AD6606 Journey Book

A D6606 J OU R NEY MIL LI E

BO O K

W R I G H T

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@ a c cessallalpha

@ milliewright creat ive

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AD 6 6 0 6 BRAND MANAGEM E N T JOURNEY B O O K MILLIE WR I G H T 1906 4 3 2 3

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MILLIE WRIGHT PART 1.

INTRODUCTION 10 - 11 BRAND ME REFLECTION 12 - 15 STYLING 16 - 17 360 CAMPAIGN REFLECTION 18-19

CONTENTS PAGE

METHODS OF WORKING 20-21

PART 2.

INTRO TO FINAL PROJECT 24 - 25 YOUTH RESEARCH 26 - 27 BRAND COLLABORATIONS 28 - 29 LEVI’S BRANDING 30 - 31 INSPIRATIONS 32 - 33

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OVERCONSUMPTION 34 - 37

JOURNEY BOOK PART 3.

NO WASH CLUB 40 - 43 CONSCIOUS CONSUMERISM 44 - 49 GENERATION ALPHA 50 - 53 EMOTIONAL CONNECTIONS 54 - 55 SNEAKER COLLECTING 56 - 57

PART 4.

MOVING FORWARD 60 CONCLUSION 61 BOOKS 62 - 63 10 X 10 X 10 64 - 73 REFERENCES 74 - 75 IMAGE REFERENCES 76 - 77

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PART ONE

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INTRODUCTION The purpose of this book is to demonstrate the journey I have taken throughout my final year at university, focusing on skills I have established and developed throughout the final modules I have completed. These modules include Concept direction and Development – which consisted of the Brand Me module and the 360 Campaign, and the Brand Management module, which is my final major project.

These modules have allowed me to deep dive into how I work as both a creative and a business minded individual, providing me with challenges to test and strengthen my skills. I will reflect on my working methods, visual narratives, and research methods.

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BRAND ME REFLECTION The Brand Me module was a pivotal piece of work which I found both challenging and extremely rewarding, it provided me with the chance to really discover what my personal branding and brand values are. I discovered where I sit within the fashion industry, which is within the luxury lifestyle market, specifically focused on quiet luxury. Which is the narrative of being delicate and precise – an understated aesthetic, muted and tonal colours with focus on quality over quantity. Luxury lifestyle brands embody the ideas and values of their consumers by creating communities of people with similar identities.

Lifestyle brands cover all aspects of the consumer experience, from values and attitudes to opinions and interests, they seek to target all areas of consumer needs. A successful lifestyle brand provides a well-rounded customer experience, these brands appeal to the next generation of consumer due to their desire for brands with strong values, and captivating experiences.

I found that my passions lie in social media content creation & marketing

and styling. Styling is a skill that I have discovered comes naturally to me and I feel most confident within this area of work.

Positivity and social consciousness are also factors within my brand values, to focus on living with value and meaning, taking care of ourselves and others, as well as the environment we live in.

My Brand Me work focused on the notion of placed importance on conscious consumerism and the importance of channelling the carefree naivety of youthful minds. It values escaping from the excess of the world and finding happiness and connectivity through shared values and ideas. Slow consumption and neutral tones to remain calm and grounded are other ideas my brand.

The Brand Me module provided me with tests where I was able to develop and grow my confidence dramatically, through presenting weekly to both my tutor and peers I increased my verbal communication and public speaking skills.

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I found that the module challenged me creatively to discover my personal branding, I concluded that I am a minimalist with a pop of colour and strong attention to detail. When considering what kind of communicator I am, the brand me module taught me that I am sometimes too safe and do not take enough risks within my work. Since this I have taken many more risks and pushed my limits as a communicator and developed more extreme styles of working to advance my style of work whilst working on my final major project.

A key part of my Brand Me work was authenticity; this is a message I have carried across all my modules by using secondary imagery and taking inspiration from brands with authentic values and messages. These brands include Levis, Jacquemus, Miu Miu and Acne Studios. All luxury brands with strong visual narratives and aesthetics.

