Final Major Project Back of House

RETHINKING THE LUXURY FASHION I N D U S T RY. FMK330 BACK OF HOUSE ROSE COPPEN-MANNS

1.0

C H A P T E R O N E , P. 0 3 - 0 8

INTRODUCTION MISSION STATEMENT GLOBAL OVERVIEW - PES T AN ALYSIS

2.0

C H A P T E R T W O , P. 0 8 - 16

CONTENTS

THE LUXURY MARKET C O V I D - 19 I M PA C T S LUXURY THEORY & STRATEGY

3.0

C H A P T E R T H R E E , P.16 - 2 2

THE LUXURY CONSUMER CONSUMER SEGMENTATION CUSTOMER PROFILE & PEN PORTRAITS

4.0

C H A P T E R F O U R , P. 2 2 - 3 3

SUSTAINABLE FASHION THE SDG’s THE SUSTAINABILIT Y INDEX

5.0

C H A P T E R F I V E , P. 3 3 - 4 0

KERING STELLA McCARTNEY VIVIENNE WESTWOOD

6.0

C H A P T E R S I X , P. 4 0 - 4 4

7. 0

C H A P T E R S E V E N , P. 4 4 - 5 1

INDUSTRY INSIGHT SURVEY TWO INTERVIEWS 1-5

8.0

C H A P T E R E I G H T , P. 5 1 - 5 8

C H A P T E R T H I R T E E N , P.116 - 13 2

C H A P T E R N I N E , P. 5 8 - 6 3

14

C H A P T E R F O U R T E E N , P.13 2 - 13 5

FMP ADJUSTMENTS OVERALL REFLECTION CONCLUSION C H A P T E R T E N , P. 6 3 - 7 0

SUSTAINABLE INITIATIVES SUSTAINABLE CAMPAIGNS SUSTAINABLE AGREEMENTS

11 .

13

VISUAL IDENTITY CAMPAIGN ASSETS CAMPAIGN IMAGERY

THE B-CORP MOVEMENT POSITIVE LUXURY WALPOLE

10 .

C H A P T E R T W E L V E , P. 8 5 - 116

MARKETING COMMUNICATIONS PROPOSED FORMULA

CURRENT TRENDS SUSTAINABILIT Y TRENDS SUSTAINABLE INVESTING & BONDS

9.0

12

15 .

C H A P T E R F I F T E E N , P. 1 3 5 - 1 5 1

REFERENCES IMAGE BIBLIOGRAPHY APPENDIX C H A P T E R E L E V E N , P. 7 0 - 8 5

THE CLIENT THE AUDIENCE CLIENT RESEARCH

CONSUMER BEHAVIOUR ATTITUDES NIKE CASE STUDY 2.

1.0

CHAPTER ONE

INTRODUCTION Since the outbreak of coronavirus, we could argue that the world we live in today is far from normal and while the virus remains at the fore-front, COVID-19 has possibly given the luxury fashion industry time to take stock and ponder attitudes towards sustainability, and shape fashion for the future. Therefore, this following research document is designed to show the development of research and creative process that have led to form an appropriate solution to the topic outlined in my proposal. This ‘backof-house’ book will outline both visual and strategic developments to show a systematic understanding of the process needed to produce the appropriate ‘front-of-house’ document. It aims to show detailed evidence to test my concept against theory and practise whilst maintaining viability.

The document begins with a global overview and analysis to introduce the topic, initial idea and theme followed by in-depth research which includes primary research interviews and surveys —finally ending with the development process of the campaign creation, from inspiration to the final product.

3.

- SUS TA I N A B LE FA SHIO N - SUS TA I N A B ILIT Y - L UXURY FA SHIO N - CO NSUME R B E HAVI O UR - CO NSUME R ATTI TUDE S - PUB LI C R E L ATI O NS - SO CIA L ME DIA Keywords: Luxury Fashion, Fashion Revolution, Sustainability, Sustainable Fashion, Consumer, Consumption, COVID-19, Coronavirus, Behaviour, Attitude, Public Relations, Social Media

MISSION STATEMENT

KEY THEMES

THIS PROJECT AIMS TO HELP CHANGE CONSUMER ATTITUDES TOWARDS LUXURY FASHION

BY MAKING A NEW IMPACTFUL CAMPAIGN IN COLLABORATION WITH FASHION REVOLUTION TO AID THE LUXURY FASHION INDUSTRY AS A LEADER FOR SUSTAINABLE FASHION.

4.

GLOBAL OVERVIEW. The UN Environment Programme in 2019 put the fashion industry’s share of global carbon emissions at 10% - more than all international flights and maritime shipping combined - and said it was the second-biggest consumer of water. (MacArthur, 2017).

Additionally according to 2020 research

by McKinsey & Company found that, “The fashion industry produces 4% of global climate-warming emissions which is equal to the combined annual emissions of France, Germany and Britain” (McKinsey & Company, 2020). This statement is immensely shocking and heightens the urgency for the fashion industry as a whole to intensify its efforts to align with the Paris Agreement goals to curb climate change. As said perfectly by Fashion Revolution, “The climate crisis has forced the industry into an environmental reckoning.”, (Fashion Revolution, 2020).

As a result of COVID-19 we are seeing a continued change in relationships with clothing in particular there has been a significant change on buyer relationships.

This is because the psychology towards fashion changed immediately as a result of COVID-19 as people now have a reduced need and desire to buy new clothes. This can support the theory that as a result of COVID-19 we are beginning to see consumers adapting to new environments that they are faced with and shaping trends as they do so that are emerging in response to the crisis. As luxury fashion brands have the potential to be at the forefront of driving change within the industry then we must question why they haven’t done so already?

Although fast fashion brands have previously been the primary target of conscious fashion activists due to a lack of transparency and poor ethical and environmental practises.

Luxury fashion is now facing its own critics and disapproval as a result of the coronavirus pandemic. This in turn has brought into question the more complex issues of sustainability and environmental concerns around luxury fashion. As these social and sustainable issues are set to continue, it is paramount therefore that luxury brands address the issues raised, re-thinking products life cycles, supply chains and the management and disposal of unsold inventory. This is because a consumer trend emerging as a result of COVID-19 is a heightened environmental and social consciousness as there is now a greater concern around the subject of sustainability.

“The fashion industry is one of the major polluting industries in the world. The production and distribution of the crops, fibres, and garments used in fashion all contribute to differing forms of environmental pollution, including water, air, and soil pollution.” (Wicker, 2020)

5.

6.

PES TEL AN ALYSIS P. E . S

ECONOMICAL: With the outbreak of coronavirus, global stock markets were sent into a frenzy. The initial panic of the virus alone, “wiped 200bn off the UK firms stock market with shares shedding by up to 13%”, (Peachy, 2020). COVID-19 has been the biggest economic disaster since the stock market crash of 2008. Internationally it became much worse when COVID-19 wiped “$1 trillion dollars off the global stock markets amid coronavirus panic”, (Harding and Ashworth, 2020).

This led to a huge initial negative effect on the demand for luxury fashion. According to The Business of Fashion, “The average market capitalisation of apparel, fashion and luxury players dropped almost 40 percent between the start of January and the 24th of March 2020 — a much steeper decline than that of the overall stock market.”, (Amed and Berg, 2020). This is really evident to the devastation that the virus first had on the fashion industry with these impacts causing sales to slump dramatically, in-fact, “clothing sales plummeted by 34% in March 2020 across the globe with UK retail sales falling by 5.1% as many stores were forced to shut up shop during the coronavirus lock-down” (Office for National Statistics, 2020: 8). For the global fashion industry, being smarter and more sustainable might just be the way to recover from staggering losses caused by COVID-19.

SOCIAL: The impact of COVID-19 on attitudes towards the fashion industry has led to, “83 percent of respondents agreeing that clothing should be designed to last longer than they do at present and around 58 percent of those who took part in the survey advocated government regulation in improving the social and environmental impacts from the clothing sector.”, (Sabanoglu, 2020).

In addition WRAP, a British non-profit organisation that focus on helping businesses achieve more sustainable practices has revealed that consumers increasingly recognise the impact that fashion has on the environment and that they want clothes with more longevity with over “half (55%) now recognise the impact of clothing on the environment as ‘severe’, up from 35% in 2017”, (Poile, 2020).

T.E.L

POLITICAL: The fashion industry faces geopolitic uncertainty due to Brexit which could lead to high tax tariffs on imported products. So far Brexit has caused huge unforeseen challenges on the industry including new tariffs and visas. As said by Peter Foster for the Financial Times, “The UK’s £35bn fashion and textile industry is facing ‘decimation’ as a result of red tape and travel restrictions thrown up by the new post-Brexit trade agreement with the EU.”, (Foster, 2021). So far many British fashion brands are reporting extensive ‘red tape’ and paperwork as a result of Brexit, with goods brought into the UK incurring tariffs; in some cases so hefty as to make the UK unavailable as a manufacturing hub. Additionally, models and photographers entering Europe now also require sponsorships or a visa, causing difficulties and delays for shoots and runway shows.

TECHNOLOGICAL: As technology becomes a daily consumption, one notable trend to shape the fashion industry in 2021 is the increased need for digital channels. As said in ‘The State of Fashion 2020 Report’ by Mckinsey & Company, “The primary driver of growth in the coming year will continue to be digital channels, reflecting the fact that people in many countries remain reluctant to gather in crowded environments.”, (McKinsey & Company, 2020). Therefore, as confidence to shop-in-store still may take some time, digital shopping is needed now more than ever before to ensure customers can shop online. Additionally, the introduction of many different and new social media channels through which consumers can interact with products and services has given consumers considerable control in how they interact with brands.

ENVIRONMENTAL: The fashion industry needs to fundamentally change in order to mitigate the environmental impact of fast fashion. The Intergovernmental Panel on Climate Change (IPCC) has calculated that, “The fashion industry produces 10% of global carbon dioxide emissions every year, while it is estimated to use around 1.5 trillion litres of water annually”, (IPCC, 2020).

Thankfully in response to COVID-19, research has found that consumers’ appetite for clothes that make them look fashionable at the expense of the environment has waned, and that lockdown has changed shopping habits and led more to undertake sustainable shopping practices. In-fact recent research has found that more people want clothing with longevity. Selfridges head buyer, Rebecca Tinker said, “Collections are more seasonless than ever, as brands take more of a considered approach to the longevity of a collection. We have seen more classic silhouettes and less reliability on prints dominating the market. This is strongly resonating with our customers who seek pieces that they can keep in their wardrobe longer than a season.”, (in De Klerk, 2020).

LEGAL: As the pandemic has led to physical shopping impossible to do safely many fashion brands with brick and mortar stores have had to ask for extensive loans or even file for bankruptcy.

According to WWD, “Many fashion companies and apparel retailers have spent time in bankruptcy court, generally working out concessions with landlords and lenders. But beyond those existential legal concerns, which many in the industry will continue to face as the pandemic extends, fashion will be tracking changes in privacy and intellectual property legislation, monitoring cases whose outcomes will shape how companies apply for and defend trademarks, and bracing for more scrutiny over claims of sustainability”, (Sundar, 2021).

A pestel analysis is needed to analyse and monitor the macro-environmental factors that will impact this FMP. This helps to then identity threats and weaknesses and will help to determine the steps that should be taken in order to create an effective campaign.

7.

2.0

CHAPTER TWO

REFLECTION Through secondary research I have been able to form a short but concise global overview of the fashion industry at present. I was surprised to learn just how much pollution and waste the fashion industry produces annually, the figures produced in ‘The UN Environment Programme 2019’ are particularly shocking. Additionally as a result of the COVID-19 pandemic the fashion industry is facing huge challenges politically, economically and environmentally. However it has been noted that aside from political concerns both economic and environmental issues can be improved, particularly the environmental concerns. This is because COVID-19 has given the fashion industry the opportunity to change and improve as there is more time to focus and implement sustainability in many fashion brands business models.

LUXURY FASHION.

8.

HIERARCHY OF THE FASHION INDUSTRY

THE LUXURY MARKET

Today, “Revenue in the Luxury Fashion segment today amounts to £83,822m”, (Statista, 2021). The market’s largest segment still remains at luxury apparel with a market volume of ‘£56,058m’, (Statista, 2021). In global comparison, most revenue is generated in the United States but luxury fashion constitutes the bulk of sales in the global personal luxury goods industry and has a healthy growth outlook over the next five years.

HIGH-END FASHION (LUXURY DESIGNER) BUBBLE UP THEORY

The Luxury Fashion segment includes ‘Luxury Apparel’ and ‘Footwear’. The overall definition of this segment follows the Consumer Market Outlook’s Apparel and Footwear markets, while only sales of luxury brands are considered, and massmarket products are excluded. In 2019, “The global luxury market size was valued at €281 billion, showing a growth of 4% from 2018”, (Kering, 2019: 7). In GBP, “Revenue in the luxury fashion segment amounted to £73,223m and accounted for 34% of the luxury goods revenue in 2019...the market was expected to grow annually by 6.6% and its largest segment is Luxury Apparel with a market volume of £48,247m in 2020”, (Statista, 2020).

TRICKLE DOWN THEORY

HAUTE COUTURE

HIGH-END FASHION (PREMIUM BRANDS)

MIDDLE MARKET (DESIGNER DISCOUNT STORES)

MASS MARKET (HIGH STREET- FAST FASHION)

VALUE MARKET (DISCOUNT RETAILERS- FAST FASHION)

Although fast fashion brands have previously been the primary target of conscious fashion activists due to a lack of transparency and poor ethical and environmental practises. Luxury fashion is now facing its own critics and disapproval as a result of the coronavirus pandemic.

9.

LUXURY FASHION. Luxury fashion can be described as frivolous concoctions of materials which many would argue are totally unnecessary for daily life. However, what can’t be written off so easily is the design, craftsmanship and quality which goes into making each item unique. This is what justifies the high price point and in-turn high margins of profit as high- grade materials and labour are often involved in the production. Before Covid-19 hit the UK in March 2020, luxury fashion was still a hugely growing industry, in-fact, “In 2019, the global luxury market size was valued at €281 billion, showing a growth of 4% from 2018”, (Kering, 2019: 7). Additionally, “The revenue in the luxury fashion segment amounts to, £73,223m and accounted for 34% of the luxury goods revenue in 2019”, (Statista, 2020). Additionally, “The market is also expected to grow annually by 6.6% and its largest segment is Luxury Apparel with a market volume of £48,247m in 2020”, (Statista, 2020).

The most well-known luxury fashion brands include the likes of Chanel, Gucci, Christian Dior, Louis Vuitton, Givenchy, Hermes, Prada, Burberry, Valentino and Saint Laurent.

For many of the most affluent members of society, luxury fashion brands have long been considered as the crest of the industry, known for their haute

couture collections often showcased by an array of supermodels. These major runway shows evoke the pinnacle of luxury haute couture. Luxury fashion uses high-quality materials, made by skilled craftsman and artisan workers to create beautiful products. Many luxury garments are constructed by hand from start to finish, made from expensive and often unique materials. Most materials used to create luxury garments are plant-based fibres and animal hair, whilst oil-based materials which also originate from nature form a smaller percentage of its material sourcing. The four most used materials in luxury fashion are leather, cotton, gold and cashmere. This has been driven by wealthy clients who want something special, extravagant and unique and these elements of the luxury fashion practise are distinctive, and this is what sets this market apart from the rest.

Luxury fashion for many years has had a considerable impact to spark future fashion trends, paving the way for affordable design seen in the mass market. The ‘trickle-down effect’ is responsible for this where ideas from luxury, couture and designer catwalks filter down and are used as inspiration for ranges in high-street retailers to sell at affordable prices. The ‘trickledown effect’ was first described in a model by Veblen in 1899 as, “A style that is first offered and adopted by people at the top strata of society and gradually becomes accepted by those lower in the strata. This distribution model assumes a social hierarchy in which people seek to identify with the affluent and those at the top seek both distinction and, eventually, distance from those socially below them. Once the fashion is adopted by those below, the affluent reject the look for another.”, (Veblen, 1899: 79).

1. EXPENSIVE 2. UNIQUE 3. HIGH QUALITY 4. DISTINCTIVE

10.

C O V I D - 19 I M PA C T S .

Whilst the pandemic is on-going, it is quite clear that the luxury fashion industry is at the start of what will be a complex time, with the duration and gravity of COVID-19 still yet unknown. Although some brands will bounce back quicker than others, it will be the case of some markets recovering faster than others which will be a reflection on which countries are able to access vaccines first.

This is partly because the customers of these luxury brands may also be facing financial struggles of their own and as “The average price of all luxury apparel and footwear products were priced between 500 and 1,00 U.S. dollars in 2018.”, (Bedford, 2019). Therefore you could argue that many luxury brands may need to re-think their pricing strategies or may need to consider reducing their bricks and mortar portfolio.

online fashion discovery app with over 2000 luxury stores have experienced a “37 percent increase in searches for sustainability keywords”, (Lyst, 2020: 2). This gives support to COVID-19 allowing many brands to focus on sustainability issues and as support continually grows for slow fashion, the beginning of a shift in shopping behaviours has begun too, particularly with mobile millennials who are demanding environmental justice. They are conscious consumers, wanting to know where and how the products they are buying are being made. They value high-quality materials and craftsmanship which is why I believe luxury fashion will now be able to pave the way as a leader of sustainable fashion as COVID-19 has given them the perfect opportunity to do so and reflect on what’s really important.

However, many wealthy clients specifically shop for their chosen brands that offer the luxury garments and shopping experience that they have become familiar with. These luxury goods were and always have provided an exclusivity factor that cannot be replaced by offering products at lower prices.

To offer discounts on luxury goods goes against the whole ethos of the luxury branding idiom.

Wealthy customers who have suffered financially in the pandemic will be replaced by customers who have prospered with new money. In addition, despite the pressures within society to make things more affordable for everyone, there will always be the demand for luxury fashion that is driven by wealthier clients who want something special, extravagant and unique. The elements of the luxury practise are unique, and this is what sets these brands apart from the rest.

Whilst writing this it’s now been announced that two new workable vaccines will be rolled out in mass in the upcoming months. While the vaccines are not currently available, the effectiveness is rated at “90-94% in tackling the virus” (Gallagher, 2020).

This obviously has implications as yet unseen, however it could make most people and businesses view COVID-19 as nothing more than how we view the common flu today. As such, fashion shows will resume and may become even more extravagant in the years to come. Perhaps through luxury fashion, we can celebrate a re-birth of the industry. With the resumption of catwalk shows, we can consign what has been a terrible period to history and look forward to new beginnings and much more focus on change for the good.

“IN A SENSE COUTURE IS THE MOST SUSTAINABLE FORM OF FASHION THERE IS BECAUSE IT ISN’T DISPOSABLE AND THERE’S THE NOTION OF HERITAGE AND HEIRLOOM.”, (STERLING, 2021).

As a result of COVID-19, it is safe to say that there has and will be a fundamental shift in the fashion system because COVID-19 has led to slow fashion becoming a widespread talking point. Lyst, an

11.

T H E O RY. Luxury fashion has always had an allure of undeniable appeal. The logo, the materials and the emotion that is acquired at these high prices can be unobtainable unless you have an income to match.

Luxury fashion has always been unaffordable to the majority which is why there is an allure of exclusivity. Luxury fashion often acts as a private club and the superficial reason for buying into it is the yearning to be a part of this club as it gives people a sense of belonging and empowerment.

“Luxury brands possess a desirability that extends beyond their utilitarian functions and provide the consumer with a perceived status through ownership. Consequently, luxury brands can command premium prices.” (Moore and Birtwistle, 2005: 258). An example of this can be seen at Chanel, where “Clients can buy global exclusivity on a garment.”, (Freeman, 2018).

Maslow’s hierarchy of needs (Maslow, 1943), is a theory of human motivation. The theory can be used to explain how luxury brands have evolved over the years as luxury consumers search for selfactualization. Self-actualization or self-fulfilment portrays the desire to become the most that one can be. This supports the idea that people often buy luxury goods for the strong emotions that are attached to the purchase of expensive goods.

For some consumers, a luxury item can increase self-esteem or feeling of acceptance from others.

Maslow’s hierarchy of needs supports the theory that luxury fashion operates as a marker of status in that the fewest amount of people can require it which is why luxury fashion it found to be at the top of the pyramid.

only looking for luxurious clothing but the whole luxury experience too, “The luxury business is evolving with millennials leading the consumer trends. Brands can tap into developing consumer insights to provide newer services along with the traditional anchors of quality, elegance, and high comfort. Adapting dynamically to the market is key for a sharp growth in the evolving luxury world.”

(Prathamesh, 2020).

Millennials value the authentic and exclusive experience provided within the luxury fashion market and this is what is the critical selling point for these luxury consumers. From a marketing perspective, luxury fashion brands will often call on their heritage and highlight their history and longevity. Designed and made in England, Italy or France all carry great cachet. This creates great appeal for high-end brands such as Mulberry, Prada, Hermes as they utilise the attributes of quality, fashionability, exclusivity and desirability which in turn leads to increased profit margins and sales. This is why many luxury brands play on history and promote company milestones in their marketing campaigns as the consumer buys into the heritage kudos. In addition, fashion shows were central to luxury brand marketing as they are the main channel of communication between fashion designers and customers. Fashion shows are also crucial in positioning the brands across the market and showcasing new emerging trends.

“Luxury brands possess a desirability that extends beyond their utilitarian functions and provide the consumer with a perceived status through ownership. Consequently, luxury brands can command premium prices.” (Moore & Birtwistle, 2005).

Luxury fashion is not only about quality and style.

Today the purchase of a luxury good often provides an experience too. Personal fulfilment and highly detailed shopping experiences are also now top attributes for luxury fashion, as customers are not

12.

S T R AT E G Y.

LUXURY SOCIAL ELEVATION TIMELESSNESS SELF REWARD HEDONISM

Differentiating luxury, fashion and premium is highly important and helps us understand the luxury strategy. The luxury strategy as illustrated on the right states three main modes for managing luxury brands; the luxury business model, the fashion business model, and the premium business model. The triangle that represents the strategy behind luxury fashion helps to mitigate confusion between luxury and premium brands.

There is a limit on the price of premium brands, because they are comparative so any increase in price must be justified to make them luxury. The model suggests that to become luxury, it is not enough to increase the price of a premium product as any premium brand can pretend to be a luxury one. According to Kapferer and Bastien this is why luxury can evoke high price points as it is non-comparable and built by intangibles (heritage, history, country of origin). “If it were based solely on tangible differences such as every price gap then it would be a premium product and not a luxury.” (Kapferer and Bastien, 2012).

Luxury and fashion both play a key role in our social life and therefore in the economy. Fashion is no more a luxury than money and the best example of this is in haute couture. Haute Couture is both the pinnacle of fashion and luxury. However today haute couture is no longer relevant to present-day sociological needs so it is used instead for investment purposes and marketing purposes. Luxury and fashion represent two worlds – both economically important, but still very different. The best example of this would be Chanel and Karl Lagerfeld. To be more explicit on the differences between luxury and fashion today, and introduce the word ‘premium’ we can place luxury, fashion and premium on the three points of a triangle in which any brand with a minimal status has to be positioned.

DREAM

PRICELESS GIFT NON-COMPARABLE RARE

Luxury, Fashion, Premium Positioning Triangle.

SOCIAL IMITATION TRIBAL EPHEMERAL

SEDUCTION

FASHION

FRIVOLITY

REALISM

SERIOUSNESS

QUALITY INVESTMENT PERFORMANCE

PREMIUM

This Luxury, Fashion, Premium Positioning Triangle has been adapted from Figure 1.1 in The Luxury Strategy by Jean-Noel Kapferer and Vincent Bastien.

13.

STRENGTHS & WEAKNESSES STRENGTHS: Luxury fashion uses high-quality materials, made by skilled craftsman and artisan workers to create beautiful products. Many luxury garments are constructed by hand from start to finish, made from expensive and often unique materials making them highly desirable pieces.

Many luxury fashion brands are iconic as they have been around for many years and are known for a particular offering, style or skill. Most luxury fashion brands have strong brand heritage and history, some even have royal warrants which have added value to the market as-well as making them instantly recognizable. Luxury brands also have a global presence which makes them even more desirable as they give off the exclusivity factor. Additionally the logo, the materials and the emotion that is acquired can be unobtainable unless you have an income to match. Luxury fashion has always been unaffordable to the majority which is why there is an allure of exclusivity. Finally, luxury fashion for many years has had a considerable impact to spark future fashion trends, paving the way for affordable design seen in the mass market.

The ‘trickle-down effect’ is responsible for this where ideas from luxury, couture and designer catwalks filter down and are used as inspiration for ranges in high-street retailers to sell at affordable prices.

WEAKNESSES: Luxury fashion brands use high-quality, expensive and often unique materials sourced from across the world. Most materials used to create luxury garments are plant-based fibres and animal hair, whilst oil-based materials which also originate from nature form a smaller percentage of its material sourcing. The four most used materials in luxury fashion are leather, cotton, gold and cashmere. With sustainability now at the forefront of design, the use of fur and and cashmere are now deemed unethical. This is seriously compromising many luxury fashion brands ability to source their products as most luxury goods require digging up, growing, and processing materials throughout the value chain, and that’s all getting tougher. According to Verde Nieto, “These are not just ethereal brand risks about labour or image, but actual business continuity risks. Climate change is changing water availability and crop production around the world. That affects cotton-based products like cashmere and angora as they require a great deal of water to process as-well as gold and gems”, (Nieto, 2016).

OPPORTUNITIES & THREATS

S WO T AN ALYSIS OPPORTUNITIES: COVID-19 has given the luxury fashion industry an opportunity for change and a chance to become a leader for sustainable fashion. COVID-19 has made many luxury brands focus on sustainability issues and as support continually grows for slow fashion, the beginning of a shift in shopping behaviours has begun too, particularly with mobile millennials who are demanding environmental justice. This is why luxury fashion will now be able to pave the way as a leader of sustainable fashion as COVID-19 has given them the perfect opportunity to do so and reflect on what’s really important. Additionally as said in the ‘The State of Fashion 2021’ report, “Circularity is likely to be one of the key business trends of the next decade as consumers become more engaged with sustainability issues, circularity will be the key that unlocks the door to a more sustainable future.”, (Lee and Magnus, 2021).

THREATS: A threat to the luxury fashion sector has always been a change in customer lifestyle as continuously changing lifestyles and fashion trends is major threat for the traditional luxury fashion industry. Fashion trends like fad items have short life cycles and go against luxury brand values while changing lifestyles and opinions pose questions around sustainability. This is because today “More than three in five consumers said environmental impact is an important factor in making purchasing decisions.”, (McKinsey & Company, 2021). Further support shows that “the expectations of companies are changing generationally — Millennials have different views on how companies should act.”, (Winston, 2016). The report ‘Predictions for the Luxury Industry: Sustainability and Innovation’, cites research showing that “88% of UK and US Millennials and Generation Xers believe brands need to do more good, not just ‘less bad.’”, (Winston, 2016).

This is because Gen Z are also driving a ‘clean label ‘trend, where companies feel pressure to explain what’s in everything and where it came from. According to ‘The State of Fashion 2021’, “The luxury sector is poised for consolidation led by the biggest players, but the pandemic has shown that there is still room for smart young independent brands.”, (Sherman, 2021). This suggests that if new young independent brands take the reign for sustainability in their business model then they have the potential to outgrow larger historical luxury brands who are less sustainable. The report highlights the fact that the investment community is waking up to the value to consumer brands managing environmental and social issues well which puts pressure on luxury companies to act.

A SWOT analysis helps to understand internal and external factors that can influence the solutions, aims and objectives.

14.

“AN UNSUSTAINABLE PIECE OF CLOTHING OR JEWEL IS, IN THE END, ANYTHING BUT FLAWLESS. AS WE ALL WAKE UP TO THAT REALITY, THE LUXURY COMPANIES HAVE NO CHOICE BUT TO ACT. “ (WINSTON, 2016)

15.

3.0

CHAPTER THREE

REFLECTION By conducting market research of the luxury fashion industry I have understood the importance of discovering a problem and opportunity in the market. I have learnt that the luxury fashion industry is not as sustainable as first thought and there has been little proven action by many top luxury fashion brands. I have discovered that although fast fashion brands have previously been the primary target of conscious fashion activists due to a lack of transparency and poor ethical and environmental practises. Luxury fashion is now facing its own critics and disapproval as a result of the coronavirus pandemic. I believe that COVID-19 has made many brands focus on sustainability issues so perhaps through luxury fashion, we can celebrate a re-birth of the industry and look forward to new beginnings and much more focus on change for the good.

LUXURY CONSUMER.

16.

LUXURY CONSUMER.

A survey examining the effects of the coronavirus pandemic over the past three months on the current shopping behaviour of the British fashion shopper in luxury fashion retailers reveals that, “Those in the 25 to 34 age group have the highest rates of purchasing either online or in-store, at 22 percent”, (Sabanoglu, 2020). Of all age groups who have purchased either online or in-store at premium fashion retailers, “Those in the 65 + age group have the lowest rates of purchasing at one percent and those in the 16 to 24 age group and in the 25 to 34 age group have relatively similar purchasing rates online or in-store, differing only by two percentage points.” (Sabanoglu, 2020).

Tech-savvy and environmentally conscious- Millennials’ preferences are poised to dramatically reshape the luxury fashion industry in 2021.

As previously mentioned, one of the biggest misconceptions many luxury brands have is thinking that their target customers are majority male and roughly between the ages of 40-50 years old.

However research shows that, “In China, up to 75%

of personal luxury goods are purchased by women.

And in countries outside of China, that number surpasses 50%”, (Langer, 2021). Millennials today are found to be at the top customer group for luxury fashion. Furthermore research shows that, “Millennials contribute to more than 65 percent of all personal luxury sales in China (and more than 40 percent outside of China).”, (Langer, 2021). In other words, luxury is now young and female.

Young and highlydiscerning female customers Additionally, according to ‘The Future of Luxury: 6 Trends To Stay Ahead in 2021’ by Luxe Digital, millennials and Gen Z are driving the majority of luxury sales. “These new generations of younger (but certainly not less demanding) affluent consumers will continue to rewrite the rulebook of the once bulletproof luxury industry; with new needs, new behaviours, and digital-infused lifestyles.” (Luxe Digital, 2021). As younger consumers are predicted to become the largest segment of luxury buyers, it is a necessity for luxury brands to understand how to relate and win over these young generations.

22% SHARE OF RESPOND ENT S

As luxury fashion is often very expensive, “The average price of luxury apparel and footwear products were priced between 500 and 1,00 U.S. dollars in 2018.”, (Bedford, 2019). We would expect that the luxury consumer would be a career professional with a large disposable income, however a recent survey contradicts this.

20%

15 %

8%

3% 1% 16 - 24

25-34

35-44

45-54

55- 64

65+

AG E G RO UP

Share of consumers who have shopped at a luxury fashion retailer (either online or in-store) as of February 2020 in the United Kingdom (UK), by age group. - Statista, 2021

17.

AFFLUENT LUXURY CONSUMER SEGMENTATION Not everyone is the same, therefore not all consumers will be the same. Each individual has their own complex set of motivations and shopping behaviour. By grouping customers together based on common characteristics such as demographic, geographic, behaviours, psychology and customer journeys we can form highly beneficial marketing campaigns. This in-turn helps to identify potential profitable customers and develop customer loyalty. As said by Harriet Posner, “Customer segmentation is one of the key functions of marketing. It aims to divide a large customer base into smaller subgroups that share similar needs and characteristics.”, (Posner, 2015, pp.108). From customer segmentation we can create a ‘customer persona’ which is “a fictional profile that represents a segment of the target audience and provides a visual and contextual representation of the target audience’s demographics, psychographics and media/ technology usage.” (Stokes, 2020). A customer persona helps to focus efforts on the target market and clearly visualise the person that your brand is trying to attract. It’s been found that “By having a clear understanding of customer personas you can increase performance results.”, (Michelle, 2020).

We know that not all affluent consumers are the same, but from research shown above, finding common characteristics that defines segments in this market can help us understand and better target this high value consumer base. Therefore, “Focusing on smaller homogeneous groups that think and behave in a similar fashion allows a brand to customize its offering, making them more relevant to the consumer.”, (Agilityresearch.com, 2021). As luxury fashion today is about providing a personable and customizable experience, these four insightful segmentations on the right help to understand why and how luxury fashion is at the top of the fashion hierarchy.

LUXURY BRAND RESEARCH

CONSUMER SEGMENTATION These four ‘Affluent Luxury Consumer Segmentations’ have been produced by ‘Agility Research’(Agilityresearch.com, 2021).

THE EXCLUSIVITY SEEKER: is a key segment for many high-end brands as they have considerable disposable income and spend liberally across multiple luxury categories. These consumers spend on luxury cosmetics and fashion and are especially likely to spend on travel. For this segment exclusivity is a luxury a premium brand can deliver. They are likely to be female, 40-49 years old, a Manager, Director, or VP in a public or private company.

THE INDULGENT TRAVELLER: buys luxury predominantly at airports or in cities they travel to.

The travel indulger is also something of a socialite who is looking to elevate his social status by buying luxury products. He is likely to be a professional (e.g., doctor, lawyer, engineer), male ,and 30-49 years of age. The Travel Indulger spends money on high-end accessories such as premium/ luxury watches and jewellery.

THE VIRTUAL SHOPPER: does not have an issue with luxury converging with the online world. She both researches and makes luxury purchases online. She values luxury goods for their higher quality and uniqueness. The virtual Citizen is predominantly a female professional who is 20-29 years old. Her wardrobe is likely to displays fashion pieces from Calvin Klein, Gucci, Coach, and Chanel.

THE LUXURY BARGAIN HUNTER: sees luxury goods desirable, but only at the right price. This segment goes online to search for luxury products and prefers to buy products tax free. The Luxury Bargain Hunter is likely to be a female aged 50-59, a professional, or a mid to high level manager. While they have the least spending power out of all the segments, the Luxury Bargain Hunters spend more than others on electronic gadgets and on their vehicle.

These four ‘Affluent Luxury Consumer Segmentations’ identify four distinct affluent consumer profiles based on behaviour and psychographic attitudes in relation to purchasing luxury products from different categories.

18.

CUSTOMER PROFILE. Therefore we would expect the luxury consumer to have the below profile: Millennials & Gen Z Female Between the ages of 18 to 40 years old Living in a city, (European based) Digitally infused lifestyles They have a desire to look stylish and creative Invests in luxury fashion

-Trustworthy -Caring -Responsible

P

ica hys

Per

l

son

alit

-Creative -Urban -Environmentally Conscious

y

CUSTOMER PROFILE

Culture

• • • • • • •

-Female -Youthful -Stylish -Fashionable

Relationship

There is a growing amount of research that continues to suggest that not only are Generation Z the most influential consumers, but also the most conscious. These are the people demanding serious changes from the industry.

-Global -Diverse -Inclusive

Demographic: Women between the ages of 18-40 and are people who have a middle upper income to a high income.

Geographic: Consumers who live in cities globally and internationally, but generally speaking in cities within the UK and Europe.

The customer profile is that they will be trendy and fashionable. Their common attributes is that they have a high end exclusive style. They are into luxury fashion, art and culture. They will probably see themselves as a style conscious, creative, innovative and entrepreneurial. Their lifestyle will probably include trips to art galleries and museums, socialising with friends, travelling and involving themselves with-in the fashion industry in some way or another. They are best interested in fashion and culture expressing their individuality and creativity through clothing.

-Creative -Authentic -Inclusive -Unique

Re f

lec

tio

n

Se

ma lf I

ge

-Authentic -Confident -Classic -Unique

19.

SURVEY ONE. For my initial primary research, I conducted an anonymous survey using the online tool; Google Forms. I decided to use Google Forms as it is an effective and easy way to create highly professional looking surveys. In order to ensure the most accurate and rounded results, I made sure to distribute the survey to a wide audience on both LinkedIn and Instagram. This was to ensure I could cover both a male and female perspective with a large age range and diverse background. There were 28 respondents in total between the ages of 18 to 56.

As I expected not everyone responded but it was important to get a range of answers from one end of the spectrum. These were candidates who may not necessarily be able to afford luxury fashion to the other being, working professionals with a large disposable income.

From my survey I was able to establish that nearly all of the participants reside in the United Kingdom with three residing in the United States and one residing in Australia. This being said, the largest age group represented was the 18 - 24 category, making up nearly 65% of the participants. This is useful as from initial research I believed the luxury consumer to be Generation Y (25-40) but from my results I have discovered that Gen Y only make up a small percentage of the general consensus. I have discovered that actually Mobile Millennials, Gen Z (18-24) are the largest consumer of luxury fashion, (58%). This is important to note as my project will now focus on targeting both groups. Additionally, as previously researched, there is an existing theory of luxury fashion brands not engaging enough with this market, therefore it is a necessity for luxury brands to understand how to relate to and win over

these young generations. Furthermore, the overall consensus is that the majority of respondents do invest in luxury fashion brands and save up for key pieces (65%), the largest group represented was found to be between the ages of 23-38. This age group (Millennials) is the most relevant in this project, where the outputs and concept should be targeted.

“To engage with their modern audiences, luxury brands will thus need to refocus on their inner essence to craft authentic meaning that is culturally relevant, soulful and sensitive to what’s truly important for the here and now. Yet, future-fit.” (Luxe Digital, 2021)

20.

PEN PORTRAIT

BELLA, 24

PHILIPPA, 46

-Living in London -Renting an apartment in Clapham -Working as a freelance writer for a street-wear magazine -Independent character -Creative -Environmentally conscious -Repairs, Resells and Recycles clothes -Keeps up to date with new trendsfashion savvy -Interested in new designers -An important factor to her purchase decisions are their environmental impacts -Buys luxury items second-hand on apps like Depop & Vestiare Collective -Goes out most weekends to find new ‘Instagrammable’ spots around London -Has a degree in Fashion Buying from UAL -Goes to the gym 3 x a week -Best interested in fashion.

-Living in London -Owns a town-house in Notting Hill -Has one son who has just started primary education -Works in Corporate Communications focusing on ESG campaigns for financial firms -Her friends would say she lives a luxurious lifestyle as she travels frequently for work and leisure -Invests in key items of clothing -Shops mainly from high-end luxury and premium brands -Her favourite brands are Louis Vuitton, Burberry and Fendi -Enjoys physically shopping in stores with a personal stylist -In her spare time she enjoys visiting museums and art galleries with her son -Has interests in interior design and styling 21.

4.0

CHAPTER FOUR

REFLECTION By conducting market research and using methodology of both primary and secondary research, I have discovered that the luxury consumer is not who I first assumed them to be. Initially I thought the luxury consumer would primarily be GEN Y- women between the ages of 25-40 years old. I assumed this as to afford luxury fashion you must have a middle upper income to a high income. However, after in-depth research I have learnt that this was not the case. In-fact, mobile millennials today (GEN Z) are found to be at the top customer group for luxury fashion. Furthermore research shows that, “Mobile millennials contribute to more than 65 percent of all personal luxury sales in China (and more than 40 percent outside of China).”, (Langer, 2021). In other words, luxury is now young and female. I also discovered that, “These new generations of younger (but certainly not less demanding) affluent consumers will continue to rewrite the rulebook of the once bulletproof luxury industry; with new needs, new behaviours, and digitalinfused lifestyles.” (Luxe Digital, 2021). This supports my belief that COVID-19 has made many luxury brands focus on sustainability issues and as support continually grows for slow fashion, the beginning of a shift in shopping behaviours has begun too particularly with mobile millennials who are demanding environmental justice. Mobile millennials as consumers or prospective employees are beginning to set the bar high and demand more transparency and responsibility from fashion corporations. They are conscious consumers, wanting to know where and how the products they are buying are being made. They value high-quality materials and craftsmanship which is why I believe luxury fashion will now be able to pave the way as a leader of sustainable fashion as COVID-19 has given them the perfect opportunity to do so and reflect on what’s really important.

ECOFASHION.

22.

SUSTAINABLE FASHION DEFINITION The very basic aim of fashion sustainability is to ensure that clothing is manufactured in such a way that the product’s life cycle minimises any undesirable environmental effects. Another term for sustainable fashion is ‘eco-fashion’ not to be confused with ethical fashion. Although it roughly compromises of the same processes, ethical fashion focuses more on issues such as working conditions, exploitation, fair trade and animal welfare.

Both sustainable and ethical fashion come in hand in hand because without one the other won’t prove successful. This is because sustainable and ethical fashion is an approach towards sourcing, manufacturing and designing clothes which maximizes the benefits to the fashion industry and society at large, while at the same time minimizing its impact on the environment. The two concepts overlap in ideology, but they each have slightly different concerns, both equally critical to the future of fashion.

THEORY

Sustainable fashion is defined as, “A movement and process of fostering change to fashion products and the fashion system towards greater ecological integrity and social justice.

Sustainable fashion also concerns more than just addressing fashion textiles or products. It comprises addressing the whole system of fashion. This means dealing with interdependent social, cultural, ecological, and financial systems.”, (Fletcher, 2008: 4).

SUSTAINABILITY: THE SOCIAL CONTRACT Sustainability is a primary issue of the twenty-first century and is often paired with corporate social responsibility. Since the collapse of the Rana Plaza garment factory in Bangladesh in 2013 which sadly killed over a thousand workers, the fashion industry’s interest in sustainable and ethical fashion has grown tremendously. Conditions have improves in Bangladesh since the Rana Plaza collapse but not nearly enough. Factory working conditions in particular still remain an issue and “Sustainability is about much more than our relationship with the environment; it’s about our relationship with ourselves, our communities, and our institutions.”, (Seidman, 2007).

Sustainable theory involves complex and changing environmental dynamics that affect human livelihoods and well-being, with intersecting ecological, economic, and socio-political dimensions, both globally and locally. Some essential principles of a ‘fast fashion’, ‘sustainability’, and the ‘ethical appeal’ of luxury brands sustainable policy for companies are, “Respect for people (at all levels of the organization), the community, and its supply chain; respect for the planet, recognizing that resources are finite; and generating profits that arise from adhering to these principles.”, (Langenwater, 2009).

As the fashion and culture magazine ‘AnOther’ declared in December 2019, “Sustainability is no longer a fringe issue within fashion but the most defining challenge – and opportunity – of our time.”, (AnOther, 2019).

Sustainable fashion can now be seen as a market in the fashion industry. As said by Harriet Foster, “Ecofashion, also know as ethical fashion or sustainable fashion is another growing sector of the fashion industry. An increasing number of fashion companies endeavour to ensure their collections are ethically sources or at-least some elements of their product offer are produced sustainably.” (Posner, 2017:19).

23.

SUSTAINABILITY TIMELINE. In historical times, sustainability and sustainable fashion can still be seen as a relatively new concept. It was first mentioned as a concept in 1987 but before then, the term ‘sustainable’ was first used by Thomas Malthus in 1798 in his essay published the ‘Theory of Population’.

1798- Thomas Malthus published ‘Theory of Population’. The theory stated that the population tends to grow quicker than resources which is where he first used the word ‘sustainable’ to describe the planet being unable to regenerate at the same pace as population growth.

