Fashion Business Context | The Shift In Consumer Behaviour by Jessica Price McEwan

HAS THE EVOLUTION OF SOCIAL MEDIA INFLUENCERS MADE US SLAVES TO FREE ADVERTISEMENT WITHIN THE MASS MARKET?

Jessica Price McEwan : FAS4027

THE SHIFT IN CONSUMER BEHAVIOUR:

Figure 1: Source - Google Images and Author’s edit

Sector Overview PESTLE Topic Introduction SWOT Analysis Market Mapping

2 3 7

Porter’s Five Forces Boohoo Group PLC New Look PLC ASOS PLC Consumer Behaviour Conclusion Recommendations References

Figure 2: Source - Google Images

Appendices

10 11

14 17 22

23 25 28

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CONTENTS:

Executive Summary

The aim of this report was to explore how social media influencers have effected consumer behaviour, both economical and socially. A study suggested that one in ten young women buy fashion through social media, and 30% of young women have photographed themselves in new clothes. Overall, these results indicate that an increasing amount of young women are not only shopping online more, but also outputting sharing this on social media. The report concludes that young women are unknowingly being used as a form of free brand advertisement. It is recommended that social media likes be depleted to avoid user gratification and over population of media influencers.

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add here phone with instsgram profile coming off it and posts are images of each section

Fashion has always been an integral part of society, enabling consumers to express their identities through apparel and alter how they project themselves to others. Mintel (2017) suggest that the fashion industry saw a 3.1% rise in clothing spend in the UK, resulting in a £57.7 billion revenue. The State of Fashion (2018) suggests that of this, the mass market is one of the largest contributory sectors in the industry, gaining a 2-3% increase each financial year. The mass market prides itself in producing goods that perpetuate the consuming world of fast fashion; retailing products that will appeal to their mass target market through trends. Its success within the industry

is through the association of high production output, and a low price point margin to hit affordability ranges for the target market. Market leading brands such as Marks and Spencer’s, the Arcadia Group and Next, all thrive from heavy promotion and widespread distribution. Due to the demand of fast fashion, The State of Fashion (2018) also demonstrates that the sector has seen an increase in 20% of overall sales over the last three years. Chain stores such as River Island, Topshop and New

Look have all maintained a bricksand-mortar presence on the high street, whilst competitors such as PrettyLittleThing and ASOS seek their consumers through an online approach. However, regardless of their physicality, the mass consumer base can access fashion trends now like never before due to the blur in elitism through social media.

IN 2017, THE FASHION INDUSTRY SAW A 3.1% RISE IN CLOTHING SPEND IN THE UK, RESULTING IN A TOTAL OF £57.7 BILLION.

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Sector Overview

Leading reatilers share on clothing & footwear (UK), 2014 - 2016

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K EY PLAYE R S:

Source - data from Mintel

Source - Google Images

- In March 2017, Brexit meant that the UK had voted to divorce the European Union, throwing trade relationships between European countries and the UK into a state of dilemma. - The British Fashion Council (2016) reported that 90% of designers voted to remain apart of the European Union. Many brands within the mass market rely on free trade between Britain and the EU in order to function effectively and profit, making it easier and cheaper to export goods between member’s nations. - Richard Lim (2018) indicates that as a cause of Brexit, the channel of free trade is no longer available for import and export in and out of the UK, resulting in a loss of profits and low demand for products due to tariffs and thus increased price margins. - Relationships between brands and social media influencers could be damaged as European countries may not want to work with a UK influencer as the pay out may increase, and followers may not consume as much due to the increase in price.

- Historically, trade in the free market worked using the supply and demand model. However, e-commerce platforms such as social media have shifted the way we seek fashion inspiration and the way we shop for it.

- As the presence of social media influencers increases, our physical interactions with each other will decrease to the point where we communicate solely through our phones. This could have major affects on the performance of mass-market stores who rely mainly on their brickand-mortar stores, such as New Look. - In store sales are a traditional form of marketing to attract consumers to products at a lower price. This however is being replaced by the dominated of online sales, promoted by social media influencers. - For example, influencers will often notify their followers when products they have endorsed or promoted are at a reduced price. This has replaced traditional forms of marketing, where consumers could go in store and select products for themselves.

ECONOMICAL

- Jean Baudrillard (1981) would refer to media influencers involving followers in a hyperreality, taking them away from face-to-face communication.

