How do cultural appropriation scandals segment the global luxury market, not by purchasing power but by moral ethics and diverse sensitivity?
GaĂŠtane Auffret
final dissertation
1
Contents
3 7 26 52 74 76 Index
introduction
theme I: fashion’s issue with cultural appropriation theme 2: brand equity under the effect of culture theme 3: the new luxury customers
conclusion
7 16 21 26 33 4o 52 6o
what is cultural appropriation in fashion? the paradox of cultural appropriation the harms of cultural appropriation the COO effect brand loyalty digital reputation customer behaviours social consciousness
appendex
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introduction
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C Cultural appropriation has been part of the fashion industry for decades but it only recently started occupying a great space in the educated mind of consumers. This research paper will be focus on cultural appropriation and consumer behaviour. Cultural appropriation is defined as an inappropriate adoption of the elements of a culture by members of a, typically more dominant, culture. This may include customs, traditions, and others. Customer behaviour is the study of decisions made by individual or groups of consumers when they purchase and the influences that drive these decisions. These two topics have been at the centre of the fashion industry in the last five years, due to consumers newly found widespread awareness of cultural appropriation. This dissertation aims to study the impact of cultural appropriation on consumers on a global scale. It focuses on the new cleaving scandals in the luxury fashion industry concerning the topic have on demographically pre-categorized consumers.
Introduction
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By exploring the sociological and economic influences behind the customer shift towards the diversity in fashion, this research paper will try to respond to the following questions: 1) 2) 3) 4)
What is the importance of brand values and brand equity on the topic of diversity for luxury consumers? What determines a consumer’s sensitivity towards the topic? How does a case of cultural appropriation translate in the luxury industry? What does this mean? What role does social media play in the awareness of cultural appropriation? “Historically, cultural exchange in fashion has been driven less by inspiration and desire and more out of force and need” (Mackinney -Valentin, 2017). For years, Western designers have taken inspiration from different cultures. The use of “World dress” (Eicher and Sumberg,1995) in the early 20th represent the ways that Western countries have tried to suppress these same cultures and this same way of dressing. This is what often makes poor attempts at recreating a cultures’ aesthetic so hard to accept for young consumers.
Introduction
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Consumers’ access to a significant amount of information and cultural exchanges through social media has greatly raised their awareness about cultural appropriation. More than ever, conscious of the impact the fashion industry has had on the planet and underrepresented cultures, Millennials and Gen Z consumers are now holding fashion brands to a higher standard ethically and environmentally. Social media has also allowed a closer relationship between brands and consumers by offering direct Instagram accounts such as @DietPrada have acted as contact points like whistle-blowers in recent years. It is important to also private messages underline that the number of brands available globally and comments. has grown significantly in the past ten years, considerably These contact points affecting the brand loyalty of luxury consumers, mostly become a way for in the case of 18-to-35-year-old women. consumers to call out When analysing various studies and theories brands when they of customer behaviour, correlation can be used to do not uphold their draw a pattern between recent scandals on the matstandards. ter. The goal of this dissertation is ultimately to define the borders of this new segmentation by studying the cases of luxury fashion brands scandals through customer behaviour and cultural appropriation theories. To be able to grasp a global understanding of customer behaviour, examples picked are scandals witnessed by a global audience. It focuses on effected brands with a worldwide reputation.
This research paper will study consumer behaviour through data on the importance of brand equity and values in luxury purchasing habits. Establishing correlations using variables like age and geographic demographics, this dissertation will globally evaluate the sensibility of luxury consumers on cultural appropriation. It will define the evolution of a cultural appropriation scandal from the exhibition to its impact on sales and profit. It will also consider the use of social media and how social media users react to scandals like such.
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appropriation
in fashion?
what is
cultural
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Cultural appropriation and fashion have had an intertwined history for centuries. The biggest names in fashion would have already been accused of cultural appropriation if the expression had started to be used earlier. The example of Paul Poiret and his Orientalism collections are a clear example of this. The expression of cultural appropriation has seen its mentions on social media grow exponentially in the last 5 years. However, the concept of cultural appropriation has been in focus since the 1970s with the development of post-colonial studies. The meaning of cultural appropriation is developed in three ways:
“1) the representation of cultural practices or experiences by cultural “outsiders” (sometimes called “voice appropriation”); 2) the use of artistic styles distinctive of cultural groups by non-members; and, 3) the procurement or continued possession of cultural objects by non-members or culturally distant institutions.” (Matthes, 2016)
Cultural appropriation can only be mentioned when it comes to the stealing of symbols by a dominant culture, due to a long history of crimes and oppression towards marginalized cultures. According to Young (2008), the definition of cultural appropriation at its foremost depends on the definition of “cultural insiders” and ”cultural outsiders.” He studies how ‘cultural outsiders’ or those part of the dominant culture and exterior to the culture in question, represent the symbols of ‘cultural insiders.’ While he notes the possibility that cultural appropriation might cause assimilation, misrepresentation, and economical harms to culture, he believes that the harmful nature of this is exceptional. Although, this process of distinction between cultural outsiders and insiders can be as harmful as cultural appropriation if it is done wrongly. It can be at the origin of hierarchical differences inside those same groups. This is a vaguely ambiguous distinction to make. It is important to note the cultural diversity amongst the groups created, which makes the process harder.
What is cultural appropriation in fashion?
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Illustration by Georges Barbier, Paul Poiret Orientalism, 1912
Coran dress, Chanel SS1994 (Vogue)
What is cultural appropriation in fashion?
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source: Google Trends infography: GaĂŠtane Auffret limit: influenced by the language spoken in the countries
What is cultural appropriation in fashion?
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Fashion has an intrinsic issue with cultural appropriation. The craftmanship linked to dressing and decoration in non-western culture is rarely defined as fashion. The two ways of dressing are seemingly opposed; with western clothing symbolizing trends and individual identities, while non-western clothing represents something rigid, projecting a group identity. While borrowing elements is part of the fashion process, misinterpreting them should not be. Cultural appropriation would not be as big of a topic if it were not for the history of colonialism and exploitation. It is unfair that after oppressing these same traditions for decades, the Western popula-
tions are now profiting off them. Cultural appropriation “perpetuate(s) the uneven power structures of colonialism in artistic and decorative fields by objectifying, idealizing, exoticizing and otherwise misinterpreting non-European artifacts” (Anaya, 2019). The issue is often not what is being appropriated, rather how and why. Most often, when interpreting another culture, designers mock a community’s sacred elements like Gucci using Sikh turbans or Chanel using Coran dresses. The many key aspects of this are understanding, awareness, authenticity, transparency, and research matter.
“ Diversity is the result of seeing groups and individuals, the value they create, and their cultural ownership of that value as worthy of respect regardless of origin, taste, race, ethnicity, or any other personally distinguishing element. With that respect comes comprehensive and inclusive thinking across functions, from hiring to design. “ (Oloruntoba, 2020)
What is cultural appropriation in fashion?
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More than half of fashion employees do not think their current employer’s leadership team is racially diverse % of respondents to «I would consider my current employer’s leadership team as racially diverse»
agree
disagree 31 52
17 neutral
source: BOF Fashion Employee Survey infography: Gaétane Auffret
What is cultural appropriation in fashion?
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Carly Ledbetter of The Huffington Post called 2016 “the year of celebrities apologizing for cultural appropriation” (Ledbetter, 2016). Cultural appropriation is now a buzzword, appearing in the middle of a non-egalitarian power dynamic in fashion. Fashion loses the innocence of its art when in the middle of political and societal storms that arise from cultural appropriation. Now the debate holds a certain weight in society with constant questioning on where to draw the line between inspiration and appreciation. While the recognition of cultural appropriation may be an advancement, this debate is seen by some as pointless as it distracts the public attention from real actions. The phrase has seen an increase in use on social media platforms, with hashtags such as #CultureNotACostume seeing widespread use. People are now calling out fashion actors that offend
What is cultural appropriation in fashion?
them and other cultures through misrepresentation. Social media is also used as a means to hold those accountable in calling out what people deem as inappropriate. “Globalisation makes cultural appropriation unavoidable, while social media platf or ms make it undeniable” (Choufan, 2018). The recent buzz around cultural appropriation can be seen through an example like the Chanel West American collection in 2013 in Dallas. The overall media coverage was very positive, with no mention of cultural appropriation. If this collection had been shown a few years later, the outcome would have likely been drastically different. Headpieces, feathers, and stereotypical takes on Native American fashion would have been seen differently in the eyes of today’s call-out culture.