BRAN D ME

Slow consumption is another message I have focused on throughout my work, the idea of consuming clothing in a conscious way to battle the issue of overconsumption and throw away culture. This is the narrative that my final major project is based around.

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STYLING Throughout the final modules studying Fashion Marketing and Communication I have discovered a true passion for styling, and it is a method of communication I have integrated into all my work throughout third year. From the first styling session with industry mentor Tony Green in January of 2022, right through to my final shoot in April I have used styling as a way to tell the narrative of my final major project. As well as this journey book I have also created a styling book which explains in detail all visions I had for my styling and storytelling methods.

I have found styling has become an instinctive skill of mine and hope to use it in my future career within the fashion industry – wherever this may take me.

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360 CAMPAIGN REFLECTION Moving on from my brand me work I began the next part of the module: The 360 Campaign. This module was the beginning of my final major project journey focusing on creating a well-rounded fashion campaign of my choice. My 360 campaign was based around a fictitious collaboration between Levi’s Jeans and the luxury fashion brand Celine which was targeted at Generation Alpha consumers. Through using Levi’s authentic brand values combined with Celine’s timeless style, I planned on creating an Instagram campaign to target the next generation of luxury consumers. Through creating a concept, I called “The AlphaBet” I created an alphabet style list which contained words that represented everything the campaign embodied and valued, the purpose of this was to educate the next generation of consumers on how to be a conscious consumer.

The purpose of the collaboration was to create a space where the two brands could join together and educate and build a community through promoting sustainable shopping habits. With a strong focus on treasuring our clothing and turning our garments into heirlooms by passing it on to friends and family, which then keeps items within the fashion cycle to reduce the number of items that end up in landfill sites.

During the research and development stage of the Brand Management module I made the decision not to continue with the Celine aspect of my 360 campaign. The reasons behind my decision are that I found the new direction that Celine as a brand is taking is much more edgy and grungy than the concept I have for my project. Although there are aspects of the brands philosophy still within my work such as timeless fashion and quiet luxury, I chose not to continue with the visual elements of the brand. My research of Celine has been pivotal throughout my work however I will not be carrying the visuals or narrative of a Celine collaboration forward.

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METHODS OF WORKING Throughout my final few modules at university, I have been able to discover how I work best and which methods of working – both creatively and strategically are the most effective methods of working for me. I found that due to being as equally interested in marketing as I am in creative content I work in a way where I begin with a sketchbook to empty out all my initial ideas onto a page in a physical way. I find that working in an analogue format and creating visual sketchbooks filled with collages, mind maps and brainstorms is the most useful way of working. To keep my work relevant and up to date I then digitalise my sketchbook pages and create more conceptual designs.

A method of working that I find extremely useful is the 10 x 10 x 10 method. This is one of the first things I do when I start a project, it involves choosing 10 words that embody the chosen concept. Once the words have been chosen, I then create 10 mood board visuals of secondary imagery. I find this method a great way to start any project as it gives me a visual narrative to follow and provides a base level of content.

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PART TWO

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INTRODUCTION TO FINAL PROJECT My project is based around Denim and tackling the issue of overconsumption and educating the next generation of fashion consumers. Through putting thoughtfulness and consideration into our purchasing decisions and teaching the next generation – Generation Alpha to be conscious consumers, the fashion industry can prevent the idea of “throw away” culture and fast fashion and create a better and more sustainable industry for future consumers.

Through using the ideology of resale culture and sneaker collecting and focusing this mindset on denim and jeans this could help prevent denim overconsumption. By focusing on adding emotional value to clothing and creating the idea of heirlooms which can be passed down through generations or

MAJOR

swapped between friends and peers. This method of sharing clothing will keep garments within the fashion cycle and reduce the number of clothing items that end up in landfill.

My concept is an educational Instagram platform targeted at Generation Alpha consumers.