- Omer Kulka (2017) alludes to the way that the model has been subverted, as consumers now operate through a demand and supply chain.

- For example, a dress is seen on an influencer with a large following, gaining a lot of attention from followers online (demand). In less than a few days stores such as PrettyLittleThing and Boohoo have produced a similar product for the Caroline Rush, chief executive of the target market (supply).

SOCIAL

Business Fashion Council

Figure 3,4 & 5: Source - Google Images

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POLITICAL

WITH THE HELP OF THE BRITISH GOVERNMENT WE INTEND TO ENSURE THAT WE ARE ABLE TO PROTECT TARIFFFREE TRADE IN THE EU, KEEPING RED TAPE TO A MINIMUM WHILE ALSO ESTABLISHING EFFECTIVE TRADE DEALS IN KEY TERRITORIES OUTSIDE OF THE EU.

- The fashion industry has seen a sudden surge in sales due to the rapid take over of fast fashion. Consumer behaviour has left a footprint in the economical structure of the industry, changing the basic principles of economics.

T E C H N O LO G I C A L - The mass market uses technology to collect information and data about customer interactions with various brands, and provide the relevant services they need. - As the expansion of online sales through e commerce platforms has seen a dramatic surge over the last five years, so have the consumer databases. - Brands use cookies through retargeting on their digital platforms in order to collect data about which products are being achieving or underachieving in the eye of the consumer. - Retargeting is a form of brand advertisement that is now commonly used within the mass market on Instagram and Facebook.

- Millennials are so used to photographing people in the streets, or in their surroundings who may be entertaining to them and sharing it with their friends that they forget that it is invasive, and now believe it to be the norm.

LEGAL - This has now transpired into the fashion industry, as Paige Leskin (2018) reports that Snapchat and Amazon announced collaboration, whereby the camera function on the app will be used as a viewfinder to source Amazon products, leaving the consumer with a direct link straight to the specific product. - Issues around this mainly involve the use of public invasive imaging, and legalities surrounding surveillance of the public.

- As fast fashion demand increases, so does the sustainability and ethical issues surrounding the industry.

FASHION SHOULDN’T COST THE EARTH. BUT THE WAY WE DESIGN, MAKE AND DISCARD CLOTHES HAS A HUGE ENVIRONMENTAL IMPACT. PRODUCING CLOTHES REQUIRES TOXIC CHEMICALS AND PRODUCES CLIMATE-CHANGING EMISSIONS. EVERY TIME WE PUT ON A WASH, THOUSANDS OF PLASTIC FIBRES WASH DOWN THE DRAIN AND INTO THE OCEANS.

- A single plastic bag takes up to 100 years to decompose. On the 5th of October 2015, the government implicated a 5p plastic bag charge on all retailers, in an attempt to reduce plastic waste in the UK. - However, despite success in bricks-and-mortar stores, online retailers such as Boohoo and PrettyLittleThing, still package their goods in plastic bags as it’s the cheapest and most durable material they can source. - In 2013, H&M released their campaign to reduce clothing waste by offering consumers a £5 voucher to spend for every bag of unwanted clothes they bring to store. - Despite these changes, fast fashion is so quick that we are unable to recycle products quick enough for repurposing and the industries attempt at sustainability is mainly inefficient.

ETHICS

Mary Creagh MP, Chair of the Environmental Audit Committee

Figure 6,7 & 8: Source - Google Images

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- Despite the profit advantages of social media influencers replacing traditional forms of advertisement and dominating digital platforms, there are legal issues revolving around it.

This report will focus on how and why social media influencers are not just changing the way we consume products in the fashion industry, but also the way we output ourselves on these platforms and inadvertently promote brand image. The social, technological and economic effect of the industry has shifted due to e-commercial consumer behaviour. The mass market now relies on social media as one of the key drivers in the sector, conducting itself with a marketing concept comparable to ‘word of mouth’. This is due to the growth in social media influencers taking over platforms such as Instagram and exerting an influence on followers through their online Figure 9: Source - Instagram

presence. Goldston (2018) suggests that the industry for being ‘instafamous’ currently sits at £2 billion and is believed to exceed £10 billion by 2020. The effect of this, has caused a huge shift in consumer behaviour, and millennial’s now access products to purchase off influencers’ posts, through hashtags and affiliate links, as a posed to direct brand websites or pages. But it’s not just influencers that are actively promoting products. In 2017 Mintel concluded that, a quarter of 15-24 year olds have posted a picture of themselves in new clothes on social media in the last six months, rising to 30% of young women. This is due to the dissemination of consumer behaviour.