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CHANEL
Chanel Métiers d’Art show, Paris-Dallas, 2013-2014. Source: Chanel. (Le défilé Chanel Métiers d’Art..., 2013)
Example
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Karl Lagerfeld, creative director for Chanel, took inspiration from the American West for the annual Metiers d’Art traveling fashion show. That year, the show was held in Dallas, in the halls of Fair Park, which were turned into a barn with a hay-scattered runway. Models worn Western-style hats and boots. The collection was adorned with fringe, leather and feathers. The final look was an all-white ensemble that included fringed pants and a floor-grazing feather headdress. A lot of the pieces included Native American -inspired prints while most of the models were wearing a single feather in their hair. At the time, it is interesting to see that no media reported the insensitivity of the collection.
Example
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the paradox of cultural appropriation
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In her paper for CIGI, Brigitte Vézina (2019) tries to explain the ambiguous relationship between traditional cultural expression and intellectual property. Using a case of culture interpretation by Isabel Marant of Native American culture, she gives three characteristics of cultural appropriation: “a change of cultural context; a power imbalance between the taker and the holder; and the absence of the holder’s involvement“ (Vézina, 2019). She defines [Traditional Cultural Expression (TCE)] and a loss of control cultural appropriation by its holders over that meaning“ (Vézina, 2019). as a “distortion, dilution Furthermore, she explains why certain cases may or misrepresentation be considered cultural appropriation and why others are of the meaning of a not using the example of Aboriginal art and Bavarian lederhosen, or German traditional dresses. According to Vézina, a non-German person is not culturally appropriating when wearing Bavarian lederhosen because they were never a tool “used to oppress or demean Germanic people” (2019). She then highlights the fact that taking inspiration from other cultures is not harmful if it is done correctly, with consent and approval from the concerned holder of TCE and a monetary compensation or a share of the benefits. Taking inspiration from these cultures allows fashion houses to capitalize hugely on a culture that is not theirs to begin with. Vézina also argues that cultural exchanges are vital to multicultural societies to avoid segregation and that done
properly can greatly benefit both parties. It must be noted that cultural appropriation is not defined by the level of awareness of those who watch or the intent of the perpetrators, rather by the context in which it occurs. The paradoxical characteristic of cultural appropriation in fashion comes from the core definition of the industry. Fashion is based on novelty, and to achieve novelty for decades, it has to take inspiration from numerous cultures.
The paradox of cultural appropriation
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“I contend that cultural appropriation, including all four types discussed here, is still useful: analytically, heuristically, and pedagogically. These categories and their underlying conceptualizations of power, culture, and agency provide a set of tools for thinking through cultural dynamics, sorting through different interpretations and implications, and clarifying various ethical and political commitments, thereby enabling an active scrutiny, not merely rote repetition of, familiar claims concerning, for example, cultural exploitation” (Rogers, 2006). Cultural appropriation is seen by some as a tool to promote cultures that are not usually represented in the forefront of society. Dior’s scandal in July 2018 created an interest in Bihor couture and helped created an organization for its Couture. What is left to decipher is what differentiates a case of appropriation from inspiration. According to Jennifer Ayres (2017) “the creative process needed to be a collaborative process of evolution and transformation” is what marks the difference between cultural appropriating and inspiration. Finally, it is critical to mention that even if white people need to raise awareness on these issues and advocate for causes of minorities, they should let the voices of the minority group be heard rather than making the voices Caucasian-centric. This is why scandals and call-out culture are not always seen as positive. When debating right or wrong, people tend to ignore the actual consequences of these scandals. This is the attitude pointed out by Minh-Ha Pham (2014) which denounces the lack of change in the power balance. According to her, these scandals only keep pushing minorities away from high fashion.
The paradox of cultural appropriation
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DIOR
Dior Pre-Fall 2017. Source: Dior. (Dior s’inspire de la tradition...,2018)
Bihor traditional vest made by artisans Source: Daniel Mihailescu,AFP (AFP, 2018)
Example
In July 2018, Dior was accused of culturally appropriating on the traditional Bihor clothing from Romania without giving any credit to the population. Romanian fashion brands and magazines asked Dior to acknowledge the inspiration taken from the country’s traditions, which are currently dying out. On the bright side, the backlash from this created the start of Bihor couture, with Romanian fashion magazine Beau Monde’s help, in order to preserve Romanian traditions.
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GUCCI X DAPPER DAN
Gucci Cruise 2018, Source: InDigital.tv, and Olympic gold and silver medalist Diane Dixon, in Dapper Dan, 1988, Source: DapperDanOfHarlem.com (Gueslin, 2018)
Dapper Dan is the New York designer behind a line of high fashion garments with brand logos all over, in the 80s and 90s. He became quite famous with celebrities like the Olympian Diane Dixon wearing his creations. The brand closed around fifteen years ago after being sued by houses like Gucci or Louis Vuitton for using their logos, even though some of the brands were not even producing ready-to-wear at that time. He was also dressing black celebrities which is something these brands would not do at that time. When Gucci released their Cruise 2018 collection, the similarity between some of the looks and the designs of Dapper Dan was unmistakable. After backlash on social media, Michele recognised the inspiration of the tailor behind this collection. The brand offered a collaboration with the designer, which came out in July 2018.
Gucci X Dapper Dan Cruise collection, July 2018. Source: Vogue (Gueslin, 2018)
Example
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theharms harmsof of the cultural cultural appropriation appropriation
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Cultural property is often not made for profit rather it holds significance that is lost in translation when it is appropriated by outsiders of the culture.
As t he debate focuses on scandals and voices of big fashion houses, it sometimes fails to acknowledge the real harms of misrepresentation and cultural appropriation. Whether it involves misrepresentation or not, cultural appropriation harms minorities by weakening their credibility by not letting them speak for themselves. The economic side is the easiest effect to study as it is the aspect most-likely to be mentioned in articles about cultural appropriation. In most these scandals, minorities are barely ever offered a sort of economical retribution even as they watch big companies make millions off of their art. In the worst cases, minorities can even be prevented from making money off their own culture if the TCEs are trademarked by a third party first. This could have been the case when Kim Kardashian tried to trademark the name “kimono”. However, it is crucial to also consider the sociological consequences of cultural appropriation on TCE holders in the aftermath of a scandal on important fashion houses. Socially and politically, these elements of culture help define the identity, autonomy, and relationships with outside communities especially in post-oppression and colonization contexts. This goes from the feeling described by twitter-users such as “the complex experience of watching select elements of my culture and heritage being plucked out of ‘the otherness’ and effortlessly placed into the ‘on-trend’ category” to deeper and more global consequences (Khopkar, 2018).
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Jessica Andrews, Digital Fashion Editor at Teen Vogue, said “when brands culturally appropriate while discriminating against people of colour, it sends the message that your hairstyles or your style of dress is acceptable, but your bodies and lives are not” (Ahmed, 2019). This is illustrated by the Dsquared scandal in which their collection portrayed traditional indigenous Canadian clothing while being called “Dsquaw,” an ethnic slur used to shame indigenous women for their rites and lifestyles. In another example, Dior Sauvage, the issue stemmed from the use of the name “Sauvage” in contrast with the dance and headpiece displayed in its ad. It is important to also discuss the development of various complexes linked to years of colonization. For example, Malinchism is inherited by Mexicans from their colonial past. It is a social and cultural inferiority complex defined as «cultural cringe» – the process of devaluing one’s native culture, which is perceived as inferior while overestimating foreign ones, especially North American and European. Lancefield, Ziff, and Rao (1998) identify key concerns about acts of cultural appropriation by dominant cultures, including a loss of nuanced understanding of other cultures, and the removal of context from cultural objects or practices.
“Appropriation can harm by interacting with pre-existing social injustices to compromise and distort the communicative ability and social credibility of members of marginalized groups” (Matthes, 2016) Cultural property is often not made for profit rather it holds significance that is lost in translation when it is appropriated by outsiders of the culture. This simplification of cultures has a circular effect. It leads other populations to sum-up culture in a few symbols which creates a need for designers to self-simplify because they feel it is the only way to have their cultural identity recognized.
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DIOR
A scene from the Dior ‘Sauvage’ ad. Source: Dior. (Lieber, 2019)
A scene from the Dior ‘Sauvage’ ad. Source: Dior. (Lieber, 2019)
Example
Last August, Dior was under the fire for the appropriation of Native American culture. The brand was forced to pull the Dior Sauvage perfume ad from Twitter, Instagram and Facebook after the online backlash. The brand tried to defend the campaign releasing a statement saying it was to “change the misperceptions about Native Americans, to share accurate American history, to build awareness about Native Americans as contemporary peoples and to promote Indigenous world views.” (Lieber, 2019). Even though the brand tried to make an effort with this campaign, working with Americans For Indian Opportunity, an indigenous advocacy group, the public was still widely hurt. The use of a non-native ambassador (Johnny Depp) and stereotype symbols still seemed very reducing for the community. This shows that involving this organization as stakeholders technically makes the campaign an above-board collaboration, but that it does not invalidate the hurt caused by it as expressed by both the public and other Native American advocacy groups.