The Instagram campaign will be filled with engaging posts and reels that will educate the next generation of luxury consumers on issues within the fashion industry.

My project is based around the first edition of the campaign which will promote taking care of your denim.

Through building an online community of likeminded, youthful consumers and educating them on how to be conscious consumers, the campaign aims to change the mindset of a generation.

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YOUTH Teenage culture and youth are subjects that have been prevalent throughout all my work within my final year at university, starting in my Brand Me work where I looked into brands such as Jacquemus and how they channel the naivety of being young. To then researching into Generation Alpha for the remaining modules. Youthfulness and the ideas surrounding youth have been a key part of my research and writing. Through harnessing the boldness and optimism of the next generation my campaign will create a strong online community.

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BRAND COLLABORATIONS Initially, I had planned on continuing with the brand collaboration idea that I created within my 360 campaign and throughout the first research and development stages of my final major project I continued to research into successful brand collaborations. Throughout the project I decided to pursue an Instagram campaign rather than a brand collaboration however found my research into collaborations was still beneficial and interesting to learn about.

Moncler Genius was a collective that I researched, I found the way it builds communities from different brand audiences interesting, “Today is not only about products but is even more about our communities and the culture we want to shape together. The world is changing, and people do not want the same things as before. They demand and expect more from brands. Today, we must find new ways to connect and engage, becoming pioneers of new messages” says Moncler chairman and CEO Remo Ruffini in an article for High Snobiety.

(Cole, 2021) I discovered that through collaborating brands can target a different consumer group and build new communities of likeminded individuals.

Moncler Genius also channel the idea of limited edition drops, which keeps consumers interested and engaged in brands.

Brand collaborations can bring luxury designs at a lower price point, reinvent a brand’s image, and offer the traditionally “unattainable” fashion to the everyday person. (Howell, 2021). Brand collaborations allow consumers to buy into a new market level – creating more accessible fashion which is a value within my branding.

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KEY INFLUENCES: LEVI’S BRANDING The idea for my final project started whilst researching into Levi’s and the history of the brand, I discovered that denim jeans have always been rooted in youth culture, for centuries denim jeans have been a symbol of rebellion and youth.

Since the era of western cowboys to the 1950s era of Hollywood movie stars, James Dean and Marlon Brando, Levi’s jeans have always been synonymous with youth subcultures and utilitarian style of the youth. Levi’s has also been considered the “uniform of the cool” for decades, due to the durability of denim.

According to Another Insight “Trends evolve, tastes change, fads die. This a constant of life. The point is, becoming relevant is the easy part, staying relevant over a long period of time is next to impossible.” (Ligget, 2018) By maintaining the strong brand identity of reliable basic blue jeans yet constantly evolving with the times and trends, Levi’s have continued to appeal to the youth.

It’s clear that anyone can wear a pair of jeans, Levi’s are made for all, consumers of all ages are welcomed by Levi’s to be part of the brands community.

Having multi-generational consumers supports the narrative of community and FIGURE 1. LEVI’S BUY BETTER

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collaboration. Bringing people together through clothing. My final project is inspired by this narrative and features a hashtag that allows consumers to not only share their content but creates an online space where they can build a community of likeminded individuals. Where consumers can share resources and also use the space to swap jeans, keeping them in the fashion cycle and reducing the amount of jeans that get sent to landfill.

FIGURE 2. LEVI’S BUY LESS BUY BETTER

FIGURE 3. LEVI’S GO FORTH

Denim has an authentic look about it, throughout the decades it has been a symbol of the working class, part of what made jeans so popular is that they were accessible to all, no matter what gender, race or sexuality, the denim jean always has always had place in people’s wardrobes.

Due to diversity and acceptance being key values to my target consumer and that denim is suited to all types of consumer, I have chosen this as the first edition of the Access all Alpha campaign.

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INSPIRATIONS As well as researching into Levi’s thoroughly I also looked into a brand called “Boyish”. Boyish Denim are a sustainable denim brand based in Los Angeles, each collection is uniquely designed in house and inspired by vintage silhouettes.