IN 2017, A QUARTER OF 15-24 YEAR OLDS HAVE POSTED A PICTURE OF THEMSELVES IN NEW CLOTHES ON SOCIAL MEDIA IN THE LAST SIX MONTHS, RISING TO 30% OF YOUNG WOMEN.

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Topic Introduction

- share and influence other users on social network sites

- exposure of brands to a wider audience = financial gain/growth

- identify with multiple styles and trends giving consumers a sense of belonging within the industry (considering factors such as affordability)

STRENGTHS

- accessible to the majority of mass market target consumers through global relationships

- hyperreality and over indulgence in the digital age – are consumers loosing touch with reality and being consumed into a simulacrum?

WEAKNESSES -

- over use of influencers (more followers = less likes and engagement with audience) - lines between brands are blurred through engagements - this could chnage brand image / identity

- credibility of influencers opinions (paid to promote) - consumer mentality of ‘never being enough’, unobtainable

- industry saves money as they don’t have to pay out for shoots, styling and produce traditional advertisement

- mass market becomes too saturated as everyone promotes the same thing

- consumers are given too much choice and could feel overwhelmed by selection of fashion choice or engagements

OPPORTUNITIES

THREATS

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- easy way to expand brands and globalise them

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MARKET MAPPING:

Global followers on social media networks, November 2016

This market map demonstrates that there is a gap in the mass market sector, whereby a retailer has a high social media folllower base, but at low cost.

Source - Facebook/Instagram/Twitter/Pinterest/Mintel

- high concentration of suppliers competing for market shares within the various mass market brands

Competitve rivalry:

Threat of new entrants:

-gives the individual brands the opportunity to select the best supplier, and bargain prices to suit them

- rivalry between bricks-andmortar stores such as River Island and Topshop are long standing - rivalry between online shopping outlets such as Missguided and PrettyLittleThing are upcoming

-brands that are credible and have been apart of the mass market for a longer period of time (such as Topshop), may have strong relationships with existing suppliers and will be reluctant to branch out

- mass market is currently under strain through the monopolisation of fast fashion.

-however, Geoghegan and Sholl reported in February - for example: the BBC reported in March 2018 2018, the Arcadia group demanded a 2% discount that H&M had a profit fall of 61%, as well as weak from suppliers on present and future orders, sales. H&M therefore discounted a lot of stock for a leaving the suppliers with very little power longer period of time to overcome this.

Bargaining -the mass market is large and wide power of ranging, meaning consumers can pick buyers: and choose between brands without being tied down through contracts and costing (unlike suppliers)

- price margin is wide therefore consumers can fit into categories dependant on the affordability, which helps to narrow options - online stores encourage buyers to shop products in large quantities in order to receive free delivery charges, providing they spend over X amount of money

- low threat of new entrants as the mass market’s main barrier is due to the constant turn over, it would be virtually impossible for a new brand to form their own identity, grow and gain financial capital

- retailers within the mass market are all offering similar products, varying in price due to quality - consumers are likely to consume brands that they feel gives them value for money, as well as high-fashion trends - all brands within the mass market are in a race, not only with fast fashion but with each other, to get stock produced and sold before other rivals

Threat of substitute products:

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PORTER’S FIVE FORCES

Bargaining power of suppliers:

How the Boohoo Group PLC has expanded through social media presence and influencers

Mahmood Kamani and Carol Kane both co-founded Boohoo which was initially a self-effacing market stall in Manchester in 2006. Kamani then realised the profitability of an online retail store, and launched Boohoo.com which capitalised off the back of it. In 2012, PrettyLittleThing Limited was founded, and the Boohoo Group acquired a 66% interest in the company in

early January 2017. Currently, the Boohoo Group revenue in 2018, stands at £579.8 million, which has seen an increase in 97% from the previous year (BoohooPLC Annual Report). Of this, Boohoo.com itself makes up £374.1 million (up 32%) and PrettyLittleThing contributes £181.3 million (up 228%).

Figure 10: Source - Boohoo Group PLC Annual Report 2018

CURRENTLY, THE BOOHOO GROUP REVENUE IN 2018, STANDS AT £579.8 MILLION, WHICH HAS SEEN AN INCREASE IN 97% FROM THE PREVIOUS YEAR.