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DSQUARED Example
Models wear creations for DSquared2 women’s Fall-Winter 2015-2016 collection, part of the Milan Fashion Week, unveiled in Milan, Italy, Monday, March 2, 2015. Source: AP, Photo:Antonio Calanni. (Forsyth, 2016)
When Dsquared started their new line called “Dsquaw” at MFW in 2015, the brand faced a great amount backlash. First of all, the name was a derived way of using the ethnic slur “squaw” which was used to refer to First Nations and Native American women. This term was used to attack their sexuality, labour and child education practices. This word is attach to institutions and ideas that are violent against Indigenous people. Whether the brand did not do enough research on the term or just overlooked that fact, this was deemed extremely insensitive. Secondly, the collection in itself drew heavily from indigenous Canadian tribal motifs without acknowledging it.
DSquared2 Women’s FW2015-2016 collection. Source: Vogue (Blanks, T.)
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CO O
CO O 26
The COO effect or Country Of Origin effect is defined as “the influence on a buyer considering a product or service from another country due to the stereotyping of that country and its outputs. “ (Han & Terpstra, 1988; Sauer, Young, & Unnava, 1991).
This effect has two consequences: on one side some countries’ merchandise is perceived as premium, while on the other side, some other countries’ merchandise can be perceived as poor quality. This takes place in both the commercial and consumer markets. This phenomenon is linked to the level of economic development, where the higher the development, the higher quality is perceived, as well as consumer preferences linked to emotions towards certain countries. The COO effect varies depending on product type. It is deemed more relevant for “performance products,” like cars or technological products and less relevant for fashion and beauty products. The COO acts as
COO effect
a voucher for product quality, as part of a stereotyping system. The Country-Of-Origin is a stereotype in itself. The COO effect comes from a constant assessment of the differences between the buyer and the seller’s cultures. “Any difference from the potential buyer’s own culture creates a disadvantage for the seller in one form or another because consumers prefer a brand sourced from a country which they see as similar culturally to their own country” (Parsons, Ballantine, & Wilkinson, 2012). The country-related aspects considered for this assessment range from cultural identity, language, and history to political climate, religion, and people.
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Cultural appropriation is part of the spectrum of emotions towards a country, which has an impact COO for some people. However, the impact of cultural appropriation via the COO effect on purchase intention varies depending on the product type. This effect plays a great role in the system of cultural appropriation. Luxury brands are mostly based in European countries that are renowned for quality and craftsmanship, however, the countries their designs are often stolen from do not have such a positive COO-effect. The COO effect is also impacted by ethnocentrism. Ethnocentrism has been defined as “the view of things in which one’s own group is the centre of everything and all others are scaled and rated with reference to it” (Josiassen, Assaf & Karpen, 2011). Luxury companies based in European countries can benefit from this effect as they can leverage product connotations such as high social status, pride, sophistication, wealth, and lavish lifestyles. When country-of-origin connotations mismatch consumer rational and emotions, products should be disassociated from their origin country. “A brand’s country-of-origin can influence the brand’s perceived positioning by reducing perceived risks, acting as a guarantee, and enhancer for the positioning strategy” (Cristea, Capatina & Stoenescu, 2015). Using the example of France, it can be easily understood how different the impact of the COO effect is from one product category to another is. When it comes to wine and luxury goods, the brand positioning is higher because of French culture, however the culture does not necessarily have a large impact on products like cars or electronics.
COO effect
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Valentino SS16. Source: EPA (Highlights from Valentino’s trip to Africa, 2015)
Example
VALENTINO
Valentino was accused of cultural appropriation when they came out with their SS16 collection named “Wild Africa”. When first seen on the runway, the pieces were already criticised for appropriating tribal motifs. The campaign following the collection was the last nail on the coffin, with the cast mostly composed of Caucasian models sporting cornrows and stereotypical African garments. The looks were also described as “wild”, an homage to “primitive nature” and “spiritual, yet regal”. For this campaign, the brand had partnered up with Steve McCurry (National Geographic photographer) and set the editorial in Kenya. They also had recruited local Maasai people to pose behind the models, which striked even more criticism as the general public thought the local population only served as props. The Maasai are a pastoral tribe living in parts of Kenya and Tanzania.
During the British colonisation, their land was reduced by 40% threatening their lifestyle and traditions. The backlash the brand faced was partially due to their use of words to describe the collection. Words such as “wild” and “primitive” reminisce the terms used by colonialists to refer to African nations populations, as well as other cultures they did not understand. African tribes have been prevented from practicing their customs, religious practices and languages. Furthermore, cornrows were worn by African-slaves and their African-American descendants. This type of hairstyle was looked down upon by mainstream society and deemed as “ghetto” or not workplace worthy. Valentino made the mistake of not acknowledging the symbolic meaning of this hairstyle and to dissociate it from its cultural owners to make it trendy.
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Valentino SS16 Ad Campaign. Source: Valentino (Greenawalt, M.)
Valentino SS16 Ad Campaign. Source: Valentino (Greenawalt, M.)
Example
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When a brand like Valentino, which already profits off of a good brand positioning linked to the positive COO effect of Italy in the luxury industry, is accused of cultural appropriation, this effect increases the power unbalance of the culture appropriated and the culture of origin of the brand. Anti-Americanism proved that a country can be hated and admired at the same time. Not only can political events impact a country’s view by other nations, but individual events also can. While the COO effect is meant to consider global opinions, it has been proven that personal emotions (linked to experiences most of the time) have a great impact on it. One of the factors influencing peoples’ emotions could be linked to psychic. The psychic distance can be defined as “the individual’s perception of the differences between their home country and the foreign country” (Suh, Hur & Davies, 2015). These emotional impressions can come from direct experiences, such as encounters and travels, or indirect experiences like media, education, art, or word-of-mouth. The alteration of the stereotype depends largely on personal experience and cultural initiatives led by countries to change the label placed on them. Governments of countries on the wrong side of this stereotyping system try to promote their culture through events like international tours by national ballet companies or exhibitions of their art.
COO effect
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For companies, associating both corporate and product brands with any nationally relevant cultural initiative by, for example, having performers endorse their marketing communications, is a logical consequence. By influencing customer behaviour, it can give a brand a competitive advantage. On the other end of the spectrum, disidentification is the opposition from the consumer towards their country and its consumption patterns. It represents a negative bias in an attempt to disidentify themselves from the typical domestic consumer. The importance of the COO effect depends on the characteristics of the consumer. There are statistical differences between different groups regarding the relationships between the attitude they entertain towards a company and their purchase intentions. The product type must also be considered. It is likely that cultural appropriation has a lower influence on purchase intentions for personal products. However, this is not because cultural appropriation does not influence consumers’ idea of the country but because the COO effect has a different influence depending on the product type. Aaker (1999) talks about the need for a brand’s personality to match consumers’ actual or ideal personality. This is why emphasizing similar characteristics between a country’s and the target consumers’ personalities could promote positive feelings towards the country and its companies.
COO effect
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b r a n d l o y a l t y brand loyalty
Brand Loyalty
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Various companies are also targeting brand loyalty to win with their efforts, focusing on the possible profits from return consumers. Brand loyalty is “the positive association consumers attach to a particular product or brand. Customers that exhibit brand loyalty are devoted to a product or service, which is demonstrated by their repeat purchases despite competitor’s efforts to lure them away” (Kopp, 2019). A study by Jung and Sung (2008) revealed the positive correlation between brand loyalty and purchase intention, showing that this dimension of brand equity is directly linked to future profits. This side of brand equity is defined by the relationship a brand entertains with its customers. It is increasingly common knowledge that brand loyalty differs depending on the age, gender, and
Brand Loyalty
country of origin of consumers. For years, brands have tried to link loyalty and age to determine which generations were more likely to stay most loyal. However, the link between culture and brand loyalty was only researched by a few authors. Whites and Hispanics were found to be more prone to brand loyalty than Native Americans (Shim & Gehrt, 1996). A study conducted by Lam and Lee (2005) explored the impact of cultural traits. They studied “how cultural dimensions influence a consumer’s general ‘proneness’ to brand loyalty” (Lam & Lee, 2005). Culture has an influence on a collective way of thinking. Therefore, consumers with high individualism may be less prone to influence from social/ group norms and advertising/ promotion.
