Fabiana Gutierrez Alvis

About Fabiana Gutierrez Alvis

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Purpose: What was I made for?

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Picture taken by student at Gucci ‘Cosmos’ exhibition, exploring the purpose and history of the brand.*

The purpose pillar was introduced to us through the Japanese concept of Ikagai: a reason for being. The purpose is at the core of the brand as it shapes its image, mission, and vision. Everything is a result of the Purpose, even profit, as pointed out by Dr. Nina Van Volkenburg. It could be argued that a brand’s purpose is more aligned with that of human philosophy explicitly aligned with the psychological literature on human purpose than with the language of marketing or corporate strategy. This could be so that the consumer is able to empathize with it and observe the product beyond the material good. According to the paper Modern Business Philosophy: The Brand as a Phenomenon of Culture(2018), there are two key similarities in almost all brand purposes: One is the clear connection to the ethos of the brand. Thus, by defining the ethos it defines the reason for existing and outlines the brand’s image. For example, Stella McCartney’s ethos is to create sustainable circular fashion. The second common denominator is the focus on benefitting others. This second point is what shapes the brands’ mission and vision which often has the generation of profit as a result. In the case of Stella McCartney, their ethos derives from their vision to follow the ideal presented by the UN SDGs. It also shapes their mission as they strive to create sustainable products that will reshape the fashion industry into a circular economic model. The outcome is a proposal for the consumer to continue purchasing fashion but in a more sustainable way. Therefore, we can see how the purpose gives a brand not only its image but ultimately its business model.

According to Sara Wilson, founder of SW Projects, the best way to reach Gen Z is through campfires. GenZ is commonly known for having multiple niche interests for which large broadcasts result in ineffective. A brand should use these “campfires” to really capture their target audience quickly. These digital campfires refer to small communities within social media, like broadcast channels on Instagram, Discord groups, or Geneva Groups. They usually are run by a public figure (an influencer) who has formed a community around a niche interest, like gaming or a love for pilates. Subsequently, by directly reaching these small communities a brand can ensure that they will be promoting the product through an audience that is 100% likely to engage because they resonate with the brand.

  1. Bäcklund, E. and Martin, K., 2019. Reaching Generation Z: A qualitative study examining marketing communication channels for targeting Generation Z to establish brand awareness.
  2. Carvalho, I., Mendes, A. and Pereira, M., 2022, July. Sustainability Strategies in Luxury Fashion Brands as a Relevant Factor in the Development of Brand Love. In International Fashion and Design Congress (pp. 707-716). Cham: Springer International Publishing.
  3. Golik, N.V. and Izvekov, A.I., 2018. Modern business philosophy: The brand as a phenomenon of culture. International Journal of Engineering & Technology, 7(3.5), pp.94-97.
  4. Londrigan, M.P., & Jenkins, J.M. (2018) “Corporate Social Responsibility and Sustainability.” Pages: 41–60
  5. Meet Generation Z: Shaping the future of Shopping (2020) McKinsey & Company.
  6. Mitterfellner, O. (2023) Chapter 3- Luxury Brand Qualities, Brand Construct and Brand Touchpoints
  7. Sipari, J., 2022. Sustainability in luxury fashion: case: Stella McCartney.

Williams, P., Escalas, J.E. and Morningstar, A., 2022. Conceptualizing brand purpose and considering its implications for consumer eudaimonic well‐being. Journal of consumer psychology, 32(4), pp

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(Profit) Fashion: Money’s or creativity’s kingdom?

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Week 4 revolved around the “profit” pillar, which is arguably fashion’s strong point. Producing 1.53 trillion US dollars as of 2022 despite the adversities of the socio-political global scenario, “the sun never sets on the runway” (Wilson, 2008). It is difficult to assess how large the fashion industry truly is as it can be measured by different components. Nevertheless, to focus on the profit pillar this article will assess size by looking at revenue of production and employability. In 2018 fashion produced 2 million USD in Average Annual Wages (Bureau of Labor Statistics NAICS, 2019) across the different sectors of the industry. Considering the fashion industry amounts to 2% of the world’s GDP, it is safe to state that it is significantly large and can even compete with industries like the food industry. As the intricate business it is, fashion has infinite sectors. If analyzed pragmatically it could be divided into four: 

  1. Creative (creative direction, styling, etc)
  2. Wholesales (business operators, buyers, merchandisers, sales associates)
  3. PR & Marketing 
  4. Media (journalists, critiques, photographers, etc)

