for these to be used in their brand communications. This can be used in branding as well as marketing and communication campaigns. Generation Z consumers do not have a specific personality trait that they’d like brands to have however they want the brand to use traits that suit the brand and the brands audience. Therefore, mid-market womenswear brands need to discover their personality and ensure that it aligns with their current and future consumers. In addition to this, the future of branding is predicted to include literal brand voices being created to add another dimension to their communications. This can include a brand voice being used over devices such as Google Home and Amazon’s Alexa. The future of branding and the use of AI means brands will become more human in the future. In order to make midmarket womenswear brands distinctive to Generation Z, their branding teams need to create a succinct brand personality and voice. This means that they will be able to develop this personality as AI becomes more commonly used by brands and consumers.

the next next step step the These findings can assist brands in their journey to becoming more distinctive to Generation Z consumers and ultimately gain more Generation Z consumers. In order to communicate how a brand could utilise these findings, a brand book is going to be created. This brand book will be an updated branding bible for Warehouse. Warehouse is a mid-market womenswear brand that went into administration in 2020. This led to all their brick and mortar stores closing and Warehouse becoming an online only retailer. Their clothing range has the same style/aesthetic as brands such as ASOS and Zara but they are struggling to gain attention from Generation Z consumers. ASOS and Zara are popular brands among Generation Z so Warehouse has the potential to become a go-to brand. Therefore, an updated brand book that utilises the findings from this research report will assist Warehouse in rejuvenating the brand. The brand book will include a new logo design, brand personality and mock-ups of their e-commerce channels and brand communications. This brand book will show how Warehouse can use branding to rejuvenate their brand and become distinctive to Generation Z.

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FIG 1:

Keller's CBBE Model (2021), Own Model

FIG 2:

Borden's 4Ps of Marketing (2021), Own Model

FIG 3:

Macdonald's New 4Ps of Marketing (2021), Own Model

FIG 4:

Graph showing Polarisation of the Womenswear Market (2021), Own Model

FIG 5:

Graph Showing Drop in Consumer Footfall from The Guardian (2019), Own Model

FIG 6:

Behrer's CRUSH Branding Model (2021), Own Model

FIG 7:

Oswald's Consumer Brandscape Model (2021), Own Model

FIG 8:

Word Cloud created from Qualitative Survey Data (Appendix A), Own Model

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