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Drivers of loyalty If the brand offers good value for money
64%
If I trust the brand
52%
If the brand offers the best quality products/ services
50%
If the brand has great customer service
41%
If the brand was convenient to buy from
36%
If the overall shopping experience is great
27%
If the brand offers me recommendations/ offers/vouchers that are relevant to me
26%
If I identify with the brand
19%
If it were a brand I would recommend to friends/family or talk about on social media
18%
If it were a brand that lets me control the level of interactions I have with it and the content I receive from it (eg.adverts,..)
16%
If I liked the brand’s website
8%
If I liked the brand’s app
6%
If I liked following the brand on social media
3%
Other
2%
Don’t know
2%
Not applicable
15%
source: Deloitte 2017 infography: Gaétane Auffret
Brand Loyalty
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Brand loyalty is a non-cognitive process of evaluation of a brand by the consumer at every touchpoint during a transaction. Baloglu (2002) found that truly loyal customers had a more emotional commitment to a brand than any other group of customers. A study from Deloitte (2019) used behavioural economics, a field of research based on psychological and economic theories, to explain the motivations behind brand loyalty. It established the presence of emotional biases in the decision-making process. It studies how individual and group decisions are not only impacted by economic reasoning but by psychological and emotional factors. While rational assessment happens at the beginning and the end of a connection between the brand and its customer, emotional responses happen anywhere in between the first approach and the purchase. Emotional reactions are the ones dictating brand loyalty and advocacy. Brands need to build an emotional connection with their customers by mirroring human relationships.
Brand Loyalty
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Contrarily to popular belief, shared values such as social engagement are not as important as it seems. It is in focus at the beginning of the relationship with the brand because as a key criteria, it defines the establishment or not of a relationship. While purpose-driven values are good marketing and brand awareness tools, they do not create brand loyalty and advocacy. “Only 3 percent of people would recommend a product or brand to others based on the company’s values or corporate responsibility principles—whereas 44 percent would make a recommendation based on emotional criteria” (McKinsey, 2019). The emotional factors that come into the equation are trustworthiness at 83%, integrity at 79%, and honesty at 77%. One example of the importance of a human-like relationship to enhance brand loyalty is Dolce & Gabbana’s scandal. It shows how the trust between the brand and its loyal customers can be broken with a cultural appropriation scandal. In this case, customers had a real emotional relationship with the brand. This break in trust is partially what created such an outrage, as it felt like a real betrayal. Hence the chain reaction of returning clothes or burning clothes that circulated on social media.
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GABBANA
DOLCE &
Stefano Gabbana and Domenico Dolce in the apology video. (Dolce & Gabbana founders apologise...,2018)
Example
Dolce & Gabbana’s ad with a Chinese 2018)
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In November 2018, the brand was forced to cancel a marquee show in Shanghai after the spiralling backlash that followed their advertising campaign displaying a Chinese women trying to eat Italian pizza and pasta with chopsticks. The backlash started off with offended consumers and celebrities calling out the racism of the campaign on social media. It carried on with the Instagram account @DietPrada revealing screenshots of the co-founder Stefano Gabbana making offensive and racist remarks about China. The designer’s first attempt to shut down the backlash only made things worst, as he claimed his account had been hacked. For the first time ever, the scandal over cultural appropriation went as far as it did. The show organised for the afternoon was shut down by police officers, after models and guests pulled out one after the other. Celebrities called
e model. (DW News,
The set for the Dolce & Gabbana’s show in Shanghai being taken down. (Dolce & Gabbana founders apologise...,2018)
for general boycott of the brand and soon enough videos of Chinese and International consumers burning their D&G clothes started to spread on the Internet. Chinese stores were forced to shut down while the rest of the International stores were flooded with customers wanting to return their items. The brand was dropped by most of their Chinese customers. To this day, the brand still suffers from the consequences of this huge communication mistake. The Asia-Pacific market shrank to 22% from 25% of total turnover in 2019. However, America is not as affected, as the sales increased 16 percent of 2018-19 turnover from 13 percent. The other markets stayed stable.
Example
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digital reputation
digital reputation
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One of the main factors responsible for consumer segmentation is social media. Currently, the main form of communication for fashion brands, social media can make or break a brand’s reputation. The perceived closeness it creates between companies and their audience of customers has had positive results as well as negative results. These communication channels have become the key platform from which scandals in the industry emerge. Therefore, it is crucial to study the dynamic of culture on them. Online media offers a voice to fashion enthusiasts and the general public. Croucher’s theoretical model on the use of social media by the immigrating population claims that “ultimately, the use of social networking sites and other Internet media affects the maintenance of ethnic group members’ identity” (2011). According to him, “during cultural adaptation, the use of social networking sites affects immigrants’ interactions with the dominant culture” (Croucher, 2011).
Digital Reputation
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Mapping Aspirationals’ Purchase Journey Brand discovery Updates on brands’ social media pages 22%
Vlogs 18%
Posts or reviews from expert bloggers 20%
Ads seen on mobile or tablet apps 28%
Personalized purchase recommendations on websites 20%
Product research Vlogs (blogs recorded in video form) 17%
Blogs on products/brands 23%
Online pinboards (eg.Pinterest) 13%
Messaging/live chat services 17%
Question and Answer sites 24%
question: How do you typically find out about brands and products? source: GlobalWebIndex Q4 2018 base: 35,379 Aspirational Consumers aged 16-64 infography: Gaétane Auffret
Digital Reputation
42
This affirmation is validated by cases like the Marc Jacobs dreadlocks scandal during the S/ S2017 fashion show. After presenting a collection with numerous white models wearing dreadlocks, the backlash concerning the insensitivity of such a show first came in the form of tweets and Instagram comments through American communities of POC (see examples). Social media in this case allowed various communities to unite and express their views on what they considered a form of cultural appropriation. This illustrates the dynamic theorized by Croucher through the gathering of American minorities sharing the same vision of culture on social media to denounce the white privilege and ignorance behind the designer’s presentation. In this sense, social media allowed communities of similar ethnicities to reclaim their identity by denouncing the perceived wrong behaviour of brands integrated into the dominant culture (here, the Western white culture). For instance, Dior’s scandal with Jennifer Lawrence united the Mexican population to share their experiences and reclaim their identity. This was also demonstrated in the case of the launch of “Kimono,” Kim Kardashian’s shapewear line, with a
Digital Reputation
surge of stories about the meaning of the kimono in the Japanese culture and outrage from the Japanese population under the hashtag #KimOhNo. Kim Kardashian even received a letter from the mayor of Kyoto asking her to change the name of her new brand. It is clear that that every aspect of a brand’s digital presence is crucial to their earnings as highlighted by research that suggests 40% of purchases of luxury items are influenced by what consumers see online (Bain & Company, 2018). The purchasing process often involves earned equity of the brand through word of mouth, social media and, in particular, social customer relationship management activities that are even more significant in the Middle East and China. Brands must be constantly conscious of the possible damage of a weak reputation that can affect their earnings, therefore increasing the management of company/brand reputation is considered a “strategic imperative owned by the CEO and senior leadership” (Pownall, 2015). A good reputation, on the other hand, works as a magnet, opens doors, attracts followers and supporters, and increases brand value (Fromburn & Van Riel, 2010)
43
MARC JACOB
Gigi Hadid and Karlie Kloss, models for the Marc Jacobs spring-summer 2017 show at NYFW the 15th of September 2016. Photograph: Sam Deitch/Rex (Oppenheim, 2016)
Example
44
Tweet about the scandal. Source: @Nicotine,Twitter. (Alese, 2018)
BS
Atmosphere at the Marc Jacobs spring-summer 2017 show at NYFW the 15th of September 2016. Photograph: Vogue (Phelps, 2016)
Example
Tweet about the scandal.Source: @thetrudz, Twitter.(Alese, 2018)
The Marc Jacobs SS17 collection was the start of a big scandal after it was shown during NYFW on white models wearing dreadlocks. Dreadlocks have been for years a tool of oppression on black people with institutions like office culture forbidding Black people from wearing them. Marc Jacobs chose a mostly white cast which sends the message that dreadlocks are only acceptable or trendy when worn by white models.