1969- This is the year where the ‘Environmental Protection Agency’ was formed in the United States whose guidelines have had a huge impact on developing theories and practice in global environmental policies. The EPA defined sustainable development as, “Economic development that may have benefits for current and future generations without harming the planet’s resources or biological organisms.”, (EPA, 1969).

1987- Sustainability first appeared as a concept in the famous ‘Brundtland Report’ produced by several countries for the UN. In the ‘Brundtland Report’, sustainable development was defined as meeting “The needs of the present without compromising the ability of future generations to meet their own needs.”, (The Brundtland Report, 1987). This was a very important change in terms of sustainability as it framed it in the economic and social context of human development. For the first time we understood that the world is not as limitless as first though. From this point on the urgency and importance of sustainability picked up.

2015- In 2015, ‘The 2030 Agenda for Sustainable Development’ adopted by all United Nations Member States was formed. The aim from these goals is, “To provide a shared blueprint for peace and prosperity for people and the planet, now and

into the future.” (UN, 2021). Additionally the ‘17 Sustainable Development Goals’ (SDGs) are an urgent call for action by all countries - developed and developing - in a global partnership. As said on their website, “They recognize that ending poverty and other deprivations must go hand-in-hand with strategies that improve health and education, reduce inequality, and spur economic growth – all while tackling climate change and working to preserve our oceans and forests.”, (UN, 2021).

The 17 SDGs are; 1. No Poverty 2. No Hunger 3. Good Health & Well-being 4. Quality Education 5. Gender Equality 6. Clean Water and Sanitation 7. Affordable and Clean Energy 8. Decent Work and Economic Growth 9. Industry, Innovation and Infrastructure 10. Reduced Inequalities 11. Sustainable Cities and Communities 12. Responsible Consumption and Production 13. Climate Action 14. Life Below Water 15. Life on Land 16. Peace, Justice and Strong Institutions 17. Partnerships for the Goals 2016- In 2016, ‘The Paris Agreement’ was formed which is an agreement by the UN framework to recognise the need for an effective and progressive response to the urgent threat of climate change on the basis of the best available scientific knowledge.

So far it has been signed by 175 leading economic countries in the world including the UK, USA, France, Germany, Spain, Switzerland, Canada, Brazil, Australia and China.

2021- The 46th G7 summit of the leaders of the Group of Seven was originally scheduled for June 2020, at Camp David, United States. However, the

1798

summit was cancelled due to the COVID-19 pandemic and is due to take place this summer at Carbis Bay, St Ives, Cornwall. The G7 is an organisation made up of the world’s seven largest so-called advanced economies: Canada, France, Germany, Italy, Japan, the United Kingdom and the United States. The G7 Summit aims to discuss issues such as freedom and human rights, democracy and the rule of law, and prosperity with sustainable development as its key principles. Previous G7 summits have focused on energy policy, climate change, HIV/Aids and global security. This years summit is set to focus on the issues and challenges currently being faced from COVID-19 and Climate Change.

1969

According to the BBC, the G7 Summit is highly successful with past successes including “Helping to launch a global fund to fight Aids, TB and malaria, which it says has saved 27 million lives since 2002.”, (BBC, 2021). The G7 summit also claims to have been “A driving force behind the implementation of the 2016 Paris climate agreement”, (BBC, 2021).

19 87

2021 appears to be a year of huge change. Not only has the Coronavirus pandemic no doubt been the most severe natural disaster to have hit humanity in over a century sustainability is now more than ever a key focus in every industry. Today ‘The Division for Sustainable Development Goals’ (DSDG) provides support and capacity-building for the SDGs and their related issues including; water, energy, climate, oceans, urbanization, transport, science and technology. The DSDG also plays a key role in the evaluation of UN systemwide implementation of the 2030 Agenda and on advocacy and outreach activities relating to the SDGs. As said by (DSDG), “In order to make the 2030 Agenda a reality, broad ownership of the SDGs must translate into a strong commitment by all stakeholders to implement the global goals.

DSDG aims to help facilitate this engagement.”, (UN, 2021).

2015/ 16

2021 24.

CLIMATE IMPACT OF CLOTHES. 11 % 4% 3%

17 % 42%

23%

“IN 2019, WE HAVE SEEN A RADICAL SHIFT IN ATTENTION TOWARDS SUSTAINABILITY AT LARGE, AND THE CLIMATE CRISIS IN PARTICULAR. THE DIAGNOSIS IS NOW CLEAR FOR EVERYONE: WE NEED TO ACCELERATE THE PACE OF CHANGE AND WORK TOGETHER”MARIE-CLAIRE DAVEU CHIEF SUSTAINABILITY OFFICER, KERING GROUP

Clothing has an environmental impact at every stage of production. “The largest climate impact from clothing comes from fabric production which stands at 42%. This is closely followed by consumer transportation (23%), fibre production (17%) and garment production (11%). Remarkably the distribution and retail of clothing stands at 4% and laundry is responsible for just 3% of all climate impacts from clothing.”, (‌C arlile, 2019).

25.

T H E 17 S D G ’ s .

1. NO POVERTY “End Poverty In all forms everywhere”, (UN, 2021).

Unfortunately COVID-19 has meant that we have seen the first increase in global poverty in decades.

2. NO HUNGER “End hunger, achieve food security and improved nutrition and promote sustainable agriculture.”, (UN, 2021). Food insecurity was already on the rise but unfortunately the pandemic is an additional threat to food systems across the world.

3. GOOD HEALTH & WELL-BEING “Ensure healthy lives and promote well-being for all at all ages.”, (UN, 2021). Before COVID-19 there was large progress in health areas around the world but again as a result of the pandemic there has been a huge healthcare disruptions. According to the UN the COVID-19 pandemic has “reversed decades of improvements”, (UN, 2021).

4.QUALITY EDUCATION “Ensure inclusive and equitable quality education and promote lifelong learning opportunities for all.”, (UN, 2021). Education for all has always been a hard goal to achieve and according to the UN, “Over 200 Million children will still be out of school in 2030”, (UN, 2021). This figure does not account for the latest school closures either as a result of the pandemic.

5. GENDER EQUALITY Achieve gender equality and empower all women and girls”, (UN, 2021). According to the UN, “Full gender equality will improve but at a slow pace.”, (UN, 2021).

Unfortunately COVID-19 has placed further strain on this SDG becoming a priority. Despite improvement

the goal remains unreached but we are seeing an increasing number of women in leadership roles.

6. CLEAN WATER & SANITATION “Ensure availability and sustainable management of water and sanitation for all.”, (UN, 2021). Despite progress, billions of people across the world still lack access to clean water and sanitation.

7. AFFORDABLE & CLEAN ENERGY “Ensure access to affordable, reliable, sustainable and modern energy for all”, (UN, 2021). The use of renewable energy continues to increase but stepped up efforts are still needed.

8. DECENT WORK AND ECONOMIC GROWTH “Promote sustained, inclusive and sustainable economic growth, full and productive employment and decent work for all.”, (UN, 2021). The largest impacts of COVID-19 have been seen in the economic sector and according to the UN, “COVID-19 could cause the equivalent of 400 million job losses in the second quarter of 2020.”, (UN, 2021).

9. INDUSTRY, INNOVATION AND INFRASTRUCTURE “Build resilient infrastructure, promote inclusive and sustainable industrialization and foster innovation.”, (UN, 2021). Luckily investment is growing for this industry but manufacturing growth was declining due to tariffs and trade tensions.

10. REDUCED INEQUALITIES “Reduce inequality within and among countries”, (UN, 2021).

26.

T H E 17 S D G ’ s .

11.

SUSTAINABLE COMMUNITIES

CITIES

&

Make cities and human settlements inclusive, safe, resilient and sustainable.”, (UN, 2021). According to the UN, “Air Pollution caused 4.2 Million premature deaths in 2016.”, (UN, 2021). This highlights the importance.

12. RESPONSIBLE CONSUMPTION & PRODUCTION “Ensure sustainable consumption and production patterns”, (UN, 2021).The world continues to use natural resources unsustainably but thanks to the pandemic we now have an opportunity to develop recovery plans to build a more sustainable future.

13. CLIMATE ACTION “Take urgent action to combat climate change and its impacts*”, (UN, 2021). According to the UN, “Global community shies away from commitments required to reverse the climate crisis as 2019 was the second warmest year on record.”, (UN, 2021). In contrast to this, “COVID-19 may result in a 6% drop in greenhouse gas emissions for 2020”, (UN, 2021).

15. LIFE ON LAND “Protect, restore and promote sustainable use of terrestrial ecosystems, sustainably manage forests, combat desertification, and halt and reverse land degradation and halt biodiversity loss”, (UN, 2021).

16. PEACE, JUSTICE AND STRONG INSTITUTIONS “Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels”, (UN, 2021). Unfortunately COVID-19 implications further threaten global peace and security.

17. PARTNERSHIPS FOR THE GOALS “Strengthen the means of implementation and revitalize the global partnership for sustainable development”, (UN, 2021).

14. LIFE BELOW WATER “Conserve and sustainably use the oceans, seas and marine resources for sustainable development”, (UN, 2021). According to the UN, “Ocean acidification continues to threaten marine environments and ecosystem services.”, (UN, 2021). The drastic reduction in human activity brought about by the COVID-19 has given a chance for the oceans to recuperate.

27.

C I R C U L A R I T Y.

THE ELLEN MACARTHUR FOUNDATION The Ellen MacArthur Foundation develops and promotes the idea of a circular economy. As said on their website, “We work with, and inspire, business, academia, policymakers, and institutions to mobilise systems solutions at scale, globally.”, (The Ellen MacArthur Foundation, 2021). This is true at the foundation is internationally recognised.

TH

The Ellen MacArthur Foundation’s ‘Make Fashion Circular’ Initiative

E

The aim of this initiative is, “To lead the change towards a circular and renewable fashion industry while being a fair and equal company.”, (The Ellen MacArthur Foundation, 2021). Overall the initiative works with fashion brands to create a textiles economy fit for the 21st century.

The H&M Group works closely with this initiative as a strategic partner. The brand explores further opportunities to apply the circular economy principles across the organisation and its supply chain.

The H&M Group is working closely with the Foundation across the following focus areas; • Exploring solutions to create a closed loop for textiles, where unwanted clothes can be recycled into new ones.

• Setting sustainability targets for a circular fashion industry within planetary boundaries using a science-based approach.

• Applying circular economy principles to its sustainability strategies, both for commercial and non-commercial goods, such as packaging.

MY

MAKE-USE-REUSEREMAKE-RECYCLE

Today, The Ellen MacArthur foundation works with brands such as Nestle, Unilever, Ikea, Google, The H&M Group, Philips and SCJohnson. In particular their collaborative work at The H&M Group has been profound in joining The Ellen MacArthur Foundation’s ‘Make Fashion Circular’ Initiative.

R I C CU

R ECO

The circular economy was first formed by Ellen MacArthur in 2010. As said by MacArthur, “A circular economy is based on the principles of designing out waste and pollution, keeping products and materials in use, and regenerating natural systems.”, (MacArthur, 2021). The business model has a regenerative approach and aims to keep products, equipment and infrastructure in use for longer to improve the productivity of these resources whilst producing zero waste. As said in the book, ‘Designing for The Circular Economy’, “Circular Economy is increasingly being used around the world to describe the transition away from existing linear systems that take-makewaste.”, (Charter, 2019: 28).

Vision: “To create a new economic system that delivers better outcomes for people and the environment.” (The Ellen MacArthur Foundation, 2021).

LA

THE CIRCULAR ECONOMY

Mission Statement: “To accelerate the transition to a circular economy.”, (The Ellen MacArthur Foundation, 2021).

NO

“Five mega trends will affect the world as we move towards 2030: urbanisations, shifts in global economic power, demographic change, technological breakthroughs, climate change & resource scarcity.

Growth in the global population will mean growing pressures on energy and resources. As a result, preventing and designing out waste will become a key focus of a new resource-efficient, low carbon paradigm.” (Charter, 2019: 28). From this many leading companies are recognising the need for a circular business model.

28.

T R A N S PA R E N C Y. Transparency and traceability are of huge importance to the luxury fashion industry. As we have seen from prior research the luxury consumer is demanding environmental justice which at first call comes from brands being transparent within their supply chain. Openness, communication and accountability are now top attributes for any sustainable company as with-out it consumer trust is gone.

As said in The State of Fashion 2020 report by McKinsey & Company and The Business of Fashion, “Fashion companies must come to terms with the fact that a more distrusting consumer expects full transparency across the value chain. Given the need to regain that trust, fashion players cannot afford not to examine long-standing practices across their businesses.”, (Amed, 2020). Consumers today value transparency in a products design and quality which is why some brands have faced scruntinity for not being open and honest about where they source their materials from and who made their products.

The report also states that, “Millennials are at the vanguard, with 52 percent agreeing that they always research for background information before buying, compared with 45 percent of Gen Z consumers and 41 percent of baby boomers.”, (Amed et al, 2020). This highlights the importance of transparency being able to provide trust as without this trust customers will dwindle away.

According to Stephanie Phair, Farfetch’s chief strategy officer, “Social media has enabled a certain transparency as you can no longer control your luxury messaging within borders.”, (Phair, 2019). This supports the idea that luxury fashion players can build brand trust through social media by using content that shows evidence of transparency.

According to The State of Fashion 2020, “The critical dimensions in which fashion players will be most scrutinized include creative integrity, sustainable

supply chains, value for money, treatment of workers, data protection, and authenticity.”, (Amed et al, 2020).

Luxury fashion brands should be focusing more on sustainable supply chains as transparency with consumers is paramount. This is because consumers want to support brands that are doing good for people and the planet. In ‘The State of Fashion 2019: A year of awakening’, “66 percent of consumers are willing to pay more for sustainable goods. Some 42 percent of millennials say they want to know what goes into products and how they are made before they buy, compared with 37 percent of Gen Z.” (Amed, 2019). This evidence highlights the importance for the need of radical transparency in manufacturing, fair labour, sustainable resourcing and the environment.

In conclusion, luxury brands need to become more transparent in the hope of regaining trust back from many disillusioned customers particularly their younger consumers. This should include information about their product origins and the environmental impact of manufacturing their goods.

The Sustainable Fashion Forum, 2020.

29.

GREENWASHING. By definition, ‘green-washing’ means “Disinformation disseminated by an organization so as to present an environmentally responsible public image”, (OxfordLanguage, 2021). Although we associate ‘green’ as being the colour and trend of sustainability, green-washing is a fairly bad aspect of the process and actually suggests a company or brand being less sustainable and eco-friendly.

Green-washing a compound word modelled on ‘whitewash’, also called ‘green sheen’, can also be termed as a form of marketing spin in which, “Green PR, green values and green marketing are deceptively used to persuade the public that an organization’s products, aims and policies are environmentally friendly.”, (Wikipedia, 2021). While green-washing is not a new term it is increasingly on the rise as brands are playing upon the concept for their PR campaigns to keep up with consumer demand for sustainable fashion.

“The rise of green-washing, paired with ineffective regulation, contributes to consumer scepticism of all green claims, and diminishes the power of the consumer in driving companies toward greener solutions for manufacturing processes and business operations.”, (Wikipedia, 2021).

The Six Sins of Green-washing 1. ‘The Sin of Vagueness’, portrays the terms like green, environmentally-friendly or sustainable that don’t really mean anything. While they imply environmental benefits, there is no strict standard for what they require. So when companies advertise a ‘green’ product but don’t clarify what that means, this is a form of green-washing. Fast fashion companies, such as H&M and Zara, have been accused of using vague claims in marketing environmentally-conscious fashion lines.

2. ‘The Sin of Hidden Trade-Off’ refers to when products advertised as environmentally actually have a hidden environmental cost that isn’t

shared with the customer. According to a recent ‘Terrachoice Report’, “The Sin of the hidden trade-off was by far the most common, with 57% of the examples of green-washing following this strategy.”, (Harris, 2020).

3. ‘The Sin of No Proof’; is environmental claims that have not been backed up by certification or science. Businesses can’t claim their products are ‘emissions-free’ or ‘all-natural’ without physical evidence/proof. Many companies are reluctant to publish their manufacturing process when making definitive environmental claims. For example some shampoos claim to be ‘certified organic’ with no verifiable certification.

4. ‘The Sin of Irrelevance’, is aimed at products that advertise an obvious environmental feature and while this may appear to be OK it creates the impression that the product is more environmentally friendly than the competition when in reality they are the same.

5. ‘The Sin of Fibbing’ can also be termed as straight up lying, where-by brands falsely claim their products to be certified by a recognized environmental group. This form of green-washing is rare as companies found to be making false environmental claims can face large lawsuits and fines.

6. The ‘Sin of Lesser of Two Evils’ refers to companies where their product range consists of products that are notoriously bad on the environment but they will create a new product and market this as being their sustainable offering to hide their main product offering that have large environmental footprint. Additionally some companies will develop a product that is slightly more sustainable, and market it as ‘green’ and ‘eco-friendly’, ignoring the fact that their base product is harmful to the planet.

The Six Sins of ‘Green-washing’- The Business of Fashion, 2020.

30.

SUSTAINABILITY INDEX. Sustainability is now the talking point of the fashion industry. Consumers today want fashion that has minimal social and environmental impacts. A “Third of US Millennial and Gen-Z consumers say they’ll spend more on products that are less harmful to the environment.”, (Kent, 2021). However fashion is falling short of ambitions to operate in a more environmentally and socially acceptable manner.

This is why the Business of Fashion has created the ‘Sustainability Index’.

The Sustainability Index, tracks whether the fashion industry is really making the progress required to avoid catastrophic climate change. The index “aims to create a transparent and trusted benchmark to track clearly defined, measurable progress towards achieving sustainability goals in the fashion industry.”.

The Index is intended to “reflect a framework for the transformational change required to align fashion’s business practices with global climate and sustainable development goals over the next decade and beyond.”, (BoF, 2021).

As the index is intended to push boundaries on how the fashion industry operates, the framework meets ‘The 2030 Environmental and Social Development Goals’ and was established in consultation with a sustainability council of external experts. Together they benchmarked a group of the industry’s largest players, using information that was publicly available before the end of 2020.

‘The Sustainability Index’ is a clear, concise and effective way of measuring a companies sustainability targets. The Business of Fashion’s sustainability index examined fifteen of the largest fashion companies, five from the luxury sector, five from the high street and five from sportswear. They were measured through six categories, transparency, emissions, water & chemical, materials, workers rights and waste. The transparency category traced supply chains, emissions and polluting greenhouse gas emissions. The water & chemicals category reduced water use and eliminated harmful pollution. The materials measured the shift

to regenerative and circular materials. Workers rights measured the companies protection for equitable working conditions and human rights. The waste category measured the companies waste reductions and circular business models.

The findings from ‘The Sustainability Index’ found that all fifteen companies were lacking in their sustainability performance. According to The Business of Fashion, “The average overall score of the companies assessed within the Index was just 36 out of a possible 100.”, (BoF, 2021). The findings show signs of positive engagement, but the fashion industry’s proposal on sustainability is often far ahead of companies’ actions.

This proves that fashion companies actions lag on their sustainability ambitions and targets, revealing clear areas where urgent action is needed, as well as exciting opportunities for meaningful transformation into a more sustainable industry and circular business models.

According to The Business of Fashion, “Measuring performance was complicated by patchy and inconsistent reporting that reflects a wider accountability problem.”, (BoF, 2021). This supports earlier research portraying the need for transparency and accountability and is further evidence that luxury fashion brands should be focusing more on sustainable supply chains as transparency with consumers is paramount. Additionally as the assessment relied upon public disclosures the process to evaluate the companies proved to be challenging and “Revealed pockets of innovation and change, but was hampered by patchy reporting, poor data and a wormhole of complexity.”, (BoF, 2021).

31.

SUSTAINABILITY INDEX. ‘The Sustainability Index for 2020’ also showed that companies demonstrated most progress in analysing and understanding their impact and in setting targets to address greenhouse gas emissions. Waste and workers’ rights were the weakest categories. The brands that emerged as most sustainable were, Kering and Nike who are cast as frontrunners amongst their peers. Richemont and Under Armour lagged and were the weakness to implement actions in the fight for sustainability.

“Instead of more unverified claims or vague commitments to sustainability in the fashion industry, what is urgently needed now is real action.” (BoF, 2021).

Surprisingly, LVMH also lagged on performance across all six categories despite implementing the circular economy into their business model. As said on their plc, “LVMH has made sustainable development a strategic priority since its founding.”. (LVMH, 2021).

Although this statement may be true it suggests that although top luxury retailers all have large amounts of information about their corporate social responsibility and sustainability strategies, the volume of information can mask their limited action. Additionally top luxury retailers often rely on ‘third-party certifications’ to prove to their consumers that their clothing has been manufactured in an environmentally friendly and socially responsible way. This can add to the issue of finding the appropriate information to be able to audit brands in a fair manner which is why ‘The Sustainability Index’ may be bias as they solely rely on public disclosures from brands, which does not necessarily mean they are not taking action.

If anything ‘The Business of Fashion’s Sustainability Index’ allows for more criticism to be placed on fashion retailers to take action and accountability.

Afterall, companies need to move past target-setting to demonstrate tangible progress and with less than 10 years left to deliver on global climate and sustainable development goals, time is running out and simply stating an ambition to change is no longer good enough.

As said by Sarah Kent for The Business of Fashion,

32.

5.0

CHAPTER FIVE

REFLECTION Upon reflection, fashion won’t be able to survive without sustainability as a key component to their business model. As said by the Global Fashion Agenda, “Sustainability must be fashion’s first priority”, (GFA, 2020). Sustainability is now the talking point of the luxury fashion industry. Consumers today want fashion that has minimal social and environmental impacts and unfortunately fashion is falling short of ambitions to operate in a more environmentally and socially acceptable manner. Therefore, I wanted to understand how a brand can be sustainable by looking at various sustainable business models such as the ‘circular economy’ and ‘transparency’ in corporate social responsibility.

Unfortunately from my research I have discovered that few luxury fashion brands have implemented these sustainable models in their businesses. I have also discovered that the ‘UN’s Sustainable Development Goals’ have been impacted significantly as a result of COVID-19. This in-turn has reversed many of these goals by a number of years but has provided new opportunities in contrast. One of these opportunities is for luxury brands to become more transparent in the hope of regaining trust back from many disillusioned customers particularly their younger consumers. Additionally, from looking at The Business of Fashion’s recent development of ‘The Sustainability Index’, Kering and PVH are companies to note as leading the way for sustainability in luxury fashion with LVMH and The Richemont Group being the slowest major players to react.

BRAND AN ALYSIS.

33.

KERING. Kering is one of the most renowned luxury fashion groups. They are also a top player for sustainability in luxury design. Kering manages the development of a series of renowned houses in fashion, leather goods, jewellery and watches. They own Gucci, Saint Laurent, Bottega Veneta, Balenciaga, Alexander McQueen, Brioni, Boucheron, Pomellato, Dodo, Qeelin, Ulysse Nardin, Girard-Perregaux, as well as Kering Eyewear to name a few!

As a world-class luxury group, Kering’s approach is unique to the luxury market. As said on their website, “Luxury and sustainability are one and the same. Reflecting this deeply held conviction of François-Henri Pinault, sustainability has always been at the heart of Kering’s strategy. Far more than an ethical necessity, it is a driver of innovation and value creation for the Group, its Houses, and its stakeholders.”, (Kering, 2021). Their approach to sustainability as the core design principle to their luxury goods makes them a top player for providing sustainable luxury of the future.

Kering’s strategy is based upon three pillars; “Care, Collaborate, Create.”, (Kering, 2021). These three pillars help to develop more sustainable and responsible luxury. Additionally, these three pillars also shape ‘Kering’s 2025 Sustainability Strategy’ which is, “In a world where reducing resource consumption and respecting people are absolute necessities. Three pillars that embody and drive our ambition: to Craft Tomorrow’s Luxury”, (Kering, 2021).

Kering were the first company to create a tool to measure the environmental impacts of a brand or company. They named this tool the, ‘EP&L: Environmental Profit & Loss’, and is a key enabler of a sustainable business model, and one that Kering wishes to share with other companies in the Luxury industry and other sectors- hence why Stella McCartney also uses the tool in her business model.

In 2020, Kering reported their environmental footprint (EP&L) down -29%.

Despite COVID-19 the company shares currently stand at €604,40 and according to Statista, “Today the revenue of the Kering Group worldwide stands at 15.88bn EUR”, additionally they have “Annual revenue growth of 13.3%”, (Statista, 2021).

Surprisingly Kering’s leading brand in terms of revenue is Gucci where, ‘The share of Kering’s revenue from the Gucci brand stands at 63%”, (Statista, 2021). Although COVID-19 has proved hard on luxury retail, “Kering’s global revenue still amounted to about 13.1 billion euros in 2020”, (Sabanoglu, 2021).

As said in the ‘Kering- 2020 Financial Document’, “Amid a particularly challenging environment in 2020, marked by the numerous impacts of an unprecedented health and economic crisis, Kering demonstrated strong resilience. The creativity of each of our Houses and the agility of our organization has allowed us to weather the storm with confidence and determination.”, (Kering, 2020). This rings true as throughout the pandemic Kering continued providing excellence service and support to their customers by strengthening their online platforms.

Additionally thanks to their financial backing they have continued to invest in their ‘houses’ to make them more exclusive and reinforce their positions in the market. Kering also noted that, “The crisis has highlighted the strength and relevance of our strategy and our value creation model. It has not altered our fundamentals or those of our markets by any means, but has instead accelerated certain existing trends and transformations. As we emerge strengthened from the crisis, we are confident in our potential to bounce back and in our ability to achieve strong performances over the long-term.”, (Kering, 2020).

KERING- “CRAFTING TOMORROWS LUXURY”.

34.

STRENGTHS & WEAKNESSES STRENGTHS: -Internationally recognised luxury group.

-Kering has strong brand equity and brand awareness as the group has some of the most recognised brands in the luxury fashion industry, e.g GUCCI, Saint Laurent, Bottega Veneta, Balenciaga.

-The brand has been around since 1963- so it has a very loyal following as the brand denotes trust.

-Varied product segmentations with an ensemble of exceptional fashion houses that specialise in an array of luxury goods.

-Wide geographical speed.

-Well-developed distribution channels.

-Innovative environmental strategies such as the ‘EP&L’ tool.

-Pioneer for a sustainable luxury fashion movement.

-Sustainability has always been at the heart of Kering’s strategy.

-As climate change is becoming a more pressing issue, many companies today are pressured to embrace a more sustainable approach to their business but as this is already at the core of Kering’s strategy, business model and mission the company is already positioned well.

-Kering has strong connections with her target market- ‘the affluent luxury consumer’.

-Kering has large financial assets and backing which can help the company to invest in new and diverse projects that can further diversify the revenue stream.

-Kering have high margins which means they can charge a premium in comparison to its competitors.

WEAKNESSES: -The price architecture is found to be in the premium luxury market so is not easily affordable to all incomes.

-As their price architecture is high there is a low return on investment as often organic sustainable sourced materials are more expensive then non-organic materials.

OPPORTUNITIES & THREATS

S WO T AN ALYSIS OPPORTUNITIES: -As Kering turn over a large profit each year, they have the opportunity to implement even more sustainable aspects to their business which could in turn make them the leader for sustainable fashion in the luxury industry.

-The luxury market size is growing and evolving as consumers of luxury goods become much younger. This is because there has been a shift in consumer behaviour towards fast-fashion brands with many GEN Z’s now saving up to afford luxury products that are more sustainable.

Additionally the preferences and tastes of their consumers have changed which provides Kering with the opportunity to diversify their product range and online presence to maintain loyal customers and cater to new ones.

-Enhancing e-commerce and online presence.

-Expansion in the Chinese market.

THREATS: -COVID-19 has place luxury brands at the target of environmentalists and although Kering’s strategy and mission is for sustainable luxury, some people could still think this is not enough especially with their annual revenue being in the billions. Kering should keep a close eye on the fast changing government regulations under the growing pressure from protest groups such as ‘Extinction Rebellion’ and non government organisations, especially regarding environmental and labour safety aspects.

-Increasing costs of environmental regulations means that Kering will have to deal with extra unaccounted costs as many governments where their materials are sourced from are trying to levy higher environmental taxes to promote cleaner options. For Kering this may result into higher logistics costs and higher packaging costs.

-The growing inequality between the rich and poor is one of the biggest threats for Kering as their price architecture is unaffordable to the majority. As a result of Brexit, many luxury brands have seen first hand the impact of a lower demand of its products from middle class customers .

Additionally due to COVID-19, many people will now have a decreased disposable income meaning less people will now be able to afford to buy into the brand than in 2019.

-Geopolitical uncertainty due to Brexit and recent US elections.

35.

S T E L L A M c C a r t n e y.

Stella McCartney is a British Luxury Fashion Designer who focuses on sustainable fashion. As a lifelong vegetarian she has never used leather, feathers, skin or fur in any of her designs. The brand continues to grow as a leader of sustainable fashion as she continues to design the future of clothing and the future of sustainable business.

Mission Statement: “We are committed to operating a modern and responsible business. We are agents of change. We challenge and push boundaries to make luxurious products in a way that is fit for the world we live in today and the future: beautiful and sustainable. No compromises.”, (StellaMcCartney. com, 2021). Each decision made by the company is towards their commitment and mission to define fashion of the future. This can be seen through their use of materials, pushing circularity, protecting ancient and endangered forests and measuring their environmental impact with new ground-breaking tools.

Social Sustainability: “The future of fashion relies on people. The people who make clothes, the farmers who grow the crops for our materials, our employees, and our customers. We want to have a positive impact for everyone that we depend on and for those who depend on us in return.”, (Stella McCartney.com, 2021). This is why Stella also places deep focus on her supply chains. As said on their website, “We believe in building modern and resilient supply chains that provide desirable jobs, foster people’s skills, strengthen worker’s voices and advocate for vulnerable groups.”, (StellaMcCartney. com, 2021).

Measuring impact: Stella McCartney are able to measure their environmental impact by using a breakthrough decision-making tool called, ‘The Environmental Profit and Loss (EP&L)’ developed by Kering. This tool helps to measure and understand their impact on the environment that goes far beyond traditional environmental such as the raw materials used, to the way clothes are made and sold in stores.

Materials & Innovation: Stella McCartney has always chosen her materials carefully along with using pioneering new alternative materials.

Cashmere; Stella’s knitwear collections are made from recycled cashmere. Fibres from forests; Their viscose is sources sustainably to help protect ancient forests from deforestation. Fur-free-fur; Stella believes that fashion can be luxurious without using leather or fur in her collections. Metal; Stella works to reduce environmental impacts of their metal consumption as, “Between 10-15% of all raw materials used are metals”, (StellaMcCartney. com, 2021). Cotton; Stella uses organic cotton to create the majority of her products to help protect the environment. Synthetics; Their synthetic materials are always made from recycled sources and can be recycled back into new materials, these include recycled nylon and polyester. Silk; Stella is currently exploring new ways of creating silk, one in particular is the use of ‘spider silk’. Leather; As Stella has been vegetarian all her life and the brand is vegetarian it is only apt and appropriate that she uses vegetarian leather and does not use skin, fur or feathers in any of her designs. Wool; All the wool sourced for her collection is selected by hand using only high quality local animal welfare farms.

A notable campaign by Stella McCartney was Stella’s ‘Agents of Change: The Winter ‘19 Campaign’ which featured members of the Extinction Rebellion to remind us that we live in an era of climate crisis with action being more important than ever. The campaign was held as her AW/19 collection but held on Instagram as a conversation under the hashtag #StellaWinter19.

“Everyone can do simple things to make a difference, and every little bit does count”, (McCartney, 2016).

36.

STRENGTHS & WEAKNESSES STRENGTHS: -Global recognition as a leader for sustainable fashion.

-Pioneer for a sustainable luxury fashion movement and circularity.

-As climate change is becoming a more pressing issue, companies today are pressured to embrace a more sustainable approach to their business but as this is already at the core of Stella’s business model and mission, the brand is positioned well.

-Stella McCartney is available in 77 countries and currently has 51 free-standing stores.

-Stella McCartney has strong connections with her target market.

-Loyal customers- particularly in the Chinese market.

-The use of innovative materials in sustainable design makes her a leader in sustainable sourcing.

-Stella McCartney utilising cutting edge technologies such as the EP&L developed by Kering, which enables the brand to measure and understand their impact on the environment.

-Robust supply chain and logistics management.

-Large product assortment for a sustainable focused brand- they offer an extensive range of clothes, shoes and accessories to provide a wide choice for their consumers.

-Strong editorial campaigns that match the brands image and values.

-Stella McCartney has a large following on social media with over 6.4 Million followers today on Instagram and a vast number of other online communications channels like the website, Twitter, Facebook and YouTube.

WEAKNESSES: -The price architecture is found to be in the premium luxury market so is not easily affordable to all incomes.

-As their price architecture is high there is a low return on investment as often organic sustainable sourced materials are more expensive then non-organic materials.

-The brand does not cater to every market e.g menswear.

OPPORTUNITIES & THREATS

S WO T AN ALYSIS OPPORTUNITIES: -The increase in technology and the use of artificial intelligence is transforming the digital landscape that Stella McCartney could operate in- particularly when development in AI could help better predict consumer demand, cater to niche segments and make better recommendation engines.

-Stella McCartney do have an opportunity to expand by targeting a new age demographic such as ‘GEN Z’.

-The brand also has an opportunity to grow in the product offering such as a menswear collection rather than just unisex.

-Stella McCartney could expand their retail portfolio with new stores and concessions focused for Asia, particularly as they have a loyal following in this market.

-Stella McCartney has an opportunity to grow their social media following as social growth can help to reduce the cost of entering new market and reaching new customers on a low budget.

THREATS: -Due to COVID-19, many people will now have a decreased disposable income meaning less people will now be able to afford to buy into the brand than in 2019.

-Brick & mortar stores have been forced to close during the pandemic resulting in expansive loses.

-Due to COVID-19, there has been a shift in the e-commerce market due to COVID-19.

-Impact of foreign exchange fluctuations has increased material and labour costs.

-Competitors selling at lower prices, e.g The H&M Group.

-Geopolitical uncertainty due to Brexit.

-Recent large financial looses- ” Higher costs, partly linked to Stella McCartney’s buyout of her brand from Kering, helped to wipe out profits at the brand in its latest year, with the accounts that have only just been filed for 2018 showing an operating loss of more than £10 million.”, (Halliday, 2020).

Is it possible that Stella McCartney’s environmentally friendly positioning will not be as differentiating as before as more fashion and luxury brands are becoming environmentally conscious and starting to develop sustainable initiatives?

37.

VIVIENNE WEST WOOD. Vivienne Westwood aged 80 has long been the ultimate designer for sustainable fashion. The brand is one of the last remaining independent luxury fashion houses in the UK. The brand uses “Collections, collaborations and catwalk shows as a platform to capture the imagination, promote innovative design and campaign for protecting life on Mother Earth, Gaia.”, (Westwood, 2021). This is supported particularly through the campaign, ‘Buy Less, Choose Well, Make it Last.’

Typically, the main objective of a fashion show is to sell clothes, but at the unveiling of Vivienne Westwood’s catwalk collection in 2017 it appeared the opposite was true. “Buy Less, Choose Well, Make it Last” was the long-standing mantra of the fashion’s industries greatest activist. Vivienne Westwood chooses quality over quantity and aims to eradicate the ‘fast fashion’ culture for good. She is a luxury designer that continues her message to her fans to consume clothes more conscientiously.

Vivienne Westwood bases her brand on three areas of work: -Quality V Quantity -Gaia -Arts & Culture Quality over quantity uses the brands voice “To raise awareness of the environmental impact of overconsumption, urging people to buy less and buy better quality clothes while creating collections that meet this standard.”, (Westwood, 2021).

‘Gaia’ is a theory and principle that proposes that living organisms interact with their inorganic surroundings on earth to form a system that helps maintain and perpetuate the conditions for life on the planet. Gaia is a key area of the brand as “Activism and empathy have always been at the heart of Vivienne’s work and allows us to share our values, campaign to protect life on Mother Earth, Gaia and mobilise people around Climate Change and Human Rights.”, (Westwood, 2021).

Vivienne Westwood bases her designs on four key areas; -Craft & Heritage -People Power -Materials & Processing -Re-imagining Waste Craft & Heritage represents the brand championing craftsmanship and heritage in their designs. Westwood often partners with local artisans and many small highly skilled independent businesses such as Harris Tweed.

People Power is the respect of supply chain workers, heritage partners, employees, customers and the public. As said on their website, “We want to be a responsible employer who provides desirable jobs and fair wages, develops talent and skills, strengthens worker’s voices and lends support for vulnerable groups.”, (Westwood, 2021).

Materials & Processing at Vivienne Westwood is their efforts towards sourcing raw materials with minimal social and environmental impact. They, “Embrace opportunities to use sustainable fibres and fabrics, low impact dyeing and processing and work with suppliers to improve our performance with every collection.”, (Westwood, 2021). Vivienne Westwood also works with the following certifications too including, Soil Association, Global Organic Textile Standard, OekoTex 100 and FSC (Forestry Stewardship Council).

Re-imagining waste is the brands efforts and commitment to tackling textile waste. As said on their website, “We aim to make the most of the resources that go into our products, reusing, recycling and reimagining as we go.”, (Westwood, 2021). The brand diverts as much waste as possible away from landfill by reducing, re-using, re-cycling and re-covering all textile waste. The ‘World’s End Collection’, is a range of unisex limited edition pieces that have been designed around left over production fabric from previous seasons.

BUY LESS, CHOOSE WELL, MAKE IT LAST.

38.

S WO T AN ALYSIS STRENGTHS: -World recognised sustainable designer, brand name and logo.

-A widely successful fashion brand, with a yearly revenue of over £20m.

-Strong brand recognition and best known for its products reliability and quality.

-Vivienne Westwood’s designs are highly desirable due to her limited collections, unique and quirky designs and sustainable ethos.

-The brand has a recognizable distinctive style, e.g quirky, unique pieces.

-Famous for using traditional British elements such as union jacks, scottish tartans and images of monarchs, e.g The iconic ‘God Save The Queen’ shirt.

-Brand Identity is consistent throughout all stores, labels and packaging.

-One of a few brands that actively campaigns for climate change and human rights.

-Strong connections with Gen Z. -Pioneer for a sustainable fashion.

-Loyal customers- strong brand heritage due to the brand being around since 1970.

-Robust supply chain.

-Vivienne Westwood not only uses fashion as a way of artistic expression, but also for social and political medium.

-Educates her customers on sustainable consumption, hence her famous ‘Buy Less, Choose Well, Make it Last’ motto.

WEAKNESSES: -Vivienne Westwood unique style which may not suite all customer segments.

-Vivienne Westwood caters to a smaller market and this may put the company at risk amongst growing competition, particularly from high-street retailers.

-Vivienne Westwood has a fairly small social media following with just over 2.1 Million followers today on Instagram which is fairly low compared to its competitors. The brand also has a weak following on twitter, facebook and you-tube, while remaining offline on tik-tok which is the biggest trending social media platform today.

OPPORTUNITIES:

OPPORTUNITIES & THREATS

STRENGTHS & WEAKNESSES

-There is an opportunity to further its connections with environmental campaigns and sustainable fashion initiatives such as Positive Luxury and Walpole.

-Vivienne Westwood could expand their retail portfolio with new stores and concessions focused particularly in the Asian Market as this is the market with the largest disposable income.

-Vivienne Westwood also has an opportunity to grow their social media following as social growth can help to reduce the cost of entering a new market and reaching new customers on a low budget.

-Although they offer menswear and a unisex collection, they could further expand their menswear offering as their is comparatively less product assortment in menswear to the ladies collections.

-They have the opportunity to expand their product range further without reducing their sustainable ethos as they could invest in their textile waste recycling scheme further to create new product ranges such as a lifestyle range.

-There is an opportunity to promote the brands sustainable ethos further through features in the press and social channels as more and more consumers are demanding environmental justice.

THREATS: -Small product assortment as they want to be as sustainable as possible which has meant cutting their product lines- this could be a future threat as they may loose out to some audiences and markets because of this.

-Due to COVID-19, many people will now have a decreased disposable income meaning less people will now be able to afford to buy into the brand than in 2019.

-Smaller sustainable brands are selling at lower prices, i.e The H&M Group.

-Brick & mortar stores have been forced to close during the pandemic resulting in expansive loses -Due to COVID-19, there has been a shift in the e-commerce market due to COVID-19 .

-Impact of foreign exchange fluctuations has increased material and labour costs.

-Geopolitical uncertainty due to Brexit.

-More and more sustainable up-coming designers and brands are emerging.

-Ever changing trends and consumer demands for functionality in clothing design.

“Her ideology focuses on limiting consumption in the industry. The designer’s motto is ‘Buy less.

Choose well. Make it last‘. A key element is audibility rather than mass production.”, (Dziminska, 2013).

39.

6.0

CHAPTER SIX

REFLECTION In this chapter I conducted secondary research into the top players for sustainable luxury fashion. Although Kering, Stella McCartney and Vivienne Westwood all pave the way as leaders for sustainable luxury, they are only a small collection of brands out of the many others yet to take sustainability seriously. As said by the United Nations, “Being smarter and more sustainable might just be the way to recover from staggering losses caused by COVID-19.”, (UNSDG, 2020). I discovered that whilst all three brands value sustainability and action it in their business models and design there are still a vast number of improvements that need to be made. I also believe that all three brands have the opportunity to use their ambitions for sustainability in luxury further particularly through the power of social media.

CONSUMER BEHAVIOUR.

40.

BEHAVIOURS. Consumer behaviour can be defined as “The study of the processes involved when consumers acquire, consume and dispose of goods, services, activities, ideas in order to satisfy their needs and desires.”, (Hoyer and Macinnis, 2007: 14). We often use consumer behaviour in marketing to analyse how consumers make decisions about their wants and needs and buying habits towards a product or service.

This is because “Consumer behaviour is the study of how consumers will make their buying decision and what those factors which support or influence these decisions.”, (Farooq, 2018). Therefore it is very critical to understand the behaviour of consumers to help analyse the behaviour of potential consumers towards a new product or service. It is also very useful for companies to identify opportunities which have not yet been met. In addition, “Results help marketers generate and evaluate potential solutions in the form of marketing actions. These marketing actions might include how the firm should segment its market, as well as how it can make decisions about the marketing mix.”, (Noel, 2018: 22).

It is important to note that consumer behaviour can be influenced by a number of factors which can be grouped in three aspects, these are; 1. External influences 2. Internal processes (including consumer decision making) 3. Post-decision processes

and desires shape an individual behaviour.”, (Farooq, 2018). However, “Attitudes do not always predict behaviour.”, (Noel, 2018: 13). This is because consumer attitudes can change over time. Therefore this is particularly important when trying to understand the luxury consumer and on what basis their purchasing decisions are formed. This is why there are particular methods to use when studying consumer behaviour.

These are all primary research tools and often include, surveys, focus groups and interviews.