Whilst being considered a luxury brand the price point of the jeans is not unrealistic to consumers who wish to invest in their clothing. I chose to research into this brand when reading about their brand values, which are sustainability and consciousness. Similarly, to Levi’s, Boyish jeans make a conscious effort to use sustainable materials and reduce water waste. “From hangtags and hardware to the polybags they are shipped in, everything put forth by Boyish Jeans is thought through to ensure there is minimal impact on our environment.” (Boyish, 2022) Both the brands I have researched pride themselves on producing long lasting, well-crafted denim products.

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OVERCONSUMPTION My final project is based around sustainability, specifically focusing on the issue of overconsumption.

British consumers on average spend around £980,50 per year on clothes, making the UK the third largest clothing industry in Europe.

(Moore, 2020). A study conducted

by LabFresh titled Fashion Waste Index revealed that the United Kingdom produces 206.456 tonnes of textile waste in a year, specifically 3.1kg of textile waste per person living in the UK, and of this waste per person, only 0.3kg are recycled and 0.4 kg are reused. (LABFRESH, 2020). The aim of my project is to educate and inform the next generation of consumers about the dangers of overconsumption which in turn may help decrease the stark statistics of textile waste in the UK. I chose to particularly focus on denim within my work as I found denim jeans are a staple in most people’s wardrobes. Approximately

2 billion pairs of jeans are produced each year, this process results in over 2500 litres of water being used per individual pair of jeans. The process of creating denim jeans not only results in water waste but also an incredibly large number of raw cotton. According to Glamour UK approximately 1.4million tonnes of raw cotton are used. (Fullerton, 2019). Cotton is not only reliant on a huge amount of water but also harsh chemicals that end up in rivers and seas. In simple terms, denim jeans are not good for the environment, this is why as consumers we need to cherish the jeans we already own and refrain from excessively purchasing a new pair whenever we see a new style or trend on social media. According to the same article, the UK is on track to send around 235 million garments to landfill sites each year. (Fullerton, 2019)

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PA RT THREE

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RESEARCH : NO WASH CLUB A collective I discovered whilst researching are the No Wash Club, an idea set up by Welsh clothing brand Hiut Denim. The idea of the no wash club is to encourage people to go as long as possible without washing their jeans, as washing jeans is another factor that adds to water waste.

As a company, we know we have a silent shareholder called Planet Earth. Yes, we can make our products in the lowest impact way that we know how. But for jeans, the biggest impact comes from us all washing them. (Ashworth, 2022) I found researching into the ‘No Wash Club’ very beneficial whilst working on my project as I was unaware of the impact washing your jeans had on the environment.

FIGURE 4. NO WASH CLUB

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The no wash club rules are the following: “1st Rule: Six months without washing means six months.

2nd Rule: No Cold dip in the bath.

3rd Rule: No showers.

4th Rule: Rain happens. Get an umbrella.

5th Rule: Freezing them is allowed.

6th Rule: Airing them on a washing line is allowed.

7th Rule: Rest days are allowed.

8th Rule: If you are going to try, go all the way.” (no wash club, 2022)

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FIGURE 5. NO WASH CLUB

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ASHISH S/S 2012 RTW, LONDON FASHION WEEK

CONSCIOUS CONSUMERISM By definition conscious consumerism is the idea of making positive decisions throughout the buying process, with the intention of helping to balance some of the negative impacts that consumerism has on the planet. “The overall aim is to use customers purchasing power to consider the impact (on the environment or in society, for example) of what people buy, as well as why and how they make purchases.” (Cook, 2018) By adding emotional value and sentimental connections to our clothing it means we as consumers can tackle sustainability issues through putting thoughtfulness at the front of our purchasing decisions. If we attach an emotional connection to an item of clothing and create a memory or bond – it provides consumers with a sense of purpose and distances them from the “throw away” mentality that results in clothing ending up in landfill sites.