45
DIOR
Dior Cruise 2018 show (Mau, 2018)
Example
Dior Cruise 2018 campaign (Ozemebhoya, 2017)
46
Dior drew criticism in November 2018 after coming out with their Resort 2019 campaign. The brand had picked Jennifer Lawrence, a Caucasian actress, as the face of a collection celebrating Mexican heritage and inspired by the female characters penned by Chilean writer Isabel Allende (The House of the Spirits) and by escaramuzas. The choice of the fashion house to once again only display a Caucasian cast to represent pieces inspired by Mexican heritage was questionable. This is another role that should have been attributed to a Mexican actress or model. Public opinion was even more negative when Lawrence revealed that the shoot took place in California and not Mexico. The brand sends the message that the modern representation of Mexico means excluding anything fundamentally Mexican.
Example
47
KIMONO
Kim Kardashian advertising for her line of shapewear (Seward, 2019)
Example
Kim Kardashian announced the launch of her shapewear line called “Kimono” in June 2019. Bearing no relation to the traditional Japanese garment, she tried to trademark the name, offending the Japanese population. For them, this was another case of a Westerner sexualizing the kimono. This is even more offensive considering that during the Second World War owning kimonos was met with discrimination and even death in the Japanese internment camps. The backlash culminated in a new hashtag (#KimOhNo), with many criticising her use of the term “kimono” (a wide array of traditional attire in Japan) to describe underwear. The mayor of Tokyo has sent a personal letter to Kim Kardashian explaining the offense and asking her to change the name. Under the pressure, she changed the name of her line to Skims.
48
Tweets from the #KimOhNo on Twitter (12 Tweets That Sum Up..., 2019)
Example
49
Letter of the mayor of Kyoto to Kim Kardashian (Livni, 2019)
Example
50
Facts to know 93% of of consumer engagement with luxury brands happens on Instagram. (Guan,2018) Fashionistas are 85% to give expressing themselves as a reason to use the internet. (Lundberg, 2019) Fashionistas are 49% more likely to use social media to research or discover products to buy. (Lundberg, 2019) Social media rank as the third-most popular product research source in the West after search engines (61%) and consumer reviews (41%), but come at the very top for Gen Zers (72%). (Trifonova, 2019)
Digital Reputation
51
consumer
BEHAVI OU R S
52
With every new generation comes different purchasing habits. The two new generations, Millenials and Gen Z, are bringing a breath of fresh air to the consumer market with new shopping habits and expectations. The new luxury consumers are mainly Millennials who are starting near their peak spending years and to a lesser extent, Gen Z. These consumers were born with digital in their life and consequently expect a digital experience from brands. However, they are also in favour of new forms of consumerism, pushing the rise of the experience economy and the end of ownership. They are clearly “redefining the brand-consumer relationship” (Buckle, 2019). 47% of consumers are now considered “social shoppers” (Trifonova, 2019). This means that a large part of their purchases is through a social media platform, partially though the recent development of in-app purchases. “Nearly 80 percent of luxury sales today are ‘digitally influenced’” (McKinsey, 2018). Most of these consumers hit at least one digital touchpoint of a brand, which highlights the more-than-ever present need for brands to take care of their digital reputation.
Consumer Behaviours
53
Social Purchase Journey
% of internet users in the West who have done the following
brand discovery
recommendations/comments on social media
21% 21%
collect information about products
social networks
34%
interaction with brands on social media (in the last month) by
visiting a brand’s page 20% liking/following a brand 19%
motivated to purchase by
lots of «likes» or good comments on social media the option to use «buy» button on a social network
20% 6%
question: how do you typically find out about new brands and products?/which of the following online sources do you mainly use when you are actively looking for more information about brands, products, or services?/ which of the following actions have you done online in the past month?/ when shopping online which of these features would most increase your likelyhood of buying a product? source: GlobalWebIndex Q4 2018 base: 75,166 internet users aged 16-64 in Europe and North America infography: Gaétane Auffret
Consumer Behaviours
54
What social shoppers want from brands % in the West who want brands to provide the following things
Social Shoppers
Improve your image/reputation
Make you feel cool/trendy
Gen Z
All
%
%
Connect you with other fans of the brand
6
9
11
14
Provide personalized recommendations for purchases
12
12
13
19
Let you contribute ideas for new products/designs
9
11
question: which of these things do you most want your favorite brands to do/provide? source: Global Web Index Q4 2018 base: 29,393 social shoppers aged 16-64 in Europe and North America and 4,100 social shoppers aged 16-21 in Europe and North America. infography: GaĂŠtane Auffret
Consumer Behaviours
55
These generations also represent another type of consumer: the “aspirational consumer.” Aspirational consumers are infatuated with shopping but respect their commitment to responsible consumption while being highly loyal to brands aligned with their beliefs. 44% of 16-to-24-yearolds are aspirational consumers. (Kavanagh, 2019) This does not reduce the role luxury brands play in their lives, rather it just changes their roles. “Today’s consumer doesn’t dream of owning something but becoming someone” (Kavanagh, 2019). They expect brands to reflect their personality, status, and beliefs. 16-to-34-year-olds are 1.6 times more likely to have a good awareness of other cultures. (Kavanagh, 2019) The countries with the largest population of aspirational consumers
are Columbia (69%), the Philippines (59%), and Mexico (57%). Real engagement can be witnessed through their highest indexing of personal interests, with charities (31%), entrepreneurship (38%), business (41%), politics/social issues (41%), and environmental issues (46%). Compared to other consumers, aspirational consumers are 20 to 30% more likely to first approach a brand through social media. They are 1.5 times more likely to research the product they are interested in on Facebook or to click on a sponsored post on Instagram (Kavanagh, 2019). In the case of Carolina Herrera, who received a letter from the Mexican government accusing her of cultural appropriation, offending a country could have financial consequences on their Mexican consumption seeing as 57% of the Mexican population are aspirational consumers.
Overlap with other attitudinal segmentations Cosmopolitan
38%
Status seeker
64%
Altruist
62%
Technophile
37% 23%
Image conscious
73%
Privacy conscious 25%
Informed Spontaneous Economical
8% 9%
source: GlobalWebIndex Q4 2018 base: 35,379 aspirational consumers aged 16-64 infography: Gaétane Auffret
Consumer Behaviours
56
The luxury market in 2019: What brands should know 67% of regular luxury buyers are between 25 and 44 years old. (Millenials) Expectations of luxury brands are changing: 48% of occasional luxury buyers expect a sense of authenticity from the brand, and 34% of gifts and special occasion luxury buyers want clear values or points of view from the brand. Brands need to move out of their comfort zones and challenge the core principles long associated with the exclusivity of luxury fashion. question: what do you most expect from high-end or luxury brands? source: GlobalWebIndex March 2019 base: 1,119 (US) & 1,195 (UK) luxury buyers aged 16-64. infography: Gaétane Auffret
The economic backdrop, the evolution of digital offerings and younger consumers’ passion for causes are front of mind for executives % of respondents that rated each theme as one of the top three impacting their business in 2019 Caution ahead
50
Digital landgrab
49
Getting woke
44
Self-disrupt
43
Now or never
36
Trade 2.0
34
Radical transparency
16
On demand
15
End of ownership Indian ascent
12 4
source: BOF-McKinsey State of Fashion 2020 Survey infography: Gaétane Auffret
Consumer Behaviours
57
CAROLINA
Carolina Herrera Resort 2020 (Beauregard, 2019)
Example
HERRE 58
Carolina Herrera received a letter from the Mexican’s Culture Secretary, Alejandra Frausto, in June 2019. The Mexican government accused the brand of cultural appropriation and plagiarism on the designs from indigenous Mexican communities for their Resort 2020 collection. This collection was already criticised for being heavily inspired by Mexican artisanship without giving back to the communities affected, who suffer from many economic struggles. The lack of credit and financial retribution given to the population caused the outrage of the public. This is one of the only cases that went as far as being called out by a government.
ERA Example
59
social consciousness
60
In his talk for Business of Fashion called “Fashion Models and Cyber Warfare,” Christopher Wylie, detailed his vision of clusters in the consumer market (2019). He explained that Cambridge Analytica used the segmentation created by the fashion industry to outline common behaviours and create algorithms. According to him, when studying people’s personalities, it is easy to start making correlations with the brands they like. “People are similar to the brand they engage with” (Wylie, 2019). This close relationship between a brand and its customers’ vision is also highlighted in a recent GQ article called “How Buying Jeans Became A Political Act” (2019). In this piece, the author explains that following the pseudo-political positioning of the brand, the type of customer it attracts seems to shift and reflect one side of the political dual-divide. This can be seen when American brands like Levi’s or Nike take actions towards controversial laws such as gun control.