When applying consumer behaviour to the fashion industry, we can use these theories to explain how luxury fashion has responded to the COVID-19 pandemic and why there has been a recent change in consumer behaviour with-in the industry. The psychology towards fashion changed immediately as a result of COVID-19 as we now have a reduced need and desire to buy new clothes. This change in consumer behaviour is especially important to note “That from the study of collective behaviour, the original theories of fashion emanated; consequently, it is an exceptionally important perspective from which to consider fashion change.” (Blumer, 1969: 276). Young 1930, first described fashion as collective behaviour as “A style is adopted by a crowd”, (Young, 1930: 552). This can support the theory that as a result of COVID-19 we are beginning to see consumers adapting to new environments that they are faced with and shaping trends as they do so that are emerging in response to the crisis.

“It used to be that people needed products to survive.

Now products need people to survive”, (Johnson, 2011).

External influences can be a consumer’s culture such as religion. Internal processes tend to be psychological processes such as knowledge, motivations and attitudes. Post-decision processes are nearly always the post-purchase behaviour. This is why ‘Maslow’s Hierarchy of Needs’ or ‘Theory of Motivation’ is often used to explain consumer behaviour. Additionally, ‘Freud’s Theory of Motivation’ can tell us that, “The unconscious psychological forces such as emotions

41.

ATTITUDES. Attitude is one of the most important variables in consumer behaviour. Therefore, it is crucial to understand if we want to change consumer behaviour towards the luxury fashion industry.

THE CONCEPTION OF ATTITUDE The concept of attitude can be used to explain why we buy. By definition an attitude is “A feeling or opinion about something or someone.”, (Cambridge English Dictionary, 2021). It was first proposed by Loudon and Della Bitta in 1993 who claimed that, “Attitudes is how for or against, positively or negatively, favourably or unfavourably a person regards a particular object.“, (Loudon and Bitta, 1993). This definition aims to reveal the idea that attitudes contain consumer feelings and evaluations, related with a particular object. This definition was supported

by Solomon, Bamossy and Askegaard in 2002 who stated that an “Attitude is a long-lasting and common assessment of people, including oneself, objects, advertisement and a particular problem.”, (Solomon et al, 2002). Two years later attitude was accepted as a form of consumer behaviour and was defined as “A constant tendency to behave accordingly in a concrete situation, regarding a certain object or a group of objects.”, (Mand and Kanuk, 2004).

Therefore, consumers can have attitudes towards various social and physical objects including models, products, stores, brands, and people. This is why we can use attitudes to explain why we buy into some fashion brands over others. This is because “Attitude formation can help buyers to make a choice by providing a way to assess their alternatives which are based on the attributes and benefits of each product.”, (UKEssays, 2018). This is why it is important to understand attitude theory in detail as we can use it to understand purchasing as an attitude has significant influence on a consumer intentions.

Additionally, “Attitudes are functionally useful in directing consumers towards product or brand they find useful in satisfying needs and wants. In this way customer behave to prefer the final product which best

satisfy their demands and expectations.”, (Genevieve at al, 2006). According to research, attitudes consist of three major components. One model that best describes this is the ‘Tri-Component Attitude Model’.

This model shows that attitudes consist of three components: cognitive, affective and behavioural.

1. Beliefs 2. Affect (feelings) 3. Behavioural Intentions These three components all interlink as they are the forces which influence how the consumer will react to the product. The first component is the ‘beliefs’ which is where, “A consumer may hold both positive beliefs toward an object, as well as negative beliefs in addition to some beliefs that may be neutral.”, (Perner, 2018). The second component, the ‘affect’ is where, “Consumers hold certain feelings toward brands or other objects, sometimes these feelings are based on the beliefs but there may also be feelings which are relatively independent of beliefs.”, (Perner, 2018). The last component to the model is the ‘behaviour intention’ which is what the consumer plans to do with respect to the object e.g ‘to buy or not buy’. As with affect, “This is sometimes a logical consequence of beliefs (or affect), but may sometimes reflect other circumstances.”, (Perner, 2018). This can explain why marketing implements efficient and effective strategies to help influence a customers attitude.

ATTITUDE CHANGING STRATEGIES Changing attitudes is proven to be very difficult particularly when consumers suspect the marketing may be deemed as self-serving. However according to ‘The University of Southern California’, one approach to change attitudes is to change the ‘affect’ component which involves getting the consumer to change their beliefs and behaviours. “One strategy uses the approach of classical conditioning try to ‘pair’ the product with a liked stimulus.”, (Perner, 2018). For example, many luxury brands will ‘pair’ a watch with

K n ow l edg e

a beautiful model to get the consumer to believe that they will be beautiful if they buy the watch.

Alternatively, “Products which are better known, through the mere exposure effect, tend to be better liked--that is, the more a product is advertised and seen in stores, the more it will generally be liked, even if consumers to do not develop any specific beliefs about the product.”, (Perner, 2018).

A second approach to try and change attitudes is to change consumer beliefs through changing currently held beliefs, changing the importance of beliefs, adding to pre-existing beliefs and changing the belief ideals. For example, it may be possible to strengthen beliefs that favour many luxury fashion brands such as trust and honesty.

These luxury fashion companies could advertise that sustainability is at the heart of their business rather than ‘green-washing’ marketing claims. This will help to make the belief stronger which will in-turn help to change consumer attitudes amongst the luxury consumer.

I n f l uen c es

M ot i vat i o n s

APPEAL APPROACHES This approach to changing attitudes would be most appropriate for this project as we can appeal on the fact that a ‘Fashion Revolution’ needs to happen now or never due to the heightened environmental issues surrounding the luxury fashion industry.

The University of Southern California’s several approaches to appeal may be used. However, the most effective approach for this project may be “The use of affect to induce empathy with advertising characters” as this “may increase attraction to a product”, (Perner, 2018). This approach may backfire though if consumers believe that people’s feelings are being exploited. Additionally, “Fear appeals appear to work only if an optimal level of fear is evoked--not so much that people tune it out, but enough to scare people into action.”, (Perner, 2018).

A t t i t udes

D es i r es 42.

C ASE S TUDY. Consumer Attitude and Brand | Nike Case Study

Below can be used to explain how consumer attitudes have been formed towards the brand.

Nike Sports are a great example to describe how buyers behaviour may be affected by attitudes (cognitive, affective and behavioural) and how effective marketing strategies can influence buyers behaviour.

COGNITIVE: The cognitive attitude is how you think of the Nike brand, what is the image and beliefs of Nike brand show to the public.

People who purchase Nike often do so based on the reputation of the brand as it’s globally known and an internationally recognised logo. The ‘Just Do It’ phrase is a classic advertising slogan to Nike Sport, which is simple, clear and highly effective. As said in the Washington Post, “Just Do It would become the company’s signature slogan, helping to turn a niche brand into a global multi-billion-dollar giant and etching the phrase indelibly into the global memory that it’s almost interchangeable with the brand.”, (Bella, 2018). For many the company represents sport with freedom and enjoyment and, “At its most fundamental level, the Nike Swoosh represents motion and speed. The shape depicts an arc of movement.”, (Redding, 2018). This influence on feelings can attract more customers as emotional appeals are formed.

AFFECTIVE: The affective component of Nike is how you feel about this brand and whether you like it or not.

BEHAVIOURAL: The behavioural component of Nike is how customers respond to the brand, i.e will you buy the products or not and if so will you recommend Nike to your friends.

Finally, its important to note that the relationship between attitude and behaviour can be affected by many factors such as advertising and promotion which can reinforce existing favourable attitudes or change negative attitudes. Therefore , the attitude of consumers to a new product can usually be influenced by effective advertising messages. This should be taken into account when forming any new campaign that focuses on changing consumer attitudes.

When customers form their own negative attitudes towards a brand, marketing teams may decide to integrate marketing strategies to try and change consumer attitudes towards their brand. According to ‘The Business of Fashion’, “The brand image of Nike Sport is personalization and freedom, which means that the marketer takes advantages of the brand position and spirit to change the sophisticated attitude.”, (Fernandez, 2020). Additionally, most of the advertisements strategies of Nike include celebrity sports stars which help build a brand attitude. For example, “The basketball superstar Michael Jordan is the representative in the Nike advertisement, and Michael Jordan condensed vigour, reputation, excellent sports level and exciting sports spirit, which is similar with Nike Sport brand position.”, (Fernandez, 2020).

This is a successful strategy that Nike use as, the celebrity effect can influence a buyers feelings and convince their customers that buying something with the Nike logo can give them the spirit, personality and freedom of Michael Jordan.

43.

7. 0

CHAPTER SEVEN

REFLECTION As my aim for this FMP is to build a campaign that will help change consumer attitudes towards the luxury fashion industry it is important to research consumer behaviours and the psychology behind how attitudes are formed. Upon reflection from my secondary research findings I have been able to discover that to stand a chance in trying to change attitudes one strategy to use would be an ‘appeal approach’ as this plays on a consumer emotions and empathy. This approach would be most appropriate for this project as I can appeal on the fact that a ‘Fashion Revolution’ needs to happen now or never due to the heightened environmental issues surrounding the luxury fashion industry. Additionally another approach I could use to try and change consumer attitudes towards the luxury fashion industry would be the use of celebrity or influencer association as this could help build Fashion Revolutions brand attitude, media value and reach. I have also learnt that primary research tools such as surveys, focus groups and interviews will be best to understand the luxury consumer and how their purchasing decisions are formed. This is why I have conducted my own survey and industry insight which you will discover in the following chapter.

INDUSTRY INSIGHT.

44.

SURVEY T WO. For my initial primary research, I conducted an anonymous survey using the online tool; Google Forms. I decided to use Google Forms as it is an effective and easy way to create highly professional looking surveys. In order to ensure the most accurate and rounded results, I made sure to distribute the survey to a wide audience on both LinkedIn and Instagram. This was to ensure I could cover both a male and female perspective with a large age range and diverse background. There were 37 respondents in total between the ages of 18 to 60+.

As I expected not everyone responded but it was important to get a range of answers from one end of the spectrum to the other. These were candidates who may not necessarily know or let alone shop with luxury brands and the other being regular shoppers of luxury fashion.

Nearly all of the participants reside in the United Kingdom with one residing in Australia and one residing in Italy. This being said, the largest age group represented was the 18 - 24 category, making up nearly 65% of the participants. This is useful as from initial research I believe this age group is the most relevant in this project, where the outputs and concepts should be targeted.

On a scale of 1-100, participants were asked how important it is that luxury brands own up and are more honest and transparent about their sustainability efforts. The average is 82/100.

This is evidently an important issue to the general public. However, on the contrary, when asked if they shopped regularly with luxury brands, the average vote came out as 63/100. Yet still, more than 70% of participants in the survey agreed that if they do buy from luxury fashion brands the product would need to have sustainable values such as, design, materials and who it was made by.

fashion. The most popular answers were; • • • • • •

Gucci Hermes Vivienne Westwood Longchamp Prada Mulberry

Participants were also asked what they would like to see change in the luxury fashion industry.

• 64.2% voted for sustainability, transparency, environmental awareness and corporate social responsibility, (CSR).

• 26.7% voted for longevity • 9.1% voted for affordability.

This tells me that it would be beneficial to consider the option of creating a new campaign focused on helping to create a sustainable change within the luxury fashion market.

One of my final questions in my survey was “Do you believe COVID-19 has given the luxury fashion industry a chance to become a leader for sustainability? If yes, please briefly explain why. *”. The results form my hypothesis well as 84% voted for yes and 16% voted for no. This supports the need for this systemic change to occur as without luxury brands paving the way as a leader of sustainable fashion then the whole industry will struggle to meet critical sustainability targets.

Overall, this survey has provided me with invaluable insight into consumer habits, with a wide range of ages represented. I will use this research alongside additional secondary research to back up my initial thought process, to allow me to develop the most effective PR campaign for Fashion Revolution.

84% OF PARTICIPANTS IN THE SURVEY BELIEVE COVID-19 HAS GIVEN THE LUXURY FASHION INDUSTRY A CHANCE TO BECOME A LEADER FOR SUSTAINABILITY.

Participants were asked which luxury brands if any they favour when it comes to buying luxury

45.

INTERVIEW ONE. A CHAT WITH JOHN F.HARRISON former creative director at Gieves & Hawkes.

1. Do you think COVID-19 has changed people’s views towards sustainability in the fashion industry? If yes, what do you believe has caused this change?

Most definitely, there has been a massive shift of thought in the fashion industry during C19. it has been in the wings for a good while, but the recent pandemic has amplified the message of the real waste and overproduction in this industry. People have realised that they simply did not need so much stuff, and then in turn began to evaluate the waste within the clothing industry. Government targets, the social and eco plans laid out by bigger groups such as H&M, Kering have pushed it along too. The “time at home“ has allowed newer companies such as Pangaia to really develop their message and mission re sustainability in the industry, which a lot of companies are struggling to keep up with .

2. I know your work is focused on fashion brands but do you think there has been a change towards the luxury fashion industry over the years?

The luxury fashion industry has gone through a vast change in recent years. Consider a £800 trainer being new luxury. Traditionally luxury was about craft, materials, exclusiveness, and in part the brand that supported that. It was bespoke, and exclusive. The influence of street-wear and crossover branding has challenged “ what is luxury” , with the value being held more by the consumer than by the brand itself. Boundaries have been changed as to what is considered luxury, especially with the big influence of Chinese consumers. Ask anyone from any generation what they consider luxury to be and you will get answers from a cashmere jumper to iphone12pro.

3. Are there any luxury brands you feel have been slow to respond or make change towards sustainability?

Most brands that have heritage , whether luxury or not, are slow to adopt to sustainability. The inherent problem lies with the fact that the change is often damaging to the general business. New companies that set out to be eco driven, can direct all the energy to that goal. The main issue with some luxury brands is that the items they are known for are not always the most sustainable in production, material , or feel. However , the silver lining is that they are often limited in number and are not thrown away after a short time. Sustainability can be viewed so many ways, so although luxury may be slow, it could be better than mass market consumerism. The debate here then is , not all can afford luxury.

4. Have your attitudes shifted towards the luxury fashion industry since COVID-19?

Yes, and the main thought I have is why do luxury brands need to produce so much , they have the position in the market to innovate, source the best craft, and materials, but they do not need to keep offering a new item every few weeks, . years ago a luxury brand may have only introduced 1-2 things a year , ( such as a watch ) which was well developed, designed, and built to last . To me there is no need to keep churning things out and run the risk of devaluing due to over saturation. it is often consumer attitudes and needs that drive this excess, the constant churn of” I need something new”, and if consumers are prepared to pay, and buy, brands will keep developing .

The primary takeaway from our chat was how John believes sustainability should be seen as a work in progress within the luxury fashion industry and how small adjustments (in terms of sustainability) are just as, if not more important at the moment as than monumental changes. John also mentions that it will be a challenge to shift wealthy clients opinions on the luxury fashion industry.

“PEOPLE ARE PREPARED TO CHANGE THEIR BEHAVIOURS TO CHANGE THE WORLD. I READ THIS RECENTLY, AND THE SAME CAN APPLY TO CAMPAIGNS TARGETING LUXURY. IT WILL BE TOUGH AND THE LUXURY SECTOR IS NOTORIOUSLY SELF CENTRED AND WITH WEALTHY CONSUMERS WHO DON’T ALWAYS CARE ABOUT SOCIAL SUSTAINABILITY GOVERNANCE. SO IT WILL HAVE TO HIT THE RIGHT TOUCH POINTS TO EXCITE, BUT KEEP THE MESSAGE CLEAR ABOUT NEW FUTURE OF LUXURY RETAIL...”

46.

INTERVIEW T WO. A CHAT WITH PHOEBE JONES- WEBSITE MERCHANDISER @ NETAPORTER 1. I know you have experience at a top luxury fashion retailer so I wondered if you think there has been a change towards the luxury fashion over the years?

The biggest change I have noticed is the change in the target market. We have realised that Gen Z are now one of the key consumers of luxury fashion and luxury retailers are trying their upmost to target this audience - we launched a Tik Tok last week to try and engage with this younger audience.

2. Are there any luxury brands you feel have been slow to respond or make change towards sustainability?

There a was a really good article in BoF about sustainability within the luxury sector and they mention the Richemont group struggling the most.

This is defiantly something I have noticed the most mainly due to them also owning Net, we defiantly don’t stock the same amount of sustainable designers compared to our competitors nor do we promote them enough compared to our Power brands mainly because we don’t get the same engagement from our audience - this is defiantly something we are working on.

3. Have your attitudes shifted towards the luxury fashion industry since COVID-19?

If anything I have feel I have engaged more with the luxury fashion industry since Covid. The pandemic has defiantly changed my outlook towards consumerism and I would rather spend my time engaging with brands that are trying to constantly adapt to becoming more sustainable. Luxury retailers still have a long way to go but they are now having the conversion and coming up with new ways to work towards a sustainable outlook.

I think a great example of a good PR campaign was Selfridges Project Earth campaign - the cross over from in store to online was really fluid which was nice to see. I think the reason it worked so well was that it educated the consumer on sustainability in a really engaging way and gave exposure to new contemporary sustainable brands not just focusing on the power brands like Stella McCartney etc. They also ran the campaign across all departments so as you moved through the store/site you had sustainable options from beauty to accessories to ready to wear.

If anything I think Covid has made people realise we need to make a change to our consumer habits it’s just showing them how.

5. What tools would you recommend in using to create a PR campaign?

I think having a strong social media campaign it is the fastest way to engage with you audience especially if you want to target Gen Z who are not only becoming the new target market for luxury retail but also seem to have the tenacity to try and live a more sustainable lifestyle.

The primary takeaway from our chat was how Phoebe has noticed a change in the target market of the luxury fashion industry shifting to Gen Z which supports the campaigns target market. Phoebe has also noticed small changed towards sustainability picking up pace but does state that they still have a long way to go.

“Luxury retailers still have a long

way to go but they are now having the conversation and coming up with new ways to work towards a sustainable outlook.”

4. What do you think would make a good PR campaign targeted at the luxury consumers today?

47.

INTERVIEW THREE. A CHAT WITH JOE HALE, SEO ACCOUNT DIRECTOR @ VERB BRANDS. 1. I know VERB work with all sectors of luxury but do you think there has been a change towards the luxury fashion industry over the years?

Consumers are much more aware of what they are buying and want to align with a brand doing the right things, therefore people are more conscious of what they are buying and the impact it may have on the world. I also think that there is a blurring line between streetwear and luxury brands, which I usually class as ‘premium’ brands, such as your Off-White, Palm Angels, Balenciaga etc. Millennials and Gen Z seem to be alot happier spending more money on clothing and therefore fall within a bracket of being high spenders but not quite high earners, making them more ‘aspirational’ consumers.

2. What sustainable trends if any have you noticed with clients at VERB as a result of COVID-19?

In regards the brands we work with and other brands I’ve seen, alot more focus is placed on packaging and ensuring this is stripped back where possible, however I feel that this could be far improved.

3. Has COVID-19 promoted you to alter your views or even change tactic with SEO work at VERB? Something that we speak about with clients now is creating content around their efforts around sustainability. We can then target sustainabilityled keywords and once the user is then on the site, they can read more about our brands’ stories, what they are doing for a more sustainable future etc, and then building that brand affinity.

algorithm changes etc but that isn’t aligned with the point about luxury, but some things I have noticed are; - younger audiences buying more ‘premium’ brands - the importance of longer-form content to ‘sell’ the brand and build brand affinity early - increased competition resulting in the importance of targeting longer-tail keywords 5. What digital marketing tools would you recommend using to create an effective campaign?

It would be difficult to go into all the details and why, as there are so many tools, but really I would focus on: Google Analytics, Google Keyword Planner, Google Search Console, Semrush, Google Tag Manager, Page Speed Insights, Answer The Public.

The primary takeaway from our chat was how Joe has noticed the rise in demand for sustainable content from VERB’s clients which include the likes of Jimmy Choo, Agent Provocateur, Alexa Chung, Boodels and Ports 1961.

He believes sustainability should be seen as a work in progress within the luxury fashion industry but clients are now finally demanding work in improving their sustainable positioning. Joe also mentions that younger audiences are buying more premium luxury brands now than ever before, which has lead them to focus more on targeting younger generations. He states that Gen Z seem to be a lot happier spending more money on clothing.

“Something that we speak about with clients now is creating content around their efforts around sustainability.”

4. Since you began your career in luxury, what have you noticed the most change in the SEO sector? i.e are they demanding more keywords around sustainability.

I’m not sure there have been any SEO-only changes to really highlight, without going into details of 48.

INTERVIEW FOUR. A CHAT WITH RACHEL STACEY- SOCIAL MEDIA ASSISTANT @ BURBERRY

3. Has Burberry noticed any consumer shifts in purchasing decisions as a result of COVID-19?

1. Do you think any particular luxury brands are doing something really good in response to COVID-19, if so what is it?

I’m not too close to the consumer side of things, however, Asia was the fastest to recover from the pandemic, and many brands saw strong growth in these areas. I do know that luxury retailers saw strong recovery from the pandemic as well as high street brands, and it was the mid tier companies that really struggled, as a lot of people had the mentality of ‘I’ve survived a pandemic I deserve nice new things’. Burberry has been making a real effort to position themselves in the luxury market so that they don’t fall under the radar like a lot of these mid tier brands such as Fossil. Small leather goods have always been a very good seller, as buying one handbag that will last a lifetime is money well spent compared to an obscure item that’s very trend driven.

It has been really interesting watching brands adapt to the pandemic, for example Burberry did a campaign that featured staff modelling shot by their front doors, this is really relatable for the audience and proves that everything really did have to stop during lockdown. Burberry also used their factory’s to produce PPE and worked with Marcus Rashford and London Youth to raise money for children’s school meals. I feel as though a lot of other luxury brands tend to stick very much to fashion and don’t get too political, whereas Burberry are more active and vocal. I did really like Pradas AW21 MW show where at the end the creative directors interviewed fashion students around the world. This made the show feel a lot more human and pre COVID this kind of this would never of happened.

2. Has COVID-19 promoted you to alter your views or even change the social media policy at Burberry?

COVID has definitely changed a lot for social media, the rise of reels was something no one was prepared for and we had to work out what they were, how we could use them and then make them to keep up with our competitors. TikTok was another platform that Burberry have put a lot of focus into, for me it’s such a interesting platform because brands have very rarely succeeded on the platform so far (Louis Vuitton being the exception).

I find the platform is very much for the community, and it is their place to run a platform rather than big corporations. It is also very interesting how content which is not polished and perfect will always do better, the shot on an iPhone and viral sounds (everything a luxury brand hates) is the way to do it on TikTok, so will be interesting to see how brands respond and adapt to this.

4. Since you began your career in luxury fashion, what have you noticed change the most in the industry in the past year?

The biggest change I’ve noticed is probably how brands have restructured stores. Pop ups are becoming far more of a focus than physical store space, Gentle Monster are a great example of this using talent such as Jenny from Blackpink to create a pop up space from her collaboration in Korea, which not only sold product but also was a visually interesting place where people could go and take pictures of themselves. As well as pop ups a lot of brands (Burberry being an example) have adapted their retail spaces to be more than just a store, for example the Shenzhen store is now their first social retail space.Shows are another example, as guests can no longer attend in person brands have had to adapt to how they can increase their earned conversation without people physically attending. Gifting has become a lot more prevalent now as that is how they get influencers and VIPs talking about the show on their channels rather than them filming being at the physical show.

“COVID HAS DEFINITELY CHANGED A LOT FOR SOCIAL MEDIA, THE RISE OF REELS WAS SOMETHING NO ONE WAS PREPARED FOR AND WE HAD TO WORK OUT WHAT THEY WERE, HOW WE COULD USE THEM AND THEN MAKE THEM TO KEEP UP WITH OUR COMPETITORS. ”

The primary takeaway from our chat was how Rachel has noticed social media in the luxury fashion industry change and adapt as a result of COVID-19, in particular the rise of reels. Rachel also noted that many luxury fashion brands have been creating relatable and emotive content to connect with their audience further during the pandemic.

49.

INTERVIEW FIVE. A CHAT WITH GABRIELLE WOODWARD, ASSOCIATE @ KEKST CNC 1. Do you think COVID-19 has changed people’s views towards sustainability? If yes, what do you believe has caused this change?

Yes, I think in general people have had more time to reflect on the most important aspects of the planet and their responsibilities. For businesses, they can no longer remain naïve about sustainability, acting responsibly is part of the way people view brands and it forms a company’s reputation.

2. I know your work is ESG campaign focused and you work with non-fashion related companies but have you seen an increase in fashion companies requiring work focused on ESG? Yes, I think from the pandemic the S part of ESG has really come to the forefront. Immediately from the outset people looked favourably to those that were acting responsibly and looked down on those that didn’t. The Adidas rent pay scenario at the start of the pandemic was when I realised that businesses really had to step up and show they were doing their part.

3. Have your attitudes shifted towards the fashion industry since COVID-19?

My views around the fashion industry has mainly been influenced by media. Hearing about the Boohoo scandal last year certainly brought fashion to my attention as an area that needs dynamic improvement and change. I now research companies a lot more before making purchases and I tend to just by clothing where I need to.

I’ll group these together and give a few general thoughts on campaigns – because I just have a few general thoughts and can’t share too many specific about ones I’ve worked on. I think of campaigns ran internally in companies can make the most difference. I have worked on a large number of campaigns since joining the communications industry two years ago and where I have seen the biggest impact is when companies invest in proper thought through campaigns, many of which are never touched upon in media but in actual fact are totally transforming a company’s outlook. When a company sets clear goals and then lays out how they will follow through with effective reporting, dynamic shifts can start to be made. I’m not a huge fan of big measurement tools as I don’t think there are any that particularly stand out yet, and often they can convolute the picture or act as a shield for companies to hide behind. In terms of more public campaigns, I’ve admired those that focus on ESG investment and changing the perceptions around investing in companies focused on ESG. For example, the Make My Money Matter campaign launched last year.

The primary takeaway from my chat with Gabrielle was the increase need for ESG campaigns as a result of the pandemic. Although not all her work includes luxury fashion brands, she has noted that campaigns that are run internally can make the most difference. Yet in public campaigns, a focus on ESG investment and changing perceptions around investing in companies focused on ESG are most powerful.

“I think in general people have had more time to reflect on the most important aspects of the planet and their responsibilities. For businesses, they can no longer remain naïve about sustainability, acting responsibly is part of the way people view brands and it forms a company’s reputation.”

4. What do you think would make a good ESG campaign targeted at the luxury consumers today? & 5. What tools would you recommend using to create a good ESG campaign?

50.

8.0

CHAPTER EIGHT

REFLECTION Whilst searching for interviewees, I wanted to ensure I conducted interviews that were GDPR compliant which is why they have all consented before being conducted. I decided to pick interviewees from different sectors and levels with-in the luxury fashion industry to help provide a varied opinion and more accurate results to ensure opinions were not bias. When compiling my questions, I wanted to keep them fairly short and easy as the people who I wanted to interview are extremely busy with work and family commitments.

I also wanted to ensure the questions were not boring or lacked enthusiasm so that my interviewees could actually enjoy the process and not see the interview as a chore. I also adapted my questions to the interviewee and their job role and level to ensure they were relevant and concise.

From conducting these interviews and my survey, I have learnt that sustainability has and will continue to play a role in how the luxury fashion responds to the coronavirus pandemic. From my respondents I have also noted that more people are now aware of the fashions industries most pressing issues and have adapted their behaviours accordingly, with many now only buying luxury fashion second-hand. Overall I have noted a heightened consumer consciousness in purchasing decisions.

TRENDS.

Although finding people to interview was challenging due to the difficulties to get people to talk about their companies sustainability goals and corporate social responsibility practises I have found these interviews has been extremely helpful as the answers have helped to confirm and build a clear picture of the opportunity at hand.

51.

CURRENT TRENDS. When researching current trends regarding sustainability I have noted that recent research has found that more people want clothing with longevity. Selfridges head buyer, Rebecca Tinker said, “Collections are more seasonless than ever, as brands take more of a considered approach to the longevity of a collection. We have seen more classic silhouettes and less reliability on prints dominating the market. This is strongly resonating with our customers who seek pieces that they can keep in their wardrobe longer than a season.”, (in De Klerk, 2020). In addition WRAP, a British nonprofit organisation that focus on helping businesses achieve more sustainable practices has revealed that consumers increasingly recognise the impact that fashion has on the environment and that they want clothes with more longevity with over “half (55%) now recognise the impact of clothing on the environment as ‘severe’, up from 35% in 2017”, (Poile, 2020).

The report found that consumers’ appetite for clothes that make them look fashionable at the expense of the environment has waned, and that lockdown has changed shopping habits and led more to undertake sustainable shopping practices.

Furthermore the impact of COVID-19 on attitudes towards the fashion industry has led to, “83 percent of respondents agreeing that clothing should be designed to last longer than they do at present and around 58 percent of those who took part in the survey advocated government regulation in improving the social and environmental impacts from the clothing sector.”, (Sabanoglu, 2020).

using algae in clothes that can photosynthesise as you wear them. Additionally an increasing number of businesses are adopting regenerative farming practices too, which involves growing a diverse range of crops to help put nutrients back into the soil. TALA, a sustainable active-wear brand uses ‘plant-able’ seed paper for all their clothing tags which can be planted in soil after purchase and grow into a real plant.

For fashion-lovers ‘circular fashion’ will become the new ‘fast-fashion’. The move against throwaway fashion will continue to gain momentum with more and more shoppers choosing pre-loved stores like Cudoni and Vestaire Collective over the high street.

ASOS, one of the biggest online fast fashion retailers recently launched their first ever circular fashion collection and luxury brands aren’t resting either. Farfetch launched a luxury handbag resale service which is proving increasingly popular and Gucci announced a partnership with luxury consignment store ‘The Real Real’.

The biggest sustainability trend for 2021 is, ‘The Climate-Positive Movement’. This means brands pro-actively implementing measures that have a positive effect on the environment, rather than just limiting their negative impact. This could be an act as simple as planting a tree for every purchase – or it could be something more complex. An example can be seen at a London-based research studio ‘Post Carbon Lab’, which have been looking into

52.

SUSTAINABILITY TRENDS. 1. CLOTHING LONGEVITY Clothing longevity is becoming the largest trend to lead the industry in becoming a key player for sustainability. Recently Uniqlo have re-marketed themselves as a fashion company called ‘LifeWear’.

This is because the company doesn’t chase trends and specializes in basics that have a season-less appeal. Uniqlo is now becoming a fashion company to soley focus on clothes that will last a lifetime and quality over quantity.

2. CIRCULAR THINKING Circular Fashion is the new fast-fashion and circular thinking in the fashion industry is the move towards materials being used again and again within the fashion industry. Circularity was first introduced by Ellen MacArthur as a business model in 2010.

directly on brands that are not being open to share information about their suppliers and measures they’re taking to ensure ethical working conditions and fair wages.

5. CLIMATE POSITIVITY Climate positivity looks at how fashion can actually have a positive effect on the environment — rather than just limiting its negative impacts.

6. REGENERATIVE AGRICULTURE Given the vast CO2 emissions created by the fashion industry, an increasing number of brands are looking at natural solutions to remove CO2 from the atmosphere including regenerative agriculture.

This is a method of farming that involves growing a diverse range of crops to help put nutrients back into the soil.

1. CLOTHING LONGEVITY 2. CIRCULAR THINKING 3. BRANDS EMBRACING RESALE 4. SOCIAL IMPACT

3. BRANDS EMBRACING RESALE One element of having a circular business model includes the resale of pre-loved goods. This is becoming a growing industry thanks to sites such as The RealReal, Vestiaire Collective and Depop.

4.SOCIAL IMPACT

5. CLIMATE POSITIVITY 6. REGENERATIVE AGRICULTURE

The treatment of garment workers in the global fashion industry has always remained difficult to see but after the Rana Plaza collapse the industry faced global scrutiny. Today this scrutiny remains and more focus on the treatment of garment workers and social impact is an area that brands are having to improve on as a result of the COVID-19 pandemic. This is because with this increasing consumer concern, more pressure is being placed 7 Sustainable Fashion Trends To Propel The Industry Forward In 2021.

53.

INTERVIEW SIX. A CHAT WITH MOLLIE SPURR, FOUNDER OF RELUV HQ.

5. Have your attitudes shifted towards the fashion industry since COVID-19?

1. Do you think COVID-19 has changed people’s views towards sustainability? If yes, what do you believe has caused this change?

My general feeling of the fashion industry hasn’t altered. RELUV was born pre covid but the pandemic has proven that there is a desire for online e-commerce and retail and this has been our main focus.

I strongly believe that COVID-19 has impacted how people are consuming. I think the biggest reason for this change is the amount of time people have had to stop and consider how their lives impact upon the environment and using their spare time to employ changes to benefit the planet.

2. Are you doing anything differently now in response to COVID-19 that is reducing your environmental impact?

Since COVID-19 began, I have made an extra special effort to ensure that I buy as little plastic wrapping as possible, and to still use locally sourced produce.

During lockdown whilst everywhere has been shut, I have been walking everywhere and paused the car insurance for 6 months.

3. I know RELUV focus on connecting consumers back with charity shops to encourage secondhand buying and overall sustainable fashion but have you seen an increase in fashion companies focusing efforts on second-hand selling?

There is definitely more attention being paid to sustainable practices within primary retail. There is not so much going on for second-hand clothing within this sector.

4. Has COVID-19 promoted you to alter your views or even change the companies CSR policy?

6. What do you think would make a good ESG campaign targeted at the luxury consumers today?

I think that there should be a countrywide campaign to repair clothing of high value. For example the major retailers have repair concession stores for customer to take that brand back to and get their item repaired. Keeping the first hand alive as long as possible before it becomes second-hand !

The primary takeaway from my chat with Mollie Spurr, founder of Reluv is that COVID-19 has strongly impacted how people are consuming fashion. Mollie noted that a successful ESG campaign targeted at the luxury consumer today would consider a countrywide campaign to repair clothing of high value.

“I think that there should be a countrywide campaign to repair clothing of high value.”

Due to the size of the company at the moment we have not had to consider these things in such great detail however when liaising with the charities it is important to consider how they’re all working in the environment and remind them to be careful.

54.

As a result of COVID-19 we have seen a very real shift in consumer behaviour towards sustainability and sustainable consumption. Investment firms have picked up on this trend and are now offering financial backing to big name brands on the basis of them meeting sustainability targets.

There is growing evidence that by instead focusing on ‘people and the planet’, businesses can generate greater long-term value. As a result, global investors, pension funds, and financial institutions are demanding that the companies they invest in incorporate, track and report ‘Environmental, Social and Governance (ESG)’ performance. The changing attitudes of consumers is driving massive change in the fashion industry and many luxury brands are picking up on this. This is because, “The differentiator is no longer whether a company does sustainability, it is now whether they have operationalised it in their organisation.”, (Corner, 2021).

BlackRock the worlds largest asset management company that prioritises sustainability in their business model found that, “The existential health risk of COVID-19 has only made climate risk and ESG a larger component of the investing universe. We have seen record inflows into sustainable products”, (Fink, 2021). This shows the extent to which attitudes and opinions have changed towards climate change now becoming a top issue to clients and consumers around the world, with ESG investments now becoming a central focal point to brands. Additionally, as said

by Ben Edwards for Raconteur, “Sustainability-linked financing is increasingly being used by companies to prove they are taking the issue seriously, but businesses need to offer ambitious and credible targets to have a real impact.”, (Edwards, 2021).

Most recently the luxury fashion brand Chanel has issued €600 million of bonds but only on the basis that it meets it sustainability goals. If Chanel fail to do so the company will have to pay penalties to their

investors. This type of deal is an example of a new type of debt known as ‘sustainability-linked bonds’ which is a way for business to finance themselves while tying repayments to their sustainability targets. As said by Delphine Queniart, global head of sustainable finance and solutions at BNP Paribas Global Markets, “Sustainability-linked bonds essentially help companies create an ambitious and accountable pathway to support their overall sustainability strategy,” (Queniart, 2021).

Chanel is an example of a top luxury player setting the pace for sustainability amongst its luxury competitors. Their recent sustainable-linked bonds consisted of two separate deals for €300 million each and is the first luxury brand to commit to cutting greenhouse-gas emissions in half by 2030 and reducing emissions in its supply chain by 10%.

Chanel also pledges to transition to 100% renewable electricity across the companies operations by 2025.

If Chanel fail to meet their emission targets they will have to pay a cash penalty of 0.75% which would double the interest rate. Additionally, if they fail to meet its renewable electricity target it will have to pay and additional 0.5% premium on-top of the 0.5% interest rate on that bond.

Burberry was also another top luxury brand to follow suit with a sustainable-linked bond. They issued their first sustainability labelled bond in September 2020 which will finance eligible sustainability projects. The announcement by Burberry was to raise their intention and long-standing commitment to sustainability, “Burberry is dedicated to using its position and influence to drive social and environmental improvements.”, (Burberry, 2021).

The bond also includes plans to build energy-efficient warehouses and ensuring its cotton comes from the right sources and is sourced sustainably.

The rise of sustainability-linked financing.

SUSTAINABLE INVESTING.

3. The third pledge is to improve gender diversity by 2025.

2. The second pledges to transition to 100 per cent renewable electricity across the company’s operations by 2025.

1. Chanel commits the company to cutting its greenhouse-gas emissions in half by 2030 and reducing emissions in its supply chain by 10 per cent.

CHANEL’S THREE SUSTAINABILITY-LINKED BONDS 55.

SUSTAINABLE BONDS. As seen above, sustainable-linked bonds are on the rise, “Last year, the issuance of sustainability loans (which includes social as well as green loans) jumped 168 percent to $122 billion”, (BloombergNEF, 2020).

The loans are a great incentive for brands to become more sustainable in their business models, however the interest rate that comes with the bonds is tied to the borrowers sustainable performance. According to The GreenBiz Group, “It requires the borrower to set ambitious and meaningful sustainability performance targets and report regularly — at least annually — on its progress, ideally with independent verification.”, (Makower, 2020).

As there is greater concern around sustainability in the fashion industry, we have previously criticised the fast-fashion industry but we are seeing a rise of supply chain speculation in the luxury fashion industry too.

Globally, the fashion industry is focusing more on the environment and sustainability amid consumer and regulatory pressure, textiles has now been termed as the ‘new plastic’ when it comes to trash. As said in ‘Positive Luxury’s Annual Predictions Report’, “In the luxury goods industry, ESG alignment is essential. Luxury brands need to think of themselves as agriculture and mining companies as well as designers, working out strategies to internalise the impact of their entire supply chains, even if they are outsourced.”, (Corner, 2021). This rings true as luxury brands tend to source high-quality, expensive and often rare materials with-out considering their materials environmental impacts. This is why sustainable-linked financing offers a solution and practise to ensure luxury brands are resolving and reducing their environmental and social impacts.

brands leading the way in the luxury fashion industry so that hopefully other key players will take note.

This is because if companies like Chanel are owning up on the need to be more sustainable then many more top players should follow suit. Additionally, “Investment funds are now motivated by consumers’ sustainable values, circular business models and the sharing-economy are more relevant than ever before, making it clear that we now value experiences over ownership. Our hyper-connected and fast-paced society is now seeking to slow down and reconnect with nature.”, (Nieto, 2020).

“THE REAL GAME-CHANGER IS THE WAY ESG AND SUSTAINABILITY CRITERIA ARE BECOMING EMBEDDED MUCH MORE DEEPLY AND HOLISTICALLY INTO INVESTMENT STRATEGIES.”, (EDWARDS, 2021).

Furthermore, sustainable-linked financing is a great way for luxury brands to commit to their sustainability goals in alignment with the ‘UN’s Sustainable Development Goals’ as if they can’t achieve them they will face penalties for doing so. This movement of making polluters pay is increasing sustainable practices in the industry. Chanel and Burberry are examples of two internationally recognised luxury

56.

INTERVIEW SEVEN. A CHAT WITH ANDREW GREEN A SUSTAINABLE INVESTMENT ANALYST AND ADVISOR. 1. What does sustainable investing involve?

The basic idea is socially responsible investing, invest into industries not only with low carbon emissions but who are actively working to reduce emissions and to achieve net zero. The ESG aspect (Environmental, Social and Governance) involves the company’s impact on the planet, the company culture itself (diversity, equal pay ect) and the objectives from the company directors (diversity, values and goals).

2. Is sustainable investing the right thing to do?

It is definitely becoming the new norm. Young investors are becoming more socially responsible and as a result are avoiding investing in sectors with high emissions or poor company culture. It is seen as the right thing to do as ethical investing should lead to more diversity in industries (for example those historically male dominated) and large companies with limited environmental values will lose power through lack of investment.

3. How will sustainable investing help fashion brands?

Investing in sustainable fashion brands will give more power and influence to those brands and suggests to shift the norm away from environmentally harmful clothing. It will not help the fashion brands so much as it will allow those brands to help the environment and have a lower impact, therefore increasing sustainability. If a fashion brand appears to be sustainable then it will be more appealing to investors and this can help market the brand.

4. What does the future look like for sustainable investing?

Sustainable investing, and in particular ESG investing is set to be the future for financial markets. With

many young professionals coming into the industry and gaining control of investment funds, general values are shifting to more sustainable ideals. Young investors would rather put money into industries which are proving to have sustainable values rather than historical investments in mass fossil fuel emitting industries (coal, petroleum ect).

5.What can sustainable investing bring to the luxury market?

Luxury markets are generally open to those with higher average incomes. Those with higher incomes have the ability to make more ethical decisions on what the purchase and why and therefore should work harder to make more environmentally conscious decisions.

Luxury markets also generally have stronger margins and therefore higher profits, these companies should also be leading the way in sustainability within the industry. In an ideal situation sustainable investing into these luxury companies will lead to new R&D projects on more sustainable clothing and as a result create widespread sustainability within the industry and lower environmental impacts. Unfortunately, historical data has shown that selfishness and shareholder pressure has led to profit maximization but in the need for a more sustainable industry it is the responsibility of the companies to make more ethical decisions. Hopefully an increase in sustainable investing into those luxury markets can drive this.

The primary takeaway from our chat is that sustainable investing is on the rise ever since the outbreak of COVID-19. Andrew states that in an ideal situation sustainable investing into these luxury companies will lead to widespread sustainability within the industry and lower environmental impacts. However, historical selfishness and shareholder pressure has led to companies making more economical decisions over environmental.

1. CHANEL 2. BURBERRY 3. FERRAGAMO 4. MONCLER 5. PRADA

LUXURY FASHION BRANDS WITH SUSTAINABLE INVESTMENTS

57.

9.0

CHAPTER NINE

REFLECTION It’s important to research current trends happening in the industry today to form a relevant and appropriate campaign. From my research undertaken so far the big trends to emerge in 2021 in the fashion industry are clothing longevity, circular thinking, embracing resale, social impact, climate positivity and regenerative agriculture. For me the most important one to note is social impact as this is where we are beginning to see a shift in consumer attitudes towards the luxury fashion industry as consumers are now realising their environmental and social impacts as a result of COVID-19. Additionally, I have discovered that sustainable investing is a huge trend emerging as a result of the pandemic as investment funds are now being motivated by consumers sustainable values and circular business models. Chanel and Burberry are the first major luxury retailers to have taken out ‘sustainable bonds’ to help meet their sustainability targets.