Unlike most businesses, it is hard to determine a certain course of action that would lead to a brand’s success. Mainly due to the heavy acceptance the product (clothes) may obtain from the client. It is possible to argue that a more high-stream label might be able to predict the demand and acceptance of the customer by following current trends, but the issue comes when tackling luxury brands. They are the ones setting the trends and each collection can be a hit or miss that can be of high economic risk. Arguably luxury brands’ economic model is more like that of the art market than of a regular product. According to the designer Colm Dillan (KidSuper Creative Director), the recipe for a successful brand is to create a community. Thus, the clothes become an item of significant value between the participants rather than just a material good they feel attracted to. However, Pharell Williams (Louis Vuitton Creative Director Menswear) argues that the way to succeed is by providing a luxurious experience through the clothes, whichever form that takes. These diverse opinions show that there is not a clear formula for success when it comes to fashion, but it does draw attention to the fact that what is most important is the alignment between the creative director and the label’s image/vision. It is through this alignment that the gap between creativity and commerce is bridged. There is no clear formula just like there is no clear strategy for becoming a selling artist. While it is true that factors like marketing and trend forecasting can help, the most important thing is to develop a strong brand identity that creates a community of loyal consumers.

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(People) Gen Zs, born wired

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Graphic made by student
This week focused on people which tackled the topics of consumer psychology and behavior. The content was mainly focused on Generation Z. This group is argued to be between the ages 11 to 26 and is the first generation to be digital natives (born in an era in which technology is accessible and common. As a result, Gen Z is oversaturated with information as it is used to access it without difficulties and even unrequitedly. The exposure to multiple opinions and points of view have made them more open-minded than previous generation placing inclusivity and environmental awareness as their core values. However, their point of view is also tainted by pessimism originated by the global unrest, and an extreme desire for individualism fueled by an oversaturation of trends. To attract this age group brands should focus on developing “original” brand images and UGC(User Generated Content). The “original” brand image will create curiosity amongst the target audience and thus desire to possess something that is not yet viral in TikTok. This originality could be achieved by presenting creative approaches to their previously mentioned core values which will further fuel their interest. Secondly, the UGC will cement the message promoted by the brand as it will give it agency and veracity, coming from one of their own Gen Z is more likely to listen.

February 2022 US Vogue cover

Considering that Gen Z is so keen on diversity, more and more brands have turned their attention towards this topic to attract this age group of consumers. Such is the case of US Vogue and its struggle to pivot towards diversity. In the early 2000s, the publication’s covers featured mainly white skinny women or models of color that portrayed European features. However, in the late 2000s, the covers have changed more and more featuring curvier women, like Kim Kardashian, or even men who embrace their feminine energy, like Harry Styles. This is a clear attempt to attract Gen Z readers and align with their ideals. Nevertheless, the brand has had its missteps when trying to portray diversity by misrepresenting cultures and ethnicities, like the in-location shoot styled by Phyllis Posnick with Karlie Kloss in Japan’s Ise-Shima National Park. That is why brands should have communication as a core people skill to successfully connect with the customer. If the brand listens to the consumer, then there is no risk or need for speculation, avoiding embarrassing mistakes.

November 2020 US Vogue cover

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(Planet) Sustainability: an unachievable dream for consumerism’s favorite child?

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Original graphic by student

Week One was based around the pillar ‘planet’ which meant exploring the impact of the fashion industry on the environment. Even though the focus was on how materials, production, and consumption of fashion tax the planet and are slowly destroying it, this essay will focus on the root cause: people. This essay will argue that fashion’s secret to sustainability lies within the consumer rather than the system. This will be argued by defining sustainability and relating it to the customer’s behavior, explaining the root of mass consumption, and exploring the relationship between fashion and the United Nations’ Sustainable Development Goals.