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BooHOO PLC GROUP

Figure 11: Source - Boohoo Group PLC Annual Report 2018

Engagement is a key part platforms receive. The Boohoo This is used as a gateway for of the Boohoo Group Group also use e-commerce consumers to identify their business plan in order for it to to gather information about style with other groups of successfully thrive on a digital- trending products, first seen people, who perhaps follow only platform. The business on the catwalk and then an influencer online. Marx and uses two-way social media produced for the mass market. Engles (1973) suggests that contact, enabling influencers When seeking influencers to consumers consent through to become brand evangelists represent their brand image, influence for the decision for their following or audience, the group carefully select making to be left to the thus having a direct impact social media icons that can hierarchy, which in this case on the social media traffic identify themselves into a would be the upholding of the groups individual brand range of different styles. brand image base, through social media influencers.

WE ARE ENTIRELY FOCUSSED ON OUR CUSTOMERS AND EVERY ELEMENT OF OUR MODEL BEGINS AND ENDS WITH THEM. WE ENGAGE, WE LISTEN, WE LEARN, WE CREATE AND REPEAT.

Figure 13: Source - The Fix, Boohoo

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Figure 12: Source - The Boohoo Group PLC Annual Report, 2018

BooHOO PLC GROUP

Source - Instagram/Twitter

BooHOO PLC GROUP THE BUSINESS IS ALL ABOUT THE RIGHT HERE, RIGHT NOW, NOT JUST ANTICIPATING TRENDS BUT CREATING THEM, TAKING INSPIRATION FROM THE CATWALK, CELEBRITIES AND INFLUENCERS AND MAKING THEM AVAILABLE FOR THE CONSUMER TO SHOP BEFORE ANYWHERE ELSE.

Between 2017 and 2018, the group invested in expanding social media platforms, resulting in a surge of Instagram followers on all brand pages. A study by Marketline, 2018 indicates that Boohoo saw a reach of 4.8 million followers on Instagram, doubling from the previous year. PrettyLittleThing also rapidly increased their audience on Instagram, now targeting 3.3 million followers, which in just 12 months saw a 106% increase. This sudden wave in social media activity has caused a direct correlation to the increase of orders and sales for both individual brands.

* = defined by consumers who have shopped in the last 12 months

One of the main reasons for this vast increase is due to fast fashion and the evolving way consumers now access information about fashion and shopping for brands. John Stevenson, retail analyst at Peel Hunt (2017) alludes to how the company has exploited there social media performance suggesting that, “Boohoo has been able to halve the amount it spends on marketing over the past five years, because of this shift to social media.”

Figure 14: Source - Boohoo Group PLC Annual Report 2018

Why New Look has struggled to keep up with ecommerce advance and how it is changing its performance New Look began in 1969, starting out as a single fashion store in Taunton, UK. Since then, the business has grown and adapted itself to the revolutionising industry, adhering itself to fastfashion. At present, New Look has 593 stores in the UK and 302 across Europe, China and Asia demonstrating its vast expansion through globalisation. As well as the success of stores, the group also operates a transactional website, shipping worldwide to

66 countries, whereby 15% of sales are from this multichannel outlet. Yet, the group’s journey in the industry has not always been a success and as stated in the New Look Group PLC Annual Report 2018, their total revenue declined 7.3% in the previous financial year (2017).

LAST YEAR WAS UNDOUBTEDLY VERY DIFFICULT FOR NEW LOOK, WITH A WELLDOCUMENTED COMBINATION OF EXTERNAL AND SELFINFLICTED ISSUES IMPACTING OUR PERFORMANCE. Alistair McGeorge, Executive Chairman for New Look Group PLC

Source - Data from New Look Group PLC Annual Report 2018

GLOBAL REACH Jessica Price McEwan : FAS4027

NEW LOOK GROUP PLC

Figure 15: Source - Image from New Look Group PLC Annual Report 2017 and data from Mintel

New Look Group PLC sales and profit 2013 - 2017

Source - Data from Mintel

A NEW LOOK CUSTOMER SHOPPING ON MORE THAN ONE CHANNEL SPENDS THREE TIMES MORE THAN THOSE SHOPPING ON ONE. Danny Barrasso, The New Look Group PLC Managing Director

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Tamara Sender, Senior Consumer Analyst (2017) suggests that New Look’s fall in revenue in the UK, (down by 5.2%) is due to fast-fashion. The uprising of consumers conforming to the ‘buy now, wear now’ trend in the industry has had a huge impact on the retailer. Consumer behavior has largely shifted due to social media platforms and online tools making customers far more demanding and expecting to physically access products as instantly as they can like and share them. New Look were unable in 2017 to fulfill this, and so therefore lost a large customer base due to overshadowing of brand loyalty.