For me this suggests that other luxury brands are feeling the pressure to do the same as the criticisms won’t disperse but in-fact only get stronger. As said in The Business of Fashion, “Sustainable investing, once considered a niche reserved for charitable or faithbased foundations, has gone mainstream, fuelling a boom in environmental, social and governance, or ESG, funds.”, (BoF, 2021).

THIRD- PART Y CERTIFICATIONS.

58.

THE B-CORP MOVEMENT. The B-Corp movement started in 2006 by three individuals who wanted to create an organization dedicated to making it easier for sustainable mission-driven companies to protect and improve their positive impact for people and the planet.

So far today there are;

3,720 B-Corp Companies in 15 0 i n d u s t r i e s and 74 c o u n t r i e s .

All with 1 unifying Goal.

To be classed as a ‘Certified B Corporation’ you will be a businesses that is able to meet the highest standards of verified social and environmental performance, public transparency, and legal accountability to balance profit and purpose. Today B Corp companies are accelerating a global culture shift to redefine success in business and build a more inclusive and sustainable economy for the future.

As said on their website, “Society’s most challenging problems cannot be solved by government and nonprofits alone. By harnessing the power of business, B Corps use profits and growth as a means to a greater end: positive impact for their employees, communities, and the environment. The B Corp community works toward reduced inequality, lower levels of poverty, a healthier environment, stronger communities, and the creation of more high quality jobs with dignity and purpose.”, (BCorp, 2021).

Similar to Positive Luxury, B Corp Certification doesn’t just evaluate a product or service- it assesses

the overall positive impact of the company that stands behind it as this is increasingly what people care most about today. Certified B Corporations achieve this by having what’s called a ‘B Impact Assessment’ which is an assessment of a company’s impact on its workers, customers, community, and environment.

Additionally the company will also need to make their ‘B Impact Assessment’ transparent on the ‘bcorporation’ website. Certified B Corporations will also have to amend their legal governing documents to require their board of directors to balance profit and purpose.

Unlike other sustainable consulting firms, the combination of third-party validation, public transparency, and legal accountability helps certified B Corps build trust and value. This could prove particularly helpful to luxury brands which are built upon trust with their customers. Furthermore, B Corps also form a community of leaders which helps to drive a global movement of people using business as a force for good.

The B-Corp movement also works alongside the UN’s Sustainable Development Goals to support the action that is needed to achieve them. They do this by offering an ‘impact management solution’ which enables businesses worldwide to set goals, track progress, and accelerate action towards achieving the SDGs. A few well-known brands that are now B-Corp recognised are; -

Patagonia Eileen Fisher John Lewis Nike ASOS TUI (Sainsbury’s)

However the question today is if any luxury brands will think about becoming a B-Corp business?

59.

P O S I T I V E L U X U RY. POSITIVE LUXURY Positive Luxury is the company behind the ‘Butterfly Mark’, a unique mark awarded to luxury lifestyle brands in recognition of their commitment to creating a positive impact on the planet. The mark recognises a brand’s actions across governance, social and environmental frameworks, community investment and innovation. Additionally they assess how brands can become more sustainable and help them to do so.

Positive luxury also produce monthly business insights into the world of sustainability providing their clients with predictions and focus reports in the hopes of aiding their clients further in the education and impacts of their business on the environment.

They work for clients in fashion & accessories, beauty, jewellery & watches, living, premium drinks and travel & hospitality. Today, 37 fashion brands that have proved their sustainability credentials, these include; Anya Hindmarch, Cecilie Bahnsen, Christian Dior, Givenchy, Kenzo, Loewe, Louis Vuitton and Temperley London. Big names for sustainability in their business model like Stella MacCartney, H&M and Burberry do not appear to yet hold the Butterfly Mark which questions how exactly Positive Luxury evaluate their clients.

As said by the founder of Positive Luxury for Forbes Magazine, “Our number one goal is to keep expanding our initiatives on a global scale and to retain our leadership position as the partner of choice for luxury lifestyle brands to tell their story and validate their sustainable actions through the Butterfly Trust Mark.

But above all, it’s to equip consumers to make the most educated decisions about which brands they can trust.”, (Neito, 2021).

60.

STRENGTHS & WEAKNESSES STRENGTHS: - The ‘Butterfly Mark’ is an internationally recognised award and helps place particular brands on a map of sustainability.

- The ‘Butterfly Mark’ acts as a ‘trust’ mark which helps to equip consumers to make the most educated decisions about which brands they can trust in terms of sustainability.

- It boosts a brands sustainability kudos, ethos and brand image.

- Positive Luxury recognises a brands commitment to creating a positive impact on the planet.

- Positive Luxury educates and informs brands on how they can become more sustainable.

- The award is helping to create change amongst the luxury fashion industry to help it become a more sustainable one.

- Positive Luxury produce monthly business insights into the world of sustainability that are free of charge if you are a member.

- Positive Luxury helps adjust luxury companies ‘mind-set’ in aiding sustainable change in business models.

- Positive Luxury collates case studies and interviews with leaders in sustainability to help outline sustainability scenarios for the upcoming year.

WEAKNESSES: - They do not use a ‘third-party’ validation system so the ‘Butterfly Mark’ could be awarded at bias and unfairly.

- Positive Luxury does not yet focus on the customer.

- They do not award brands that are outside of the luxury field i.e middle to mass market brands.

- They work with few fashion brands and focus their attention more on living, travel and hospitality.

- It is unclear how they examine and determine whether a brand is deemed sustainable or not.

- There is a rise of sustainable consultancy firms and forums that examine brands sustainable accreditations and business models.

OPPORTUNITIES & THREATS

S WO T AN ALYSIS OPPORTUNITIES: - More luxury brands are noticing the demand and importance of environmental change in supply chains by their consumers so might seek the ‘Butterfly Mark’ to build back trust with their clients and consumers.

- Positive Luxury could focus on the consumer and educating purchase decisions so they can measure the impact of their purchases with luxury brands.

- Many luxury brands have keenly co-opted natural imagery in their advertisements without making specific commitments around conservation or restoration, therefore Positive Luxury could be an opportunity to adjust their sustainable ‘mind-set’.

THREATS: - Positive Luxury has the right to remove their ‘Butterfly Mark’ from brands who fail, “to provide data across a range of ESG criteria – plus information on their green innovations and community investment – every two years.”, (Nieto, 2020).

- A rise in sustainable consultancy firms and forums means it will be harder for Positive Luxury to award luxury brands with a unique mark for sustainable recognition, particularly when the B-Corp Movement is on the rise and the logo is more recognised.

- COVID-19 has made it harder for brands to stick to their sustainability goals as overall the pandemic has made it harder to achieve the UN’s Sustainable Development Goals by 2030. This is because the pandemic has turned hard-won progress into a backslide.

- While the surge of companies responding to the climate crisis is hugely positive as a result of COVID-19 it can be difficult to know whether a brand is truly changing and implementing a sustainable business model. We could argue that Positive Luxury could be seen as a form of ‘green-washing’ because it could be falsely recognising luxury brands as being sustainable and eco-friendly solely to increase the brands sales, recognition and partnership with Positive Luxury as after-all Positive Luxury is a company too.

61.

WALPOLE. Walpole is an official sector for UK Luxury. It was founded in 1992 as a not-to-profit organisation and today counts more than 250 British brands in its membership. The organisation is internationally recognised and can be seen as the voice for British Luxury. As said on their website, “Walpole cements and champions relationships with Europe’s luxury and creative sectors, lobbying the EU on key policy issues like selective distribution and IP protection, and supporting pan-European business and cultural connections post-Brexit.”, (Walpole, 2021).

Additionally, “Walpole’s purpose is to promote, protect and develop a sector worth £48 billion to the UK economy and the jewel in the crown of UK business.”, (Walpole, 2021). Walpole don’t just focus on hospitality and travel, they also count a number of luxury fashion brands as members, including the likes of Alexander McQueen, Burberry, Church’s, DAKS, Gieves & Hawkes, Hackett London, Manolo Blahnik and Mulberry.

In 2020, Walpole launched a ‘Sustainability Manifesto’ that aims to support the British luxury sector in leading the way towards sustainability and sustainable business models. Aligned to the UN Sustainability Goals, “Walpole’s Sustainability Manifesto, aims to set industry best practice aspirations in sustainability for the British luxury sector with four overarching principles”, (Walpole, 2021).

These principles are; 1. Lead the transition towards a CIRCULAR ECONOMY 2. Safeguard the environment and NATURAL RESOURCES 3. Guide PARTNERS AND SUPPLIERS towards sustainable practices 4. Advocate equal and respectful WORKING CONDITIONS After having developed the manifesto, which ensures that there are clear and specific sustainability goals that can be monitored and measure easily. Walpole will, “provide on-going directional guidelines for the sustainable journeys of its members and to support member businesses with relevant resources, forums and tools to achieve these aspirations.”, (Walpole, 2021).

“THE LUXURY INDUSTRY NEEDS TO COLLABORATE AND ENACT POLICIES AND PROGRAMMES AT SCALE TO PROTECT THE ENVIRONMENT, IMPLEMENT MORE SUSTAINABLE PRACTICES AND SUPPORT WORKERS IN ITS SUPPLY CHAINS. WHILE THERE IS NO QUICK FIX, WE ARE HUGELY SUPPORTIVE OF WALPOLE’S BRITISH LUXURY SUSTAINABILITY MANIFESTO WHICH WILL BRING TOGETHER ESTABLISHED AND EMERGING UK BRANDS TO IMPLEMENT SYSTEMIC CHANGE AND BUILD A MORE SUSTAINABLE FUTURE FOR OUR INDUSTRY.”.

PAM BATTY, VICE PRESIDENT OF CORPORATE RESPONSIBILITY @ BURBERRY.

62.

10 . 0

CHAPTER TEN

REFLECTION From looking at the competitors for Fashion Revolution which are other third-party certifications I have discovered three major contenders, Positive Luxury, Walpole and the B-Corp movement. They all recognise brands who are working towards a more sustainable industry. However, from looking further into Positive Luxury some might argue if consumers would really care about brands that display the ‘Butterfly Mark’. Therefore, it is important to note that it can be challenging to understand how these organisations gather their research findings to award such an achievement. Additionally, Walpole who have been around since 1992, have only recently launched a sustainability manifesto to help their brands become more sustainable in line with The UN’s sustainability goals.

This supports my idea that the luxury fashion industry needs a re-think as they have been slow to adopt sustainable business models even with these third-party certifications supporting them.

INITIATIVES.

63.

THE CGR INITIATIVE DEFINITION The Global Circularity Gap Report is an annual report that measures the state of circularity with the main aim and goal to inspire and realise a global circular economy. The report is adapted to countries to provide a deeper understanding of the resource reality and tailors pathways to the countries circular transition pathways. The reporting initiative is based on scientific methodology and developed by leading academics. Finally ‘The Circularity Gap Report Initiative’ is endorsed by global leaders who understand the importance of needing a circular economy. Additionally as the circularity gap is widening and the climate crisis is becoming more real by the day, the need for the CGRi is ever increasing. As said by Carolina Schmidt- Minister for the Environment of Chile, “The circular economy is a fundamental means to achieving sustainability and carbon neutrality. Yet to know if we’re getting there, we need to measure circularity. The series of Circularity Gap reports have been illuminating, as they’re showing us the –distressing– tendency of the past years. This third report sparks an alarm for all governments; we need to deploy all the array of policies to really catalyze this transformation.”, (Schmidt, 2021).

THEORY

The CGRi stands for ‘The Circularity Gap Report Initiative’ and is an initiative for the global score of circularity. The Circularity Gap Reporting Initiative highlights the urgent need to transition to a circular economy. As said on their website, “We aim to empower key decision makers in both government and business to co-ordinate action to accelerate that transition. We do this by measuring current states of circularity and by bringing together stakeholders from businesses, governments, academia and NGOs to input and evaluate our findings on the state of the transition based on the latest scientific evidence.”, (Circularity Gap, 2021).

3 STEPS TO BRIDGE THE CIRCULARITY GAP THROUGH LEADERSHIP AND ACTION ACCORDING TO THE CGRi; 1. Foster global collaboration to collect and share data. This will enable identification of key data needed to measure and track circular performance, plus provide the necessary infrastructure and alliances to collect, retrieve and share data.

2. Translate global trends into national pathways. This will enable countries to set goals, peer review, measure and benchmark performance, plus track progress against their ambitions; while still allowing them to formulate practical pathways that are aligned to local context, incentives, and mandates.

3. Build a global coalition for action that is both diverse and inclusive. This will bring together front-running businesses, governments, NGOs and academics to collectively boost capacity and capability to better serve societal needs more sustainably.

THE WAY FORWARD: “Countries are critical to the circular economy but at the moment they operate in a world that is only 8.6% circular and bears witness to the corrosive impacts and negative trends of the ‘take-make-waste’ tradition. The linear economy and its legacy are embedded deep within our society. The problems are hard-wired, as underlined by a widening circularity gap. Against this backdrop of bad news and slow progress, however, we are seeing a global groundswell of positive action emerging bottom-up. This is driven by entrepreneurs, businesses and communities coming together with city officials leading the way. So, sensing both the urgency and the opportunity, an increasing number of countries and national governments are now beginning to shape their strategies in order to support investment towards sustainable and specific circular economy agendas.”, (Circularity Gap, 2021).

“The circular economy provides a systematic approach to reach a safe and just space. By designing out waste and pollution, keeping products and materials in use for as long as possible, and regenerating natural systems, it promises to provide for people’s needs, without transgressing the boundaries of the planet.”, (The Circularity Gap Report, 2020).

64.

GLOBAL FASHION AGENDA AIMS The Global Fashion Agenda (GFA) is the leading forum for sustainability in fashion and a notto-profit organisation founded in 2016. The GFA is also behind the biggest event that focuses on sustainability in fashion, ‘The Copenhagen Fashion Summit’ which is the world’s leading event on sustainability in fashion for industry decision-makers. Each year it brings together members of the fashion industry, sustainable organisations, industry associations and policy makers to find solutions to accelerate social and environment sustainability. “The Global Fashion Agenda advances a year-round mission to mobilise the international fashion industry and community to transform the way we produce and consume fashion for a world beyond next season.”, (GFA, 2016).

The GFA considers “Brands and retailers are at the core of securing comprehensive change and increasing the industry’s sustainability performance across the value chain”, (GFA, 2021).

Therefore the GFA works with fashion brands and retailers to ensure sustainability is a strategic priority in their business models as-well helping to increase brand awareness of new and upcoming issues surrounding the environment. Strategic partners to the GFA include; ASOS, The H&M Group, Kering, Nike, Li & Fung, PVH Corp., Sustainable Apparel Coalition and Target. Additionally the GFA also produces insightful reports available to educators and industry experts to aid the fashion industry’s journey towards a more sustainable future. These include the annual ‘CEO Agenda’ which outlines the crucial sustainability priorities for fashions leaders and ‘Fashion on Climate’ which is an analysis of the fashion industry’s emissions and how fashion stakeholders can focus efforts to meet climate targets.

IMPACT

“SUSTAINABILITY MUST BE FASHION’S FIRST PRIORITY”

The Global Fashion Agenda has proved to help drive sustainability in many brands business models with their commitments to drive industry pledges and support fashion companies in reaching their targets on important topics. For example, “The 2020 Circular Fashion System Commitment has engaged 12.5% of the global fashion market to accelerate the industry’s transition to a circular fashion system.”, (GFA, 2021). Additionally through the GFA’s policy engagement, “GFA pro-actively advocates for policy changes and supportive measures that reinforce sustainability targets, establish circular systems and incentives necessary change”, (GFA, 2021).

Like all businesses many have suffered from the far-reaching symptoms of the COVID-19 pandemic and most industries have not proven immune to the virus, and fashion is no different. The GFA have noted the pandemic leading a change in the way we shop and interact with fashion companies so have built a new digital platform to pledge becoming the next digital frontier.

As said on their website, “The COVID-19 pandemic has forced fashion – a resource-intensive industry and a powerful engine for global growth and job creation – to undergo a dramatic transformation that is playing out in real time. As our industry begins to recover, we must be ambitious in rebuilding a better new normal. We at Global Fashion Agenda, in turn, have set out to do the same: to build a new digital platform for fashion brands and retailers to connect with innovators, for creatives to integrate sustainable practices into their design thinking, and for the industry to interact and share knowledge at-large.”, (GFA, 2021).

Additionally the GFA have released a new project and cross-sectional partnership called, ‘The Circular Fashion Partnership’ to achieve a long-term, scalable transition to a circular fashion system. This was produced in the pandemic to help “Facilitate circular commercial collaborations between global fashion brands, textile and garment manufacturers and recyclers to develop and implement new systems to capture and direct post-production fashion waste back into the production of new fashion products.”, (GFA, 2021). This partnership has particularly tested circular solutions in regards to the dead-stock and waste produced from cancelled orders as a result of COVID-19. According to the GFA, “A successful business case will demonstrate a decrease in textile waste and increase the use of recycled fibres, distributing value throughout the fashion value cycle and generating economic benefits in Bangladesh by accelerating the fibre recycling market.”, (GFA, 2021).

The Global Fashion Agenda is a great source to use in helping to build a solution to my proposed question as it works with leading fashion brands and retailers particularly in the luxury sector e.g Kering and PVH Corp.

65.

CANOPY PLANET AIMS “Climate change is the single greatest threat to a sustainable future but, at the same time, addressing the climate challenge presents a golden opportunity to promote prosperity, security and a brighter future for all.” (Canopy, 2021).

VISION: To create a greener earth.

MISSION: To create an empowered community who embrace biodiversity conservation and healing.

CORE VALUES: Environmental consciousness, diversity and social fairness, prudent utilisation of resources, innovation and integrity.

As most people don’t realise that clothes actually contain fibres from trees (some of which have come from ancient and endangered forests), Canopy a not-to-profit organisation recently came up with the ‘CanopyStyle Initiative’. This initiative sees companies commit to a sourcing policy that keeps ancient and endangered forests out of their supply chains. To date, there are over three hundred fashion brands who have partnered with the initiative, the biggest names include H&M, M&S, Stella McCartney, Target, Vivienne Westwood, UNIQLO, Zara/Inditex and Patagonia.

As the initiative is to educate brands on where their materials come from, it focuses greater attention at trying to create change across the rayon/viscose supply chain to help protect ancient and endangered forests being used in material production. Vivienne Westwood in particular, ensures no fabrics are made from dissolving wood pulp and are not sourced from ancient and endangered forest areas. Additionally they have committed to only using FSC certified viscose by 2021.

THEORY

COMMUNITY ACTION IN COMBATING POVERTY AND CLIMATE CHANGE

Theory behind why the Canopy initiative was created is due to the little known facts about many materials being made from fibres such as rayon and viscose that use ancient and endangered forests in their textile production. Canopy research has found that, increasingly, these forests are being used in the manufacture of dissolving pulp to produce fabrics such as rayon/viscose, modal and lyocell.

Below are some pull out facts from research conducted by Canopy Planet to show the extent of the harmful environmental impacts; -(CanopyStyle, 2021).

-More than 150 million trees are logged every year and turned into cellulosic fabric – if placed end to end those trees would circle the earth seven times.

-Between 2013 and 2020, it is expected that the number of trees being logged every year and turned into fabric such as viscose will have doubled.

-Dissolving-pulp (the base material for rayon/viscose) wastes approximately 70% of the tree and is a chemically intensive manufacturing process.

-Less than 20 percent of the world’s ancient forests remain in intact tracts large enough to maintain biological diversity.

-Forests in Indonesia, Canada’s Boreal and the Amazon are being logged for next season’s fashion and apparel.

Therefore the question remains why haven’t more fashion brands signed up to partner with ‘The CanopyStyle Initiative’, particularly luxury brands who use an array of expensive and often unique materials in their textile manufacturing process. This further escalates luxury fashion not being as sustainable at first glance.

“All 6.5 million tonnes of viscose being produced this year could be made using only 25% of the world’s wasted and discarded cotton and viscose fabrics, thereby saving forests, reducing municipal and industrial waste to landfills, and reducing carbon emissions, energy and water use.”, (Canopy, 2021).

66.

RE.ACT CAMPAIGN AIMS RE.ACT is a campaign that focuses on the environmental and economic assessment of postindustrial cotton waste recycling.

“The project aims at advancing the competitiveness and international market presence of the Egyptian cotton value chain, highlighting aspects of sustainability, inclusiveness and value addition. In this regard, UNIDO has developed a pilot project in a joint effort with Egyptian and Italian industry partners to test quality and market opportunities for recycled cotton yarns produced from post-industrial denim scraps from the Egyptian apparel industry. The pilot relates to operational trials of textile-to-textile recycling by transforming these scraps, which are otherwise considered waste, into spun yarns for weaving and knitting new garments.”, (Re. Act, 2021).

THEORY

As discovered in the ‘Preferred Fibre & Materials Market Report 2020’, “Cotton is the second most utilised fibre for textiles and apparel, accounting for approximately 23% of the global fibres’ market share in 2019”, (Textiles Exchange, 2020). In particular Egyptian cotton remains the most used and globally produced cotton but in order to continue at this pace the Egyptian apparel industry needs to recognise the importance and opportunities that recycling cotton provides. This campaign therefore aims to help reduce post-industrial cotton waste through various recycling methods. As said by Re.Act,

For the campaign to be successful the Circular Economy has been commissioned within this project to study the environmental and economic impacts of the cotton-waste recycling pilots as well as its potential for scaling.

Additionally the circular economy will enable post-industrial cotton waste in becoming a more commonly used bi-product by larger companies globally which will offer market potential for Egypt while also helping to reduce the circularity gap. “In 2018, the IKEA Group, the H&M Group, Nike Inc., ALDI and Decathlon were the brand groups using the largest volumes of recycled cotton, coming mostly from post-industrial sources.”, (Textile Exchange Corporate Fibre & Materials Benchmark, 2018). These brands in particular were incorporating recycled cotton into their clothing and home textile collections. Additionally the establishment of recycled cotton in the fashion and textiles sector has been further driven and supported by industry-wide commitments to circularity and sustainability such as ‘The Global Fashion Agenda 2020’ and ‘The Circular Fashion System Commitment’.

The campaign has also been broadcast on many social media channels with the majority of the noise created through their Instagram. This has helped to create a buzz around the campaign which has helped educate many consumers about post-industrial cotton recycling which in turn has made them more aware on the environmental benefits of buying recycled cotton.

Therefore to reduce the waste of post-industrial cotton a recycling system needs to be created in order to make cotton a more sustainable material to use in the fashion industry. This is because cotton has a large environmental impact as it adds to rising CO2 emissions, water and energy consumption.

“3250 litres of water is how much water is needed to produce the cotton needed for one t-shirt – that is almost three years’ worth of drinking water”. Even more concerning is that, “8183 litres is the amount of water needed to grow enough cotton to produce just one pair jeans”, (WWF, 2019).

67.

TEXTILES 2030.

The Textiles 2030 Agreement is a new groundbreaking, expert-led initiative. It has been formed from harnessing the knowledge and expertise of UK leaders in sustainability to accelerate the whole fashion and textiles industry’s move towards circularity and system change in the UK. Additionally all signatories of the agreement would commit to a reduction in their environmental footprints to meet set requirements by 2030, as well as aiming to create and deliver a UK-wide roadmap for circular textiles.

With an official launch in April 2021, the new voluntary agreement builds on the learning and success of the ‘Sustainable Clothing Action Plan’ (SCAP 2020) and aims to engage the majority of UK fashion and textiles organisations in collaborative climate action. The agreement hopes to ‘ramp-up’ action on fast fashion brands in particular whilst holding manufactures accountable for textile waste.

The government has proposed that the industry should set minimum standards for textile products, and introduce requirements to improve textile product labelling to clearly highlight an item’s durability, ability to be repaired, recyclability, and recycled content, as well as the impact production has had on the environment. Using powers acquired through the ‘Environment Bill 2020’, the government will be able to implement standards where the industry does not.

As said by Rebecca Morter founder and CEO of Lone Design Club for Drapers Magazine, “This feels like the most considerable institutional effort since the 2015 Modern Slavery Act was enforced, which was ground-breaking at incorporating accountability,” , (Morter, 2021). Additionally the agreement with the UK Fashion and Textile sector collaboration will only help steer the industry into becoming a much more sustainable one. As said by Rebecca Pow the UK’s Environmental Minister, “Textiles 2030 will help drive this transformation, to shift to greater circularity and innovation in the UK – and help in our mission to build back greener from the COVID pandemic.”, (Pow, 2021).

This supports my research to focus efforts on the luxury fashion industry as all the fashion brands and retailers to have partnered with Textiles 2030 so far are fast-fashion, low to middle mass market brands.

After-all it can’t just be the one industry to focus their efforts it has to be everyone pulling their weight to help make rapid, science-based progress on circularity and climate action.

Brands and retailers to have partnered with Textiles 2030 so far are; -The Next Group -Primark -Tesco -John Lewis -Sainsbury’s -Ted Baker -M&S -Gymshark -JD Group Re-use and recycling organisations to have partnered with Textiles 2030 are; -British Heart Foundation -Oxfam -Worn Again -Cancer Research UK -Re Fashion -Textile Recycling International -Thrift + -Hirestreet Affiliates to the Textiles 2030 organisation are; -British Retail Consortium -Recyclatex -Charity Retail Association -Textile Recycling Association -British Fashion Council -Positive Fashion -The Textile Institute -Fashion Roundtable -University of Leeds

The Government Textiles 2030 sustainability plan is a ‘step in right direction’.

68.

KEY TAKEAWAY S. 1. “IN THE LAST FIVE YEARS, REFERENCES TO SUSTAINABILITY IN THE ANNUAL REPORTS OF 15 OF THE WORLD’S LARGEST FASHION COMPANIES HAVE MORE THAN DOUBLED.”, (BoF,2021) 2. LUXURY FASHION CAN’T CONTINUE WITH ITS CURRENT BUSINESS MODEL, A NEW ONE IS NEEDED. 3. TRANSPARENCY IN SUPPLY CHAIN, MANUFACTURING, FAIR LABOUR AND SUSTAINABLE RESOURCING IS NEEDED MORE AS CONSUMERS ARE DEMANDING ENVIRONMENTAL JUSTICE. 4. THE LUXURY CONSUMER HAS SHIFTED TO GEN Z FEMALES, (YOUNG AND HIGHLY-DISCERNING FEMALE CUSTOMERS).

5. CIRCULAR FASHION IS THE NEW FAST-FASHION AND CIRCULAR THINKING IN THE FASHION INDUSTRY IS THE BIGGEST TREND TO SHAPE THE FASHION INDUSTRY IN 2021.

6. TO ENGAGE WITH THEIR MODERN AUDIENCES, LUXURY FASHION BRANDS WILL NEED TO REFOCUS ON WHAT’S TRULY IMPORTANT FOR THE HERE AND NOW TO BECOME FUTURE-FIT. 7. THE CLIMATE CRISIS IS REAL AND THE LUXURY FASHION INDUSTRY NEEDS TO ACT NOW TO CHANGE THE INDUSTRY FOR GOOD.

69.

11 . 0

CHAPTER ELEVEN

REFLECTION From in-depth secondary research into sustainable initiatives, I have discovered that many have been campaigning for a more sustainable fashion industry for a number of years. This makes me question whether there are deeper rooted issues embedded with-in our society and the government. However, in hindsight, many of the initiatives I have researched are paving the way for the fashion industry to become more sustainable. The latest initiative being ‘Textiles 2030’ is in place to propel the industry forward towards circularity and a sustainable system change in the UK. However, to my dismay only fast fashion to middle mass market brands have partnered with the initiative so far making it harder for this change to be seen at the highest level. This therefore supports my idea for a new campaign at Fashion Revolution to target luxury fashion brands who lead to industry to take action and ownership.

THE CLIENT.

70.

FASHION REVOLUTION. I D E O L O GY.

Founded in April 2013, Fashion Revolution is a non-profit global movement that campaigns for a clean, safe, fair, transparent and accountable fashion industry. They do this through research, education, collaboration, mobilisation and advocacy.

H I S T O RY. The ‘Fashion Revolution’ was proposed after the Rana Plaza factory in Bangladesh collapsed in 2013. This factory in particular had more than 5,000 people at work through eight stories all under one roof which tragically meant the lives of 1,134 people were loss and more than 2,500 garment workers were injured.

Shortly after it made global news it was found that the likes of Benetton, Mango and many other brands were having their clothes produced there which made many people horrified. This then, “sparked an international conversation on ethical fashion pushed to the spotlight.”, (Valenciano, 2021). As the tragedy was preventable, the blame was not only placed on the building owner but also on the accountability amongst retailers and supply chain management as ultimately the demand of garment production from the fast fashion industry forced the garment workers to keep working.

From this tragedy ‘The Fashion Revolution’ emerged which works towards reform the fashion industry. Over the eight years since the organisation was founded, the movement has created a path to positive changes while the challenges are ongoing. However today, the Fashion Revolution has turned into a global fashion activism movement aiding people worldwide to stand against the norms of how the fashion industry does its business. Famous internationally known campaigns so far include, ‘WhoMadeMyClothes?’, ‘InsideOut’ and ‘Haulternative’.

-Trustworthy -Caring -Responsible

P

ica hys

Per

l

son

alit

-Creative -Authentic -Unique

-Responsible -Ethical -Environmentally Conscious

y

Culture

As quoted on their website, “The issues in the fashion industry never fall on any single person, brand, or company. That’s why we focus on using our voices to transform the entire system. With systemic and structural change, the fashion industry can lift millions of people out of poverty and provide them with decent and dignified livelihoods. It can conserve and restore our living planet. It can bring people together and be a great source of joy, creativity and expression for individuals and communities.” (Fashion Revolution, 2020). They believe in a global fashion industry that conserves and restores the environment and values people over growth and profit.

-Female -Youthful -Trendy -Tech-savvy

Relationship

“We love fashion, but we don’t want our clothes to come at the cost of people or our planet.” (Fashion Revolution, 2020).

Re f

lec

tio

n

Se

ma lf I

ge

-Global -Diverse -Inclusive

-Authentic -Confident -Unique

The Kapferer Brand Prism, 1996 The Kapferer Brand Identity Prism is a model that helps to businesses to build a strong and enduring brand identity that reflects their core values. It proposes that a brand’s success is driven by a company-wide utilisation of the following elements, the physique, the personality, the culture, the relationship, the reflection and self image. According to Kapferer: “Strong brands are capable of weaving all aspects of the prism into an effective whole in order to create a concise, clear, and appealing brand identity.” (Kapferer, 2008).

From looking at the six elements of Kapferer’s Brand Identity Prism, we can see that they all work together in sync and form the overall identity of Fashion Revolution to be responsible, strong and clear with what they try to communicate to their audience. This bods well for the foundations of Fashion Revolution being a long-lasting brand as they have a well-defined and structured brand entity.

71.

FASHION REVOLUTION. VISION. “A global fashion industry that conserves and restores the environment and values people over growth and profit.”, (Fashion Revolution, 2021).

AIMS. 1. An end to human and environmental exploitation in the global fashion industry 2. Safe, dignified working conditions and living wages for all people in the supply chain 3. Redistributed and more equal balance of power across the global fashion industry 4. A bigger and stronger labour movement in the global fashion industry 5. A global fashion industry that works to conserve precious resources and regenerate ecosystems 6. A culture of transparency and accountability across the value chain 7. An end to throwaway culture and shift to a system where materials are used for much longer and nothing goes to waste 8. Heritage, craftsmanship and local wisdoms are recognised and valued

A P P ROA C H .

“Fashion Revolution strives to be action-oriented and solution focused. Rather than making people feel guilty, we help them recognise that they have the power to do something to make positive change.”

(Fashion Revolution, 2021).

While Fashion Revolution celebrates fashion and thinks of it as a ‘positive influence’ it also scrutinies industry practices particularly in fast fashion. The organisation aims to raise awareness on the deep rooted and pressing problems on supply chains. Overall, Fashion Revolution want to educate consumers about how to make better purchase decisions by understanding where and how their clothes are made. “We aim to show that change is possible and encourage those who are on a journey to create a more ethical, sustainable and transparent future for fashion.”, (Fashion Revolution, 2021).

The Fashion Revolution wants to start more conversations on the issues seen in the fashion industry through positive action-orientated ideas and campaigns. The organisation specifically specifies that, “We try to always be bold, provocative, inquisitive, accessible and inclusive. We tend to avoid negative protesting, victimising, and naming and shaming. We do not target specific individual companies because we believe that the industry’s problems are bigger than any one company’s actions.”, (Fashion Revolution, 2021).

72.

THE AUDIENCE. We could argue that Fashion Revolution do not pin-point a particular demographic, instead they allow anyone to view and use their content. This is partly because they want to educate everyone about where our clothes are made and by whom but it is also because they want to reach every audience possible. As said on their website, “We are Fashion Revolution. We are designers, producers, makers, workers and consumers.

We are academics, writers, business leaders, brands, retailers, trade unions and policymakers. We are the industry and the public. We are world citizens. We are a movement and a community. We are you.”, (Fashion Revolution, 2021).

However as they use particular social media channels to showcase their research findings and events, we can pinpoint that their main target audience is females in Gen Z. This is because Gen Z also known as mobile millennials will spend the majority of their time online. They are also the generation who are demanding environmental justice and millennials as consumers or prospective employees are beginning to set the bar high and demand more transparency and responsibility from fashion corporations. This is why Fashion Revolution have a strong connection to many schools and universities as education is a key role in their goal towards a more sustainable fashion industry. Additionally, Fashion Revolution also hire students to act as ambassadors for the brand who can help to bring a ‘Fashion Revolution’ to many campuses globally by hosting seminars and events for Fashion Revolution Week.

Additionally as Fashion Revolutions campaigns often always start with a ‘hashtag’ which is only used for online social media apps like Twitter and Instagram gives further support to the main target market being in Gen Z. This is because the use of hashtags is to start conversations on social media and the app Instagram can serve audiences well with an endless stream of visual inspiration. A study found that “32% of 18-24-year olds favour Instagram as the most for earned media.”, (WGSN, 2018). Furthermore, “51% of Instagram’s audience is females and the total audience on Instagram for 18-24 year olds currently stands at 342,000,000”, (WeAreSocial, 2020).

30% are above the age of 35

70% are between the ages of 18-35

Figures taken from their ‘Fashion Revolution Impact Report 2019’ shows that the Fashion Revolution community is formed of, -94% identify as female -70% are under the age of 35 -60% live in Europe

A pie chart to illustrate the average age of Fashion Revolution’s audience.

73.

S WO T AN ALYSIS STRENGTHS & WEAKNESSES -Global recognition thanks to the ‘Who Made My Clothes Campaign’.

-”The message of Fashion Revolution has come to high-profile events in the European Union, G7, United Nations and COP21.”, (Hall, 2016).

-Not-to-profit organisation- they are one of a few charitable organisations that focuses on changing the fashion industry for the better.

-Fast growing organisation- Fashion Revolution is only eight years old and already the world’s largest fashion activism movement.

-Wide target audience, they cater to every age and demographic.

-Vast number of communication channels, Instagram, Facebook, Twitter, YouTube and Pinterest.

-Brand advocates, (sustainable influencers and university students).

-Loyal fans and following.

-Educates and supports various organisations, such as students, emerging designers and small business owners.

-The Fashion Revolution is not just online, it is also offline too thanks to their offline assets, physical events and protests.

-Their education on the fashion industry is a priority and as known, education is key if you want to change consumer behaviours and attitudes.

WEAKNESSES: -Focuses mainly on fast-fashion and not on the luxury fashion sector dispute criticism being recently placed on luxury brands.

-Has weak connections with Gen Y. -Campaigns could now be seen as uninspiring as they have been circulating for so long under the same name and hashtag.

-Fashion Revolution has faced past criticisms and in a recent article written by The Guardian, Ruth Stokes, author of The Armchair Activist’s Handbook says that, “Meaningful change in the fashion industry can start with a Fashion Revolution Day hashtag campaign, but must go beyond it.”, (Stokes, 2015). This is because hashtag activism can make little difference against a problem and issue that is found on such a large scale.

OPPORTUNITIES & THREATS

STRENGTHS:

OPPORTUNITIES: -Signing on global celebrities to act as ambassadors to be the face of the organisation as research shows that celebrity association to a brand can often allow for growth, increased visibility, and capture of younger, image orientated consumers (Reimann, Wagner and Reisinger, 2017).

-Fashion Revolution should target a new age demographic rather than students who may already be converted and educated on the issues and topics focused on.

-Fashion Revolution have an opportunity to grow their social media engagement, reach and demographic from new inspiring campaigns.

-COVID-19 has given luxury fashion a chance for change in becoming a more sustainable industry, therefore Fashion Revolution should pick up on this opportunity.

-Fashion Revolution so far have focused on ‘word-of-mouth’ marketing and education, they have not yet done a successful PR led campaign.

-Fashion Revolution use minimal PR outlets so there is any opportunity to get the organisation to do more published interviews, magazine spreads, and podcasts.

-Fashion Revolution could focus on the importance for ‘circularity’ in the supply chain this is because as said in the ‘The State of Fashion 2021’ report, “Circularity is likely to be one of the key business trends of the next decade as consumers become more engaged with sustainability issues, circularity will be the key that unlocks the door to a more sustainable future.”, (Lee and Magnus, 2021).

THREATS: -Fashion Revolutions projects focus on uncovering fashion brands supply chains, yet transparency is a huge challenge on its own.

-COVID-19 has impacted on physical campaigns and events from taking place.

-Competition with other sustainable fashion organisations.

-Although Fashion Revolution is funded by over 15 sponsors, including two UK universities there is still a lack of funding and so Fashion Revolution still relies on the support of citizens and other organisations to help keep Fashion Revolution alive.

-More and more not-to-profit organisations that focus on helping the fashion industry are being formed which poses a threat to Fashion Revolution staying as a leader of the worlds largest fashion activism movement.

74.

BRAND TIMELINE. A brief timeline of Fashion Revolution most notable campaigns and events.

2013- This was the year Fashion Revolution was founded in response to the Rana Plaza disaster in Bangladesh. The not-to-profit organisation was founded by Carry Somers and Orsola de Castro.

2014- The #WhoMadeMyClothes campaign was launched in 2014 on the anniversary of the Rana Plaza factory collapse to call upon brands to answer the question- ‘Who Made my Clothes?’.

This proved to be a highly successful campaign and led to Fashion Revolution being mentioned in the House of Lords: Roundtable Debate in the UK on May 12th, 2014.

2015- In 2015 Fashion Revolution worked with Mary Creagh, Shadow Secretary of State for International Development, to put on Fashion Question Time in the Houses of Parliament in order to address some of the most pressing issues in the fashion industry. The panel included key speakers in the industry such as Mary Creagh, Catarina MidbyGlobal Head of Sustainable Communications at H&M, Lily Cole- actress and writer, Jenny HoldcroftPolicy Director at IndustriALL Global Union and Dilys William- Head of Sustainable Fashion for Anas Sarwar and shadow Minister for International Development. The podcast was highly successful and touched upon, “The human cost of fast fashion to restoring British manufacturing, from the language of sustainability to the mind-set around consumption, questions were raised, viewpoints were challenged and solutions suggested.”, (Fashion Revolution, 2015). 2015 was also the year where the campaign, #Halternative was born. This was a new campaign aimed to promote sustainable fashion by encouraging people to purchase used clothing over new clothing.

2017- In 2017, Fashion Revolution made their first International debut in Cape Town, South Africa.

Fashion Revolution were guests of the Mercedes-

Benz Fashion Week in Cape Town and showcased local designers to display and encourage ethical design and sustainable consumption. Later that year, Fashion Revolution collaborated with AEG/ Electrolux on the Loved Clothes Last project.

They released a short film which explores, “Mindfulness, consciousness and, with its final call to arms #LovedClothesLast, it encourages viewers to understand how small actions can benefit the planet, reduce landfill mass and ultimately create a more meaningful relationship with the things we choose to buy.”, (Fashion Revolution, 2017). The film comments on the “Issue of mass consumption and waste, which has created an unprecedented crisis and a significant impact on climate change.”, (Fashion Revolution, 2017).” The short film was successful at educating consumers further about the impact of clothes on the environment.

2019- In 2019, Fashion Revolution became louder and bigger than ever before. There was a new wave of brands that took steps towards being more transparent about their supply chains as more people interacted with the #whomademyclothes campaign. The UK Government’s Environmental Audit Committee published ‘Fixing Fashion’ which included evidence from Fashion Revolution on how the UK’s fashion industry can become more sustainable. This increased Fashion Revolutions global impact as an organisation helping to combat “Social and environmental abuses that occur as a result of the way clothing is made, sold and discarded.”, (Fashion Revolution Impact Report, 2019). Additionally, Fashion Revolution held the ‘Sustainability as a Culture’ event in 2019 which included leading industry experts in fashion and textiles manufacturing, cultural influencers, academics, activists and artists to discuss the themes of racial justice, responsible sourcing and manufacturing, circularity, and authenticity in design. This was another strong activation from Fashion Revolution.

2 013

2020- 2020 was the year where COVID-19 came into play. It meant that all physical events had to be instantly cancelled including Fashion Revolution Week, the biggest annual event organised by Fashion Revolution. However despite the complications that arose from COVID-19, Fashion Revolution launched, ‘Fashion Open Studio’ which is an international fashion forum which aimed to allow customers to virtually step into designers studios and meet the people who made their clothes. It showcased 60 designers across 20 countries.

2021- With COVID-19 still being prominent in 2021, the Fashion Revolution Week will still remain online. This year, Fashion Revolution is “Highlighting how human rights and the rights of nature are interconnected and interdependent”, (Fashion Revolution, 2021). As said on their website, “We need a revolutionary shift in our relationships with each other, with our clothes, within fashion supply chains, and with the natural world, for our own prosperity and well-being, and for the health of our earth, rivers and oceans.”, (Fashion Revolution, 2021). Therefore this Fashion Revolution Week aimed to bring people together from across the fashion revolution and fashion community to amplify unheard voices to work together to explore innovative and interconnected solutions.

2 014

2 015

2017/ 19

2020/ 21 75.

PAST C AMPAIGNS. Although there has been some criticism in the past on the effectiveness of hashtags, Fashion Revolution has been the leader of hashtag movements as the tool for the success of past campaigns. #WhoMadeMyClothes The ‘Who Made My Clothes’ Campaign was created after the collapse of the Rana Plaza building in 2013. The campaign was aimed at standing up for workers rights as many exploited garment workers are now facing arrest and violent attacks for demanding more pay. The campaign helps to unite customers and workers to help ensure no one suffers from the clothes that we wear. The campaign is the most successful to date and became the number 1 global trend on Twitter. According to social media monitoring platform Meltwater, by 2018 “The hashtag received 99.6 million impressions on Twitter with 170 000 posts being shared.”, (Pinnock, 2018). Additionally, “On Twitter, 31.82% of the tweets with #WhoMadeMyClothes were posted by users from the United Kingdom and celebrities including Emma Watson, Kelly Slater, and Fernanda Paes Leme used the hashtag on Twitter to support the issue.” (Pinnock, 2018).