Whilst researching I discovered an idea titled “The Buyerarchy of Needs” imagined by Canadian illustrator Sarah Lazarovic, modelled off Maslow’s hierarchy of needs. A motivational theory which consists of a five-tier model of basic human needs, portrayed in the idea of a hierarchy pyramid.

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46 BUYERARCHY OF NEEDS. PHOTO CREDIT: SARAH LAZAROVIC.

The Buyerarchy of Needs is a way for consumers to reconsider their purchasing decisions, a method which not only helps consumers save money but also saves the environment by reducing the number of garments bought each year. The levels of the model are as follows: Using what you already have, borrowing from others, swapping with friends and family, thrifting, making your own items, and finally buying, which in the ideal scenario is that last case option, therefore reducing overconsumption figures. (Rivetto, 2015) If consumers were educated from a young age with ideologies such as The Buyerarchy of needs it would produce more conscious consumers, resulting in a more considered way of buying. Targeting young consumers whilst they are in their formative years and are willing to learn is key to building brand advocates and creating consumers with conscious mindsets.

“Conscious consumption focuses on the purpose behind purchasing, whether that’s using social purpose to market to customers or supporting businesses that are modelled on achieving a purpose in addition to making money.”(Cook, 2018)

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MATTHEW ADAMS DOLAN SS16

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GENERATION ALPHA CONSUMER Caring vs Carefree – a conflicted mindset of the next generation The target consumer for my final project is Generation Alpha. Generation Z and Alpha are individuals who care both way too much yet way too little. They are a juxtaposed generation of digital natives who are growing up in an online world yet remain grounded and attached to their homes and families due to spending so much time at home during the Covid-19 Pandemic. They value quality time with loved ones and are sentimental characters, yet also value the freedom and ambiguity of their online universes where they can be portrayed in any way they wish.

Through rejecting gender stereotypes and societal normalities Generation Alpha are unapologetically themselves – yet also take into consideration how others view them in their online universes.

Hyperconnected yet disconnected due to lack of social interaction during their formative years.

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Generation Alpha children have been born into a world where social change is at the forefront of people’s minds. From Black Lives Matter protests to Pride marches and Climate Strikes they have witnessed social injustices and rights changes throughout their formative years. In a study by Beano Studios, it states that 1 in 5 of those ages between 5-9 have already attended a protest for an issue they care about. (beanodigital, 2019) Generation Alpha are progressive and believe in social justice, this will remain a passion throughout their adolescence and adulthood. Due to being so educated about the climate crisis from a young age – Generation Alpha consumers take it upon themselves to be the change they wish to see in the world.

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According to an article for Vogue Business the core values of young consumers are sustainability, collaboration, and individuality. (Webb, 2022) These Generation Alpha consumers are paving the way for how brands need to market and promote their products.

Generation Alpha are growing up during times of historical change, and have witnessed major events throughout their formative years, this has resulted in a sense of rebellion which is channelled through protesting for matters important to them. Alpha consumers face even more times of change therefore by rebelling against certain matters such as the climate crisis and standing up for the rights of others they shape their futures and the world they are living in.

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EMOTIONAL CONNECTIONS As the target consumer for my campaign, Generation Alpha are considered a sentimental generation, building emotional attachments and connections to clothing is something that can prevent the idea of “throw away” culture, the narrative that the previous generation Gen Z are guilty of. In a study written by Nikolas Rønholt and Malthe Overgaard it reads that “Young people have this feeling of complexity and ambiguity related to sustainability,” says Overgaard. “They all agreed that they thought of themselves as conscious consumers, but on the other hand, they were incentivised to buy more and consume more because of the need to stay trendy.” (Rønholt & Overgaard, 2020) Throwing away or discarding of clothing after one use or one post on Instagram is a mentality that must be change within the next generation of consumers, to prevent disastrous effects from the fashion industry on the environment.