Social Consciousness
61
People are now relating their political views to their consumption choices and brands now feel more inclined to include politics in their communication as their influence has majorly increased. “More than half of 21-to-27- year-olds in the US believe that retailers have a responsibility to address wider social issues with regards to diversity” (Business of Fashion, 2019). Especially in the United States, there is now an urgency on both sides for fashion to have a greater impact. Research in an Edelman study shows that 60% of Americans would “choose, switch, avoid or boycott a brand based on its stand on societal issues” (Kapner and Chinni, 2019). Recent events have shown consumers’ willingness to express their political views. From the boycott of Ivanka Trump’s brand during the electoral campaign of her father to the scandal that resulted from the opening of an LVMH factory by Donald Trump, Americans, and citizens of the world, have reacted negatively. However, when asked about the backlash following this last scandal, Laurence Newell, managing director of the Americas for consultancy company Brand Finance, told The Daily Beast: “Louis Vuitton is a 150-year-old brand that is so coveted and desired, so expensive, that people probably choose to forgive and forget” (Demopoulos, 2019).
Social Consciousness
62
What damages consumers’ perception of a brand? % of internet users in the UK and US who say that the following things would damage their perception of a brand Poor quality products 56%
Poor customer service 31%
Corruption 30%
Misleading commitments to social/environmental causes 27%
Poor human rights track record 27%
Negative stories in the media about the brand 25%
Irresponsible sourcing of materials/labor 22%
Poor consumer privacy track record 22%
Poor environmental track record 20%
Unsustainable/non-environmentally friendly packaging 15%
question: which of the following would most damage your perception of a brand? source: GlobalWebIndex August 2019 base: 2,134 (US) & 2,531 (UK) internet users aged 16-64. infography: GaĂŠtane Auffret
Social Consciousness
63
It is now not only an advantage but almost a requirement for brands to have a purpose if they want to attract new generations of consumers, especially Gen Z. “Nine in ten Generation Z consumers believe companies have a responsibility to address environmental and social issues” (Business of Fashion, 2018). Business of Fashion defined this new shift in consumers’ mindsets as a demand for “wokewear” (BOF, 2019). The new fashion players now not only ask for brands to be mindful of cultures when it comes to their exterior relations, or B2C, but also internally, in their companies. They are asking for more diversity across all levels of the hierarchy. Transparency and sincerity are key for brands that do not want to be discredited. For example, after the scandal following the Direct Messages of Stefano Gabbana, t he f ailed att em p t t o claim he was hacked made the
situation far worse than it would have been if he had acknowledged his misbehaviour. Consumers are more than ever aware that diversity is not limited to visuals but that it needs to be intrinsic to the core values of brands, meaning embraced by the leaders and employees. The new crowd is quickly becoming fed-up with fake diversity stunts and has a demand for a real change. But visual diversity is not to take for granted, as seen with the example of Victoria Secret confronted to Savage x Fenty in the last year, which partially led to the end of the yearly Victoria Secret shows. After the success of inclusive lingerie brand Fenty during the last New York Fashion Week, Victoria Secret has had to cancel its annual shows due to the loss of a big share of their audience. This example shows, if people feel represented, sales will rise.
Factors that damage brand reputation % of the UK and US consumers who say the following would most damage their perception of a brand False/misleading commitments to social or environmental causes 28%
Poor human rights track record 28%
Negative stories in the media about the brand 26%
Poor environmental track record 21%
question: if it were true, which of the following would most damage your perception of a brand you continue to purchase from? source: GlobalWebIndex August 2019 base: 2,134(US) and 2,531(UK) internet users aged 16-64 infography: Gaétane Auffret
Social Consciousness
64
FENTY
Looks from Savage x Fenty’s Fall 2018 collection. Photo: Brian Ach/Getty Images for Savage X Fenty (Prant, 2018)
Victoria Secret show in 2018. Photo: Getty Images (McKnight, 2019)
Example
SECRET
VICTORIA
Rihanna launched her inclusive brand called Fenty X Savage in 2018 to promote diversity in the lingerie sector. The brand’s success was almost immediate as all eyes were on its shows. This came in contradiction to the traditional (and not-so-diverse) Victoria Secret show. Last year, Victoria Secret decided to stop their spectacular yearly shows due to a lack of audience in the last few years.
65
The public is now hyper-reactive to any missteps taken by brands and feels that in 2020 this type of error should not happen anymore, as brands have all the means to get informed on culture and to incorporate diversity. This new shift in mindsets is also driven by a gain of economic power from people of colour. The world is currently in the “age of the Empathy Economy” (Chue, 2019). Cultural Intelligence (CQ) is now a key differentiator between consumers as Gen Z students understand the importance of cultural responsiveness and the understanding of different cultures. “An informed public cannot ignore the injustice of appropriation as it happens in front of them” (Oloruntoba, 2020). They are now very assertive in their defence of social justice causes, especially in terms of ownership of cultural elements, thanks to increased information on unbalanced power dynamics caused by patterns of exploitation.
“The discussions on social media and in real life highlighted the fact that people were able to register why people were angry and it helped them to form a negative opinion on cultural appropriation. Whereas before someone might have watched that and not realize why people find it offensive or not like it” (Soh, 2020).
This can be seen in the success of Tommy Hilfiger’s collection with Zendaya and their strong representation of black models and culture.
What do buyers expect from luxury brands? % of luxury fashion buyers in the UK and the US who expect the following from luxury brands A sense of authenticity from the brand 47%
Eco-friendly or ethical credentials 32%
Clear values or points of view from the brand 32%
A story or narrative behind the brand 24% question: what do you most expect from high-end or luxury brands? source: GlobalWebIndex March 2019 base: 703(US) and 665(UK) luxury fashion buyers aged 16-64 infography: Gaétane Auffret
Social Consciousness
66
Tommy Hilfiger x Zendaya SS20 at Apollo Theater in New York (Bradley, 2019)
Tommy Hilfiger x Zendaya first show in Paris SS19 (Turk, 2019)
Example
HILFIGER
TOMMY
Tommy Hilfiger has had a worldwide success with his recent collections in collaboration with Zendaya. The shows have become a synonym of empowerment and diversity with mostly black casts.
67
JIMMY CHOO Peter Farmer with the shoes part of collaboration (Noongar artist’s designs a..., 2017)
Jimmy Choo x Peter Farmer collaboration (Groom, 2017)
Example
Jimmy Choo showed the right way when the designer offered Peter Farmer, a Noongar artist, of which he appreciated the work, to collaborate. The Malaysian designer and the Australian artists developed a few pairs of shoes covered in the prints of Peter Farmer. This was a great support for the Aboriginal art in the world.
68
More than half, or 55%, of online consumers across 60 countries say they are willing to pay more for products and services provided by companies that are committed to positive social and environmental impact, according to the Nielsen Global Survey on Corporate Social Responsibility, 2014 (WGSN Futures, 2016). The move towards aspirational shopping is not necessarily about altruism, it is about consumers making choices that represent who they are and their beliefs. Consumerism is no longer seen as a positive act of freedom. Shoppers are realizing the bigger implications of their materialism. Associated with governments and the fashion industry, they are looking for healthier forms of consumerism. But while there is a growing demand for companies to place society’s interests at the same level as business interests, less than a third of people believe businesses are performing well in this area. Dior, which has been subjected to numerous scandals in the last three years, has taken note of the importance of cultural awareness for consumers. With their Moroccan Resort show, they tried to tick all the boxes to create a smartly inspired collection. Loewe is another brand that has, for years, managed to empower craftsmanship from different countries while never falling into appropriation or stereotype. Jimmy Choo also mastered the art of collaboration, as they showed with their collection with Peter Farmer.
69
DIOR
Dior Cruise 2020 collection in Morocco (Dior 2020 Cruise at El Badi Palace..., 2019)
Example
70
For its Resort 2020 collection, Dior hosted a show in Morocco. Maria Grazia Chiuri set a collaboration with several African artists on this «Common Ground» collection. The creative director hired Anne Grosfilley, an anthropologist specialised in African textiles and fashion, to consult on the entire collection. She helped to source the fabrics and to reinterpret Dior’s motifs with Uniwax, a local manufacturer from Ivory Coast and part of the collection was made of African wax. Amongst the collaborators were Grace Wales
Bonner and Miickalene Thomas, whom were tasked to incorporate their African heritage in Dior’s iconic New Look silhouette. Chiuri also partnered with Sumano, a Moroccan organization supporting local women artisans, to create the design details of the show. They were also responsible for the artisanal pillows on which the guests were sat. French-Moroccan author Tahar Ben Jelloun’s book, Racism Explained to My Daughter, was also an inspiration for the show concept.