As the movement has continually grown, more and more customers have joined in and brands have been forced to answer, many realising that often the worst answer of all is to say nothing. #InsideOut The ‘Inside Out Campaign’ was created only six months after the ‘Who Made My Clothes Campaign.

It aims to encourage people to wear their clothes inside out to reveal what their clothing tags say.

The idea behind the campaign is to show off the seams and labels of your clothes to remind yourself and others of where and how they were made. It was thought that by showcasing where clothes were produced it would encourage more people to make conscious purchasing decisions. The campaign soon

became a top trend on Twitter thanks to the help of some celebrities who posted with the hashtag on their social media platforms. Vogue even made an appearance in the campaign by running a feature on Fashion Revolution and saying, “We’re joining in here in the Vogue office by turning our clothes #InsideOut.”, (Kilcooley-O’Halloran, 2014). The campaign was successful but unfortunately shortlived as although the idea was great for media coverage it was not practical and the hashtag hasn’t been used since. #Haulternative In 2015, Fashion Revolution came up with a new campaign called ‘Haulternative’. This campaign was created to produce a new movement focused on promoting sustainable fashion in the hope of encouraging people to purchase used clothing over new clothing. As said on their website, “Instead of the traditional fashion haul, where you go shopping and post a video of what you’ve bought, try a #haulternative; a way of refreshing your wardrobe without buying new clothes.”, (Fashion Revolution, 2015). Therefore the goal was to educate consumers on different ways of having ‘new’ clothes and these became key aspects to the campaign. These were; to fall back in love with the things you already own, to make your clothes last longer by repairing them when necessary, to recreate your favourite looks for a fraction of the price, to do a clothes swap with a friend, to turn your clothes into something new, to wear vintage clothing to extend a garments life and finally to appreciate the beauty and true value of the handmade pieces.

Overall the campaign was a huge success and helped to mitigate the effects of fashion production on the environment. Fashion Revolution also promoted the campaign through collaborative events with seasonal second-hand clothing pop-up stores in selected cities across the UK. Fashion Revolution’s Who Made My Clothes Campaign is the most successful to date.

76.

77.

POSITIONING. F a s h i o n Re v o l u t i o n s M a r ke t E n t r y Fashion Revolution is internationally known thanks to a global network of loyal supporters. As said on their website, “Fashion Revolution exists because of the dedicated and passionate volunteers that operate worldwide.”, (Fashion Revolution, 2021).

Fashion Revolution also has individual pages for ‘country teams’ on Twitter, Instagram and Facebook to provide everyone from around the world with the opportunity to get involved and engage within the organisation.

PARTNERSHIPS As of 2019, Fashion Revolution has over 500 + partnerships that help the organisation in their fight for systematic change with-in the fashion industry.

300+ of these include working alongside NGO’s, activist groups and arts and cultural organisations while 200+ are partnerships with educational organisations. Big partnerships include working with the British Fashion Council and the Extinction Rebellion. These collaborative actions, “Allow us to raise global awareness of the industry’s issues and to hold companies and governments to account, encouraging real change.”, (Fashion Revolution, 2019).

POLICY MAKERS Fashion Revolution has “112 policy makers engaged in 18 countries”, (Fashion Revolution, 2019). Policy makers help to make changes at government level and are vital for creating change with-in the fashion industry. Fashion Revolutions policy makers include lawmakers, elected officials and policy influencers.

STUDENTS AMBASSADORS Additionally Fashion Revolution has over “231 student ambassadors in 22 countries”, (Fashion Revolution, 2019). This is hugely important as

students and young people play and important role in fashions future. Fashion Revolutions student ambassadors help to create innovative initiatives to educate and inform their peers. As said by Fashion Revolution, “They have the ability to create the world that they want to live in.”, (Fashion Revolution, 2019). This is true as student ambassadors can easily influence other young people in education as they are often seen as role models to the younger audience.

Ansoff Matrix for FA S H I O N R E VO L U T I O N .

EXISTING MARKETS + EXISTING PRODUCTS

EXISTING MARKETS + NEW PRODUCTS

MARKET PENETRATION

PRODUCT DEVELOPMENT

-campaign assets -digital download packs -educational resources -insightful reports

-yearly campaigns and events i.e Fashion Revolution Week -new yearly resources and industry insight reports

COMMUNITY Fashion Revolution is made up of a diverse and global community. The organisation terms its organisation as ‘Fashion Revolutionaries’ and as said on their website, “‘Fashion Revolutionaries’ are the hundreds of volunteers who activate their communities in more than 60 countries around the world and the hundreds of thousands of people that have joined the movement, followed us online, shared demands, attended or hosted events, read or watched content, downloaded resources and taken individual and collective actions in order to change the way the fashion industry works.”, (Fashion Revolution, 2021).

Figures taken from their ‘Fashion Revolution Impact Report 2019’ shows that the community is formed of, -94% identify as female -70% are under the age of 35 -60% live in Europe -63% purchase the majority of their clothes second hand -93% have stopped or reduced shopping at a certain brand as a form of protest -32% work in the fashion industry (Fashion Revolution Impact Report, 2019)

NEW MARKETS + EXISTING PRODUCTS MARKET DEVELOPMENT -Fashion Revolution is available globally thanks to its global community, online website and social media accounts -Fashion Revolution should expand potential reach to a new customer segment, e.g the luxury consumer

NEW MARKETS + NEW PRODUCTS DIVERSIFICATION -Fashion Revolution could consider producing a new campaign -Fashion Revolution should capitalise on the criticism recently being placed on luxury brands to demand environmental justice a result from COVID-19

The Ansoff Matrix, 1957 The Ansoff Matrix developed in 1957 by H.Ignor Ansoff is model used to determine growth in an organisation.

The matrix outlines four possible avenues for growth which vary in risk, these include, market penetration, product development, market development and diversification. The Ansoff Matrix’s focus on growth means we can easily evaluate opportunities to increase sales through finding alternative combinations for new markets, (e.g customer segments and geographic locations) against products and services offering the four strategies as shown above.

By using the Ansoff Matrix to analyse Fashion Revolution, we can see that there is an opportunity to grow through both developing new campaigns and targeting a new market. It will help us to decide on objectives and the best strategy to complete them with.

78.

79.

INTERVIEW EIGHT. A CHAT WITH JOWAN NOTT, FORMER STUDENT AMBASSADOR FOR FASHION REVOLUTION 2018/2019.

support across as many sectors and stake holder - communicating to the interests of your targets.

Lots of energy and conviction.

1. Do you think COVID-19 has changed people’s views towards sustainability in the fashion industry? If yes, what do you believe has caused this change?

6. What tools would you recommend using to create my own campaign?

I don’t get that impression too much, attitudes towards labour standards have probably changed and brands have generally kept pace with consumer sustainability expectations.

2. Have you noticed more fashion brands wanting to become involved with Fashion Revolution since the outbreak of COVID-19?

I would struggle to separate brands’ responses to general consumer pressure and their responses to the pandemic. So I’d say no, I have not noticed but as I’m not a Fash Rev insider, this is just colloquial.

3. Who would you say The Fashion Revolution audience is?

Largely women, perhaps more reflective of fashion than of gender sentiment!

4. How did the campaign ‘Who Made my Clothes’ become viral?

Consumers and activists tagging big brands and the sentiment was transparency not attack, accountability not shame. Fash Rev week seamlessly builds up and recharges the movement each year.

5. Do you have any tips for creating my own campaign?

Clear message, managed expectations, as much

As you probably know, Fash Rev have comprehensive resource, open to all. Their model is well informed, largely inclusive and pragmatic.

The primary takeaway from my chat with Jowan is that the target audience for Fashion Revolution is largely women which supports my own conclusion on who the campaign will target. Additionally, I have discovered that the ‘Who Made My clothes’ campaign largely cut through media noise thanks to its constant exposure which in-turn recharges the Fashion Revolution Week movement to be bigger and better each year. I also have to note that in reflection I tried to speak directly with Fashion Revolution as primary research directly from the organisation would have been immensely helpful in trying to form the most accurate and effective campaign. However, I had no luck in doing so and tried every avenue possible and after two months of trying I used my initiative to settle on the next best thing which was to interview a past Student Ambassador. Although he didn’t work directly with-in the organisation, he was involved in Fashion Revolution Week 2019 and his answers have still proved helpful.

“WE THINK FAST FASHION IS LIKE A ONE-NIGHT STAND, AND THE REST IS MORE LIKE A COMMITTED REL ATIONSHIP” – ORSOL A DE CASTRO, 2016

80.

MARKETING MIX. The 7Ps of marketing will help to review and define key issues that affect the marketing of Fashion Revolutions products and services.

PRICE: Fashion Revolution is a not-to-profit organisation and rely fully on funding and support from people and organisations around the world. Without their vital funding Fashion Revolution will be unable to continue to create free resources and impactful campaigns. This is because their free resources often take months of research, design and collaborations to create before being released as a free download to the public. Fashion Revolution also follow suit to a strict ‘Ethical Funding Policy’ whereby all donations are shown to the wider community with yearly public financial statements.

PRODUCT: Fashion Revolution offer an educational service to help create, “A global fashion industry that conserves and restores the environment and values people over growth and profit.”, (Fashion Revolution, 2021). They provide free resources in the form of free downloads and campaign packs for anyone to download, print and use to make a positive change. These include a free digital guide for citizens wanting to get involved in the fashion revolution, a guide with ideas, tips and tricks for those wanting to host an event, educations resources for students and educators and free posters to download and use. They also host the ‘Fashion Revolution Week’ with is annually held on the 19th-25th of April in commemoration to the Rana Plaza factory collapse which happened on the 24th of April, 2013.

PLACE: Fashion Revolution is solely online, although they do in person events the company and organisation can be found online. Therefore the organisation is promoted in the digital landscape. The website is their largest touchpoint and can be accessed from around the world on multiple devices as it is mobile friendly.

However the website is only displayed in English.

Their second largest touch-point is Instagram with 495K followers, followed closely by Facebook

with 113K followers and 55.2K followers on Twitter.

PEOPLE: As Fashion Revolution is solely online, it has far less employees compared to many other organisations that have brick and mortar-based offices, of similar scales. It is currently run by just 20 people but despite this they have made a large impression globally and have been heard in over 25 countries to date. As said on their website, “We are designers, academics, writers, business leaders, policymakers, brands, retailers, marketers, producers, makers, workers and fashion lovers. We are the industry and we are the public. We are world citizens. We are Fashion Revolution.”, (Fashion Revolution, 2021).

PROMOTION: The main source for promotion is through their digital touch-points such as their website and social media accounts, (Instagram, Facebook, Pinterest & Twitter).

PROCESS: Fashion Revolution works to achieve change through three key aspects; cultural change, industry change and policy change.

Through cultural change, Fashion Revolution aims to, “Raise public awareness and educate people about the systemic challenges facing the global fashion industry and build a diverse movement, mobilise communities and bring people together around the world to take collective action.”, (Fashion Revolution, 2021).

Through industry change Fashion Revolution aims to “Conduct research that shines a light on the social and environmental impacts of the global fashion industry whilst highlighting where the industry is moving too slowly and push for faster change.”, (Fashion Revolution, 2021).

Through policy change, Fashion Revolution aims to, “Advocate for policy changes and influence governments to play a more active role in better enforcing laws and regulating the industry.”, (Fashion Revolution, 2021).

PHYSICAL EVIDENCE: Much of Fashion Revolution’s physical evidence will be through education and proven change in opinion on the awareness of the fashions industry most pressing issues. Physical evidence will also be shown in Fashion Revolutions social media following and campaign activations.

81.

PERFORMANCE. Fashion Revolution is predominantly online so there social media channels are an important part of raising awareness of the organisation and reaching new audiences. Additionally all of their past campaigns have been run through social media channels including Instagram, Twitter, Facebook and You-tube. As said on their website, “We use social media as a means to raise awareness and spread the message among a varied range of demographics and to those we would otherwise never reach. Public posts to brands can create a level of accountability that offline methods could never reach.”, (Fashion Revolution, 2021).

Instagram posts made using our hashtags during April 2019”, (Fashion Revolution, 2019). This is great as research from ‘The 2020 Global Digital Report also shows that, “The total number of monthly active users of the app stands at 928.5 million, with 15% of the total population being active users” (The Global Digital Report, 2020). In addition, as their target audience are commonly found to be between the ages of 18 and 35, “The number of 25-34-year olds stands at 117 million Instagram users with the United Kingdom having 21,000,000 active Instagram users with a penetration of 32%.”, (The Global Digital Report, 2020).

708.8K

Furthermore, Fashion Revolution have used Instagram for the campaign ‘Who Made My Clothes’ and during April alone, “55.2K posts were made using the hashtag #whomademyclothes during April 2019.”, (Fashion Revolution, 2021). In response to this campaign over, “12.7K posts were made using the hashtag #imadeyourclothes during April 2019”, (Fashion Revolution, 2021). This proves that despite only using five social media channels, Fashion Revolution do perform well overall.

total online following on social media With the total number of active social media users standing at 3.8 billion in 2020, the effectiveness of online content is more important than ever, (WeAreSocial, 2020).

This is why Fashion Revolution should continue to use social media to raise awareness of the fashions industries most pressing issues. Today, Fashion Revolution has over;

519 K 11 3 K 56.3K 7. 7 K

519K followers on Instagram 113K followers on Facebook 56.3K followers on Twitter

12 . 8 K

7.7K followers on Pinterest 12.8K

subscribers on YouTube

As ‘Fashion Revolution’ week is a key event in the calender for Fashion Revolution, social media is an easy and effective way to create noise. In 2019, “289 Million was the reach of Figures as of 06.05.2021.

82.

PES TEL AN ALYSIS P. E . S ECONOMICAL: As COVID-19 has been the biggest economic disaster since the stock market crash of 2008, disposable incomes have been significantly reduced. In-fact during 2020, “Real household disposable income (RHDI) in Quarter 2 (Apr to June) 2020 decreased by 2.3%, a reversal of growth in recent years and the largest fall on record.”, (Office for National Statistics, 2021). This could pose a threat to Fashion Revolution in the short-term as a not-to-profit organisation that relies heavily on funding from citizens and other organisations.

SOCIAL: The impact of COVID-19 on attitudes towards the fashion industry has led to consumers having a ‘green-wakeup’. As said by Andrea Rosso for Diesel, “The post-pandemic period was a kind of a ‘green’ wake up call for all of us. What we have experienced made us realize that everything in nature is interconnected, and this is something we need to remember from now on.

Consumers now want to be reassured that the products they buy are made responsibly throughout every step of the process, from the raw materials down to the final product.”, (Rosso, 2021). This is great for Fashion Revolution as it means more people are understanding the importance and need for a ‘Fashion Revolution’. Additionally it supports the idea that there is a social change currently happening which means that Fashion Revolution should see more people wanting to get involved in future campaigns.

T.E.L

POLITICAL: As the fashion industry faces geopolitic uncertainty due to Brexit which could lead to high tax tariffs on imported products, Fashion Revolution may find it hard to organise and execute events in Europe. Additionally to ensure supply chains remain transparent, the British fashion industry must ensure trade with overseas businesses continues. This could make campaigning for transparency in supply chains even harder to do if these long-standing relationships are lost as a result of Brexit.

TECHNOLOGICAL: As technology becomes a daily consumption, one notable trend to shape the fashion industry in 2021 is the increased need for digital channels. As said in ‘The State of Fashion 2020 Report’ by Mckinsey & Company, “The primary driver of growth in the coming year will continue to be digital channels, reflecting the fact that people in many countries remain reluctant to gather in crowded environments.”, (McKinsey & Company, 2020). Therefore, Fashion Revolution needs to take this on-board and use it to their advantage when creating future campaigns as currently they only use five digital channels, (Instagram, Facebook, Twitter, YouTube and Pinterest). Therefore Fashion Revolution should look into the possibility of expanding their digital touch-points through using new social media apps to increase their reach and engagement .

ENVIRONMENTAL: The fashion industry needs to fundamentally change in order to mitigate the environmental impacts of fast fashion. However the impact of COVID-19 on attitudes towards the fashion industry has led to consumers increasingly recognising the impact that fashion has on the environment. A recent survey by Mckinsey & Company found that consumers became more engaged in sustainability topics during Covid-19, with “88 percent of respondents believing that more attention should be paid to reducing pollution.”, (Nazir, 2020). Additionally, consumers were found to start changing their behaviours during lock-down with “60% going out of their way to recycle and purchase products in environmentally friendly packaging”, (Nazir, 2020).

This is great news for Fashion Revolution as it means now more than ever is the right time to have a ‘Fashion Revolution’ as more people are ready to put pressure on brands about the environmental impacts of their clothes.

LEGAL: As Fashion Revolution fights for better laws and regulations to achieve a systemic change across the global fashion industry by working with policy makers to help make changes at a governmental level. Fashion Revolution may need to be cautious as while lobbying and working together with lawmakers, elected officials and policy influencers is great, lobbying can be illegal if used incorrectly such as bribery which can then lead to corruption and fraud. Fashion Revolution should also avoid negative protesting, victimising, naming and shaming of specific luxury brands as this could lead to a law-suit with brands who have the time and money to do so.

Therefore Fashion Revolution should tread carefully.

83.

T H E O P P O R T U N I T Y. The evidence is clear that we are beginning to see a huge shift towards sustainability as a result of the COVID-19 pandemic. As said in an article for Mckinsey & Company, “One trend that is likely to intensify postcrisis is the trend towards sustainability and the desire for more-responsible consumption- reinforcing the need for companies to provide clear, detailed information about their processes and products.”, (Achille and Zipser, 2021). In particular the desire for more-responsible consumption is at the core of Fashion Revolutions ethos and goal which will continue to pick up momentum as a movement as the research suggests. The ‘ZDHC Foundation’ believe that the emerging trends will be “Increasing consumer awareness on environmental, social issues and ethics”, (Echols, 2021). This in-turn will make these factors even more important in supplier selection for many luxury brands.

As lock-downs have disrupted our routines for purchasing clothes there will now be many changes to our longterm shopping behaviours. Research comes from a recent survey by the RSA which suggests four ways the crisis could be a source of positive change for fashion.

1. Buying Less and taking more care of our clothes- The survey found that, “52% intend to make long term changes to their fashion consumption, including a third of women who say they will be purchasing fewer items of clothing in the future.”, (RSA, 2021). This is because people will now mend pre-loved garments, buy fewer and better quality pieces and purchase second hand over new.

2. Highlighting the need for a fair transition for garment workers- The RSA found that “69% of people want the fashion industry to create better pay, conditions and job security for garment workers, and more than a third think that the industry should take responsibility for retraining workers if jobs are under threat.”, (RSA, 2021). This is partly due to many brands refusing to pay for orders in the midst of the first lock-down which led to concerns about the health and safety and treatment of many garment workers.

3. Putting society and the environment at the heart of business- The survey noted a shift in societal opinions on the fashion industry as a result of the pandemic with, “Fewer than 1 in 5 of us think the fashion sector should go back to business as usual post-lockdown. Along with calling for better treatment of workers, over half of us want to see the fashion sector doing whatever it takes to become environmentally sustainable. This includes calls to make clothing last for longer and be repairable.”, (RSA, 2021). This is where Fashion Revolution can aid the luxury fashion industry as a leader for sustainability as businesses that can marry positive social and environmental impacts at the heart of their purpose will win customers.

4. Growing support for ethical brands from Gen Z- The RSA found that, “Almost 70% of 16-24 year olds intend modify their consumption habits, and a third of them intend to support brands with strong ethical and environmental policies.”, (RSA, 2021). This suggests the opportunity predominately lies with connecting GEN Z with Fashion Revolution further as they are the trend-setters who can set a pace of change with-in the luxury fashion sector.

Therefore evidence is clear that a positive impact of the COVID-19 pandemic on the market for sustainable fashion comes from more customers demanding environmental justice and now only opting for sustainable fashion. This is great for Fashion Revolution as it provides the organisation with the opportunity to target brands that haven’t previously been criticised such as the luxury fashion industry. Furthermore without luxury fashion brands owning up, the mass market of fast fashion brands won’t follow suit until the ‘real’ leaders of the fashion industry step up and make the necessary amendments to create a more sustainable industry.

84.

12 . 0

CHAPTER T WELVE

REFLECTION Research clearly demonstrates the relevance and viability of wanting to shift opinions on the luxury fashion industry. This project aims to see how this can be most effectively achieved through a new PR campaign in collaboration with Fashion Revolution.

Additionally, the findings from the secondary research in this chapter back up my own primary research that consumers are willing to pay more for fashion goods if they are created sustainably and responsibly by transparent companies.

By looking at Fashion Revolution current positioning we know that they are globally recognised. However, when I used the ‘Ansoff Matrix’ to analyse Fashion Revolution, I have discovered that there is evidently still an opportunity to grow through both developing new campaigns and targeting a new market. Furthermore, from conducting research on Fashion Revolutions performance online, their social media channels are a key aspect to their digital marketing strategy yet they only use five channels out of a possible ten.

Therefore, to maximise coverage of the organisation, Fashion Revolution need to expand their channels or PR formats to increase awareness and reach new audiences.

MARCOMMS.

85.

ASSETS. Assets are a fundamental part of any business or organisation as they help generate revenue, media value and facilitate the running of a company. For Fashion Revolution they are vital for the success of ‘Fashion Revolution Week’.

CAMPAIGN ASSETS: -FRW 2021 campaign assets includes campaign brand guidelines, posters and social media assets -Fashion Revolution Logo -Brand Guidelines -Who Made My Clothes? What’s in my clothes? I made your clothes. Posters GET INVOLVED PACKS: -Get Involved Pack: Citizens, Get involved Pack: Brands, Wholesalers, Retailers & Distributors, Get involved Pack: Farmers, Producers & Factories, Get Involved Pack: In the workplace and Get Involved Pack: Trade Unions.

-Digital Activism Guide -How to Host a ‘Digital’ Event and How to be a Fashion Revolutionary.

-Haulternative Guide -Share your fashion love story -Guest write for our blog -Write a postcard to a policy maker -Email a brand: What’s in my clothes? and Email a brand: Who made my clothes?

-Educational Resources and Archived Resources.

REPORTS: -Out of Sight: A call for transparency from field to fabric -White Paper 2020 -Fashion Transparency Index 2020 -Consumer Survey 2020 & 2019 OFFLINE ASSETS: Offline assets include posters, flyers, stats and info-graphics. If used consistently, Fashion Revolution’s brand assets can become a larger part of their offline language too. Postering and flyering of stats and infographics are encouraged as it gets the message out there to be seen. Additionally, icons and emojis can be made into stickers, patches, badges and even temporary tattoos which is an effective way of increasing organic coverage. The use of imagery in this way can also help to build brand awareness and increase engagement with those outside of the existing Fashion Revolution community. This is why offline assets are a great method in attracting and engaging with the luxury fashion consumer.

86.

BRANDING.

LOGO: The Fashion Revolution logo is simple but effective as it is easy to read, impactful and draws the eye to the middle which has ‘Fashion Revolution’ typed in a bold typeface. The use of white space is critical for helping to aid Fashion Revolution’s voice and purpose. Additionally, the logos simplicity is aesthetically pleasing to the eye and helps draw greater attention to the background of their work.

Furthermore, the logo spacing ensures the message is clear and can be seen from afar. According to Fashion Revolution, the logo looks the same across all channels but you can now, “change its colour, stamp it, turn it, overlay it, underlay it, cut it out and stick it on.”, (Fashion Revolution, 2020). By having the logo look the same across all channels it ensures the message is clear and concise, making it easy to share and understand in various countries and communities. There are very few rules on how to in-correctly use the logo, the only one mentioned is not to distort or cover the logo. Additionally, for professional use of the logo such as for funding applications, proposals and research papers, “Legibility is key on professional documents so do not exceed minimum sizing and ensure adequate spacing is given. Also avoid overlaying or turning the logo in these situations.”, (Fashion Revolution, 2020). This ensures the logo is most impactful in professional use.

COLOURS: Although the Fashion Revolution logo is black and white, the organisation uses a variety of colours in their social content and free resources (32 in total). The chosen colour palette is strong, with bold and bright colours that are able to be seen from afar. Fashion Revolution also created a variety of ‘gradients’ that are colourful and mimic spray paint. According to Fashion Revolution, “These gradients can be built up in layers and can be separated and rebuilt in different ways.”, (Fashion Revolution, 2020). These gradients add an aspect of ‘playfulness’ to their content which can be seen in contrast to their logo which is strong and serious to reflect the importance of their mission and values while trying to connect with their target audience. Additionally, by using colour Fashion Revolution can impact emotions and behaviours with their target market, this is known at the psychology of colour.

PATTERNS: The ‘dash’ pattern that is featured as the background to their social content and occasional logo is now part of the Fashion Revolution branding. According to Fashion Revolution you can, “Draw it, paint it, spray it, stamp it, collage it, change its colour, separate it, overlay it, underlay it, cut it out, stick it on and stitch it.”, (Fashion Revolution, 2020). The ‘dash’ pattern can represent the ‘interruption’ Fashion Revolution is trying to cause in the fashion industry to illustrate the harmful relationship between people and the fashion industry.

TEXTURES: Fashion Revolution occasionally use textures as a background for their logos. This is because, “Assets should feel tactile and have depth. To help achieve this, a number of textures have been created.”, (Fashion Revolution, 2020). They mainly include textures of scanned fabrics to incorporate the fashion industry into their logo. Additionally, Fashion Revolution “Encourage the creation of your own textures and encourage the use of objects that are regional and represent your local community or heritage.”, (Fashion Revolution, 2020).

87.

BRANDING. “Fashion Revolution is a global movement…Solutional, honest, collaborative, reflective, growing, activist. Our community is…..Curious, questioning, creative, eager, optimistic, idiosyncratic, diverse, multiplicitous, sceptical, learning.”, (Fashion Revolution, 2020).

Therefore, the fonts Fashion Revolution use need to reflect their brand personality, ideologies and ethos.

TYPOGRAPHY: The official core typeface for Fashion Revolution consists of four key fonts. These are, ‘Open Sans’ for headings in size 24pt, ‘Kelson Sans Bold’ for subheadings in size 18pt, ‘Kelson Sans Regular’ for body copy in size 12pt and ‘Space Mono Regular Bold’ in size 6pt for third level information such as tags, social media handles, website and footnotes. For the infamous campaign posters, Fashion Revolution use the font ‘Zombie Checklist Alpha’. The core fonts reflect the brand well as they can be read and seen easily from afar thanks to their clear design which makes them professional. In contrast, according to Fashion Revolution, “Our use of typography is now more playful, and we will encourage others to use it in more creative ways. Use the core fonts in their usual ways but get creative, adjust sizing, shape, add new fonts or use typography in visual ways. Incorporate hand drawn elements and where possible animation to highlight, adjust and update messaging as time passes.”, (Fashion Revolution, 2020). This suggests that a new typeface can be used to reflect luxury brands in the hope of connecting with the luxury consumer.

EDITS & OVERLAYS: “As part of our new branding we will encourage the reuse of assets by overlaying new elements on top of old, introducing up-to-date, more relevant content without completely erasing the past.”, (Fashion Revolution, 2020). This helps Fashion Revolution reflect information building as its visually demonstrates how information can be adapted and grown. Additionally it can portray how information merges and transforms as it passes through the hands of many people all across the world.

ICONS & EMOJIS: Emojis can be humorous and light-hearted but also offer the viewer a visual cue for any text that sits alongside them. “Our emojis will be primarily used to supplement or compliment text but can also be used as stand alone illustrations.”, (Fashion Revolution, 2020). Therefore, icons and emojis can be used in both humorous and serious contexts and are best used alongside quotes and long from texts such as the ‘how-to’ packs and ‘get-involved’ packs. They can also be used to help target and connect new audiences with the information displayed alongside them.

88.

COPYWRITING. By definition, “Copywriting is the act of occupation of writing text for the purpose of advertising or other forms of marketing.”, (Wikipedia, 2021). Therefore Fashion Revolution should ensure their copywriting reflects their manifesto, image and ideologies. According to Fashion Revolutions’ ‘Brand Guidelines 2020’, “Our statements should reflect the rapidly changing scenarios that will unfold. Our branding should speak of immediacy and spontaneity and be reconfigured to be adaptable, manoeuvrable, more interactive with our audience in a physical as well as online way.”, (Fashion Revolution, 2020). They also importantly state that their visual communication to reflect this too, “We will take a less formal approach to our visual communication to place us in between the corporate and the emerging innovative designer brands as a way to convey a ‘disruptive & constructive’ narrative, to better visually connect our policy and our creative approaches.”, (Fashion Revolution, 2020). Additionally, “Deepening our visuals, making them more complex and intriguing, to encourage our audience to dig deeper and keep learning.”, (Fashion Revolution, 2020). This suggests that their communication across all channels is emotive, powerful and reflective of their manifesto, mission and values. According to ‘BetterMarketing. com’, skilled copywriting must be; “Persuasive and engaging enough to get the reader to keep reading what you have to say and take action at the end of your write up.” (Tochukwu, 2020). Additionally you should, “Understand the audience, use catchy headlines to reel people in and know how to use stories to move the readers into taking actions.”, (Tochukwu, 2020).

LANGUAGE: Fashion Revolution use simple easy to understand language that is serious yet conversational. As said in their ‘Brand Guidelines 2020’, “Where we used, ‘FAIRER, SAFER, CLEANER’, we now use ‘FAIR, SAFE, CLEAN’.”, (Fashion Revolution, 2020). This suggests that they have simplified their language further as they are confident with what they talk to their customer about.

QUOTES: Fashion Revolution often use quotes to form content on their channels as quotes are a great method to reinforce their manifesto, mission and ideology. According to Fashion Revolution, “The quotes we present are inspiring, shareable and have the power to unite many.”, (Fashion Revolution, 2020).

This helps to strengthen their main goal, as a quotation offers a second voice that echoes the same thoughts, beliefs and claims. Additionally, quotes help to give the reader a more concise and memorable phrase for remembering the context.

STATS: “Fashion Revolution stats are a key part of its communications. It’s important they stay current, engaging and relatable.”, (Fashion Revolution, 2020). In order to achieve this, Fashion Revolution will now include stats that are more adaptable, more honest and often subject to change. Additionally, Fashion Revolution encourages the use of updated stats and facts that debunk myths or correct past versions of our own shared data. Alongside stats, icons and emojis are often used to add visual interpretations and a little personality.

PHOTOGRAPHY: Fashion Revolution, “Don’t tend to commission a lot of our own photography but we will often use visuals to illustrate topics.”, However, “Combining a mixture of digital and physical objects creates a modern and compelling final image.”, (Fashion Revolution, 2020).

Fashion Revolution are able to balance their conversations with a serious but educational tone of voice.

89.

90.

INSTAGRAM. Fashion Revolution have over 519K followers on Instagram as of May 5th, 2020. They appear to be mainly young women between the ages of 20-35 years-old. The Instagram account reflects the overall brand image well as its very aesthetically pleasing on the eye as the colours from each post flow together well. Fashion Revolution appear to post between 2 to 3 times a day and use various different types of Instagram content.

These mainly include lifestyle posts (just a singular image), open-ended questions, informative facts, brand story posts (emotive imagery i.e The Rana Plaza Collapse), swipe through posts and video content. One in three of their posts include a call-to-action which increases traction amongst its audience, additionally this call-to-action is often repeated as it is at the core of the organisations mission. The posts that appear to receive the most engagement (likes & comments) are video posts as they are entertaining and visually stimulating to the viewer. The posts that seem to have the least traction is singular text only posts. The core of the ‘Who Made My Clothes Campaign’ is being pushed out throughout the year and is particularly heightened during ‘Fashion Revolution Week’.

91.

FACEBOOK. Fashion Revolution have over 113K followers on Facebook as of May 5th, 2020. They appear to be mainly young women between the ages of 20-35 years old. The Facebook account reflects the overall brand image well as the imagery is the same as their other channels meaning the brand messaging is clear and concise across all touch-points. Fashion Revolution also appear to post between 2 to 3 times a day and use various different types of content. These are mainly similar if not the same as their Instagram content which include lifestyle posts (just a singular image), open-ended questions, informative facts, brand story posts (emotive imagery on The Rana Plaza Collapse or garment workers conditions), swipe through posts and video content.

It appears that 1 in 2 of their posts on Facebook include a call-to-action which increases traction amongst its audience, additionally this call-to-action is often repeated it’s at the core of the organisations. The posts that appear to receive the most engagement (likes & comments) are videos as they are entertaining and visually stimulating to the viewer and poll posts where followers can share their ideas and thoughts. The posts that seem to have the least traction is singular text only posts which are often found to be repeated on other channels. As like Instagram, the core of the ‘Who Made My Clothes Campaign’ is being pushed out throughout the year and is particularly heightened during ‘Fashion Revolution Week’. Fashion Revolution additionally have a shop on their Facebook channel where customers can buy ‘Fanzines’ to encourage their following to take action further. Furthermore, unique to Facebook, Fashion Revolution also have over 50 groups linked to the page where their followers can join to take further action in helping to create a better fashion industry for all.

92.

T WITTER. Fashion Revolution have over 56.3K followers on Twitter with over 17.3K tweets as of May 5th, 2020. They appear to be mainly young women between the ages of 20-35 years old. The Twitter account is instantly recognisable as Fashion Revolution’s thanks to the logo marked next to every post along with the homepage banner. Fashion Revolution appear to tweet between 3 to 4 times a day on average but peaking to nearly 8 a day during peak calendar times e.g. Fashion Revolution Week. As prior research has shown hashtags and twitter go hand in hand, Fashion Revolution include the use of hashtags in nearly all of their tweets, on average hashtags are included in 2 out of 3 posts. This sparks conversations with their audience which in-turn increases WOM and organic coverage. Fashion Revolution also tweet links to their Instagram posts and you-tube posts to engage with their target audience further to also act as a call-to-action. Their content also includes lifestyle posts, open-ended questions, informative facts, brand story posts and video content.

The posts that appear to receive the most engagement (likes & comments) are tweets that include emotive imagery. The posts that seem to have the least traction our tweets that include minimal text and no hashtags.

As like Instagram and Facebook, the core of the ‘Who Made My Clothes Campaign’ is being pushed out throughout the year and is particularly heightened during ‘Fashion Revolution Week’ where they pin tweets to the top of the page to increase engagement as-well as changing the home page banner to match the campaign.

93.

PINTERES T. Fashion Revolution have over 99.1K monthly views on Pinterest with 7.7K as of May 5th, 2020. Their followers appear to be mainly young women between the ages of 20-35 years old. As Pinterest is a creative search engine it is a great method for Fashion Revolution to gain organic coverage as followers can view and download their content easily to their phones and laptops making it easily shareable. Additionally, as nearly all of Pinterest content is images, it is a visually driven channel and aids their social media content. Their content on Pinterest includes lifestyle posts, open-ended questions, informative facts, and brand story posts that are all visually stimulating to the eye which helps to depict the story that Fashion Revolution are trying to tell. This in-turn makes them desirable and shareable. In particular posts that appear to receive the most engagement (likes and downloads) are images that are emotive and layered.

94.

YOUTUBE. Fashion Revolution have over 12.8K subscribers on YouTube as of May 5th, 2020. Their subscribers appear to be mainly young women between the ages of 20-35 years old. As YouTube is a online video platform it is a great method for Fashion Revolution to gain organic coverage as followers can watch their video content for free to enjoy while being easy to share with friends and family. On average, Fashion Revolution uploads between 4 to 5 videos a week but during ‘Fashion Revolution Week 2021’, Fashion Revolution uploaded a total of 31 videos over the course of the week. The video content includes various collaborations between industry experts, designers, other sustainable organisations and conversations between the Fashion Revolution community. Fashion Revolution appear to average 968 views per video, the video content includes tutorials, case studies and interviews. Every video on their YouTube channel is educational and informative whilst also depicting personality so that it’s fun, visually immersive and stimulating for the watcher. In addition, the videos help emphasise the storytelling that Fashion Revolution are trying to achieve which in-turn increases brand recognition. Particular videos that appear to receive the most views are tutorials and live recorded debates with a range of industry experts, an example is ‘Fashion Question Time: Rights, Relationships & Revolution’ which received over 2,000 views. There appears to be less traction with artistic videos created by freelance videographers for Fashion Revolution on subjects that may be perceived as confusing and too far in contrast with Fashion Revolutions mission, an example would be the video named, ‘FOJE: Body Language’.

95.

THE WEBSITE. Fashion Revolution’s website is the gateway to the organisation, in other words it is the ‘linchpin’. The website helps to connect their audience with their social channels, history, manifesto, events, blog and resources. As soon as you enter the website, there is a huge visual swipe through banner that includes five key campaigns currently running by the organisation. These include Fashion Open Studio, Consumer Survey Report 2020, Who Made My Fabric: A call for transparency from field to fabric, Join the Fashion Revolution and Fashion Transparency Index 2020, (as of May 5th, 2020). Additionally, the homepage includes their manifesto with a ‘get involved’ click-through button, a ‘take action’ section which includes links to downloading posters, key voices, signing the manifesto and buying the zines. Then the visitor can join in the movement by opting to sign up to the ‘Fashion Revolution Newsletter’ which is a great method to reach new audiences. The website ends with the question ‘Who Made My Clothes?’ above the campaign video which takes you through to their YouTube channel. By ending the homepage with a video and question it will engage the visitor to take action and really think about their purchasing decisions. There is also a toolbar for anyone visiting which is the ‘call-to-action’ as the tool bar includes individual web pages for citizens, brands, retailers, producers, unions, educators and journalists to take action and read how they can become involved within the ‘Fashion Revolution’. This is because “The issues in the fashion industry never fall on any single person, brand, or company. That’s why we focus on using our voices to transform the entire system.”, (Fashion Revolution, 2021). This supports the need for the toolbar with these various occupations. Additionally, there is also a link to resources where visitors to the webpage can download campaign assets, get involved packs, policy toolkits and reports. Most importantly Fashion Revolution use the website to educate, inform and raise awareness of the fashion industry’s most pressing issues.

96.

97.

PR METHODS. As this project aims to help change consumer attitudes towards luxury fashion, a impactful PR campaign is an effective method in helping the luxury fashion industry pave the way as a leader of sustainable fashion.

WHY is a PR campaign the most appropriate method to use?

The objective of PR is to get word out through compelling story telling that targets a specific audience.

As the campaign aims to target a new audience a PR campaign will help to educate followers about the contributions of Fashion Revolution whilst enhancing brand recognition, and making Fashion Revolution even more relevant as its placing the campaign right in front of the new target audience. Furthermore, PR is a tool for building relationships with the right people and organizations to further goals. Additionally public relations does not require a huge budget.

The key things to remember; 1) Be clear about the goal- This is because the aims will define the audience, and the audience will define the style of content and the media outlet or publication that its pitched to.

2) Choose the strategy- The media goals will define the type of content to publicize, i.e. social media, community posts, pitches to journalists who may offer interviews, blog posts and nonpromotional articles 3) Choose the channel- The campaign must use the correct media voice that will amplify the message and reach the target audience. For example; leading publications read by the target audience, industry specific publications, less ‘highbrow’ publications with lower readership to ensure realism, social media platforms, blogs, podcasts / radio and educational centres.

“A truly successful PR campaign goes well beyond simply pitching and getting coverage. There are several intertwined components which take place before, during and after a campaign which help maximize the chance for success.”

(Seymour, 2015: 5).

98.

TRADITIONAL Vs DIGITAL PR TODAY

The six functions of PR today are; -To maintain a positive image -To educate the public about the companies objectives -To introduce new offerings, i.e new products or services -To support with sales -To generate favourable publicity -Crisis awareness and reaction, i.e always being aware of opportunities and areas of interest

THE 4 C’s

PR has changed dramatically over the years. We no longer just have traditional PR but digital PR too and both work hand-in-hand to produce the most successful PR campaigns. Traditional PR is typically used to gain coverage in print including newspapers and industry-specific magazine as-well as broadcasting channels like TV and radio. In contrast digital PR is all about increasing a brands online presence. It encompasses digital marketing techniques such as influencer marketing and social media marketing. PR today is termed as ‘earned media’ and is key to the success of any brand being seen. “A major difference between online PR and traditional PR is the role of the influencer, which forms a key part of a digital PR’s arsenal. Influencers have the power to make or break a brand with a simple post, so forging relationships with the right influencers is key.”, (Romagnoli, 2019). Addition PR today is no longer just about promoting and gain press coverage, “A successful PR campaign now needs to pull on traditional, online, digital and influencer elements to make an impact.”, (Romagnoli, 2019). This is because, traditional PR is still incredibly value and should not be forgotten, particularly press releases and traditional media outlets that target the audience. As said by Malika Isles for Greenlight Digital, “While digital PR is continuously evolving and new methods and channels regularly come about as time progresses, combining both traditional and digital approaches is the best recipe for success.

Embrace the new, but don’t lose sight of the old.”, (Isles, 2017).

COST: PR is relatively low cost as PR does not use paid media but instead can produce small events, gifting and press releases on little to no budget.

CLOUT: PR has a huge potential ‘clout’ (campaign reach), especially when combining both traditional with digital. This is because through the use of shared media such as newspapers, radio, tv, bloggers, online writers, social media and influencers, PR can reach far more people and generate a much larger reach than owned media. Additionally, “Through social media, digital PRs can connect with customers and influencers, sparking dialogue and excitement around a brand. Indeed, effective social media campaigns have the power to subtly persuade and influence a qualified audience through well-crafted posts.”, (Romagnoli, 2019).

CREDIBILITY: PR has high credibility particularly when using traditional PR. Research shows that, “Traditional media publications are recognisable, have a large reach, and are often seen as credible, therefore placements on these sites can make a great digital PR campaign amazing.

From an SEO standpoint, due to the credibility of these websites, they tend to have high metrics, so a backlink from a traditional news publication can help with SEO rankings too.”, (Isles, 2017).

This is because adverts (paid media) may be viewed with scepticism, whereas a favourable piece of PR will be widely accepted as accurate.

CONTROL: PR as a whole provides little control due to the fact that once the messaging has been sent out it is up to the receiver to interpretate it and form their own opinions. However, both digital and traditional PR allow brands to target different audiences, digital PR in particular can be used to “Attain a much broader audience that can’t be reached with traditional offline tactics.”, (Romagnoli, 2019). On the other hand traditional PR can lead to PR success too as you can control media relationships. For example, “Traditional methods such as picking up the phone or meeting a journalist in person can really increase your chances of online success as they can lead to genuine offline relationships. The better a journalist knows you, the more likely it is that they’ll be receptive to your efforts.”, (Isles). Lastly, digital PR can be effectively measured, “Indeed, digital campaigns can be effectively tracked, monitored, and then measured, enabling for clear reporting that clearly demonstrates the exact value a campaign has added.”, (Romagnoli, 2019). This means that digital PR has greater control than traditional, but both can be used to adjust messages and the campaign strategies to suit different individuals and audiences.