In current times slow fashion is becoming more of a mindset than a movement, The Hindu newspaper describe slow fashion as ‘much about finding meaning in what you wear as it is about buying less.’ (Banerjee, 2018). Though building emotional connections and creating stories to tell about our clothing it changes the narrative of disposable culture.

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SNEAKER COLLECTING IDEOLOGY A CHERISHED MINDSET Whilst researching into brand collaborations as part of my 360 campaign I began reading about sneaker collaborations among luxury brands, which led me to research into the culture of sneaker collecting and resale. Sneaker collecting is considered by many as a subculture, not just a hobby but a way of life. Consumers use sneakers as a way to express themselves, their identity and even their culture. As a sub-division within the streetwear community those who collect sneakers are a strong community.

“But when you dig into it, it’s deeper than that. It has to do with identity, and nostalgia. I could be the voice of the consumer, and really advocate for them, and understand their motivations”.

(Oleniacz, 2021) The narrative surrounding sneaker collecting is relevant to my work due to the mentality of cherishing our possessions and making things last.

Some sneaker collectors, especially those who decide to resell their shoes take great pride in keeping the shoes in pristine condition, sometimes meaning they never even wear the sneakers they own.

If consumers can have the mentality and energy to cherish their sneakers, what’s to say they can’t channel this energy into other items of clothing they own, such as their jeans.

For the Access All Alpha: Denim Edit I will rework the narrative of taking care of sneakers into taking care of jeans and other items of clothing.

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PART FOUR

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MOVING FORWARD To move forward I have created multiple books which demonstrate the narrative of my final major project, these books include my Styling book, Concept and Development book, Brand Book, and Alphabet campaign book. These books will provide the reader with all additional information and methods. I have used to build the access All Alpha Campaign. In my brand book I will explain in depth and detail what my Instagram campaign will include and how I plan on promoting, marketing, and creating my idea.

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CONCLUSION To conclude, I have found my final module studying Fashion Marketing and Communication extremely beneficial to my growth as both a student and a creative. I have been able to develop both skills I already had and also learn new ones.

From creatively challenging my digital skills to improving my written and verbal communication I have been provided with opportunities to improve in all areas. The skills I have gained and improved will be crucial when entering the industry within the next few months and I believe my Fashion Marketing and Communication degree has been an invaluable experience.

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BRAND BOOK

ALPHABET BOOK

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BOOKS CONCEPT AND DEVELOPMENT BOOK

STYLING AND STORYTELLING BOOK

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COLLABORATION How is collaboration intrinsic to the future of the fashion industry?

Fashion collaborations have been around for years, however, recently are becoming ever more popular among all market levels.

Brand collaborations allow different audiences to merge together to build new communities and experiences. Through collaborating with another brand, designers can create partnerships, credibility, and a uniqueness that the next generation of consumers seek within fashion.

Collaboration is a keyway in which both brands and designers gain a wider audience and share their messages to a new consumer group

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COMMUNITY How have Levi’s built a strong community among their consumers?

It’s clear that anyone can wear a pair of jeans, Levi’s are made for all, consumers of all ages are welcomed by Levi’s to be part of the brands community. Having multi-generational consumers supports the narrative of community and collaboration. Bringing people together through clothing, my final project is inspired by this narrative and features a hashtag that allows consumers to not only share their content but creates an online space where they can build a community of likeminded individuals. Where consumers can share resources and also use the space to swap jeans, keeping them in the fashion cycle and reducing the amount of jeans that get sent to landfill.

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CONSCIOUS What makes Generation Alpha consumers conscious of their purchasing decisions?

Generation Alpha children have been born into a world where social change is at the forefront of people’s minds. From Black Lives Matter protests to Pride marches and Climate Strikes they have witnessed social injustices and rights changes throughout their formative years. In a study by Beano Studios, it states that 1 in 5 of those ages between 5-9 have already attended a protest for an issue they care about. (beanodigital, 2019) Generation Alpha are progressive and believe in social justice, this will remain a passion throughout their adolescence and adulthood. Due to being so educated about the climate crisis from a young age – Generation Alpha consumers take it upon themselves to be the change they wish to see in the world.