Example
71
LOEWE
Loewe x Paula’s Ibiza collection 2020 (Loewe, 2020)
Loewe released their fourth capsule collection with Paula’s Ibiza for Spring-Summer 2020. The campaign was shot in New Delhi by Gray Sorrenti. The casts were captured at private parties in Dilliwalen havelis, riding scooters and tuk-tuks along rarely seen corners of the capital’s streets. The brand collaborated with many locals to create the campaign.
Loewe x Paula’s Ibiza collection 2020 (Loewe, 2020)
Example
72
“I think call-outs on cultural appropriation by the fashion industry really help raise awareness about the issues and can even influence the way people consume fashion products. But they fall short of providing a solid means for communities to effectively control how their culture is represented in fashion. To achieve that, we need a new social norm (or law) that clearly prohibits cultural appropriation. “ (Vézina, 2020) 73
CON N C O L I S U 74
The use of the expression “cultural appropriation” has accelerated in the past five years with the development of social media, placing it at the centre of societal discussions. The quick
access to worldwide information has made consumers more educated
and the easy form of expression through social media has birthed call-out culture. The development of a cultural appropriation scandal now always includes social media. New generations have also demonstrated the importance of brand equity in their purchasing process with the rise of the “Empathy Economy” and the success of inclusive brands. However, all consumers are not equal in terms of sensitivity to diversity and minorities are still far more concerned with the issue than Caucasian consumers. Consumers are influenced by their culture in ethics in a variety of ways from the Country-of-Origin effect to brand loyalty. This shift in consumer mindset has had an effect on sales for certain brands, especially when these consumers often quote brand equity and values as a motivation to purchase. The market for luxury products is more than ever segmented. Not only is it segmented in terms of demographics including age and nationalities, it now shows a segmentation related to moral beliefs and cultural awareness across all generations and countries. Brands have a lot more at stake with their digital reputation. When looking at the hierarchal structures of fashion companies, one can quickly understand how such mistakes can be made. The poor representation of people of colour, especially in leadership positions, explains a lot the lack of sensitivity towards cultural issues of some companies. Without representation in the creative process, a brand cannot be inclusive or understand the characteristics of another culture. As Western values are now more frequently challenged, they seem to fail to adapt to the shifting needs of contemporary consumers. Countries such as Mexico are increasing in confidence, more than ever aware of their pre-colonial cultural history and with a large purchasing power.
75
Appendex
77 85 88 89 9O
interviews
to remember
acknowledgements
biography
sources
76
Interviews
Brigitte Vézina
International Lawyer Specialized in Intellectual Property and Cultural Heritage Part of the Centre for International Governance Innovation (CIGI) Author of «Curbing Cultural Appropriation» From Quebec
Interviews
77
Brigitte Vézina
In relationship with your position as an advisor on cultural heritage, how would you define the meaning of your job?
How have you witnessed diversity -related communication mistakes’ effect on the fashion industry? And on customer mindsets as a whole?
I try to find solutions to problems related to cultural heritage by proposing changes in law and policy, particularly in the field of copyright.
I can only speak of what I’ve seen on social media in cases of cultural appropriation. I think call-outs on cultural appropriation by the fashion industry really help raise awareness about the issues and can even influence the way people consume fashion products. But they fall short of providing a solid means for communities to effectively control how their culture is represented in fashion. To achieve that, we need a new social norm (or law) that clearly prohibits cultural appropriation.
What does diversity mean to you? What place does it occupy in your work? For this question, I would refer to the 2005 UNESCO Convention on the protection and promotion of the diversity of cultural expressions and how the concept is understood under that instrument. I know diversity can have several meanings, especially in fashion, but this is the one that I find more useful in relation to my research.
«“Cultural diversity” refers to the manifold ways in which the cultures of groups and societies find expression. These expressions are passed on within and among groups and societies.Cultural diversity is made manifest not only through the varied ways in which the cultural heritage of humanity is expressed, augmented and transmitted through the variety of cultural expressions, but also through diverse modes of artistic creation, production, dissemination, distribution and enjoyment, whatever the means and technologies used.» 2005 UNESCO Convention on the protection and promotion of the diversity of cultural expressions
Do you think there is a relationship between luxury and diversity? If so, how would you define it?
Have you witnessed a segmentation in the customer market in terms of social ethics? I haven’t looked at this.
What are the advices you would give to luxury brands, in order to be more inclusive? In terms of curbing cultural appropriation, there are four principles luxury brands should follow: 1. Understanding and respect for the holders of traditional cultural expressions. 2. Respectful transformation and reinterpretation of traditional cultural expressions. 3. Acknowledgement and recognition of the holders of traditional cultural expressions. 4. Engagement with the holders of traditional cultural expressions through requests for authorization and collaborative partnerships.
This isn’t something I’ve looked into so far.
Interviews
78
Stephanie Soh
Freelance Journalist and Content Producer Author of BBC’s article «Does Fashion Have A Cultural Appropriation Problem?» From the United Kingdom
Interviews
79
Stephanie Soh In relationship with your position as an international journalist, how would you define the meaning of your job? I am a feature journalist and opinion mainly, I write about what I think in reaction to news events or I pick a topic like cultural appropriation and try and explore the interest around that topic. Journalism in a broader sense, in the common age, is fundamentally about content that people would be interested in and presenting it to people.
In your personal and professional life, what does diversity mean to you? Diversity, to me, is representing people from a range of backgrounds and making sure that all of their voices and opinions are heard equally. Whether it is race, class, ability or sexuality, it is making sure that there isn’t one dominant voice that prevails but that multiple voices can be heard.
How do you incorporate diversity in your work? I do some editing work and try to platform voices that might not be represented well in media. I am very lucky to work at Metro, who are very good at doing that in their opinion section. If I am tackling a story, I will try to see if there is a voice or point of view that would need to be inserted. I recently did a piece with a black TV presenter, I think he is one of the very few people with an African or Caribbean background to be represented in that industry and sector in the UK. It is about the content and also the people you platform the voices of.
Do you think there is a relationship between luxury and diversity? Yes, I do think so. I think that fashion at the moment is interested in diversity. Diversity is something that has a certain “cool” appeal at the moment and I can definitely see the luxury brands trying to cater to that. You get a lot more things that seem to be targeted to the Chinese audience for example or they will use models from a much wider ethnic background that they have been in the past.
Interviews
But at the same time, there is still certain kinds of diversity that they don’t want to hold up, such as disabled people. It seems like fashion doesn’t really want to engage with them. The economic interest is there, they will do diversity if it is something that makes sense for them as a brand especially calculating the money that they will make.
«Diversity (...) is making sure that there isn’t one dominant voice that prevails but that multiple voices can be heard»
How have you witnessed diversity-related communication mistakes effect on the fashion industry? I think, the big one then was Dolce & Gabbana, who canceled a show in China with their campaign video. People were widely offended it by the video. I think this is a very good example of that because it seems like if they had involved Chinese voices in their marketing process, then maybe they wouldn’t have made that mistake. They would have immediately been able to say “that is not something that would go down well in our market and people will be offended by it”.
Did you also witness an effect on customer mindset? Yes, for sure. The discussions on social media and in real life highlighted the fact that people were able to register why people were angry and it helped them to form a negative opinion on cultural appropriation. Whereas before someone might have watched that and not realise why people find it offensive or not like it.
80
Would you say you have witnessed a social ethics segmentation in the customer market? I do think there is. I think that fashion brands not only sell clothes but also a lifestyle. And once that is tarnished, perhaps someone who cares about diversity and cultural appropriation, sees that brand as not reflecting or going against its own values, it looses its appeal. I also think cultural appropriation travels quite far on social media, it’s something that would also affect celebrities for example. They are also making cultural appropriation scandals. I think that once the conversation happens online and people start saying a brand is tacky for indulging in cultural appropriation, then you won’t want to go out and buy that.
Do you think this impact is temporary? I think the individual scandals are quite temporary. These fashion brands are quite enduring, they’ve been around for hundred years, so one campaign will not necessarily bring them down. They can definitely bounce back. In the UK, for instance, Burberry was very uncool but now they are back in. They managed to re-invent themselves and market themselves in a way that they are covetable again. I don’t think cultural appropriation is enough of a scandal to bring down a brand forever.
If you have any advices to give to fashion brands, what would they be? I think sometimes these marketing campaigns can be a reflection of how the business is run. They need to be diverse in their hiring practices but not just that. The whole chain of production should not exploit marginalised people. If a company is doing that, in some way, it is gonna slip up and it will change how people view it and behave towards it. If they do that, the philosophy of a company, is not one of a diverse company.