99.

INTERVIEW NINE. A CHAT WITH SIMON JONES a senior consultant @ CHIME MEDIA

6) What tools would you recommend using to build an effective PR campaign today?

1) Since you began you career in PR, what major changes have you noticed in the industry over the years?

The intellectual ability to make complex stories simple - and the distribution engine to reach all interested and targeted parties.

The essence of the professional service has not changed - however the platforms have significantly broadened ie. through digital/social media channels. These channels of communication are now ubiquitous throughout the world. Technology has dramatically transformed the impact and role of public relations.

7) How important is word-of-mouth PR?

2) As a result of COVID-19, have you noticed any impacts or changes to the industry?

The authenticity and integrity of the message communicated has come under increased scrutiny.

We are told to follow the data - to ascertain the prevalence of the pandemic. And the data has been made widely available.

3) Do you believe traditional PR to still be of importance?

Traditional PR will always remain as the founding platform for the industry. Stories will always prevail as the superglue of PR messaging - however the intricacy and complexity of social media needs to be carefully managed and executed.

4) Why do you use social media to help your clients?

To put out statements in the moment - no more waiting for the newspaper print or the news bulletin - social media broadcasts news at one click of a button.

5) What do you think makes a successful PR campaign in a post-covid world?

Great story telling - that is evocative, empathetic and authentic.

Word-of-mouth has been the foundation for public relations since the human species learned to verbally communicate. It remains of paramount importance - especially as we now live in an age of reference and not simply deference. Up until recently those we deferred to (the church, the government, the institutions, the banker, the doctor) held the power... but now it is about the power of the reference - the likes, the trusted review, the youtuber - the instagram influencer, the positive post etc... If we tell our friends and our networks that the brand, the person, the restaurant etc is great - the power of word of mouth is almost everything!

And so WOM (whilst having been around as long as the cave man who exclaimed ‘oh look if you rub these two sticks together you can make heat (fire)’ is now powered by tech. The algorithm, the machine learning (AI) et al delivers exponential power to WOM. One click and I reach many!

8) Would WOM PR be the best way to generate organic coverage quickly?

WOM should be a fundamental tool and platform.

Of course a brand has to earn the trust to instigate “the word” - but WOM can also be bought (just look at the snapchat/instagram model of influencers).

And of course the “refer a friend” is in effect paid for WOM. Organic coverage will usually centre around “campaigns with cause” - Fair Trade, Greta, BLM etc etc In effect these are organic movements that provide a clarion call for WOM and create a following ... However to be successful and not vacuous they have to be deeply rooted in truth, authenticity and integrity...!

“Organic coverage will usually centre around ‘campaigns with cause’ - Fair Trade, Greta, BLM etc etc In effect these are organic movements that provide a clarion call for WOM and create a following ...

However to be successful and not vacuous they have to be deeply rooted in truth, authenticity and integrity...!

Chime Communications is a global marketing services company that delivers world-class specialisms across Sport, Communications and B2B. The primary out-take from the conversation with Simon was that traditional PR is still highly valuable as stories will always prevail as the superglue of PR messaging. Although online digital PR is still critical for the most successful campaigns a mixture of both traditional and digital PR is needed. Additionally, Simon brought the light the importance of WOM and how to build this into the campaign such as using influencers.

100.

CO V I D - 19 I M PAC T S .

Like with every aspect in business the coronavirus pandemic has forced a total rethink of creative communication campaigns. This is why we must question if a PR campaign would be relevant in the current time and what approach would be best to use. As said in the book ‘The PR masterclass : how to develop a public relations strategy that works!’, “No PR programme will be truly successful unless it is based on a genuine understanding of the worldview and the sort of articles publications prefer”, (Singleton, 2014: 5).

As earlier research shows we have learnt that the pandemic has shifted opinions and behaviours and made many realise what can be truly important to them in life. This can also be linked to a shift in creative comms campaigns as there is more time to focus, develop ideas and obtain proper insights. One trend that has emerged as a result of COVID-19 in PR is to have a ‘human-centric’ approach to creative communications.

Many PR firms are now looking at ways to incorporate fun, creative elements into their campaigns, as said by Lewis at Hope&Glory, “We’ve spent a lot of time thinking about what we can do when the time is right and we’re starting to get that work off the ground now. As lockdown has gone on, we’ve been able to inject a bit more fun and human-centric thinking to it.”, (Lewis, 2020). Additionally, Rachel Pendered, MD at creative comms and content-creation specialist Media Zoo, outlines the appeal, “It’s not enough just to have a message. People want meaningful content where they can learn something, where they can improve themselves.”, (Pendered, 2020). Rachel Pendered additionally states that, “One thing many people have more of is time, so campaigns that are teaching people, helping improve their knowledge, enriching their lives in some ways, are particularly valuable, exciting and important right now. That’s where we’ve seen a big uplift in demand.”, (Pendered, 2020). This bodes well for Fashion Revolution as the core of their organisation is to educate and be action orientated to create, “A global fashion industry that conserves and restores the environment and values people over growth and profit.”, (Fashion Revolution, 2020).

Furthermore in wake of the pandemic many PR firms and creative communication agencies have put more purpose and meaning into their campaigns in response to the moment of sombre the world currently faces.

As said by Lotte Jones, partner at FleishmanHillard Fishburn, “We’re all operating from our hearts more than our heads and, as such, brands will need to respond similarly in order to meet consumers where they’re at,” and “Purpose campaigning has long been something we know is good business, but as a result of COVID, brands are starting to feel like it’s the right thing to do now.”, (Jones, 2020). This supports the idea of using a PR campaign to focus efforts on luxury fashion brands owning up as their is a purpose and need for luxury brands to own up. To finalise, the result of COVID-19 on public relations has led to “A slew of campaigns that, ostensibly at least, prioritise helping people over innovative creativity.”, (Harrington, 2020).

“It’s not enough just to have a message. People want meaningful content where they can learn something, where they can improve themselves..”, (Pendered, 2020).

101.

THE BENEFITS. According to Forbes, “When done successfully, good PR can help a company generate earned media placements that assist in constructing brand identity and industry equity.”, (Altamirano, 2018).

Additionally Forbes reference the below five points that great PR can help to achieve; 1. Develop Brand Identity- Good PR can help generate Fashion Revolutions brand identity and recognition further. This in-turn will help develop the values of Fashion Revolution and position them in the market well. Additionally it will help generate identity and recognition of luxury brands that need to make changes in their business models due to a lack of sustainable.

2. Build Consumer Interest- PR is a key role in any strategy that aims to generate consumer interest as it raises awareness on the topic. This is why Fashion Revolution can benefit immensely from the use of PR in their campaign strategy. As said in Forbes, “Particularly for new and emerging brands, a public relations campaign helps to set the narrative, creates brand buzz and assists with creating a brand following.”, (Altamirano, 2018). Fashion Revolution could effectively do this through their social media.

3. Grow Consumer Trust- Good PR can help develop new and existing consumer relationships. This is because consumers typically do business and work alongside brands that they trust therefore Fashion Revolution should use personalised PR as a technique to capture the attention of their existing following.

This in-turn can help luxury brands as if they have been mentioned or featured in the campaign in a positive light then their brand recognition, credibility and trusted consumer relationships will increase too.

4. Drive Greater Valuations- As Fashion Revolution are a not-to-profit organisation and rely heavily on donations from other organisations and members of the public a PR campaign can play a role in driving greater valuations with investors. As said by Forbes, “Looking for a return on investment, investors want to place their money in brands that are credible and expansive and have a positive image.”, (Altamirano, 2018). This will also help brands that become involved with Fashion Revolution as any positive press mentions and exposure will help determine a brands image and value.

“Despite the rise and continuing influence of digital and social media, which is a critical part of many of today’s successful media campaigns, there is still a place and a need for good public relations.”, (Altamirano, 2018).

5. Generate Investor Interest- Fashion Revolution are often able to create organic media coverage as they focus on the fashion industry most pressing issues which are often shocking stories from insight and research in the fashion industry’s supply chain. This reputation of being able to produce organic media coverage could help them to get noticed by an investor as, “This drive for PR demonstrates a brand’s capability to invest in its personal and professional image, an understanding of the market and a commitment to long-term growth. To investors, these are all clear indicators of a company that’s on the right track.”, (Altamirano, 2018). This in-turn will help with Fashion Revolution’s lack of funding which will additionally help with increasing the organisations awareness and recognition to create a ‘Fashion Revolution’.

102.

HASHTAGS. By definition a hashtag is, “A word or phrase preceded by a hash sign (#), used on social media websites and applications, especially Twitter, to identify digital content on a specific topic.”, (Oxford Dictionary, 2014).

Not only is the hashtag used in times of political activism it is also used as a key aspect to marketing and public relations. Iconic representations of hashtag activism to date include, ‘#MeTo’ and ‘#BlackLivesMatter’ which have captured the attention of the public more than any other keywords on Instagram and Twitter ever could. Infact, “The ‘#MeToo’ hashtag was used more than 19 million times since it was first tweeted by Alyssa Milano on October 15, 2017, to bring attention to the deep roots of sexual harassment and abuse in society.”, (Zuckerman, 2020). Additionally, hashtags are a great example of creating conversations based on a unifying thread as often social marketers look for ways to engage groups of people based on a shared interest/passion. Therefore by using a hashtag for a specific conversation, you can unify all posts into a searchable thread that helps individuals to be part of the conversation and follow what others are saying. It also helps foster new connections, as like-minded people can find each other based on a shared interest/passion.

Hashtags in marketing are a use of digital indexing as such that help to filter content on social media platforms. As said in a recent study, “Hashtags represent an incredibly important element of digital marketing. This popular symbol has become a key driver of user engagement and an integral part of any effective social media effort.”, (Bernard et al, 2019: 57). This is also supported by the latest millennial trends as “Social media—the realm where hashtags live—is the preferred communication platform of this generation group. About 90% of millennials use social media not just to connect with their social network but also to get news, engage with brands, and even express their sentiments.”, (Zuckerman, 2020). The best social media platforms to use hashtags are Twitter and Instagram as research has shown that these have improved user engagement with brands significantly.

Facts to support Twitter as a key social media platform to focus marketing efforts on are supported by recent research by CompareCamp.com, 2020 who found that;

“The use of hashtags connects your brand with topics that people are interested in and in interacts with them through these topics...Hashtags increase brand loyalty.”, (Bernard et al, 2019: 59).

• “Tweets with hashtags can increase engagement up to 100% (2x) for individuals and 50% (1.5%) for brands.”

• “The hashtag sweet spot for a tweet is 1 to 2 hashtags. Tweets that follow this strategy can get up to a 21% increase in engagement.”

• “Tweets that use more than two hashtags experienced a 17% drop in engagement.”

• “Tweets with 1-2 hashtags have a 55% higher chance of getting re-tweeted.”

103.

#INSTAGRAM Although Twitter is a great social media tool to spark conversations with, Instagram can allow for further reach and engagement as the app permits the use of more hashtags in one post. According to Annemarie Duran for Forbes, “Instagram allows up to 30 hashtags with each message.”, (Duran, 2017). Additionally as Fashion Revolution primarily use Instagram for their campaigns it is a great platform to further research of the effectiveness of hashtags.

According to recent research by CompareComp, “Posts with at least one hashtag get 29% more interactions (for profiles with 1,000 or fewer followers).”, (Zuckerman, 2020). Additionally, according to Forbes, “Studies have shown that posts with 11 or more hashtags get nearly 80% interaction. However, be careful not to use highly popular hashtags. Use niche hashtags revolving around your industry, and limit your use of hashtags to 15-20 within a given hour.”, (Duran, 2017).

• With hashtags placed in the caption, profiles with under 5,000 followers received an average of 36.85% more reach rate per post; profiles with 5k-10k followers received 20.9%; profiles with 10k-50k followers received 21.47%, and profiles with 50k-100k followers received an average of 21.43% more reach per post.

• Profiles with more than 100k followers received an average of 15.9% more reach per post for posts that placed hashtags in the first comment compared to 14.8% for posts with hashtags placed in the caption.

3 6 .8 5 %

AVERAGE REACH RAT E PER POS T

Aside from the number of hashtags you use, the engagement rate of posts is also dependent on the size of the Instagram account where the content is being posted from. Data shows that for, “small- to medium-sized profiles, placing hashtags in the caption gives them more engagement, while the same strategy results in the exact opposite for large Instagram profiles.”, (Zuckerman, 2020). On the right is a graph to illustrate the ‘Hashtag Placement & Reach Rate Per Instagram Profile Size’, from research performed by ‘Social Insider’.

They found that;

40

30

21.47 %

21. 43%

10 k- 5 0 k

50- 100k

2 0 .9 %

20

10

• 87.7% of accounts prefer to use hashtags in the caption compared to 12.3% who place them in comments.

• An overwhelming majority of posts, 93.8%, include hashtags in the caption, vs. 6.2%, that included them in comments.

In conclusion the power of hashtags on social media is quite clear, it would be silly not to implement a hashtag in the campaign for Fashion Revolution as, “They are the lifeline of social media, connecting followers with causes and increasing donation power. Hashtags give a voice to those without a pedestal, unify complete strangers, and can generate unstoppable momentum.”, (Fraasch, 2017).

0 <5k

5 k- 10 k

P RO FI L E S I Z E ( Nu m be r o f F o llowe r s)

104.

V I R A L I T Y. By definition virality means, “The tendency of an image, video, or piece of information to be circulated rapidly and widely from one internet user to another; the quality or fact of being viral.”, (Oxford Dictionary, 2021). Therefore viral marketing is visual content that resonates with a target audience that is shared to the point where it goes viral. This increases a companies sales, engagement and brand awareness significantly.

With the potential to reach thousands or even millions of people it would be silly not to try and create a campaign that has the potential to go viral. Additionally viral campaigns can help build a brand and they don’t require large budgets as they can get the brand or organisation in front of a new and large audience.

So the question remains how can we try and make a PR campaign go viral? According to Hubspot there are six attributes to keep in mind when creating a campaign, these are; 1. It appeals to a target audience- A successful viral marketing campaign considers the target audience, “For any campaign to go viral, it needs to resonate with the audience and make them feel so strongly about your content that they decide to share it with their family, friends, and followers.”, (Baker, 2018).

2. It has a strong visual strategy- Viral marketing campaigns normally require a visual strategy as this helps guide the customers about what your campaign is all about. These visual elements should also relate to the target audience and be compatible with the brand or organisation.

3. It’s highly creative- Many campaigns go viral on the basis of the campaign being unique, interesting or dam right bizarre- this is because they need to be attention-grabbing in order for it to be shared and passed forward.

4. It has emotional appeal- Often a campaign will also become viral if its relatable to the target audience and has some emotion appeal. As said by Kristen Baker for Hubspot, “You need to make your audience feel something — otherwise, why would they want to share your content?”, (Baker, 2018).

5. It’s easy to share and promote- To ensure a campaign has a strong chance of becoming viral, the campaign must be easily shareable. Therefore the organisation must ensure that all sharing, embedding and downloading capabilities are in order before promoting the campaign. This creates “calls-toaction or elements that encourage people to send it to their friends.”, (Baker, 2018). Additionally celebrity endorsements can help to promote the content further as they can often add value and virality to a campaign.

“There is no roadmap for making your content ‘go viral’. You can review what has been successful in the past and try to emulate this, but ultimately, it’s about creating great content that connects with your audience and makes them want to share it. Do this, and you just might find that your brand is the one everyone is talking about.”, (Baker, 2018).

6. It’s published at the right time- A successful viral campaign is normally published at the right time for your target audience. In Fashion Revolutions case this would be in the run up to ‘Fashion Revolution Week’.

-Baker for Hubspot, 2018.

105.

106.

OMNI-CHANNEL? Fashion Revolution already use a omni-channel approach as they aim to inform, educate and raise awareness of the fashions industries most pressing issues to consumers of fashion.“Omni-channel marketing is a consumer first approach where all of the brand’s communications work together to educate and empower the consumer rather than working against each other. Direct Mail, in-store, email and social messaging are designed to optimise the consumer experience based on the consumer preferences rather than the brands preferred method of communication.”, (Kozic, 2019). This is because a, “Successful omni channel marketing means, no matter how your brand is exposed to customers, they always recognize it as ‘your brand’. This type of familiarity is great for building loyalty with customers and brand awareness with an audience, who are the potential customers.”, (Chrisos, 2021). This is important for Fashion Revolution if they want to inform, educate and raise awareness of the fashion industries most pressing issues to new and existing audiences as, “An omni-channel customer experience strategy can create better engagement and increase loyalty among customers.”, (Chrisos, 2021).

Benefits for using an omni-channel strategy include improved customer experience as customers can interact with brands through advertising, social media, website, e-commerce platforms, brick and mortar stores. Additionally, the omni-channel approach makes a customers experience more personalised which in-turn leads to increased customer loyalty, better conversions, and more word-of-mouth advocacy which is very important to Fashion Revolution. Furthermore, successful omni-channel strategies can lead to better marketing campaigns as brands can craft better marketing messages and target more specific audiences using different channels. This is particularly important to Fashion Revolution if they want to target the luxury consumer as this is an audience they haven’t yet been able to engage with. One lasting benefit of an omni-channel strategy is the multiple data sources it provides as this will allow Fashion revolution to better understand their points of communication (touch-points). Additionally, Fashion Revolution will be able to design more authentic customer journeys that are tailored to the luxury consumers needs if they use an omni-channel approach.

In contrast, it is important to note that, “Many companies try but fail to build an omni-channel experience for every channel and customer. Leaders should instead limit their focus to the top two or three crosschannel customer interactions.”, (Amar et al, 2020). This is why Fashion Revolution should stick to preexisting channels that already have strong interaction and loyalty. This is because according to Mckinsey & Company, “The first step for an organization embarking on a targeted omni-channel effort is to select the cross-channel journeys to focus on.”, (Amar et al, 2020). Therefore, Fashion Revolution must first focus on what journey they want to focus on before choosing the channels. According to Vedran Kozic for Paldesk.com, “An omni-channel strategy should seek to maximize the value of existing assets and prime them towards facilitating complete service. This is the stream of the future, and those who get on board immediately will have a distinct market advantage.”, (Kozic, 2019).

“Successful omni-channel strategies lead to better marketing campaigns.

With all that data on their hands, brands can craft better marketing messages and target more specific audiences using different channels.”, (Kozic, 2019).

107.

PESO MODEL. The PESO model was founded in 2014 by Gini Dietrich as a way to highlight the evolution of the work of PR. Although initially developed as “A lense through which to view PR activities”, (Dietrich, 2014) it is increasingly applicable to marketing and forming appropriate strategies for new campaigns. PESO stands for ‘paid, earned, shared, owned’ and serves as a means of segmenting all of the marketing channels at a brand’s disposal into discrete groups. “It allows us to look at our efforts through any one of these four lenses (paid, earned, shared, owned), to see if there are opportunities to integrate additional channels into our new or existing programs.”, (Robinson, 2016). Therefore, the model also allows us to make sense of and to organise the channels in which we might invest in.

PAID: Exchanging money for distribution, whether an ad or content, e.g Facebook sponsored posts, sponsored tweets, twitter cards, fan acquisition and lead generation.

EARNED: Trading valuable content for an established authority’s audience, e.g ‘publicity’- media relations, blogger relations, investor relations and influencer relations.

SHARED: Amplifying content through your own audience, e.g ‘social media’- Facebook, Twitter, LinkedIn, You-tube, Pinterest, Instagram, Snapchat, Google + OWNED: Aggregating an audience that seeks you out for content and then distributing your content to that audience, e.g ‘content’- created from experts, employee stories, customer stories, user-generated content, reviews and brand journalism.

The middle of the PESO model represents authority which is optimized content, shareable content, engaging content and Google authorship. Between owned media and paid media, we have ‘incentive’ this is affiliates, brand ambassadors, sponsored content and native advertising. Between earned media and shared media we have ‘influencer engagement’ which is response to detractors, detractors turned to loyalists and loyalists turned to advocates. Additionally, we also have partnerships which are formed, these can be charity tie-ins, community service and co-branding.

PRO’s & CON’s PAID: Advantages of paid media include being scalable, reliable and fast. However paid media can be expensive and had a low trust rates as customers can be sceptical of a paid placement or ad.

EARNED: Pros of earned media is that it is authoritative, cost-effective and has long term benefits such as SEO benefits. Disadvantages of earned media are that it is hard to scale, it can be unreliable and expensive.

SHARED: Advantages of shared media include it being low cost and trustworthy as people tend to trust their peers more than media or an advert. However shared media can be unreliable and unscaleable as simply producing more content doesn’t always mean more shares.

OWNED: Owned media allows for long-term benefits to be formed as-well as it being low risk. Disadvantages of owned media include it being slow as it takes a lot of time to build an audience. Additionally owned media is not independent as it require a combination of paid, earned and shared to build an audience.

According to Interactive Marketing, “The real success of the PESO model lies in combining the four outlined channels.”, (Robinson, 2016).

E A R NE D M E DIA

PA ID M E DIA

S HA RED M E D IA

O W NE D M E DIA

“PESO stands for ‘paid, earned, shared, owned’ and serves as a means of segmenting all of the marketing channels at a brand’s disposal into discrete groups.”, (Robinson, 2016).

108.

ORGANIC & PAID ORGANIC Organic social media also termed owned media refers to free content such as posts, photos, videos and stories that users including the businesses and brands share with each other on their feeds. Organic social media is focused on brand building, aesthetic, maintaining and developing the brand or organisation. The aim is that the content will drive engagement and lead to brand loyalty. This is good for Fashion Revolution to start the conversation with customers as it taps into an existing sentiment. However according to a recent survey by Hootsuite, “Reach for content is currently less than 2% and the chance of reaching your audience organically is decreasing.”, (Sehl, 2020). Therefore, organic social media will need to be driven through existing platforms such as the website first. Furthermore, organic social media should be used before paid media as otherwise Fashion Revolution will not be able to engage with the target audience.

Overall, Fashion Revolution needs to use organic social media to: -Further establish their personality and voice -Build relationships with luxury consumers by sharing informative, educating on shocking truths, and inspiring content -Engage customers at every stage of their buying journey with a luxury brand

PAID

“Social is no longer just about conversation and content; it’s now an established channel for customer acquisition, re-marketing and engaging existing fans/customers to support retention programs.”, (Gurd, 2020). There are two types of social media, organic and paid and its important to know the difference between the two to from and appropriate social media strategy for Fashion Revolution.

Paid social media can be display ads, paid search and sponsorships all based on user profiles such as demographic. The aims of paid social media are to find, target and reach a brand or organisations audience, while often asking them to take action. An effective paid social media strategy is influencer partnerships as they provide targeted content which in-turn drive engagement.

Paid social media will need to be used by Fashion Revolution if they want to target a new audience i.e the luxury consumer. Paid social media can be in the form of sponsored adverts that could be sent to targeted audiences such as followers of luxury brands like Chanel and Gucci.

Paid social media could also be in the form of a banner advert to an event Fashion Revolution is hosting specifically talking about the luxury fashion and sustainability.

Paid social media can be measured and tracked through; engagement rate, clicks, comments, reach, impressions, shares, likes, CPMs (cost per 1,00 impressions, CPV (cost per video click) and video-views. Therefore, when compiling an end of campaign report, these metrics will determine the success of how the campaign performed.

To measure the success of organic social media you would use the following; organic post engagement (comments, likes, shares), organic follower growth, brand sentiment and organic conversations (searching hashtags and interaction with customers).

109.

INFLUENCER MARKETING. According to ‘SproutSocial’, “Influencer marketing is a type of social media marketing that uses endorsements and product mentions from influencers–individuals who have a dedicated social following and are viewed as experts within their niche.”, (Chen, 2020). This is why influencer marketing is so effective as it works due to the high amount of trust that influencers have built up with their following. Additionally any recommendations from them serve as a form of social proof to a brand’s potential customers. As prior research has shown, the primary target market for both Fashion Revolution and luxury fashion brands is Gen Z (mobile millennials). This is the generation that have matured into a wider group of creative classes, influencing society and culture on many levels. For the campaign to be successful, Fashion Revolution will be relying on social media to drive awareness of the organisation through influencer marketing. Despite recent concerns that influencer marketing might decrease as a result of the COVID-19 pandemic, a recent study by ‘Influencer Marketing Hub’ has found that actually, “Influencer marketing is expected to grow to be worth $13.8 billion in 2021.”, (InfluencerMarketingHub.com, 2021). This is because while some industries have had to reconfigure their marketing strategies, others have been able to adapt their marketing models to COVID-19 which still includes influencer marketing as a key component.

Additionally, as said by Cassandra Napoli, “Influencer marketing provides brands with an opportunity to reach new audiences that might not otherwise know about them, driving online dialogue and potentially converting clicks to dollars.” Influencer marketing has also cultivated key relationships with global communities of models and bloggers who have the potential to reach a larger audience than traditional

advertisements. In addition, “Instagram influencers serve audiences well with an endless stream of visual inspiration. A study found that 32% of 1824-year olds favour Instagram the most for earned media.”, (Cassandra Napoli for WGSN, 2017).

Furthermore, “Instagram is the network of choice for influencer marketing campaigns with 68% of brands considering it the most important platform for them.”, (InfluencerMarketingHub.com, 2021).

This is why Fashion Revolution should use this to their advantage as it is a great way of gaining exposure of the organisation across all social media channels.

When selecting influencers to use it is important to choose people who match the image and values of Fashion Revolution. This can be effectively decided by referring back to ‘The Kapfers Brand Prism’ where we can see the influencer will need to be responsible, sustainable and strong representation of Fashion Revolutions ideology, mission and values. Additionally when using influencer marketing it is important to choose Microinfluencers as they have far better engagement rates than mega-influencers. From a recent survey, “Micro-influencers on Instagram boast an average engagement rate of 3.86%. This declines for every level of influencer before hitting 1.21% for mega-influencers.”, (InfluencerMarketingHub. com, 2021). It is also important to note that when trying to change consumer behaviour an attitudes, celebrity endorsements also a form of influencer marketing has proven to be an effective method.

This is why Fashion Revolution should not give this type of social media marketing a miss.

110.

INFLUENCE PLATFORM. To ensure the new campaign cuts through the noise of daily media and gets as much ‘WOM’ exposure as possible, Fashion Revolution should use an influence platform in addition to using influencers.

An appropriate example of an influence platform would be ‘Diet Prada’.

Diet Prada is an Instagram account and watchdog group focused on the fashion industry. It was created in 2014 by two fashion industry professionals, Tony Liu and Lindsey Schuyler who noticed similarities between designers. Initially it started out as light-hearted fun but in 2018 the account became a more serious voice for campaigning for integrity and accountability within the fashion industry. In addition to highlighting copied designs, Diet Prada has drawn attention to other important issues with-in the fashion industry such as racism, abuse of power, misogyny, cultural appropriation and lack of diversity in publishing and fashion companies.

As said by Tony Liu, “We just kind of realised there was so much more in this industry that needed to be talked about and a lot of these people have serious concerns and they don’t have a voice, they don’t have a platform, so, we’re able to give that to them and highlight issues that the industry otherwise, I mean, for the most part, ignores.

Diversity. Representation.”, (Liu, 2017). This supports the idea that the fashion industry is due for a reckoning and highlights the importance of this platform being used an ‘influence’ to aid the campaigns voice.

Today the account is a hugely influential voice with-in the industry. It is followed by likes of Marc Jacobs, Naomi Campbell, Bella and Gigi Hadid. As of May 2021, the account has over 2.7 Million followers. The account persuades

honesty and highlights the fashion industries most pressing issues by posting them publicly to inform the wider world. The Business of Fashion described Diet Prada in May 2018 as “The most feared Instagram account.”, (Sherman, 2018). In contrast, Fast Company, described Diet Prada as “One of the most influential voices in the fashion industry right now.”, (Farley, 2019). Additionally as said in The New York Times, “They have all the eyes and the ears of the fashion world, I don’t think there has been any outlet as high-profile as them in the past decade that did what they’re doing.”, (Engel-Bromwich, 2019).

A recent example includes a post on ‘Seaspiracy’the post focused on eight key facts brought to light from the latest documentary on illegal fishing.

The description on the post included, “Recently watched Seaspiracy and sharing these facts on the occasion of Earth Day. For those who have seen the documentary, were you similarly shook? Has it changed your attitude about consuming seafood?

Interesting that many climate activists aren’t talking about the detrimental impact of commercial fishing on the planet.”, (Diet Prada on Instagram, 2021). The single post has over ‘38,097’ likes to date, (26.05.21). This highlights the power and strength Diet Prada has as an influence platform as it can help change consumer behaviour and shift opinions on topics often unknown or not spoken about prior. This is why Diet Prada would be a good platform to use in a collaborative way as Fashion Revolution could send the brand a ‘press pack’ to help raise awareness, educate and inform consumers of the current criticisms currently faced in the luxury fashion industry.

“Fashion is due for a reckoning and, for many, Diet Prada represents the wake-up call the industry desperately needs.”, (Sherman, 2018).

111.

R.A.C.E FRAMEWORK. The R.A.C.E framework, designed by Dave Chaffey for Smart Insights is a framework used to develop digital marketing plans with 4 steps that cover the full customer lifecycle along the marketing funnel.

The steps of the R.A.C.E model consist of; REACH: This is the awareness stage of branding where you focus on activities that will drive reach to the target audience online which will in-turn dive traffic to the brand, product or service to be known in the web though different online presences such as “specialized websites, social, digital press, search engines, etc.”, (Chaffey, 2021).

ACT: This is the stage where you encourage interaction or take action when the customer lands on the website or social media page.

According to Fiona Eriksen-Coats, “It’s the first stage of engagement before moving them to final conversion. This can be leaving details requesting a quote or further information (business-tobusiness), but it may also be as simple as finding out more about a company or its products, searching to find a product, signing up for a newsletter subscription or reading a blog post.”, (Eriksen-Coats, 2020). This is because these actions help customers to understand the value of the organisation or brand.

ENGAGE: This is the stage where long-term relationships are formed to build brand loyalty. In reference to Fashion Revolution this would be the part where a change in user behaviour is formed to encourage them into becoming engaged advocates to drive repeat involvement and interaction with the organisation. To ensure customers engage both, “A range of communications can be used offline and online, across your site, within social media pages, email and other direct interactions to boost customer lifetime value.”, (Eriksen-Coats, 2020). This will help focus the objectives and KPI’s on engagement with Fashion Revolution.

As defined by The Oxford College of Marketing, “The RACE framework provides a simple approach that can be used across different levels within a digital marketing plan. It can help define objectives, strategy and tactics as well enabling an organisation to set suitable KPI’s at each stage too.”, (Eriksen-Coats, 2020).

R E AC H

E NG AG E

R.A.C.E

AC T

CO NV E R T

CONVERT: This part of the framework means being able to “persuade the user to become a customer”, (Chaffey, 2021). In reference to Fashion Revolution this would be the part where a change in user behaviour is formed to encourage people to interact and become involved with the organisation.

112.

SOCIAL MEDIA FACEBOOK- “With more than 2.7 billion users worldwide, Facebook is pretty much a must when it comes to social media marketing channels.”, (Pilon, 2021). Furthermore, Facebook caters to a wide target audience which will provide as much reach and engagement as possible for Fashion Revolution. Facebook is also great for Fashion Revolution expanding their global reach as Facebook is an international platform.

INSTAGRAM- ‘The 2020 Global Digital Report’ also shows that, “The total number of monthly active users of the app stands at 928.5 million, with 15% of the total population being active users.”, (The Global Digital Report, 2020). This highlights the importance of Fashion Revolution continuing to use Instagram as the core social media channel in their social media strategy, particularly when they already have their largest following on the app. Furthermore, as their target audience are commonly found to be between the ages of 18 and 35, “The number of 25-34year olds stands at 117 million Instagram users with the United Kingdom having 21,000,000 active Instagram users with a penetration of 32%.”, (The Global Digital Report, 2020).

YOU-TUBE- “YouTube has more than 2 billion monthly logged-in users.”, (Pilon, 2021).

Additionally, You-tube has a wide user base, for example many businesses post useful content like ‘how-to’ or ‘demonstration’ videos which is why Fashion Revolution should utilise this platform as part of their social media strategy.

LINKED-IN- “The most popular business-oriented social networking site, LinkedIn is great for entrepreneurs looking to boost their professional networks or reach out to B2B clients.”, (Pilon, 2021). Fashion Revolution should implement Linkedin in their social media strategy as it’s a great platform to inform, educate and raise awareness on important pressing issues related to specific industries. “With 706+ million users, LinkedIn can be useful for growing your network, hiring, or sharing expertise with other professionals.”, (Pilon, 2021). Additionally, the platform is predominantly used by working professions who may in-fact work for brands in the luxury fashion industry.

CHANNELS

STRATEGY Pinterest- “There are more than 400 million active users, many of whom are young people and women.” (Pilon, 2021). As Fashion Revolution use visually driven content, Pinterest must continue to be in their marketing strategy as the social media site is also part creative search engine.

Additionally, “Fashion brands and organisations may find the platform especially powerful.”, (Pilon, 2021).

Twitter- According to recent research by Smallbiz Trends, “There are more than 330 million active users on Twitter”, (Pilon, 2021). Additionally, Twitter is best for information sharing and is known as a great social media platform for starting conversations. This is why Fashion Revolution must continue to use this channel and capitalise on it in their social media strategy as it will be able to educate, inform and raise awareness of Fashion Revolution mission and values.

Snapchat- Today the number of people that have access to Snapchat stands at, “381.5 Million”, (WeAreSocial, 2020). Improving the online content used on Snapchat, Fashion Revolution could increase reach by a significant figure. Although, Instagram “boasts a bigger audience, a higher rate view for Stories (28%), cheaper ads and better discoverability, Snapchat has better filters, AR capability and allows for wider sponsorship campaign reach.” (Iqbal, 2020). Additionally, “70% of posts on Instagram are simply never seen and 38% of Snapchat users are not Instagram users.”, (Iqbal, 2020). Therefore, Snapchat consistently boasts a healthy share of exclusive users compare to Instagram. However it is important to note that the content is only viewable for 24 hours, therefore it might not be useful to Fashion Revolution who need their content to be available all the time to help in their mission of educating, informing and raising awareness of the fashion industries most pressing issues.

Tik Tok- Tik Tok is a relatively new social media channel but has been proven to be highly effective in reaching new audiences quickly on minimal spend. The app also focuses on short ‘viral’ videos and has “800 million visitors a month.”, (Pilon, 2021). However, the app is mainly popular with young audiences so is only useful to brands that want content to reach young viewers.

The evidence is clear why Fashion Revolution should implement a social media strategy into their new campaign, the evidence also shows the most appropriate channels to use in targeting the luxury consumer.

113.

C ASE S TUDY. WHY BOTTEGA VENETA’S SOCIAL AXE IS MORE THAN JUST A PR STUNT. Without explanation, Bottega Veneta deleted all of its social media accounts (Instagram, Facebook, Twitter) in January 2021. This created a media storm with-in the fashion industry as the move was unexpected and bold considering the ever digital world we are living in today. They have also shifted towards season-less collections and are only offering virtual showrooms.

This is a particularly interesting move amidst the shift to online that has been created as a result of COVID-19. Bottega Veneta have removed themselves out of the ‘What’s next? Movement’ placing them today as a leader for sustainable luxury. This is because not only have they now significantly reduced their online internet emissions but they have also now reduced their physical production operations and carbon footprint.

There is still a culture for instant gratification and newness existing but it is shifting and Bottega Veneta is a brand that leads example to this. As said in Vogue, “Maybe the ultimate luxury in this new physicality world of actually logging off, erasing all traces of one’s digital footprint, and trying to inhabit a purely three-dimensional space.”, (Yotak, 2021). In support of this, traditional luxury fashion houses like Celine first cultivated a cult following of influential women who associated themselves with the brand entirely because of its discreetness and offline presence. Bottega Veneta has also never cared for a huge following on social media, the brand has never craves re-shares or likes and is not flashy with logos in their designs. According to Heather Snowden for HighsNobiety, “Bottega Veneta doesn’t run to celebs to front its campaigns. It’s a luxury label for people that want luxury, and want it in an understated “in-the-know” kind of way. It’s traditional in many senses and manages to be so without being stuffy.”, (Snowden, 2021).

This whole new strategy of switching to offline and having a digital detox links back to luxury brands heritage and trust with customers continuing the legacy and experience their products provide to their consumers. Luxury brands don’t need to focus on influencer marketing or social media strategies because despite what the media says about them they have remained at the top of the fashion industry and chain and these historic large luxury fashion houses are the pinnacle of fashion.

However some people have also questioned Bottega Venta’s move to be a PR stunt but under investigation the brand has become so omnipresent that it risked becoming overexposed. Hence why deleting all social media channels has been a smart, strategic move to pull back from that risk completely. Yet still after turning off-line, there have been countless Bottega Veneta fan accounts created. ‘New Bottega’, for example, already counts 499,000 followers — a number that will surely grow considering the official account’s disappearance — meaning Bottega doesn’t actually need to be there in order for its collections to circulate!

As said by Heather Snowden for HighsNobiety, “It’ll be interesting to see whether this rejection of social trends and pressure becomes a trend in itself. Will the act of going off-grid make the once-old idea of luxury new again? So far, few luxury brands have been quick to employ similar strategies. However Hermes has now strategised to “turn its products into whispered-about and fawned-over pieces, coveted by the ultra-rich and ultra-tasteful”, (Hermes, 2021). This is evidence of brands noticing the importance of word of month WOM marketing over social media as perhaps the Bottega deletion is the ultimate act of stealth luxury— it will now be a brand that travels strictly by word of mouth.” If only the fans of a brand are posting about it, perhaps it will move like a secret throughout the industry, with it items popping up organically, by dint of consumer taste.”, (Tashjian, 2021).

114.

FORMULA After in-depth research and analysis of Fashion Revolution’s current social media tools, I have decided that the most appropriate tools to use for this campaign would be: • WOM PR- This will be a fundamental tool to the campaign, this is because we want to spark a conversation around the luxury fashion industry not being as sustainable as first thought.

Additionally a successful PR campaign now needs to pull on traditional, online, digital and influencer elements to make an impact.

• Influencer Marketing- There will be a selection of influencers to collaborate with for this campaign. They will be both a mixture of micro-influencers and mega- influencers as this will help change consumer behaviour towards the luxury fashion industry most effectively.

To ensure the new campaign cuts through the noise of daily media and gets as much ‘WOM’ exposure as possible, Fashion Revolution will be collaborating with the influence platform ‘Diet Prada’.

• R.A.C.E framework- By using a R.A.C.E framework closely, the campaign should be successful as it helps to identify our campaigns objectives, strategy and tactics. The framework will help to change user behaviour to encourage people to interact and become involved with the organisation. Additionally it can help to build brand loyalty as a change in user behaviour is also formed to encourage them into becoming engaged advocates to drive repeat involvement and interaction with the organisation.

CHANNELS

TOOLS After in-depth research and analysis of Fashion Revolution’s current social media channels, I have decided that the most appropriate channels to use for this campaign would be: -

The Website Instagram Facebook Twitter YouTube

There will be a balance of both organic and paid media on popular channels like Instagram, Twitter and Facebook. This is because research has shown that his will help to engage more customers and strengthen the pre-existing audience.

115.

13 . 0

CHAPTER THIRTEEN

REFLECTION With the total number of active social media users standing at 3.8 billion in 2020, the effectiveness of online content is more important than ever, (WeAreSocial, 2020).

Through conducting in-depth market research on Fashion Revolution’s marketing and communications, I have understood the importance of which social media channels to focus on in my campaign. I have discovered that social media is critical to use in my proposed campaign, in particular, Instagram, as to change consumer behaviour towards the luxury fashion industry it is important that Fashion Revolution utilises Instagram further. They could do this by increasing their media value on Instagram by using ‘influencer marketing’ to drive further awareness of the brand. This is because “Instagram influencers can serve audiences well with an endless stream of visual inspiration. A study found that 32% of 18-24-year olds favour Instagram the most for earned media.”, (WGSN, 2018). Additionally, research has found that using influencers and celebrities is an effective method in changing consumer behaviour and attitudes. It was hard to tell if Fashion Revolution use paid-for media as they do not say anywhere in their corporate or finical documents. However, I have learnt that organic social media only works for followers who are already engaged within the organisation so paid media will have to be used to target new audiences i.e luxury consumers. A method of paid media that Fashion Revolution could use would be sponsored adverts such as an advert to an event on Instagram. This way Fashion Revolution can send adverts to targeted audiences such as the followers of luxury fashion brands. Yet still, there should be a balance of both organic and paid media on popular channels like Instagram, Twitter and Facebook.

This will help to engage more customers and strengthen the pre-existing audience with the new campaign aimed at informing, educating and raising awareness of the luxury fashion industries most pressing issues. From my research I have also discovered the power of the ‘hashtag’ which I will now focus on incorporating in my campaign as it’s a great way to produce ‘WOM’ PR and ‘WOM’ pr is the best way to educate and gain quick exposure on the topic in question.

PROCESS.

116.

V I S U A L I D E N T I T Y. The campaigns visual identity is of most importance, with-out a distinctive visual identity that can be instantly recognised, the campaign will not be successful. The visual identity for the new campaign needs to be in style with Fashion Revolutions branding yet reflective of the luxury market and target audience. This will help the campaign differentiate away from previous campaigns whilst being instantly recognisable at referencing the luxury fashion industry.

This is why important elements of the campaigns visual identity have been changed. These include the fonts, colours, gradients, imagery and offline assets.

They have all be altered to help maximise media value, reach and impact. Based on my prior research on the effectiveness and most appropriate way to use hashtags I have come up with the below hashtag that will help begin the conversation that desperately needs to happen.

This can be through educating, informing and raising awareness of the issues with themselves and their friends and family. This in-turn will form WOM PR. To enable the viewer to take action, all offline assets will have scanable QR code that takes them through to the Fashion Revolution website so they can learn more about why the campaign has been formed and how the luxury fashion industry is responding. Additionally all online content created will be highly shareable so that the campaign can pick up traction quickly. Finally the campaigns visual identity will be seamless across all channels to ensure the message is clear and concise.

#l u xu r y f a sh i o n i sn o ti n n o ce n t The above hashtag should be successful as it uses more than three words which according to research increases the chances of it being circulated easily across social media. In addition to the hashtag, the offline assets have also been altered to match the campaigns core mission. The postering and flyers will include the hashtag, questions, stats and infographics that will help to get the message out there through offline channels. The use of imagery in this way can also help to build brand awareness and increase engagement with those outside of the existing Fashion Revolution community. This is why offline assets are a great method in attracting and engaging with the luxury fashion consumer.

Furthermore all offline assets will have a call-toaction. In this case it is the viewer engaging beyond the screen and physically changing their behaviours and attitudes towards the luxury fashion Industry.

117.

118.