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YOUTH How has youth culture rooted itself in Levi’s branding?

Since the time of western cowboys to the 1950s era of Hollywood movie stars, James Dean and Marlon Brando, Levi’s jeans have always been synonymous with youth subcultures. Levi’s has also been considered the “uniform of the cool” for decades, due to the durability of denim. According to Another Insight “Trends evolve, tastes change, fads die. This a constant of life. The point is, becoming relevant is the easy part, staying relevant over a long period of time is next to impossible.” (Ligget, 2018) by remaining as basic blue jeans yet constantly evolving with the times, Levi’s have continued to appeal to the youth.

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AUTHENTIC How does Levi’s fulfil the authentic brand narrative that Generation Alpha consumers crave?

Levi’s pride themselves on providing an authentic and affordable consumer experience. By preaching their jeans as a form of self-expression, the brand is proud and trustworthy. Levi’s is authentically itself, with a legacy and heritage that promotes dependability and promises quality. Generation Alpha value authenticity and vulnerability from the brands that they buy into, and Levi’s provides this.

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LIFESTYLE What makes lifestyle brands appealing to the new consumer?

Lifestyle brands cover all aspects of the consumer experience, from values and attitudes to opinions and interests, they seek to target all areas of consumer needs. A successful lifestyle brand provides a well-rounded customer experience, these brands appeal to the next generation of consumer due to their desire for brands with strong values, and captivating experiences.

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SENTIMENTAL How can adding sentimental value to clothing reduce sustainability issues?

By adding emotional value and sentimental connections to our clothing it means we as consumers can tackle sustainability issues through putting thoughtfulness at the front of our purchasing decisions. If we attach an emotional connection to an item of clothing and create a memory or bond – it provides consumers with a sense of purpose and distances them from the “throw away” mentality that results in clothing ending up in landfill sites.

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ACCESSIBILITY How do fashion brands such as Levi’s appeal to Generation Alpha consumers through accessibility?

Generation Alpha are said to be the most accepting generation yet, from rejecting gender stereotypes, to accepting people in whichever way these chose to be, Generation Alpha are unapologetically themselves, they are said to judge people for “who they are not what they are”. (beanodigital, 2019). Although they are an accepting generation, they will continue to crave community and acceptance. They will seek to purchase into brands who appeal to a diverse and inclusive audience and will not stand to support brands who do not meet these needs.

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REBELLION What makes Generation Alpha channel rebellion?

Generation Alpha are growing up during times of historical change, and have witnessed major events throughout their formative years, this has resulted in a sense of rebellion which is channelled through protesting for matters important to them. Alpha consumers face even more times of change therefore by rebelling against certain matters such as the climate crisis and standing up for the rights of others they shape their futures and the world they are living in.

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IMMERSIVE How can fashion brands use immersive experiences to satisfy the attention span of Generation Alpha?

Generation Alpha are the first generation of digital natives; therefore, brands must provide unique immersive experiences that will gain their attention and not get lost in a world of over saturated digital content. By adding personalised elements to brand content – it elevates the consumer experience and adds an individuality to consumers. Social media is a keyway to engage younger consumers, specifically short form video content such as apps like Tik Tok.

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REFERENCE LIST

Ashworth, C. (2022). No Wash Club. Hiut Denim Co. https://hiutdenim.co.uk/blogs/ story/101833089-the-no-wash-club Banerjee, S. (2018, March 16). Why heirloom is haute. The Hindu. https://www.thehindu. com/life-and-style/fashion/why-heirloom-is-haute/article23271463.ece beanodigital. (2019, June 20). THE FUTURE’S BRIGHT: THE FUTURE’S GEN ALPHA. Beano Studios. https://www.beanostudios.com/post/the-future-s-bright-the-future-s-genalpha-1 Boyish. (2022). About. Boyish Jeans. https://www.boyish.com/pages/about Cole, S. (2021, September 26). Take a Look Into the World of Moncler MONDOGENIUS. Highsnobiety. https://www.highsnobiety.com/p/moncler-mondogenius-behind-the-scenes/ Cook, S. (2018, October 18). What is conscious consumerism? | An introductory guide.