Interviews
81
Modupe Oloruntoba
Freelance Fashion Writer and Content Producer Author of Vogue’s article «The State of Cultural Appropriation & Why It Needs To Change» From South Africa
Interviews
82
Modupe Oloruntoba In relationship with your position as a fashion writer in South Africa, how would you define the meaning of your job?
How have you witnessed diversity -related communication mistakes’ effect on the fashion industry? And on customer mindsets as a whole?
My job is to support the local industry’s growth through discovery, documentation, fostering conversation and sharing the valuable, actionable insights that come aboutas a result of all of these.
Communication missteps in luxury fashion come about as a result of misunderstanding the consumer and/or the brand’s place in their lives. A common thread in these mistakes is forgetting that today, every brand is a mass market publisher. Even if 5 people can afford your product, 5000 people may see your communications and feel the right to interact with said communication, critique it, and respond to it, because opinion, information and communication authority are more and more democratised today. Luxury brands are often led by people with conservative and traditional mindsets, and their products and services often serve people with that same mindset, as it is common among the wealthy. Their values often clash with the values that define and align with a social justice concept like diversity (accessibility, inclusion, etc), so brands find themselves between worlds. On one side, the values that represent their identity and that of their primary customer. On the other side, the new and often opposing values of a changing world that they must still communicate with to cultivate aspiration and manage their reputations. To avoid controversy, luxury brands’ communication strategies often opt to ignore this key distinction in order to shape a message that offers the appearance of alignment between their values and the rest of the world. Because consumers are more aware than ever before (and because the false marketing values often don’t match the truth that is communicated by sometimes problematic products), smart consumers see through this. They call it out, often angrily, on platforms designed to connect them to more people who feel the same way about the same issues, and in a matter of minutes you can find a battle raging between a luxury brand and a socially aware digital mob. In recent years consumer mindsets have been heavily influenced by superficially understood principles of contemporary social justice. This has shaped and often led consumer reactions to marketing messages and brand communications, and has birthed the cultural phenomenon of call out culture, a concept meant to promote positive and courteous behaviour online but is already experiencing backlash as it turns into justified
What does diversity mean to you? What place does it occupy in your work? Diversity is the result of seeing groups and individuals, the value they create, and their cultural ownership of that value as worthy of respect regardless of origin, taste, race, ethnicity, or any other personally distinguishing element. With that respect comes comprehensive and inclusive thinking across functions, from hiring to design. To make space for it in my work, I have to proactively combat my learned biases by identifying and examining them as objectively and honestly as I can, then acting to correct those biases and their negative outcomes.
Do you think there is a relationship between luxury and diversity? If so, how would you define it? I think this is a matter of perspective. Luxury, in material and production, is defined objectively by the use of fine materials, the application of highly skilled craft, and other similar elements. On the other hand, luxury as an experience is defined subjectively based on individual priorities and values. If you don’t care about caviar served on silver, if that’s not an experience you can connect to, then while the materials concerned may be luxurious, for you the experience is not. These differences in how people experience and define luxury, and even more differences in how people understand the idea of diversity, make defining a relationship between luxury and diversity a deeply subjective matter. Based on backgrounds, upbringing, values, and other elements that define who we are and influence our behaviour, consumers can see diversity as an important part of luxury or they can disregard it completely.
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bullying. As a result, so much communication between brands and consumers (and also peer to peer, between consumers) is now fiercely defensive.
to his inspiring personal story, I have done my job. When that information is as readily available and as widely read as it is when the subject is a European brand, I would see that as a diversity success.
Have you witnessed a segmentation in the customer market in terms of social ethics?
How have you witnessed diversity -related communication mistakes’ effect on the fashion industry? And on customer mindsets as a whole?
On one hand, no, because brands and consumers that are not vocal on social ethics are fading into the background in the media landscape and it is difficult to witness something with fading visibility. On the other hand, yes, because brands that are vocal but whose products, decisions, and services are consistently mismatched with the values they profess to have find themselves facing either a split customer base, or the split I described before: conservative, traditional consumers on their side, and all of the world’s social justice might in opposition to that.
Do you include diversity in your job? If so, how?
«I seek to change the language with which (African designers) are discussed and expand the subject matter that the media focuses on when discussing them»
Going forward, I see my market and my target reader base as global, so diversity in my work is more of an inclusion exercise. African designers are mostly excluded from the global conversation beyond their potential tokenist value - triumphantly inspiring back stories, contemporary application of traditional materials, . I seek to change the language with which they are discussed and expand the subject matter that the media focuses on when discussing them, which would serve the goal of diversity by offering the global industry coverage of fashion across Africa’s emerging markets that is on the same level as developed markets: in-depth, comprehensive, and as concerned with the successful application of innovative business models as it is with a designer’s creativity or their triumph over a lack of resources. When you are as interested in Tongoro’s funding as you are in their prints, or when you pay as much attention to Thebe Magugu’s growth strategy as you do
Interviews
The very idea of luxury is exclusionary, and if diversity and inclusion become more permanently established pillars of contemporary cultural value, then the idea of luxury is already outdated. Alongside that, changes in language and culture have bent the definition of luxury out of shape. I would recommend a more open redefinition of luxury as a concept, but that is not something any one brand can do — that’s mostly up to consumers. It is already happening, and luxury brands will have to find new ways to define and present themselves accordingly, and while this may mean letting go of some of the intangible value of heritage, I don’t think they have a choice but to follow the consumer’s lead. I would also recommend an urgent return to the core principles that define a luxury object/ experience’s objective material value, if luxury is to survive. Focus on fine materials and fine craftsmanship as key distinctions again to communicate value, not price or celebrity associations, or even cultural relevance, not when the public arena has become a space where your values are clearly unwelcome.
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To Remember
1
COMPANIES
Have a good overview of your company’s impact on a wider scale, especially the social impact of the products and services (WGSN,2019)
2
Invest in long term projects to follow bigger social goals (WGSN,2019)
Redefine your customers, considering their social ethics as part of the demographic segmentation (WGSN,2019)
4
5
Empower your audience by giving them the tools to be more socially inclusive
Build supportive and aware communities
(WGSN,2019)
6
Be as transparent as possible in your communication. Acknowledge and recognise of the holders of traditional cultural expressions.
3
(WGSN,2019)
7
Integrate social progress in your metrics for success, putting it alongside financial achievements (WGSN,2019)
(VĂŠzina,2020)
Possible Solutions
85
COMPANIES
9
8
Move beyond basic messages and be more thoughtful in your communication (WGSN,2019)
Embrace all voices in every step of the production, from design to communication. Gather diverse viewpoints in your work.
11
eg. Dior Sauvage
Offer your customers a chance to have their input
10
Always get educated on the culture or topic you get inspiration from, understand and respect the holders of traditional cultural expressions
12
(VĂŠzina,2020)
Build up a team of mixed cultures and backgrounds (Soh,2020)
13 Engage with the holders of traditional cultural expressions through requests for authorization and collaborative partnerships (VĂŠzina, 2020)
Possible Solutions
14
Hire original artists and promote communities, making sure they get the deserved financial and social retribution for their art eg. Dior in Morocco, Jimmy Choo
86
CONSUMERS
2
1
Do your research about different arts and crafts everywhere in the world
Ask questions to people of diverse cultures
3
4
Engage with other cultures in an authentic way
When wondering if a product is part of a cultural appropriation issue, ask yourself:
Possible Solutions
Whom does it profit to? Is anyone acknowledged? Has the population concerned been consulted?
87
Acknowledgements
At the very last, I would like to send my deepest gratitude to Mr.Alessandro Castiglioni for providing me valuable guidance and regular suggestions as a supervisor throughout this dissertation. I am also extremely grateful to the teachers I have had in the past three years for providing me with unparalleled knowledge of the fashion industry. I would also like to thank the professionals I have interviewed, which provided me with their insightful contributions; To Jake who always supported and encouraged me, as well as offered constructive advice; To my family, which provided me with the moral and financial support needed to complete this study; And lastly to all my friends and classmates, especially to Sandra, Julia, Ceren, and Alina who helped to make this dissertation what is is.
Acknowledgements
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Biography
Gaétane Auffret
Gaétane Auffret is born in the land of wine and cheese. She studied for three years at Istituto Marangoni Milano and graduated in 2020 with a Fashion Styling and Visual Merchandising diploma. Passionate about environmental and social issues, she tries to make a difference in the fashion industry one step at the time. She was able to develop her skills in graphic design, fashion writing, digital marketing and content creation through numerous internship realised alongside her studies. Her visual merchandising skills were highlighted with a sustainable workshop she created and hosted in collaboration with & Other Stories in 2019. She is starting her career in Visual Merchandising at Estée Lauder in Paris.
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