Source - Instagram/Facebook/Twitter

NEW LOOK GROUP PLC

I REALLY WANTED SOMEONE TO BRING SOMETHING DIFFERENT TO NEW LOOK TO HELP US MOVE ON.

As part of a brand restructure, in July 2018, New Look collaborated with Rochelle Humes to release her own feature collection for A/W 2018. Jill Geoghegan, for Drapers (2018) reports that the group has altered their target demographic, shifting from it’s traditional roots as a 1625 year old margin, to narrowing their product marketing to the ‘fashionable 25-year-old’. Therefore, New Look’s target consumer base is now in the 18-35 year old category, and at age 29, Humes falls towards the midpoint of this age bracket.

There are positive and negative side-effects of using Humes as the forefront of the brand. It is hoped that consumers will identify with Humes, and it will drive more online traffic on social media platforms, webpages and the retailer’s app, thus boosting sales online and instore. Yet by using an influencer who has previously been ‘celebritised’ in her past career, consumers may not feel that her collaboration with New Look is credible. In comparison to the Boohoo Group PLC, who have found great financial gain in using micro influencers, with a smaller follower

base to increase credibility of their brand image. As well as this, there is question around the alienation of longstanding customers and their brand loyalty now the marketing age margin has shifted. CEO, Anders Kristiansen (2018) defends this suggesting that the group still aims to accommodate the demands of ages outside of their new target market, and that older consumers won’t be discouraged by this change.

Anders Kristiansen, The New Look Group PLT CEO

Figure 16: Source - New Look Webiste

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NEW LOOK GROUP PLC

ASOS PLC How ASOS PLC has taken over the onlineonly retail off the mass market through marketing its revenue is £2417.3 million, which is up the previous financial year (2017) by 26%. Of this, the UK retail sales were calculated at £861.3 million - up 23%, whilst International sales raised 27%, equalling £1237.1 million. This demonstrates ASOS’ rapid expansion through globalisation, with e-commerical drivers at the forefront of the brand.

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In 2000, Nick Robertson and Quentin Griffiths founded ASOS, launching itself as a digital platform for retailing fashion. At this time, no other businesses had successfully created an online franchise, as the demand for online retailing was low. ASOS, delivers to consumers what it stands for: As Seen On Screen and prides itself in selling fast-fashion goods that are relative to trends. The ASOS PLC Annual Report (2018), suggests that

ASOS: Group Financial Performance 2012 - 2018

ASOS: Group Revenue 2015 - 2018

Source - Data from Mintel and ASOS PLC Annual Report 2018

ASOS PLC This form of hybrid marketing has had a rippling effect on both customers of ASOS and their social media following. At present ASOS has grown an Instagram follower base of 7.7 million (2018), compared to 6.4 million in the last financial year as the ASOS Annual Report 2017 suggests. Along with other social platforms, this has increased ASOS’ over all reach, thus creating brand interesting and boosting sales.

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7.7 M followers

Source - Instagram/Facebook/Twitter

As part of their business model, emphasis is placed on the way products and services through the retailer are shared with other customers and brands. Both influencers and micro-influencers play a vital part in kick starting the drive in strategic marketing, demonstrating to customers the influence individuals can have upon each other. Often, users can be seen wearing a £10 dress from ASOS’ own brand, paired with a £100+ belt from Gucci. This shows how the accessibility of brands is increasing, dissolving the elitist values once used brand barriers in the industry.

3 M likes

1 M followers

Figure 17: Source - ASOS PLC Annual Report 2017

ASOS PLC

Having seen the opportunity in using ‘everyday’ people at the forefront of their marketing strategy, ASOS launched their own team of influencers and consumers identified better with them over traditional celebrity endorsements. The ASOS Insiders group consists of a selection of fashion conscious

young adults, accountable to the retailers target market, who share outfit pictures with products affiliated to ASOS directly. The inhouse Insiders showcase a range of styles, sexuality preference and self-image. This sends a message to consumers that ASOS as business places great emphasis on their customers and maintained brand authenticity and credibility. The ASOS Financial Report (2018) suggests that the retailer have cut their spending on marketing by 0.5% compared to the last financial year. This is due to the success of social media influencers promoting the brand, as well as their own ASOS Insiders gathering a large follower base on Instagram.