QUESTIONS. As Fashion Revolution’s most successful campaign is based around the question ‘Who Made My Clothes?’, I wanted to follow suit as by asking the public a question it can help to start a conversation and movement around the topic. The ‘Who Made My Clothes Campaign?’ movement had gathered so much momentum that Fashion Revolution produced alternatively worded posters such as ‘I Made Your Clothes’. This is another effective way to help inspire change in an industry where dirty secrets are not commonly known and rarely revealed. Additionally by asking further questions it can help to act as a ‘call-to-action’ as the questions will make the public think about their own actions toward past purchases in the luxury fashion industry.

As my mission is to inspire a change in consumer attitudes towards the luxury fashion industry as a whole.

No specific companies are named or shamed as the whole industry should be held accountable for and not individual brands. Furthermore, the naming and shaming of brands goes against Fashion Revolution’s brand guidelines and nor are they advocates for boycotting as they are both insufficient methods to achieve systemic change.

I have decided on the following two questions, ‘Who Made my Luxury Handbag?’ and ‘Who Made my designer dress?’. I have also changed the font texture for each one so that they match and relate to the questions asked. From the questions I have raised and designed I hope that luxury fashion brands will become encouraged to recognise that they have the power to instigate positive change and pave the way as a leader for sustainability.

119.

120.

Futura Bold

Futura Extra Bold

Futura Medium

Futura Condensed Medium

FONTS. Although Fashion Revolution have strict brand guidelines towards their typeface, they do suggest that you can use a new font if it enhances the brand image, values and communications. As my campaign is targeted at the luxury consumer, I have decided to use a different font, this is because I feel I will be able to differentiate the campaign from past ones with a new font. I believe it will also strengthen the campaigns voice to help cut through everyday noise. The font I have decided to use as the new core typeface is Futura, this is because I believe Futura to reflect sophistication, style and luxury. As said by Hubert de Givenchy, “Luxury is in each detail.”, (Givenchy, 1962). This is why my campaigns typeface needs to reflect luxury fashions design style and I don’t believe Fashion Revolutions current typeface to do so.

Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. As said in ‘Digital Arts’, “Futura’s design is based entirely on simple geometric forms such as triangles, squares and nearcircles. Futura is distinctive for its long ascenders and almost classical Roman capitals — these elements give it its stylish elegance and differentiate it from other geometric san-serifs.”, (Harris, 2017). Additionally, Futura is used by many top names in luxury fashion such as, Louis Vuitton, Calvin Klein, Dolce & Gabbana and Supreme. This is because the typeface has an appearance of minimalism, efficiency and forwardness which all in-turn help to create a luxurious visual appearance. Therefore I will be using, Futura Condensed Extrabold for headings in size 24pt. Futura Bold for subheadings in size 18pt. Futura Medium for body copy in size 12pt. Futura Condensed Medium in size 6pt for third level information such as tags, social media handles, website and footnotes. ‘Zombie Checklist Alpha’ font for all posters as it’s a signature font for campaigns.

Zombie Checklist Alpha

121.

EMOJIs. On the right you can see the emojis that I have decided to use for this campaign. They offer the viewer a visual cue and will compliment text that sits alongside them. They will also be used as stand-alone illustrations but mainly they will be used for the social media accounts in the hope of engaging with audiences on a more emotional level. This is because research has showed that, “Emojis can trigger emotional responses in people, and can even induce empathy. Several studies have shown that negative emojis or emotions in messages create negative feelings in the reader, and vice versa. In business communication, emojis can soften negative messages, such as rejections, requests, or complaints.”, (Atanasova, 2016). This supports my decision to use emojis in my visual communications as not only are they a key part to Fashion Revolutions branding but they also act as a symbolic representation of emotions. Additionally, “Icons and emojis help us deepen our emotional self-awareness, and make us more conscious of our own feelings.”, (Atanasova, 2016). Last but not least: research has proven that emojis make us enjoy communicating more and help to visually tell the story and picture that I am trying to explain to the viewer. Therefore, I will use the icons and emojis in both humorous and serious contexts, especially alongside quotes and long from texts such as ‘get-involved’ packs.

122.

COLOURS. Following brand guidelines, I will not be changing the Fashion Revolutions logo, instead to make the campaign stand out I will be changing the colours used in their social media content. As you can see on the right Fashion Revolution use a variety of colours that are bold, bright and colourful. I believe their current colour palette to reflect fast fashion rather than luxury, therefore I will be using more muted tones that reflect the luxury fashion industry in the new campaign. In particular I will be using Fashion Revolution’s ‘#757271’, ‘#8c8c8c’, ‘#bdbdbc’, ‘#706837’, ‘#efe8d7’ and ‘#f3efe5’. Additionally, based on research from ‘Pantone’s LFW SS21-22 colour reports’ predicts the colours to be using are, “A range of floral hues reflective of gardens in springtime awakens our spirit, reinvigorating our interest in colour that inspires feelings of much needed optimism.

Colours that are flexible and can work year-round, colours that amalgamate our desire for comfort and relaxation with energy and determination.”, (Eiseman, 2021). Three colours in particular that I believe will represent the campaigns visual identity well are, ‘Baby’s Breath’- a soft and tender tone for summer minimal aesthetic, ‘Sphagnum’- a green variation tending to create a closer relationship to nature and ‘Ultimate Gray’ which exhales sophistication, minimalism and elegance. These core classics fuse a spirit of sustainability, luxury and importance whilst being functional and flexible for the campaign.

PANTONE 17-5104 Ultimate Gray

PANTONE 18-0529 Sphagnum

PANTONE 11-0202 Baby’s Breath

123.

GRADIENTS. Fashion Revolution also frequently use a variety of colourful ‘gradients’ in their campaign imagery and social media content as shown on the previous page. However to ensure the campaign identity is seamless, I have decided to create my own gradients to use as a backdrop for both online and offline assets. These gradients match the chosen colour palette and identity of luxury. This in-turn will help to differentiate the new campaign from past ones. The greyscale gradient will be most frequent as I believe this one to best reflect luxury branding as it portrays a murky and ambiguous backdrop in an attractive manner. Additionally this will help to connect with the desired target market and reach new audiences.

124.

VISION. To the right of the page depicts how I envision the new content to sit alongside Fashion Revolutions current content. I believe that using greyscale photography and content for the campaign will help the campaign stand out in contrast from past campaigns that use colourful imagery and infographics that reflects fast fashion. It is intended that the greyscale imagery depicts luxury as it is, clean, sharp and minimal reflecting luxury branding. Presenting this cohesive approach it is intended that new content is instantly recognisable as one, when presented in the greyscale palette. This is because our long term aim is that by adopting this presentation method any information produced by Fashion Revolution can be read and understood clearly by our audience as the campaign that focuses on the luxury fashion industry.

125.

TEXTURES. Fashion Revolution occasionally use textures as a background for their campaign imagery. This is because according to Fashion Revolution, “Assets should feel tactile and have depth.”, (Fashion Revolution, 2020). To keep in theme of using textures that match the brand image, I have chosen textures that reflect the materials used in the luxury fashion industry. These include leather, silk, fur, feathers, snakeskin and jewels and will be used as the font texture to the campaign posters. These textures will help to incorporate the luxury fashion industry visually into the campaign whilst adding depth and deeper meaning. Additionally, it will help reflect information building as its visually demonstrates the core of luxury fashions foundations.

126.

I M A G E RY. When choosing campaign imagery, I have decided to choose images that reflect the theme and mission well. Many images portray a luxury allure to them yet at the same time are thoughtful, compelling and captivating. Readers also perceive the message as ‘richer’ when it’s sprinkled with aesthetically pleasant images, this is why I will be using high quality, attractive images that represent the luxury fashion industry and the campaigns mission. Additionally, research from Forbes has found that, “When you consider that 65% of people are visual learners, 90% of information that comes to the brain is visual, and presentations with visual aides are 43% more persuasive, it makes sense to use content types which people have an innate psychological resonance with.”, (McCue, 2013). This is why an appropriate choice and effective use of images will make my campaign successful or not. This is because as the oversaturation of digital content and the increased adoption of mobile internet access means attention spans are shorter than ever. This in-turn means that content presented in the form of big blocks of text very off-putting which is why images are essential for the success of my campaign. As said by Lucien Joyce, “If you can generate high-quality visual content which truly resonates with people and promote it on a regular basis, the reputation and awareness of your brand are sure to skyrocket.”, Additionally, some of the imagery will also be emotive as from prior research into changing consumer behaviour, “The use of affect to induce empathy with advertising characters” as this “may increase attraction to a product or campaign”, (Perner, 2018). However I will ensure the images are not too controversial or graphic as, “Fear appeals appear to work only if an optimal level of fear is evoked--not so much that people tune it out, but enough to scare people into action.”, (Perner, 2018). The images will be kept in greyscale to maximise impact and differentiation from their other campaigns to heighten the ‘luxury’ visual identity.

127.

128.

#luxuryfashionisnotinnocent

129.

OFFLINE ASSETS. Offline assets are critical in the success of the new campaign. They will help to start the conversation and further enhance Fashion Revolutions chances of being seen to the target market. Offline assets will include posters, flyers, stickers and info-graphics. They shall be used consistently to become a large part of Fashion Revolution’s brand assets. Postering and flyering of stats and infographics will help to get the message out there and the use of imagery in this way can also help to build brand awareness and increase engagement with those outside of the existing Fashion Revolution community. This is why offline assets are a great method in attracting and engaging with the luxury fashion consumer. One particular effective method of offline assets will be stickers. They are fun, simple yet very impactful and a cost-effective way to gather traction quickly. I also believe stickers to reflect the brand image, values and target audience well. As said in ‘The Event Chronicle’, “Stickers are one of the longest-term marketing strategies you can have, and since they are not something that you need to pay for to continue using, you will need to invest in them only once.

Once you put the label on the product, on the bumper, or even on the TV or the box, it is there to stay.”, (Morse, 2021). On the right is a few examples of stickers that will be produced as part of the campaigns offline language.

130.

131.

14 . 0

CHAPTER FOURTEEN

REFLECTION I have thoroughly enjoyed the process of creating the campaigns identity. Although it is different to past campaigns it is still distinctive of Fashion Revolutions brand identity and in keeping with their brand guidelines. I believe that by keeping the colour scheme in grey-scale it will actually help the campaign be more impactful as it can be instantly recognised from afar in contrast to their daily colourful content. Additionally I feel that using greyscale imagery for this campaign actually helps to compliment all other content as-well as making the new campaign distinctive of the luxury fashion industry and target audience. I am really pleased with the overall outcome particularly when I don’t have a strong skill set with Adobe Photoshop and Adobe Illustrator. I believe the offline assets to represent both Fashion Revolution and the luxury fashion industry well. The choice of using stickers adds a playful aspect to the campaign which in turn will help increase my online presence, but is also an effective method of long-form marketing that will act as one of the most low-cost call to actions. I have experimented with a variety of different styles, I feel that the statement ‘Luxury Fashion is not Innocent’ fits well with Fashion Revolution’s simple aesthetic, while the gradients add some vibrancy and contrast to the campaign.

FINAL REFLECTIONS.

132.

ADJUSTMENTS. Below are a few notable adjustments that have been made to this Final Major Project.

CHANGES OF: CRITICAL PLAN Some adjustments that are notable to mention in my critical path are that the majority of tasks took a lot longer than expected, in particular these were the research phase and the implementation phase. This was partly because to form the most appropriate and valid campaign, I needed accurate primary and secondary research to support my claim and proposed idea. Additionally all this research required a lot of proof reading and referencing which took up a vast quantity of time.

Sadly, due to the out break of COVID-19, the graduate exhibition was postponed which meant that I did not have to worry about printing or the assembly of the graduate show. This is why there is no you can see it has been left blank on the ‘actual critical path’.

CHANGES OF: DELIVERABLES A notable change to my deliverables has been that my ‘front of house’ document has become a communications campaign pack rather than a marketing communications report. Instead of informing the client (Fashion Revolution) of the viability of my proposal which I have already done in this document (back of house). My front of house will be the campaign in a step by step process to give an analysis of the way we could use the campaign to change consumer attitudes towards luxury fashion. The communications campaign pack will discuss the campaigns key aims, visual identity, promotion and a time scale.

It will also effectively communicate the planned campaign to help bring about a change in attitude towards the luxury fashion industry.

included some new topics that I hadn’t previously thought were necessary to look into. These were sustainable investing and sustainability bonds which aim to help luxury brands become more informed as to their ongoing approach to sustainability. Longer term changes in working practises need to be implemented if they wish to take the morally correct path to this issue that is not going to go away. I also had not noticed the importance of digital vs traditional PR and what this meant for the campaign I had originally planned for Fashion Revolution.

CHANGES OF: MENTOR Unfortunately my mentor for this project, Saskia Phillips from KilPatrick PR was unable to offer any further guidance or support due to mitigating family and work commitments that weren’t initially foreseen. However, in terms of receiving help with developing my ideas, I found that my industry insight seemed to fit the bill as many industry professionals who I was fortunate enough to interview offered their own personal expertise and advice on-top of completing my interview questions.

CHANGES OF: RESEARCH Some changes to my proposed research is that I 133.

OVERALL REFLECTION. Well, who would have thought I would have got to this stage. After the difficult year that we’ve all faced I have struggled with the enormity of the task in hand. Initially I really struggled trying to be creative in a time when the world was so bleak and uninspiring.

I think the answer really came as I tried to imagine how I was going to manage moving forward and where I want to work after university. I realised it wasn’t necessarily all about me, but in-fact everyone that shares a love for fashion. It’s clear that the greatest threat to the fashion industry is global warming and with my love of fashion it became clear that this was the focus to form my Final Major Project.

I have learnt that the fashion industry’s share of global carbon emissions is at 10% which is more than all international flights and maritime shipping combined. This really heightens the urgency for action to be taken and brands made accountable.

Additionally, as luxury fashion brands are the ‘pinnacle’ of the fashion industry then why aren’t they leading the whole industry for the common good. This brought into question that if the luxury fashion industry can pave the way as a leader for sustainable fashion then why hasn’t it done so already? Particularly as the coronavirus pandemic has given them the perfect opportunity to do so.

As I finally settled on my chosen theme, I looked into organisations in which I would like to work for once graduating. As a keen advocate for public relations and sustainability in fashion, I have always admired the work Fashion Revolution do, and noticed that they only as of yet campaigned and targeted fast fashion brands. Therefore, I thought why not create a new PR led campaign for Fashion Revolution but this time focusing on the luxury fashion industry and consumer.

Once I had my whole idea gathered and planned out, I then looked to tackle each stage. I found this the

hardest part as I didn’t know how to approach and respond to the necessary stages needed. However, as I began my initial research, I actually became hooked as every day I found new super interesting articles in support of my campaign particularly at a time when the fashion industry was struggling as a result of COVID-19. I was genuinely shocked by the facts that I discovered about the fashion Industry which supported the validity, practicality and relevance of my project.

One aspect that was particularly challenging was gathering primary research. In a time when physical contact wasn’t allowed, and the only way forward is through email and direct LinkedIn messages making contact with business professionals was difficult. I found many were too busy to respond but, in an industry, which is notorious for leaving you on read I wasn’t too phased. This is particularly relatable to Fashion Revolution who I unfortunately was unable to make any meaningful contact with, but I did try every avenue possible.

I really enjoyed the creative elements of my project and found it to be a nice contrast to the heavy research I was doing alongside building the support for the relevance of my project. I was able to further develop my skills in Adobe Photoshop and Adobe Illustrator, both platforms which I both find challenging in their own way having not used them before. I believe my campaign imagery created is highly professional and is consistent with Fashion Revolutions past campaign content. Although it is different in colour and appeal, it is still similar to ensure Fashion Revolutions overall branding is seamless across all channels.

From this project I have learnt that I can form a PR campaign that is of the industry’s standard. This has helped me develop my confidence and skill set in this area. I also learnt a lot about the processes involved in creating a professional and visually impactful campaign imagery to use across social channels.

VALID

Overall, I am really proud with what I have achieved and created. I believe the work I have produced is very relevant for today and feel that it has been formed to Fashion Revolution’s standard. It is direct as it is industry focused and has been formed on industry experts experience, opinions and professional advice. My campaign is practical as it can be applied step by step by Fashion Revolution thanks to my campaign’s communication pack.

The campaign is unique to Fashion Revolution and the cohort of my university class. Finally, my FMP is highly relevant given the currently climate emergency and the climate impact of the fashion industry.

DIRECT

As I have mentioned and planned for previously, the end result of this project has had to be adapted slightly due to the outbreak of Covid-19. The main disappointment is being unable to showcase our work at the graduate show. However, while this has brought many disappointments, it has also developed my work ethic further to encourage strong resilience and problem solving.

PRACTICAL

I am proud of the work I have produced, and I feel that one of the most successful elements of this project is the ‘communications campaign pack’.

This was new territory to me, and I initially lacked confidence with, but I feel that this project highlights how far I have come and how I have developed my fashion marketing skills professionally.

UNIQUE

RELEVANT 134.

15 . 0

CHAPTER FIFTEEN

CONCLUSION As this module is a completion of a fashion marketing project of my own design it culminates the production of marketing and PR deliverable in contexts of a hypothetical campaign in collaboration with Fashion Revolution. This project has given me the opportunity to investigate a range of processes adopted by practitioners who are active in the field of public relations and sustainable fashion which has been particularly interesting. For this module we also needed to consider a longer-term view with a project that can be used professionally to reflect our own strengths and career aspirations. This is why I have produced a project focused on my love of public relations, sustainability and luxury fashion as these are areas in which I would like to progress my career in.

I thoroughly enjoyed this project, and the research involved behind it. I learnt a lot about the processes involved in creating a professional and visually impactful campaign and portfolio. I also learnt a lot about future of fashion and how it cannot continue with its current business model. The most enjoyable part about this project in particular was creating my campaign and what it stands for. I feel it successfully fits both the original brief and my proposal. Additionally, the style of this portfolio, and all other outputs, is both appropriate for the tone of project and themes while still maintaining my personal style and aesthetic.

REFERENCES.

Overall, I feel that despite the great challenges, this project has demonstrated my strengths in marketing and communications as well as teaching me a lot about myself and my subject further. I look forward to the future and hopefully continuing to work for a luxury fashion company that has a focus on sustainability.

135.

REFERENCES

REPORTS:

Text Bibliography in alphabetical order;

BOOKS:

EAC, 2019. Fixing fashion: clothing consumption and sustainability - Environmental Audit Committee. Publications.parliament. uk, pp.5-22. [online] Available at: <https://publications.parliament.uk/pa/cm201719/cmselect/cmenvaud/1952/full-report.html> [Accessed 13 April 2021].

BERNARD, A., PAKIS, V.A. and ROSS, D. (2019b). Theory of the Hashtag. [online] Medford, Ma: Polity Press, pp.56–69.

Available at: https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=5847436 [Accessed 29 Apr. 2021].

FASHION REVOLUTION, 2019. Fashion Revolution Impact Report: 2019. Fashion Revolution Impact Reports. [online] London: Fashion Revolution, pp.44-60. Available at: <https://issuu.com/fashionrevolution/docs/fashionrevolution_impactreport_2019_highres/20> [Accessed 13 April 2021].

CHARTER, M. (2018). Designing for the circular economy. [online] Andover: Routledge Ltd, pp.28-29. Available at: https:// ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=5582423 [Accessed 22 Mar. 2021].

FASHION REVOLUTION, 2020. Fashion Revolution White Paper- why we still need a fashion revolution. London: Fashion Revolution, pp. 5-11. Available at: https://issuu.com/fashionrevolution/docs/fr_whitepaper_2020_digital_singlepages> [Accessed 13 April 2021].

FLETCHER, K. (2014). Sustainable fashion and textiles : design journeys. 2nd ed. London ; New York: Routledge Taylor & Francis Group, Cop, pp.4. Available at: https://r1.vlereader.com/Reader?ean=9781849772778 [Accessed 22 Mar. 2021].

HORNBLOWER, S., SPAWFORTH, A. and EIDINOW, E. (2012). The Oxford classical dictionary. Second ed. [online] Oxford: Oxford University Press. Available at: https://www-oed-com.ezproxy.falmouth.ac.uk/view/Entry/111515?redirectedFrom=luxury& [Accessed 21 Nov. 2020].

KAPFERER, J. and BASTIEN, V., 2012. The luxury strategy. 2nd ed. London, England: Kogan Page, p.32.

KO, E. and WOODSIDE, A., 2013. Luxury Fashion and Culture. 1st ed. Bingley [England]: Emerald. p24.

POSNER, H. (2015). Marketing fashion : strategy, branding and promotion. 2nd ed. [online] London: Laurence King Publishing, p.pp.13 & 108. Available at: https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader. action?docID=4394133 [Accessed 2 Mar. 2021].

REIMANN, O., WAGNER, U. and REISINGER, H. (2017) ‘The Impact of Celebrity Endorsement and Celebrity Co-branding on Perceived Quality: The Role of Celebrity Application Frequency Within a Brand.’ In: Advances in National Brand and Private Label Marketing (pp. 55).

SINGLETON, A. (2015). The PR masterclass : how to develop a public relations strategy that works! Chichester: Wiley, pp. 5.

Available at: https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=1576677 VEBLEN, T. (1899). The Theory of the Leisure Class. [ebook] United States: Macmillan. Available at: http://moglen.law. columbia.edu/LCS/theoryleisureclass.pdf [Accessed 15 October. 2020].

PEER REVIEWED JOURNALS: BLUMER H. (1969). “Fashion:” From Class Differentiation to Collective Selection’. Journal of Sociological Quarterly, Oxford, UK: Informa UK Limited, [online] Sociological quarterly, 2016-12-15, Vol.10 (3), p.275-291. Available at: https://www. tandfonline.com/doi/abs/10.1111/j.1533-8525.1969.tb01292.x [Accessed 8 November 2020].

MASLOW, AH., (1943). BA Theory of Human Motivation.- Psychological Review 50 (4) :370–396.

MOORE, C. and BIRTWISTLE, G. (2005). The nature of parenting advantage in luxury fashion retailing – the case of Gucci group NV. International Journal of Retail & Distribution Management, [online] 33(4), pp.256-270. Available at: https://www. academia.edu/416708/Luxury_and_Haute_Couture_In_the_Generation_Y_Market_Consumers_Need_for_Uniqueness_ and_Status_Consumption. [Accessed 13 October. 2020].

YOUNG K. (1930). “Public Opinion.” Chapter 23 in Social Psychology: An Analysis of Social Behaviour. New York: Alfred A. Knopf [online] Sociological quarterly, (1930): 552-569. Available at: <https://brocku.ca/MeadProject/ Young/1930/1930_23.html > [Accessed 8 November 2020].

D’ARPIZIO, C., LEVATO, F., FENILI, S., COLACCHIO, F. and PRETE, F. (2020). Luxury after Covid-19: Changed for (the) Good?

Bain & Company Report [online] London: Bain & Company, Inc, pp.2-4. Available at: https://www.bain.com/insights/luxury-after-coronavirus/ [Accessed 21 Nov. 2020].

JOY, A., F.SHERRY, J., CHAN, R., VENKATESH, A. and WANG, J. (2012). Fashion Theory, Volume 16, Issue 3: Fast Fashion, Sustainability, and the Ethical Appeal of Luxury Brands. [online] WWW3, United States: University of California, Irvine, USA, p.pp. 273–296. Available at: https://www3.nd.edu/~jsherry/pdf/2012/FastFashionSustainability.pdf [Accessed 2 Mar. 2021].

KEMP, S., 2020. Digital 2020: October Global Statshot — DataReportal – Global Digital Insights. [online] DataReportal – Global Digital Insights, pp.50-77. Available at: <https://datareportal.com/reports/digital-2020-october-global-statshot> [Accessed 13 April 2021].

KENT, S. (2021). The Sustainability Index: 2021. [online] The Business of Fashion, The Business of Fashion: The Business of Fashion, pp.1–25. Available at: https://cdn.businessoffashion.com/reports/The_Sustainability_Index_2021.pdf [Accessed 23 Mar. 2021].

KERING, 2020. Keringcorporate.dam.kering.com. 2020. KERING Financial Document 2020, pp.7-26. [online] Available at: <https://keringcorporate.dam.kering.com/m/57a7ad2619884844/original/KERING_Document_Financier_2020_Production_UK.pdf> [Accessed 22 March 2021].

OFFICE FOR NATIONAL STATISTICS, 2020. Retail Sales, Great Britain: March 2020. Retail Industry. [online] London: Office for National Statistics. Available at: <https://www.ons.gov.uk/businessindustryandtrade/retailindustry/bulletins/retailsales/ march2020> [Accessed 29 October 2020].

RE.ACT, 2020. Environmental and Economical assessment of post-industrial cotton waste recycling report, pp.2-12. (2020). [online] circle-economy.com. Available at: https://assets.website-files.com/5d26d80e8836af2d12ed1269/602ce33f6db7435b5f2feb81_20201216%20-%20UNIDO%20-%20Report%20-%20210_x_297_mm%20-%20bleed_3_mm%20(1).pdf [Accessed 22 Mar. 2021].

TEXTILE EXCHANGE, 2020. Preferred Fibre & Materials Market Report 2020. [online] Textile Exchange, pp. 4-7. Available at: https://textileexchange.org [Accessed 22 Mar. 2021].

THE CIRCULAIRTY GAP REPORT, 2020. [online] circularity-gap.world. CGR Global. Available at: https://www.circularity-gap. world/2020#interactive [Accessed 22 Mar. 2021].

THE STATE OF FASHION, 2021.McKinsey and The Business of Fashion (2021). [online] McKinsey.com. London: McKinsey, pp.

10-15. Available at: https://www.mckinsey.com/~/media/McKinsey/Industries/Retail/Our%20Insights/State%20of%20fashion/2021/The-State-of-Fashion-2021-vF.pdf [Accessed 2 Mar. 2021].

THE STATE OF FASHION, 2020.McKinsey and The Business of Fashion (2021). [online] McKinsey.com. London: McKinsey, pp.

22-28. Available at: https://www.mckinsey.com/~/media/McKinsey/Industries/Retail/Our%20Insights/State%20of%20 fashion/2021/The-State-of-Fashion-2021-vF.pdf [Accessed 2 Mar. 2021].

WEARESOCIAL, 2020. The Global Digital Report, 2020. Global Digital Overview. [online] London: p.123-p.128. Available at: <https://wearesocial.com/digital-2020 >[Accessed 29 October 2020].

136.

WEBSITES: ABDI, S. and SPENCER, T. (2020). Coronavirus and its impact on the UK Institutional Sector Accounts - Office for National Statistics. [online] www.ons.gov.uk. Available at: https://www.ons.gov.uk/economy/nationalaccounts/uksectoraccounts/articles/coronavirusanditsimpactontheukinstitutionalsectoraccounts/quarter2aprtojune2020. [Accessed 13 Apr. 2021].

ACTIVESUSTAINABILITY.COM, 2021. Do you know when sustainability first appeared?. [online] Available at: <https://www.activesustainability.com/sustainable-development/do-you-know-when-sustainability-first-appeared/> [Accessed 8 March 2021].

ACHILLE, A. and ZIPSER, D., 2020. A perspective for the luxury-goods industry during—and after—coronavirus. [online] McKinsey & Company. Available at: <https://www.mckinsey.com/industries/retail/our-insights/a-perspective-for-the-luxury-goods-industry-during-and-after-coronavirus> [Accessed 13 April 2021].

AGILITY-RESEARCH.COM. 2021. Affluent Luxury Consumer Segmentation, Luxury Brand Research | Agility Research. [online] Available at: <https://agility-research.com/affluent-luxury-consumer-segmentation/> [Accessed 8 March 2021].

ALTAMIRANO, S.M. (2018). Council Post: Five Things Great PR Can Help Your Brand Achieve. [online] Forbes. Available at: https://www.forbes.com/sites/forbesagencycouncil/2018/01/30/five-things-great-pr-can-help-your-brandachieve/?sh=5691e5f45c0f [Accessed 28 Apr. 2021].

BURGESS, K., 2020. Burberry’s sustainability bond is a UK trendsetter. [online] Ft.com. Available at: <https://www.ft.com/ content/1b5cac79-2bf9-41b2-a683-963d5cf76d8a> [Accessed 22 March 2021].

CANOPYPLANET. 2021. About Us – Canopy. [online] Available at: <https://canopyplanet.org/about-us/> [Accessed 8 April 2021].

CANOPYPLANET. 2021. CanopyStyle Next Generation Vision for Viscose – Canopy. [online] Available at: <https://canopyplanet.org/campaigns/canopystyle/canopystyle-next-generation-vision-for-viscose/> [Accessed 8 April 2021].

CARLILE, C. (2019). The carbon cost of clothing | Ethical Consumer. [online] Ethical Consumer. Available at: https://www. ethicalconsumer.org/fashion-clothing/carbon-cost-clothing [Accessed 2 Mar. 2021].

CAMPAIGNMONITOR.COM. 2021. 10 Signs You’re a Data-Driven Marketer. [online] Available at: <https://www.campaignmonitor.com/resources/infographics/10-signs-data-driven-marketer/> [Accessed 2 March 2021].

CAREYOUTH2030.COM. The Fashion Industry and its Impact on the Environment. [online] Available at: <https://www.careyouth2030.com/post/the-fashion-industry-and-its-impact-on-the-environment> [Accessed 2 March 2021].

CGW, (n.d.). About - Circularity Gap Reporting Initiative. [online] Available at: https://www.circularity-gap.world/about [Accessed 22 Mar. 2021].

AMAR, J., JACOBSON, R., KLEINSTEIN, B. and SHI, A. (2020). Redefine the omnichannel approach: Focus on what truly matters. [online] www.mckinsey.com. Available at: https://www.mckinsey.com/business-functions/operations/our-insights/redefine-the-omnichannel-approach-focus-on-what-truly-matters [Accessed 28 Apr. 2021].

CHAFFEY. 2021. Introducing The RACE Framework: a practical framework to improve your digital marketing. [online] Available at: < https://www.smartinsights.com/digital-marketing-strategy/race-a-practical-framework-to-improve-your-digital-marketing/>[Accessed 22 Mar. 2021].

AMED, I., BALCHANDANI, A., BELTRAMI, M., ROLKENS, F., BERG, A. and HEDRICH, S. (2019). What radical transparency could mean for the fashion industry. [online] McKinsey & Company. Available at: https://www.mckinsey.com/industries/retail/ our-insights/what-radical-transparency-could-mean-for-the-fashion-industry [Accessed 22 Mar. 2021].

CHAN, E., 2020. 6 Ways To Be Greenwashing Vigilant. [online] British Vogue. Available at: <https://www.vogue.co.uk/news/ article/greenwashing-in-fashion> [Accessed 22 March 2021].

ATANASOVA, A. (2016). Emojis: Why We Love Them So Much and What They Mean. [online] Social Media Today. Available at: https://www.socialmediatoday.com/social-networks/emojis-why-we-love-them-so-much-and-what-they-mean-0 [Accessed 17 May 2021].

BAKER, K. (2018). The Ultimate Guide to Viral Campaigns. [online] Hubspot. Available at: https://blog.hubspot.com/marketing/viral-campaigns [Accessed 28 Apr. 2021].

BANASZAK, J., CHARRON, R., GUEVARA, J. and STOKVIS, K., 2021. Preserving project continuity in the face of COVID-19. [online] McKinsey & Company. Available at: <https://www.mckinsey.com/business-functions/operations/our-insights/preserving-project-continuity-in-the-face-of-covid-19> [Accessed 13 February 2021].

B-CORP. 2021. ourstory.bcorporation.uk. Prologue, the story of B Corp UK. [online] Available at: https://ourstory.bcorporation.uk/introduction/ [Accessed 22 Mar. 2021].

BBC. 2021. What is the G7 summit and what does it do?. [online] Available at: <https://www.bbc.co.uk/news/ world-49434667> [Accessed 8 March 2021].

BEDFORD, E. (2019). Luxury apparel and footwear pricing worldwide 2014-2018. [online] Statista. Available at: https://www. statista.com/statistics/941197/luxury-apparel-and-footwear-pricing-worldwide/ [Accessed 21 Nov. 2020].

BELLA, T. (2018). ‘Just Do It’: The surprising and morbid origin story of Nike’s slogan. [online] Available at: < https://www. washingtonpost.com/news/morning-mix/wp/2018/09/04/from-lets-do-it-to-just-do-it-how-nike-adapted-gary-gilmores-lastwords-before-execution/> [Accessed 8 March 2021].

BHASIN, H. (2020). Consumer Behavior: Definition, Importance and Types. [online] Marketing91. Available at: https://www. marketing91.com/consumer-behavior/ [Accessed 28 Apr. 2021].

BOURGEOIS, A. (2015). How Effective Are Hashtags on Social Media? [online] WeRSM - We are Social Media. Available at: https://wersm.com/how-effective-are-hashtags-on-social-media-infographic/ [Accessed 28 Apr. 2021].

CHAN, E., 2021. 7 Major Sustainable Fashion Trends To Propel The Industry Forward In 2021. [online] British Vogue. Available at: <https://www.vogue.co.uk/fashion/article/sustainable-fashion-trends> [Accessed 8 March 2021].

CHEN, J. (2020). What is influencer marketing: How to develop your strategy. [online] Sprout Social. Available at: https:// sproutsocial.com/insights/influencer-marketing/ [Accessed 28 Apr. 2021].

CHRISOS, M. (2021). 3 Benefits of Omni Channel Marketing to Boost Revenue. [online] Techfunnel. Available at: https:// www.techfunnel.com/martech/3-benefits-of-omni-channel-marketing-to-boost-revenue/ [Accessed 28 Apr. 2021].

COOPER, P. (2020). Organic vs. Paid Social Media: How to Integrate Both into Your Strategy. [online] Social Media Marketing & Management Dashboard. Available at: https://blog.hootsuite.com/organic-vs-paid-social-media/.

CORNER, J., 2021. Opinion: Why Sustainability Investment Is Key For Luxury Brands To Succeed In 2021. [online] Luxurysociety.com. Available at: <https://www.luxurysociety.com/en/articles/2021/01/why-sustainability-investment-key-luxury-brands-succeed-2021> [Accessed 22 March 2021].

CVETANOVSKI, B., 2019. Unlocking growth with data-driven marketing and creativity. [online] McKinsey. Available at: <https://www.mckinsey.com/business-functions/marketing-and-sales/our-insights/data-driven-marketing> [Accessed 2 March 2021].

DANZIGER, P., 2021. Uniqlo Intends To Become The World’s Top Fashion Retailer By Distancing From H&M And Zara. [online] Forbes. Available at: <https://www.forbes.com/sites/pamdanziger/2021/02/17/uniqlo-intends-to-become-the-worlds-topfashion-retailer-by-distancing-from-hm-and-zara/?sh=38b0aa476d9a> [Accessed 8 March 2021].

DAVEU, M. (2020). Setting a trend for sustainability. The Telegraph. [online] 10 Mar. Available at: https://www.telegraph. co.uk/business/how-to-be-green/fashion-industry-sustainability/ [Accessed 22 Mar. 2021].

DAVIS, N. (2020). Fast fashion speeding toward environmental disaster, report warns. The Guardian. [online] 7 Apr. Available at: https://www.theguardian.com/fashion/2020/apr/07/fast-fashion-speeding-toward-environmental-disaster-report-warns [Accessed 2 Mar. 2021].

137.

DE KLERK, A., 2020. Are We Seeing The End of Seasonality in Fashion?. [online] Harper’s BAZAAR. Available at: https://www.harpersbazaar.com/uk/fashion/a31255947/end-of-fashion-seasons/ > [Accessed 7 November 2020].

DEPINO, F., 2019. Target Audience for Luxury Brands - Mediaboom Insights. [online] Mediaboom. Available at: <https://mediaboom.com/news/target-audience-for-luxury-brands/> [Accessed 2 March 2021].

DHAKATRIBUN. 2021. Climate action in fashion, as big clothing brands back Bangladesh recycling scheme. [online] Available at: <https://www.dhakatribune.com/business/2021/02/13/climate-action-in-fashion-as-big-clothing-brands-back-bangladesh-recycling-scheme> [Accessed 2 March 2021].

DIETRICH. 2014. WHY THE PESO MODEL IS THE FUTURE OF DIGITAL MARKETING. [online] Available at: https://paulsutton. co/2017/04/21/peso-model-future-digital-marketing/> [Accessed 28 Apr. 2021].

DURAN, A. (2017). Council Post: How To Effectively Use Hashtags To Grow Your Business Following. [online] Forbes. Available at: https://www.forbes.com/sites/forbescommunicationscouncil/2017/12/28/how-to-effectively-use-hashtags-to-grow-yourbusiness-following/?sh=78ffb904615b [Accessed 28 Apr. 2021].

DZIMINSKA, P., 2013. Vivienne Westwood: An Analysis of Punk’s Godmother. [online] Paulina J. Dziminska. Available at: <https://pjdziminska.wordpress.com/2013/10/16/vivienne-westwood-an-analysis-of-punks-godmother/> [Accessed 8 April 2021].

EDWARDS, B. (2021). Chanel, Tesco and the rise of sustainability-linked financing. [online] Raconteur. Available at: https:// www.raconteur.net/finance/investing/can-sustainability-linked-finance-help-businesses-achieve-esg-goals/ [Accessed 22 Mar. 2021].

ELLENMACARTHURFOUNDATION.ORG. 2021. What is the circular economy?. [online] Available at: <https://www.ellenmacarthurfoundation.org/circular-economy/what-is-the-circular-economy> [Accessed 8 March 2021].

ELLENMACARTHURFOUNDATION.ORG. 2021. H&M Group, Ellen MacArthur Foundation Strategic Partner. [online] Available at: <https://www.ellenmacarthurfoundation.org/our-story/our-network/strategic-partners/h-m> [Accessed 8 March 2021].

EPPE-BEAULOY, F., 2021. The Future Of Luxury: 6 Luxury Trends To Stay Ahead In 2021. [online] Luxe Digital. Available at: <https://luxe.digital/business/digital-luxury-trends/luxury-future-trends/> [Accessed 2 March 2021].

ERIKSEN-COATS, F. (2018). How To Use The RACE Framework For Digital Marketing Planning. [online] Oxford College of Marketing Blog. Available at: https://blog.oxfordcollegeofmarketing.com/2018/08/06/using-the-race-framework/ [Accessed 28 Apr. 2021].

FARLEY, A., 2019. How the Diet Prada cofounders became the fashion industry’s most influential watchdogs. [online] Fast Company. Available at: <https://www.fastcompany.com/90345174/most-creative-people-2019-diet-prada-tony-liu-lindseyschuyler> [Accessed 12 May 2021].

FAROOQ, U. (2018). StackPath. [online] Marketingtutor.net. Available at: https://www.marketingtutor.net/what-is-consumer-behavior/ [Accessed 28 Apr. 2021].

FASHION REVOLUTION. 2020. 2020 Impact - Fashion Revolution. [online] Available at: <https://www.fashionrevolution. org/2020-impact-report/> [Accessed 12 May 2021].

FASHION REVOLUTION. 2019. Fashion Revolution Impact Report 2019. [online] Issuu. Availa-ble at: <https://issuu.com/fashionrevolution/docs/fashionrevolution_impactreport_2019_highres> [Ac-cessed 12 May 2021].

FASHION REVOLUTION (n.d.). Gradients - Google Drive. [online] drive.google.com. Availa-ble at: https://drive.google.com/ drive/folders/15aaaU7YBITV15UmHjsA5QTsQtjUWVl0L [Ac-cessed 17 May 2021].

FASHION REVOLUTION (n.d.). Colours - Google Drive. [online] drive.google.com. Available at: https://drive.google.com/ drive/folders/15azlktJ4TQQ966AOdMkAesYbAsciqveT [Accessed 17 May 2021].

FASHION REVOLUTION (n.d.). Icons - Google Drive. [online] drive.google.com. Available at: https://drive.google.com/drive/ folders/19LwytspSA-Gd9bD15IlfGfKIvhqR6WHJ [Accessed 17 May 2021].

FASHION REVOLUTION. 2020. FR_2020BrandIdentity_Public.pdf. [online] Available at: <https://drive.google.com/ file/d/1Kzfzsm1W2QbIGUW3WTz8HdWBlbMOjkLj/view> [Accessed 12 May 2021].

FASHION REVOLUTION. 2017. #HAULTERNATIVE : A Guide for Fashion Lovers. [online] Available at: <https://www.fashionrevolution.org/wp-content/uploads/2015/12/FashRev_Haulternatives_2017_.pdf> [Accessed 13 April 2021].

FASHION REVOLUTION. 2017 impact - Fashion Revolution. [online] Available at: <https://www.fashionrevolution.org/2017-impact/> [Accessed 13 April 2021].

FASHION REVOLUTION. 2019. 2019 Impact - Fashion Revolution. [online] Available at: <https://www.fashionrevolution.org/ resources/2019-impact/> [Accessed 13 April 2021].

FASHION REVOLUTION. 2017. #insideout - six months on - Fashion Revolution. [online] Available at: <https://www.fashionrevolution.org/uk-blog/insideout-six-months-on/> [Accessed 13 April 2021].

FASHION REVOLUTION. (2016). Reflecting on Fashion Revolution Week 2016. [online] Available at: https://www.fashionrevolution.org/reflecting-on-fashion-revolution-week-2016/ [Accessed 28 Apr. 2021].

FASHION REVOLUTION. (2018). WHY DO WE NEED A FASHION REVOLUTION - Fashion Revolution. [online] Available at: https:// www.fashionrevolution.org/about/why-do-we-need-a-fashion-revolution/ [Accessed 28 Apr. 2021].

FSC. 2021. Canopy. [online] Available at: <https://www.fsc-uk.org/en-uk/about-fsc/what-is-fsc/case-studies/fashion-01/ canopy> [Accessed 8 April 2021].

FERNANDEZ, C. (2020). Inside Nike’s Radical Direct-to-Consumer Strategy — Download the Case Study. [online] The Business of Fashion. Available at: https://www.businessoffashion.com/case-studies/retail/inside-nikes-radical-direct-to-consumer-strategy-download-the-case-study [Accessed 28 Apr. 2021].

FERNANDEZ, C. (2017). The Changing Face of Fashion PR. [online] The Business of Fashion. Available at: https://www.businessoffashion.com/articles/luxury/the-changing-face-of-fashion-pr [Accessed 28 Apr. 2021].

FASHIONOPENSTUDIO.COM. 2021. This Fashion Revolution Week. [online] Available at: <https://www.fashionopenstudio. com/> [Accessed 13 April 2021].

FISH, I. (2021). Government Textiles 2030 sustainability plan a “step in right direction.” [online] Drapers. Available at: https://www.drapersonline.com/insight/analysis/governments-sustainability-plan-a-step-in-right-direction [Accessed 23 Mar. 2021].

FASHION REVOLUTION. 2017. Fashion Revolution fanzine #001 MONEY FASHION POWER. [online] Issuu. Available at: <https:// issuu.com/fashionrevolution/docs/fr_fanzine_001_moneyfashionpower> [Accessed 12 May 2021].