Startups.Co.Uk. https://startups.co.uk/sustainability/what-is-conscious-consumerism/ Fullerton, A. (2019, October 14). This wardrobe staple is killing the planet and you’re probably wearing them right now. Glamour UK. https://www.glamourmagazine.co.uk/ article/jeans-environmental-impact Howell, A. (2021, September 17). 7 Most Successful Fashion Collaborations of All Time.

TheCollector. https://www.thecollector.com/7-most-successful-fasion-collaborations-of-alltime/ LABFRESH. (2020). Fashion waste index. LABFRESH. https://labfresh.eu/pages/fashionwaste-index Moore, D. (2020, January 22). UK named fourth largest textile waste producer in Europe.

Circular Online. https://www.circularonline.co.uk/news/uk-named-fourth-largest-textilewaste-producer-in-europe/

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o wash club. (2022). No Wash Club. Hiut Denim Co. https://hiutdenim.co.uk/blogs/ story/101833089-the-no-wash-club Oleniacz, L. (2021, February 3). Sneakerheads, Not Hypebeasts: Defining a Sneaker-Driven Sub-culture. NC State News. https://news.ncsu.edu/2021/02/ sneakerheads-not-hypebeasts-defining-a-sneaker-driven-sub-culture/ Rivetto, L. (2015, April 6). Buyerarchy of Needs: Using what you have, borrowing and swapping—MSU Extension. Buyerarchy of Needs: Using What You Have, Borrowing and Swapping. https://www.canr.msu.edu/news/buyerarchy_of_needs_ using_what_you_have_borrowing_and_swapping Rønholt, N., & Overgaard, M. (2020). An Exploratory Study: The Fast Fashion Paradox. https://doi.org/10.13140/RG.2.2.33506.15049 Webb, B. (2022, January 24). Gen Z’s ambition? Create a new fashion system | Vogue Business. Gen Z’s Ambition? Create a New Fashion System. https://www. voguebusiness.com/fashion/gen-zs-ambition-create-a-new-fashion-system-tik-tokdepop-instagram?fbclid=IwAR1mAZxvSfGn5co7AK4KT1VN9habI638huLBjImfjzE S8UgZ2550FgUB1Xk Westwood, V. (n.d). Vivienne Westwood Quote.

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IMAGE REFERENCE LIST Figure 1. & 2. Levi’s Buy better Wear Longer. 2021 https://www.the-spin-off.com/news/media/6/How-Levis-wants-to-buy-better-wearlonger-58361-detailp.jpeg Figure 3. Levi’s go forth campaign. 2017 https://campaignsoftheworld.com/print/levis-go-forth-campaign/ Figure 4. & 5 No wash Club https://hiutdenim.co.uk/blogs/story/101833089-the-no-wash-club Figure 6. Ashish S/S 2012 RTW, London fashion week https://64.media.tumblr.com/tumblr_m6qwwnFxpq1qj10b5o1_1280.jpg Figure 7. Buyerarchy of needs. Photo credit: Sarah Lazarovic. https://www.canr.msu.edu/news/buyerarchy_of_needs_using_what_you_have_ borrowing_and_swapping Figure 8. Mathew Adams Dolan S/S 16. 2016 https://www.dazeddigital.com/fashion/gallery/20938/0/matthew-adams-dolanss16 Brand Book psd mockup <a href=’https://www.freepik.com/psd/magazine-mockup’>Magazine mockup psd created by pmvchamara - www.freepik.com</a> ABC Book psd mockup <a href=’https://www.freepik.com/psd/square-brochure’>Square brochure psd created by yeven_popov - www.freepik.com</a>

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