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In 2014, ‘# AS SEEN ON ME’ was launched into all their online channels, bringing together collated visual content to further expand the groups e-commercial drivers. This creates an online community in which customers can inspire each other by posting and sharing various trend appropriate looks.

ASOS ACTIVE CUSTOMERS INCREASED BY 19% IN 2018, RISING TO 18.4 MILLION, COMPARED TO JUST 15.4 MILLION IN THE LAST FINANCIAL YEAR. Source - ASOS PLC Final Results Report 2018

Figure 18: Source - ASOS Website

This data demonstrates that social media platforms are mostly accessed by Generation Z, and Millennial’s therefore the information influencers are subjecting consumers to, reaches these specific generations. It is clear that social media has impacted consumer behaviour, as Mintel (2016) reports

one in 10 young women have bought fashion through social media.

The need for instant gratification from other consumers also drives this e-commercial platform forward as it encourages consumers to buy and share with others. Marx and Engles (1973) allude to consumers acting through heavy consent of the industry, as we conform to these forthcoming social norms.

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Figure 19: Source - Spredfast, 2018

ThE CONSUMER EFFECT

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Figure 20: Source - Business of Fashion and author’s edit

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CONCLUSION In conclusion, this report demonstrates the impact of social media influencers upon the mass market and its effect on consumer behaviour. Research conducted throughout suggests that retailers are spending less on marketing, as they are becoming reliant on e-commercial drivers such as social media. Despite businesses benefiting from this, consumers are unknowingly promoting brands as they copy influencer behaviour and adapt it within there own hyper-reality experience on social media.

Figure 21: Source - FuckingYoung!, 2018

PROBLEMS: - The take-over of fast fashion in the mass market, contributing to both social, enviromental, and economical issues - Social media likes are being used as gratification for individuals - Also used as a form of payment measurement for influencers ie) the more likes on posts, the more payed recieved - PR packages sent to influencers of fast-fashion clothing that are left unopened and unused

Figure 22: Source - Twitter/Google Images, 2018

SOLUTIONS: - Slow down the surge in fast fashion, allowing businesses and consumers to buy products more long-term

- Remove likes from social media, and allow users to post what they wish without having to worry about getting others approval

- Encourage influencers to donate unwanted PR clothing to charity for re-sale or sell to their following

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ReCOMMENDATIONS

“HAPPY ROBOTS CHASING FALSE NEEDS” - HERBERT MACUSE, 1964

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Figure 23: Source - I, Robot IMDb

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Jessica Price McEwan : FAS4027

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Jessica Price McEwan : FAS4027

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Jessica Price McEwan : FAS4027

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Jessica Price McEwan : FAS4027

Figure 21: Fucking Young!. 2018. #SelfieCentered - Fucking Young!. [ONLINE] Available at: http://fuckingyoung.es/ selfiecentered/. [Accessed 26 October 2018].

Jessica Price McEwan : FAS4027

Source - Instagram

APPENDICES

Whilst undergoing this report, Topshop announced their new promotional campaign for their consumers and social media followers; ‘TOPSHOP IT’. Through the retailers platform, they posted Instagram stories in video format, enouraging

customers to take photo’s in their latest product purchases from Topshop and share it with their followers. As well as this, Topshop also launched their own set of themed GIFs, relevant to their campaign in which users decorate their posts. By

making it a competition, this also drives interest for the consumers, gaining a lot of activity for both social platforms and sales. This summarises the findings of this report, and the way in which retailers are exploiting their own consumers for free marketing.

PRIMARY RESEARCH

Jessica Price McEwan : FAS4027

Inspired by a survey conducted by Mintel, December 2016 this primary research was constructed using SurveyMonkey in which the author shared on social platform, Facebook. Most of the audience on this Facebook page were millenials and 55% of them agreed that they had posted a photo in new clothes over the last 12 months. As well as this, 85% of respondents said that they had clicked on linked products posted by a fashion brand. However, only 33% had purchased products through social media in the last 12 months. If this survey had of been shared on Instagram, to manily dominated Generation Z users, the conclusions from this survey may have been different.