FREEMAN, L. (2018). A Rare Look Inside The Chanel Haute Couture Ateliers. [online] Vogue.co.uk. Available at: https://www.vogue.co.uk/article/inside-the-chanel-ateliers [Accessed 15 October, 2020].

FASHION REVOLUTION. (2018). FREE DOWNLOADS - Fashion Revolution. [online] Available at: https://www.fashionrevolution. org/resources/free-downloads/ [Accessed 28 Apr. 2021].

FOSTER, P., 2021. UK fashion industry facing ‘decimation’ over Brexit trade deal. [online] Ft.com. Available at: <https:// www.ft.com/content/9275f5e1-8779-411c-ab65-5767f5e748d5> [Accessed 2 March 2021].

FASHION REVOLUTION. 2021. Home - Fashion Revolution. [online] Available at: <https://www.fashionrevolution.org/> [Accessed 12 May 2021].

GALLAGHER, J. (2020). Where are we with a coronavirus vaccine? BBC News. [online] 27 Feb. Available at: https:// www.bbc.co.uk/news/health-51665497 [Accessed 21 Nov. 2020].

138.

GEORGE, S., 2020. Positive Luxury: In the ‘year of nature’, greenwashing and incremental improvements won’t cut it. [online] edie.net. Available at: <https://www.edie.net/news/7/Positive-Luxury--In-the--year-of-nature---greenwashing-and-incremental-improvements-won-t-cut-it/> [Accessed 22 March 2021].

JAROSINSKI, M. and COTTE, J., 2021. MBA SWOT : Kering: Luxury in the Digital World? SWOT Analysis & Matrix. [online] EMBA Pro for Executive MBA Professionals. Available at: <https://embapro.com/frontpage/swotcase/13893-kering-luxury> [Accessed 22 March 2021].

GERNER, M. (2020). How COVID-19 has impacted the future of ESG investing. [online] Raconteur. Available at: https://www. raconteur.net/finance/investing/future-esg-covid/ [Accessed 22 Mar. 2021].

KELLER AVIRAM, D., 2021. Vivienne Westwood, The First Political And Climate Change Luxury Brand. [online] Sustainable Fashion - Eco Design - Healthy Lifestyle - Luxiders Magazine. Available at: <https://luxiders.com/vivienne-westwood/> [Accessed 8 April 2021].

GRESHAM, C. (2017). The Power of Hashtags on Social Media. [online] SEED SPOT. Available at: https://seedspot.org/power-hashtags-social-media/ [Accessed 28 Apr. 2021].

GURD, J. (2019). Understanding the role of organic vs paid social media | Smart Insights. [online] Smart Insights. Available at: https://www.smartinsights.com/social-media-marketing/social-media-strategy/understanding-role-organic-paid-social-media/ [Accessed 28 Apr. 2021].

HARDING, L. and ASHWORTH, L., 2020. $1 Trillion Wiped Off Global Stock Markets Amid Coronavirus Panic. [online] The Telegraph. Available at: <https://www.telegraph.co.uk/business/2020/02/24/coronavirus-jitters-return-markets-escalation-cases-outside/> [Accessed 14 October 2020].

HARRIS, M. (2017). Here’s everything you should know about Futura, on its 90th anniversary. [online] Digital Arts. Available at: https://www.digitalartsonline.co.uk/features/typography/heres-everything-you-should-know-about-futura-on-its-90th-anniversary/ [Accessed 17 May 2021].

HALL, J., 2016. Why we need a fashion revolution – now. [online] Dazed. Available at: <https://www.dazeddigital.com/fashion/article/30786/1/why-we-need-a-fashion-revolution-now> [Accessed 13 April 2021].

HALLIDAY, S., 2020. Stella McCartney swings to loss on higher costs, focuses on Asia expansion. [online] FashionNetwork.com.

Available at: <https://uk.fashionnetwork.com/news/Stella-mccartney-swings-to-loss-on-higher-costs-focuses-on-asia-expansion,1194772.html> [Accessed 22 March 2021].

HANLON, A. (2015). The 4Cs marketing model | Smart Insights. [online] Smart Insights. Available at: https://www.smartinsights.com/marketing-planning/marketing-models/4cs-marketing-model/ [Accessed 28 Apr. 2021].

HARDING, L. and ASHWORTH, L., 2020. $1 Trillion Wiped Off Global Stock Markets Amid Coronavirus Panic. [online] The Telegraph. Available at: <https://www.telegraph.co.uk/business/2020/02/24/coronavirus-jitters-return-markets-escalation-cases-outside/> [Accessed 14 October 2020].

HARRINGTON, J. (2020). COVID-19 has transformed creative campaigns, but is now the time to take more risks? [online] PR Week. Available at: https://www.prweek.com/article/1681157/covid-19-transformed-creative-campaigns-time-risks [Accessed 28 Apr. 2021].

HARRIS, J., 2020. The Six Sins of Greenwashing. [online] Medium. Available at: <https://medium.com/climate-conscious/ the-six-sins-of-greenwashing-84e76b106d5> [Accessed 22 March 2021].

HEPBURN, S. (2015). Can a hashtag change the fashion industry? [online] the Guardian. Available at: https://www.theguardian.com/sustainable-business/sustainable-fashion-blog/2015/apr/14/can-a-hashtag-change-the-fashion-industry [Accessed 28 Apr. 2021].

INFLUENCER MARKETING HUB. (2021). 50 Influencer Marketing Statistics, Quotes and Facts. [online] Influencer Marketing Hub. Available at: https://influencermarketinghub.com/influencer-marketing-statistics/ [Accessed 28 Apr. 2021].

INSTAGRAM. 2021. Fashion Revolution Instagram Page. [online] Available at: <https://www.instagram.com/fash_rev/> [Accessed 12 May 2021].

ISLES, M. (2017). Why traditional PR is still important in the digital landscape. [online] greenlightdigital.com. Available at: https://greenlightdigital.com/blog/blog-posts/why-traditional-pr-is-still-important-in-the-digital-landscape/ [Accessed 28 Apr. 2021].

JACKSON, D. (2018). How to Go Viral: 8 Steps to Reach a Massive Audience. [online] Sprout Social. Available at: https:// sproutsocial.com/insights/how-to-go-viral/ [Accessed 28 Apr. 2021].

KENT, S. (2021). The Sustainability Index: 2021. [online] The Business of Fashion, The Business of Fashion: The Business of Fashion, pp.1–25. Available at: https://cdn.businessoffashion.com/reports/The_Sustainability_Index_2021.pdf [Accessed 23 Mar. 2021].

KERING (n.d.). Our 2025 Sustainability Strategy. [online] www.kering.com. Available at: https://www.kering.com/en/sustainability/our-strategy/ [Accessed 22 Mar. 2021].

KERING.COM. 2021. Sustainability: crafting tomorrow’s Luxury | Kering. [online] Available at: <https://www.kering.com/ en/sustainability/> [Accessed 22 March 2021].

KHOMYCH, A. (2020). Designing for Virality: a Complete Guide to Making a Viral App. [online] GetSocial. Available at: https://blog.getsocial.im/designing-for-virality-a-complete-guide-to-making-a-viral-game/ [Accessed 28 Apr. 2021].

KNIGHT, H., 2018. Heather Knight Creative - Fashion Revolution 2018 campaign branding. [online] Heatherknightcreative. com. Available at: <https://heatherknightcreative.com/fashion-revolution-2018-campaign-branding> [Accessed 12 May 2021].

KOZIC, V. (2019). Omnichannel Strategy; What, Why and How [Guide]. [online] Paldesk. Available at: https://www.paldesk. com/omnichannel-strategy-what-why-and-how-guide/ [Accessed 28 Apr. 2021].

LANGER, D., 2021. THE FUTURE OF LUXURY: Are You Prepared For The New Luxury Trends Of 2021?. [online] JingDaily.com.

Available at: <https://jingdaily.com/new-luxury-trends-2021-female-fitness/> [Accessed 2 March 2021].

LOZAN, T. (2019). Instagram Hashtag Study: Hashtags in the Caption or the Comment? [online] Socialinsider Blog: Social media marketing insights and industry tips. Available at: https://www.socialinsider.io/blog/instagram-hashtag-study/ [Accessed 28 Apr. 2021].

MACARTHUR, 2017. A new textiles economy: Redesigning fashion’s future. The Ellen MacArthur Foundation. [online] Available at: http://www.ellenmacarthurfoundation.org/publications). [Accessed 22 Mar. 2021].

MAKOWER, J., 2020. The rise (and rise) of sustainability-linked finance | Greenbiz. [online] Greenbiz.com. Available at: <https://www.greenbiz.com/article/rise-and-rise-sustainability-linked-finance> [Accessed 22 March 2021].

MARFIL, L., 2020. How Sustainability Platform Positive Luxury Is Plotting Its Growth. [online] Forbes. Available at: <https:// www.forbes.com/sites/loreleimarfil/2020/02/03/how-sustainability-platform-positive-luxury-is-plotting-its-growth/?sh=1f28907d7c1c> [Accessed 22 March 2021].

MCCUE, T.J. (2013). Why Infographics Rule. [online] Forbes. Available at: https://www.forbes.com/sites/tjmccue/2013/01/08/what-is-an-infographic-and-ways-to-make-it-go-viral/?sh=241dc3177272 [Accessed 17 May 2021].

MICHELLE, J., 2020. Why Do I need a brand persona? [online] Available at:<https://www.writeraccess.com/blog/why-doyou-need-a-brand-persona/> [Accessed 16 October 2020].

MONDALEK, A. (2020). How to Avoid the Greenwashing Trap. [online] The Business of Fashion. Available at: https://www. businessoffashion.com/articles/marketing-pr/greenwashing-fashion-sustainability-marketing [Accessed 22 Mar. 2021].

MORSE, J. (2021). Are Custom Stickers an Effective Marketing Strategy? [online] The Event Chronicle. Available at: https:// theeventchronicle.com/custom-stickers-effective-marketing-strategy/ [Accessed 17 May 2021].

139.

NAZIR, S., 2020. Coronavirus: Is It ‘Survival Of The Fittest’ When It Comes To Retail? - Retail Gazette. [online] Retailgazette. co.uk. Available at: <https://www.retailgazette.co.uk/blog/2020/03/coronavirus-is-it-survival-of-the-fittest-when-it-comes-toretail/> [Accessed 29 October 2020].

SABANOGLU, T., 2021. Online or in-store shopping at luxury fashion retailers UK 2020 | Statista. [online] Statista. Available at: <https://www.statista.com/statistics/1179588/online-or-in-store-shopping-at-luxury-fashion-retailers-uk/> [Accessed 2 March 2021].

OKORO E., T., 2020. Why It’s Essential to Apply Your Copywriting Skills When Writing Blog Posts. [online] Medium. Available at: <https://bettermarketing.pub/why-its-essential-to-apply-your-copywriting-skills-when-writing-blog-posts-45cdb5960e3d> [Accessed 12 May 2021].

SDGS.UN.ORG. 2021. THE 17 GOALS | Sustainable Development. [online] Available at: <https://sdgs.un.org/goals> [Accessed 8 March 2021].

PANTONE (2020). Fashion Colour Trend Report London Fashion Week Spring/Summer 2021. [online] www.pantone.com. Available at: https://www.pantone.com/articles/fashion-color-trend-report/london-fashion-week-spring-summer-2021 [Accessed 17 May 2021].

PEACHY, K., 2020. Coronavirus Fears Wipe £200Bn Off UK Firms’ Value. [online] BBC News. Available at: <https://www.bbc. co.uk/news/business-51681620?post_id=noID> [Accessed 29 October 2020].

PERNER, L. (2018). Consumer Behaviour & Attitudes. The University of Southern California. [online] Consumerpsychologist.com.

Available at: https://www.consumerpsychologist.com/cb_Attitudes.html [Accessed 28 Apr. 2021].

PILON, A. (2021). 48 Social Media Channels for Marketing Your Business: The Ultimate Guide - Small Business Trends. [online] Small Business Trends. Available at: https://smallbiztrends.com/2016/09/social-media-channels-marketing.html [Accessed 28 Apr. 2021].

PINNOCK, O., 2018. The Best Answers To #WhoMadeMyClothes This Fashion Revolution Week. [online] Forbes. Available at: <https://www.forbes.com/sites/oliviapinnock/2018/05/04/the-best-answers-to-whomademyclothes-this-fashion-revolution-week/?sh=25e4383377fe> [Accessed 13 April 2021].

SEYMOUR, L., 2015. PR: 7 steps to a successful campaign. [online] Agility PR Solutions. Available at: <https://www.agilitypr. com/pr-news/social-media/pr-7-steps-to-a-successful-campaign/> [Accessed 13 February 2021].

SHERMAN, L., 2018. Diet Prada Unmasked. [online] The Business of Fashion. Available at: <https://www.businessoffashion. com/articles/media/diet-prada-instagram-unmasked-tony-liu-lindsey-schuyler> [Accessed 12 May 2021].

SHERMAN, 2021. THE STATE OF FASHION, 2021. McKinsey and The Business of Fashion (2021). [online] McKinsey.com. London: McKinsey, pp. 10-15. Available at: https://www.mckinsey.com/~/media/McKinsey/Industries/Retail/Our%20Insights/ State%20of%20fashion/2021/The-State-of-Fashion-2021-vF.pdf [Accessed 2 Mar. 2021].

SNOWDEN, H. (2021). Why Bottega Veneta’s Social Axe Is More Than Just a PR Stunt. [online] Highsnobiety. Available at: https://www.highsnobiety.com/p/bottega-veneta-deletes-social-media/ [Accessed 22 Mar. 2021].

SOLENE RAUTURIER. 2021. A Brief History of Ethical and Sustainable Fashion — Solene Rauturier. [online] Available at: <https://www.solenerauturier.com/blog/history-ethical-fashion> [Accessed 8 March 2021].

SOLENE RAUTURIER. 2019. Solene Rauturier. [online] Solene Rauturier. Available at: https://www.solenerauturier.com/blog/ history-ethical-fashion [Accessed 2 Mar. 2021].

PINTEREST. 2021. Fashion Revolution (fashrevglobal) - Profile | Pinterest. [online] Available at: <https://www.pinterest.co.uk/ fashrevglobal/_created/> [Accessed 12 May 2021].

STATISTA, 2021. Luxury Fashion - Worldwide | Statista Market Forecast. [online] Available at: <https://www.statista.com/ outlook/cmo/luxury-goods/luxury-fashion/worldwide?currency=GBP> [Accessed 2 March 2021].

POILE, M. (2020). Sustainability Bulletin: December 2020. [online] login.microsoftonline.com. Available at: https://www-wgsncom.ezproxy.falmouth.ac.uk/fashion/article/89574#page9 [Accessed 25 Jan. 2021].

STELLA MCCARTNEY. (n.d.). Mission statement | Stella McCartney. [online] Available at: https://www.stellamccartney.com/ experience/en/sustainability/themes/mission-statement/ [Accessed 22 Mar. 2021].

POSITIVE LUXURY. 2021. Our brands - Positive Luxury. [online] Available at: <https://www.positiveluxury.com/brands/> [Accessed 8 March 2021].

STELLA MCCARTNEY. (n.d.). Materials and innovation | Stella McCartney. [online] Available at:https://www.stellamccartney. com/experience/en/sustainability/themes/materials-and-innovation/ [Accessed 22 Mar. 2021].

POSITIVE LUXURY. 2021. The Butterfly Mark - Positive Luxury. [online] Available at: <https://www.positiveluxury.com/butterfly-mark/> [Accessed 22 March 2021].

STELLA MCCARTNEY. (n.d.). Social sustainability | Stella McCartney. [online] Available at: https://www.stellamccartney.com/ experience/en/sustainability/themes/social-sustainability/ [Accessed 22 Mar. 2021].

PRONINA, L., 2020. Bloomberg - Burberry Plans Ethical Luxury Investment. [online] Bloomberg.com. Available at: <https:// www.bloomberg.com/news/articles/2020-09-09/burberry-to-introduce-high-fashion-into-sustainable-bond-market> [Accessed 22 March 2021].

STELLA MCCARTNEY. (n.d.). Measuring our impact | Stella McCartney. [online] Available at: https://www.stellamccartney. com/experience/en/sustainability/themes/measuring-our-impact/ [Accessed 22 Mar. 2021].

RENOON. 2020. More Brands Are Becoming B-Corp Certified: Let’s Dig Deeper. [online] Medium. Available at: https://medium. com/swlh/more-brands-are-becoming-b-corp-certified-lets-dig-deeper-17075f7f542a [Accessed 22 Mar. 2021].

RICE, S., 2021. 8 Tech Trends that will Shape the Future of Fashion and Luxury Retail in 2020-21. [online] AllPerfectStories.

Available at: <https://www.allperfectstories.com/fashion-luxury-retail-2020-21/> [Accessed 2 March 2021].

RICCHETTI, M. and De PALMA, R. (2020). Will COVID-19 accelerate the transition to a sustainable fashion industry? | UNIDO. [online] www.unido.org. Available at: https://www.unido.org/stories/will-covid-19-accelerate-transition-sustainable-fashion-industry [Accessed 13 Apr. 2021].

ROBINSON. 2016. What is the PESO Model for Marketing? [online] Iterative Marketing. Available at: https://iterativemarketing. net/peso-model-marketing/ [Accessed 28 Apr. 2021].

ROMAGNOLI, R. (2019). Traditional vs digital PR: the evolving role. The Drum. [online] 7 Nov. Available at: https://www. thedrum.com/opinion/2019/11/06/traditional-vs-digital-pr-the-evolving-role [Accessed 28 Apr. 2021].

SABANOGLU, T., 2020. Coronavirus Impact On Opinions On Fashion Industry UK 2020 | Statista. [online] Statista. Available at: <https://www.statista.com/statistics/1136613/coronavirus-impact-onconsumeropinions-fashion-industry-in-the-uk/> [Accessed 7 November 2020].

STOKES, K., 2020. AMP Agency- What’s a brands consumer persona? ONLINE] Available at:< https://www.ampagency.com/ blog/insights-lab-incubator-consumer-persona.> [Accessed 2 November 2020].

STREET, C., 2021. Brexit has caused ‘huge challenges’ to fashion industry says BFC CEO Caroline Rush. [online] Standard.co.uk. Available at: <https://www.standard.co.uk/insider/fashion/caroline-rush-brexit-business-london-fashion-week-b920427.html> [Accessed 2 March 2021].

SUNDAR, S. (2021). Fashion Companies’ Legal Issues and Cases in 2021. [online] finance.yahoo.com. Available at: https:// finance.yahoo.com/news/fashion-companies-legal-issues-cases-050134035.html [Accessed 2 Mar. 2021].

SUSTAINABLE JUNGLE. (2019). How We’re Shaping the Future of Sustainable Fashion Today. [online] Available at: https:// www.sustainablejungle.com/sustainable-fashion/future-of-sustainable-fashion/ [Accessed 22 Mar. 2021].

SUTTON, P. (2017). Why the PESO Model is the Future of Digital Marketing - Paul Sutton. [online] Social Media Consultant & Digital Marketing Trainer. Available at: https://paulsutton.co/2017/04/21/peso-model-future-digital-marketing/ [Accessed 28 Apr. 2021].

TASHJIAN, R. (2021). Why Did Bottega Veneta Delete Its Social Media Accounts? [online] GQ. Available at: https://www. gq.com/story/bottega-veneta-deletes-social-media [Accessed 22 Mar. 2021].

140.

TEATHER, C. (2016). This is why you need to pay attention to sustainable fashion (and these are the brands you should look out for). [online] Glamourmagazine.co.uk. Available at: https://www.glamourmagazine.co.uk/gallery/sustainable-fashion-brands [Accessed 2 Mar. 2021].

THEBUSINESSOFFASHION.COM. (2017). 5 Sustainability Threats Facing Fashion. [online] Available at: https://www.businessoffashion.com/articles/sustainability/5-sustainability-threats-facing-fashion [Accessed 2 Mar. 2021].

THE GLOBAL FASHION AGENDA, (n.d.). What we do — GLOBAL FASHION AGENDA. [online] Available at: https://www. globalfashionagenda.com/about-us/our-mission/ [Accessed 22 Mar. 2021].

TIMOTHY, B. .2018. “Just Do It”: The surprising and morbid origin story of Nike’s slogan. [online] Washington Post. Available at: https://www.washingtonpost.com/news/morning-mix/wp/2018/09/04/from-lets-do-it-to-just-do-it-how-nike-adaptedgary-gilmores-last-words-before-execution/ [Accessed 28 Apr. 2021].

TWITTER. 2021. Fashion Revolution Twitter Homepage. [online] Available at: <https://twitter.com/Fash_Rev> [Accessed 12 May 2021].

UKESSAYS. 2018. Consumer Attitude and Brand | Nike Example. [online]. Available from: https://www.ukessays.com/essays/marketing/relationship-of-consumer-attitude-and-brand-marketing-essay.php?vref=1 [Accessed 28 April 2021].

VALENCIANO, P., 2021. History of Fashion Revolution. [online] FairAnita. Available at: <https://fairanita.com/blog/history-of-fashion-revolution/> [Accessed 13 April 2021].

VERDE NIETO, 2016. 2016 Predictions For Luxury Sustainability & Innovation. [online] Luxurysociety.com. Available at: <https://www.luxurysociety.com/en/articles/2016/01/2016-predictions-for-luxury-sustainability-innovation/> [Accessed 2 March 2021].

WARDEN, J., 2020. 4 ways Covid-19 will change the fashion industry. [online] The RSA. Available at: <https://www.thersa. org/blog/2020/05/fashion-change-covid> [Accessed 13 April 2021].

WEARESOCIAL. 2020. Digital in 2020: World’s internet users pass the 4 billion mark - We Are Social. [ONLINE] Available at: https://wearesocial.com/blog/2018/01/global-digital-report-2020. [Accessed 2 November 2020].

WGSN. 2018. Influencer Marketing: September 2017- Cassandra Napoli | WGSN GLOBAL. [ONLINE] Available at: https:// www-wgsn-com.ezproxy.falmouth.ac.uk/content/board_viewer. [Accessed 2 November 2020].

WICKER, A. (2021). PLEASE Stop Saying Fashion is the 2nd Most Polluting Industry After Oil - Ecocult. [online] Ecocult. Available at: https://ecocult.com/now-know-fashion-5th-polluting-industry-equal-livestock/ [Accessed 27 May 2021].

WINSTON, A. (2016). Luxury Brands Can No Longer Ignore Sustainability. [online] hbr.org. Available at: https://hbr. org/2016/02/luxury-brands-can-no-longer-ignore-sustainability [Accessed 2 Mar. 2021].

WIKIPEDIA. 2021. Greenwashing - Wikipedia. [online] Available at: <https://en.wikipedia.org/wiki/Greenwashing> [Accessed 22 March 2021].

WIKIPEDIA, 2021. Sustainable fashion. [online] Available at: https://en.wikipedia.org/wiki/Sustainable_fashion#cite_note:3-1 [Accessed 2 Mar. 2021].

WIKIPEDIA, 2021. Research. [online] Available at: <https://en.wikipedia.org/wiki/Research> [Accessed 13 February 2021].

WRAP (n.d.). Textiles 2030 | WRAP. [online] wrap.org.uk. Available at: https://wrap.org.uk/taking-action/textiles/initiatives/textiles-2030# [Accessed 23 Mar. 2021].

WWW.VIVIENNEWESTWOOD.COM. 2021. Our Approach | Vivienne Westwood. [online] Available at: <https://www.viviennewestwood.com/en/our-approach/> [Accessed 8 April 2021].

YASH. 2019. Sustainable and Ethical Fashion: Counters to Fast Fashion. [online] Sustainable Jungle. Available at: https:// www.sustainablejungle.com/sustainable-living/ethical-sustainable-fashion/.

YOTKA, S. (2021). In An Increasingly Digital World, Bottega Veneta Signs Off From Social Media. [online] British Vogue. Available at: https://www.vogue.co.uk/fashion/article/bottega-veneta-offline [Accessed 22 Mar. 2021].

ZUCKERMAN, A. (2020). 41 HASHTAGS STATISTICS FOR 2020/2021: TWITTER, INSTAGRAM & FACEBOOK DATA. [online] Compare Camp. Available at: https://comparecamp.com/hashtags-statistics/ [Accessed 28 Apr. 2021].

IMAGES: FASHION REVOLUTION, 2020. (2020). [online] Fashion Revolution White Paper Report 2020, pp.1–6. Available at: https://issuu.com/fashionrevolution/docs/fr_whitepaper_2020_digital_singlepages [Accessed 29 May 2021].

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

DIOR, 2019. Natalie Portman’s ballet inspired Dior couture gown took 250 hours to make by hand and was constructed from 45 meters of tulle.

VUITTON, L. 2020. The Louis Vuitton logo being stitched into place on a leather handbag strap.

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

INSTAGRAM (2019). zerowastecalifornia. [online] www.instagram.com. Available at: https://www.instagram. com/p/BwdZO2mn-0z/?utm_source=ig_share_sheet&igshid=b7jjoeiesz16&epik=dj0yJnU9cG5Eb0x4MlJIY0xEWHo5S3ZGVWZkUUNySTh6NXBsd2EmcD0wJm49WHFVS0RpTXAtUktzZUg2TzFHUG41ZyZ0PUFBQUFBR0N6aGFn [Accessed 30 May 2021].

FARRA, E. (2019). Extinction Rebellion’s Climate Change Protests at London Fashion Week - Photos. [online] Vogue.

Available at: https://www.vogue.com/slideshow/extinction-rebellion-london-fashion-week-climate-change-protests [Accessed 30 May 2021].

THE NUDGE LONDON. 2020. Sketch London | Iconic, Quirky & Beautiful Mayfair Restaurant & Bar. [online] Available at: <https://thenudge.com/london-restaurants/sketch-londonmayfairrestaurant-bar/> [Accessed 17 November 2020].

FRENCH DEC, 2021. vestiaire collective logo – Idées de Décoration intérieure | French Decor. [online] Available at: https://frenchdec.com/vestiaire-collective-logo-12/ [Accessed 30 May 2021].

141.

NORTHMAN, T. (2017). Dukes Cupboard’s Latest Editorial Is Vintage Street Style to the Max. [online] HYPEBAE. Available at: https://hypebae.com/2017/10/dukes-cupboards-vintage-streetstyle-editorial.

ART MUSEUM. 2019. artmuseum |. [ONLINE] Available at: http://artmuseum.is. [Accessed 08 February 2021].

ABADIIA, C. (2018b). claudiaabadiia: Hi guys !! From what part of the world do you see me? I’m excited to know. [online] www.instagram.com. Available at: https://www.instagram.com/p/BrTL1dMAu-r/ [Accessed 30 May 2021].

Molly Goddard, a Young Design Star at Home at the V&A Museum - The New York Times. 2019. Molly Goddard, a Young Design Star at Home at the V&A Museum - The New York Times. [ONLINE] Available at: https://www.nytimes. com/2017/07/06/t-magazine/fashion/molly-goddard-designer-victoria-albert-museum.html. [Accessed 08 February 2019].

BRAIN, E. (2020). Dukes Cupboard Captures Vintage Art T-Shirts in Grainy ’90s-Themed Editorial. [online] HYPEBEAST. Available at: https://hypebeast.com/2020/5/dukes-cupboard-vintage-art-t-shirt-editorial-keith-haring-picasso-van-gogh-lichtenstein [Accessed 30 May 2021].

PINTEREST (n.d.). What It’s Like to Sail the Ionian Seas in Greece with Medsailors - One World Just Go | Greek vacation, Greece travel, Greece vacation. [online] Pinterest. Available at: https://www.pinterest.co.uk/ pin/771734086147807107/ [Accessed 30 May 2021].

I.PINIMG.COM. 2020. Outfits. [online] Available at: <https://i.pinimg.com/originals/8a/df/75/8adf75f4c24496485321833d35f9cf60.jpg> [Accessed 17 November 2020].

MAXIMILIAN (2019). Demy de Vries by Javi Oller for Harper’s Bazaar Spain November 2019 - fashionotography. [online] Fashionotography. Available at: https://www.fashionotography.com/demy-de-vries-by-javi-oller-for-harpers-bazaar-spain-november-2019/ [Accessed 30 May 2021].

HUNTER, D. (2020). How to Get Dressed for a Rainy Day, According to London Fashion Week. [online] Teen Vogue.

Available at: https://www.teenvogue.com/gallery/best-london-fashion-week-street-style-2020 [Accessed 30 May 2021].

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

HUNTER, D. (2020). How to Get Dressed for a Rainy Day, According to London Fashion Week. [online] Teen Vogue.

Available at: https://www.teenvogue.com/gallery/best-london-fashion-week-street-style-2020 [Accessed 30 May 2021].

YOUNG, E. (2018). Fashion Waste is Rubbish - How Do We Solve the Issue? [online] Wtvox.com. Available at: https://wtvox.com/fashion/fashion-waste/ [Accessed 30 May 2021].

EPPE BEAULOYE, F. (2018). Introducing Luxe Digital Lifestyle, A Guide To Modern Luxury Lifestyle. [online] Luxe Digital. Available at: https://luxe.digital/business/digital-luxury-trends/introducing-luxe-digital-lifestyle-a-guide-to-modern-luxury-lifestyle/ [Accessed 30 May 2021].

NEUMANN, A. (2020). Alexander Neumann Captures Marina Testino in Vogue Mexico. [online] Anne of Carversville.

Available at: https://anneofcarversville.com/fashion/2020/4/4/alexander-neumann-captures-marina-testino-in-vogue-mexico.

PINTEREST (n.d.). female pilot | Luxury lifestyle fashion, Luxury lifestyle dreams, Luxury lifestyle women. [online] Pinterest. Available at: https://www.pinterest.co.uk/pin/729723945868267428/ [Accessed 30 May 2021].

PINTEREST (n.d.). Super cute illustration to explain the difference between lineareconomy , #recycling a… | Fashion revolution, Sustainable development goals, Sustainable development. [online] Pinterest. Available at: https://www. pinterest.co.uk/pin/586593920201361810/ [Accessed 30 May 2021].

VUITTON, L. 2020. The Louis Vuitton logo being stitched into place on a leather handbag strap.

THE SUSTAINABLE FASHION FORUM. (2020). Ask the Expert: Radical Transparency with Good On You. [online] Available at: https://www.thesustainablefashionforum.com/fashion-horror-stories-schedule/gordon-renouf [Accessed 30 May 2021].

LONDON, L. (2020). To buy: a Notting Hill townhouse with a modern minimalist makeover | Property | House. [online] Luxury London. Available at: https://luxurylondon.co.uk/house/property/chepstow-villas-notting-hillhome-for-sale [Accessed 30 May 2021].

FASHION REVOLUTION (2021). Instagram: fash_rev’s profile picture fash_rev Verified DAY 4 OF FASHION REVOLUTION WEEK ⠀. [online] www.instagram.com. Available at: https://www.instagram.com/p/CN9fa50tdc4/ [Accessed 30 May 2021].

142.

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

TESTINO, M. (2016). Fashion Gone Rogue. Gigi Hadid Works It in Chanel Looks for Vogue Paris. [online] Available at: https://www.fashiongonerogue.com/gigi-hadid-chanel-vogue-paris-2016photos/ [Accessed 30 May 2021].

KERING. (n.d.). Logo library. [online] www.kering.com. Available at: https://www.kering.com/en/ press/resources/logo-library/ [Accessed 30 May 2021].

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

SPROUT, M. (2019). Stella McCartney talks sustainability, inspiration & defying convention. [online] NET-APORTER. Available at: https://www.net-a-porter.com/en-gb/porter/article-a3a68636b54325ca/cover-stories/ cover-stories/stella-mccartney [Accessed 30 May 2021].

WPGURUDEV (2019). Press Release: Guru Earns B Corporation® Certification. [online] Guru. Available at: https://weareguru.com/press-release-guru-earns-b-corporation-certification/ [Accessed 30 May 2021].

SCHUMACKER, A. (2020). Vivienne Westwood Models at Paris Fashion Week. [online] Vogue Arabia. Available at: https://en.vogue.me/fashion/vivienne-westwood-paris-fashion-week/ [Accessed 30 May 2021].

RANDOLPH, S. (2013). TFOL Talks To: Diana Verde Nieto, Founder of Positive Luxury. [online] The Future Of Luxury. Available at: http://www.thefutureofluxury.co.uk/tfol-talks-to-diana-verde-nieto-founder-of-positive-luxury/ [Accessed 30 May 2021].

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

NIKE.COM. (2012). Nike Launches “Find Your Greatness” Campaign. [online] Available at: https://news.nike. com/news/nike-launches-find-your-greatness-campaign-celebrating-inspiration-for-the-everyday-athlete [Accessed 30 May 2021].

HARPER’S BAZAAR. (2017). Why Stella McCartney’s latest campaign was shot in a Scottish landfill. [online] Available at: https://www.harpersbazaar.com/uk/fashion/fashion-news/news/a42842/stella-mccartney-landfill/ [Accessed 30 May 2021].

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

HENSON, E. (2016). Why we need a fashion revolution – now. Dazed Digital. Available at: https://www.dazeddigitacom/fashion/article/30786/1/why-we-need-a-fashion-revolution-now [Accessed 30 May 2021].

THE SUSTAINABLE FASHION FORUM. (n.d.). What Does It Take For The Fashion Industry To Truly Become Circular. [online] Available at: https://www.thesustainablefashionforum.com/blog/what-will-it-take-for-the-fashionindustry-to-become-circular [Accessed 30 May 2021].

MODEDAMOUR. 2020. Studio I — MODEDAMOUR. [online] Available at: <https://www.modedamour.com/ blog/2019/12/20/studio-i> [Accessed 12 February 2021].

FASHION REVOLUTION. 2020. FR_2020BrandIdentity_Public.pdf. [online] Available at: <https:// drive.google.com/file/d/1Kzfzsm1W2QbIGUW3WTz8HdWBlbMOjkLj/view> [Accessed 12 May 2021].

FASHION REVOLUTION. (2016). Reflecting on Fashion Revolution Week 2016. [online] Available at: https://www.fashionrevolution.org/reflecting-on-fashion-revolution-week-2016/ [Accessed 28 Apr. 2021].

143.

FASHION REVOLUTION, 2020. (2020). [online] Fashion Revolution Impact Report, 2019. pp.1–6. Available at: <https://www.fashionrevolution.org/resources/2019-impact/> [Accessed 29 May 2021].

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

FASHION REVOLUTION. (2018). FREE DOWNLOADS - Fashion Revolution. [online] Available at: https://www.fashionrevolution.org/resources/free-downloads/ [Accessed 28 Apr. 2021].

MOWER, S. (2019). The Present Is Female: The Designers Behind a Fashion Revolution. [online] Vogue. Available at: https://www.vogue.com/article/female-designers-fashion-revolution-vogue-august-2019-issue [Accessed 30 May 2021].

INSTAGRAM (2021). Instagram: fash_rev, DAY 3 OF FASHION REVOLUTION WEEK. [online] www.instagram.com.

Available at: https://www.instagram.com/p/CN68kekBW_9/ [Accessed 30 May 2021].

COPPEN-MANNS, R. “Question 1/Who Made My Luxury Handbag?” 2021. Image.

FASHION REVOLUTION, 2020. (2020). [online] Fashion Revolution White Paper Report 2020, pp.1–6. Available at: https://issuu.com/fashionrevolution/docs/fr_whitepaper_2020_digital_singlepages [Accessed 29 May 2021].

FASHION REVOLUTION (n.d.). Icons - Google Drive. [online] drive.google.com. Available at: https:// drive.google.com/drive/folders/19LwytspSA-Gd9bD15IlfGfKIvhqR6WHJ [Accessed 17 May 2021].

FASHION REVOLUTION, 2020. (2020). [online] Fashion Revolution Impact Report, 2019. pp.1–6. Available at: <https://www.fashionrevolution.org/resources/2019-impact/> [Accessed 29 May 2021].

CREATIVE MARKET. (n.d.). Black velvet fabric stock photo containing black and velvet. [online] Available at: https:// creativemarket.com/Sandyo/3491439-Black-velvet-fabric-stock-photo-containing-black-and-velvet [Accessed 30 May 2021].

FASHION REVOLUTION, 2020. (2020). [online] Fashion Revolution Impact Report, 2019. pp.1–6. Available at: <https://www.fashionrevolution.org/resources/2019-impact/> [Accessed 29 May 2021].

PINTEREST (n.d.). Formal Details: Nicholas Cope Shoots Fall’s Black and White Goods The Cut’s latest shoot, with detailed, architectural treatments of fall’s most coveted accessories. [online] Pinterest. Available at: https://www. pinterest.co.uk/pin/411727590913010043/ [Accessed 30 May 2021].

MASKARIC, N. (2019). Omnichannel Marketing: The Winning Guide for Business Growth. [online] Paldesk. Available at: https://www.paldesk.com/omnichannel-marketing-the-winning-guide-for-business-growth/ [Accessed 30 May 2021].

WWW.AMAZON.COM (n.d.). Amazon.com: Vinyl Crocodile Black Fake Leather Upholstery Fabric by The Yard. [online] Available at: https://www.amazon.com/vinyl-crocodile-leather-upholstery-fabric/dp/b0057hfp0g [Accessed 30 May 2021].

INSTAGRAM (2021). Instagram: leoniehanne, Not the streets of Paris, but in @chanelofficial Anzeige/Tag All the details of my look for #CHANELFallWinter 🤍 #CHANEL #CHANELShow. [online] www.instagram.com. Available at: https://www.instagram.com/p/CMM-x4AJV00/ [Accessed 30 May 2021].

ALAN COPE, N. (2013). Formal Details: Nicholas Cope Shoots Fall’s Black and White Goods. [online] The Cut. Available at: https://www.thecut.com/2013/10/nicholas-cope-shoots-falls-black-white-goods.html [Accessed 30 May 2021].

COPPEN-MANNS, R. “Diet Prada/Screenshot of Diet Prada’s Instagram Page” 2021. Image.

PNGTREE. (n.d.). Satin Fabric Velvet Silk. [online] Available at: https://pngtree.com/freebackground/satin-fabric-velvet-silk_844496.html. [Accessed 30 May 2021].

SNOWDEN, H. (2021). Why Bottega Veneta’s Social Axe Is More Than Just a PR Stunt. [online] Highsnobiety. Available at: https://www.highsnobiety.com/p/bottega-veneta-deletes-social-media/ [Accessed 30 May 2021].

TEXTURE X (n.d.). black leather texture large close up grain material dark fabric stock photo. [online] Texture X. Available at: https://www.texturex.com/leather-textures/black-leather-texture-large-close-up-grain-material-darkfabric-stock-photo/ [Accessed 30 May 2021].

144.

MAXIMILIAN (2019). Demy de Vries by Javi Oller for Harper’s Bazaar Spain November 2019 - fashionotography. [online] Fashionotography. Available at: https://www.fashionotography.com/demy-de-vries-by-javi-oller-for-harpersbazaar-spain-november-2019/ [Accessed 30 May 2021].

COPPEN-MANNS, R. “Digital Advert/Billboard for London Underground” 2021. Image.

HENSON, E. (2016). Why we need a fashion revolution – now. Dazed Digital. Available at: https://www.dazeddigitacom/fashion/article/30786/1/why-we-need-a-fashion-revolution-now [Accessed 30 May 2021].

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

COPPEN-MANNS, R. “Campaign/Campaign in action” 2021. Image.

JACKSON, D. (2019). Home / Editorials / Doutzen Kroes Enchants in Black and White for Vogue Poland DOUTZEN KROES ENCHANTS IN BLACK AND WHITE FOR VOGUE POLAND. Fashion Gone Rogue. Available at: https://www. fashiongonerogue.com/editorial/doutzen-kroes-vogue-poland-cover/ [Accessed 29 May 2021].

COPPEN-MANNS, R. “Poster1/Luxury Fashion is not innocent” 2021. Image.

COPPEN-MANNS, R. “Poster2/Who Made my Designer Dress?” 2021. Image.

FASHION REVOLUTION (2021). Instagram: fash_rev Repost from our co-founder and creative director @orsoladecastro. [online] www.instagram.com. Available at: https://www.instagram.com/p/CLbduAIBrWa/ [Accessed 30 May 2021].

MEYER, M. (2021). 29 Current Fashion Trends In 2021 (Styles, Tips, Brands). [online] WTVOX. Available at: https:// wtvox.com/fashion/current-fashion-trends/.

COPPEN-MANNS, R. “Campaign Imagery/Selection of images portraying the campaign in action” 2021. Image.

COPPEN-MANNS, R. “Campaign/Fashion Revolutions new campaign” 2021. Image.

COPPEN-MANNS, R. “Offline Assets/Stickers” 2021. Image.

145.

APPENDIX

ILLUSTRATIONS:

LINKS TO SURVEYS : https://docs.google.com/forms/d/e/1FAIpQLSdEUmBjfBHYrOR4MccaRfyjK-Rj6B76ZhPzh_bUBPFQJgNVtQ/viewform https://docs.google.com/forms/d/e/1FAIpQLSdEUmBjfBHYrOR4MccaRfyjK-Rj6B76ZhPzh_bUBPFQJgUTgH/viewform

LIST OF GDPR FORMS: Bashford, Freya. “Global Warming” 2021. Image.

Bashford, Freya. “Coronavirus cell” 2021. Image.

146.

INTERVIEW ONE: JOHN HARRISON

INTERVIEW TWO: PHOEBE JONES

147.

INTERVIEW THREE: JOE HALE

INTERVIEW FOUR: RACHEL STACEY

148.

INTERVIEW FIVE: GABRIELLE WOODWARD

INTERVIEW SIX: MOLLIE SPURR

149.

INTERVIEW SEVEN: ANDREW GREEN

INTERVIEW EIGHT: JOWAN NOTT

150.

INTERVIEW NINE: SIMON JONES

THE END.

151.

THANK YOU TO...

Andrew Green Bain & Company Catherine Gass Chime Media Drapers Online Elizabeth Allen Emma Goff Fashion Revolution Falmouth University Freya Bashford Gabrielle Woodward Georgia Featherstone Joe Hale John Harrison Jowan Nott Kering McKinsey & Company Mollie Spurr Phoebe Jones Positive Luxury Rachel Stacey Re:Act Re:Luv Simon Jones

Statista Textile Exchange The Business of Fashion The Circularity Gap Report The Ellen MacArthur Foundation The FTI @ Falmouth Verb Brands Vogue Business WGSN WRAP

RETHINKING T H E LUXURY FASHION I N D U S T RY. FMK330 BACK OF HOUSE Rose Coppen-Manns

This document is my own unaided work, and is a length of 152 pages.

I confirm that the research and writing of this backof-house document is entirely my own and I have not plagiarized any portion of this work. I have not worked with any other person inappropriately and have ensured all interviews are GDPR compliant. I also consent to this work being stored electronically for the purposes of use within plagiarism detection systems in order to check the integrity of the assessed work. I consent to a copy of this project being retained

by Falmouth University.

The document is dedicated to all fashion lovers that have a conscious about our planetary boundaries who can power the Fashion Revolution that is so abundantly needed. #luxuryfashionisnotinnocent 152.