Firstly, it is important to define what it is sustainability. According to the most often quoted definition of sustainability, it means to: “meet the needs of the present (generation) without compromising the ability of future generations to meet their own needs.” (UN World Commission on Environment and Development).  This definition suggests that for fashion would look like producing clothes to fulfill the materialistic and creative needs of the current generation without destroying the planet so far off that the next generation cannot do the same. In this sense, it could be further argued that sustainability has then evolved to become a social agreement that reflects a code of conduct our society demands. It is about being polite and morally righteous, just like saying “please and thank you”. It has been conveyed that it should be at the forefront of any objective we set when it comes to expanding or innovating in any industry. Within fashion, this means reusing existing clothes or materials and being more conscious of our level of production. Theories such as the ‘circular models’ have been developed to move towards “slow fashion”, and society looks down upon those who do not subscribe to these ideals. A circular economy champions the preservation of resources such as energy, labor, and material, and is based on the four pillars of using, reusing, conscious design, and production. This could be exemplified as not disposing of an outfit after worn. It is imperative to recognize that these theories and goals do not address the core causation of the issue: customer demand. It does not matter how much a business has CSR (Corporate Social Responsibility) or how much we demand TBLs (Triple Bottom Lines) because the results will not change unless the psychology of the consumer changes.

Original graphic made by student

Keeping this in mind, it is possible to subscribe to the affirmation that sustainability in fashion has nothing or very little to do with the actual clothes and the quality of the materials and all to do with the consumer. Fashion is capitalism’s favorite child because it is rooted in human identity. Our capitalist culture controls our consumption patterns as well as our perception of needs. We look to consumption to distinguish ourselves and showcase social status. We are so blinded by the image of the product that we are numb to the labor it represents. Vestments aimed to call attention to this dichotomy through their Harrod apparel in 2018 in a very Marcel Duchamp way. The window displayed a pile of clothes donated by Harrods employees to call attention to mass production, yet it also promoted the brand to increase sales. Therefore, the dichotomy arises, they call attention to overconsumption while they incentivize it. No, but it is okay to consume their products because they are niche and “unlike other brands”, they make a social statement. The fashion industry will always come hand in hand with capitalism and wear hypocrisy as their stellar costume.

In line with our human hypocrisy, the United Nations has developed 17 Sustainability Development Goals (SDGs) that if reached by 2030 will allow us to live in a new and dystopian world. It could be argued that all SDGs are relevant to the fashion industry, yet for the purpose of further exploring the planet this essay will focus on numbers 11 (Sustainable cities and communities), 12 (Responsible consumption and production), 13 (Climate action), 15(Life on land), and 17 (partnership for the goals). These goals can be further explained in infinite manners which exemplify how they truly mean ‘x’ instead of ‘y’, but the truth is that the goals are very straightforward and stand for what their title describes. If the fashion industry was really aiming to shift towards saving the planet, then it would have to shut down. Unfortunately, at its core, it is not driven by creativity but by profit. Creativity would not cease to exist with the death of mass production, it would thrive. This would mean production would become local and would be cut down in size to fulfill regional needs and celebrate cultures. Nonetheless, society is anthropocentric and as much as we care for the planet our priority will always be humans. This is best exemplified in the order of the SDGs themselves, as ending poverty and world hunger are within the top 5, and goals regarding the planet only come about after Goal 10. Thus, to contribute towards the SDGs it is necessary to focus on the client rather than the product. Just like designer Patrick McDowell is doing with his “aftercare” service. He provides the client with the opportunity to reshape the purchased garment to fit multiple events and become a timeless piece rather than a one-night spectacle. 

In conclusion, if fashion dreams of becoming more sustainable the answer lies within the consumer. As painful as it is fashion might never fully reach sustainability, yet it must aim to become less harmful to the planet. The answer to how it does it has infinite variables, but nothing changes if people do not demand the change. As René Magritte eloquently pointed out in his “This is not a pipe” painting, the fashion industry is not clothes… it is the people who wear them.

References:

  1. Corvellec, H., Stowell, A.F. and Johansson, N., 2022. Critiques of the circular economy. Journal of industrial ecology, 26(2), pp.421-432.
  2. Cross, G., 2015. Consumed nostalgia: memory in the age of fast capitalism. Columbia University Press.
  3. Gottdiener, M., 2000. CLASSICAL SOCIOLOGICAL APPROACHES TO CONSUMPTION. New Forms of Consumption: Consumers, Culture, and Commodification, p.1.
  4. Madsen, A.C (2018). At Harrods, Vetements Calls Out The Fashion Industry On Overproduction. London: Vogue.
  5. McDowell, P (2022). About Patrick McDowell. https://patrickmcdowell.co.uk/pages/timeline
  6. O’neill, J., Holland, A. and Light, A., 2008. Environmental values. Routledge.
  7. Rousseau, J.J. (1895) The Social Contract … Translated with a historical and critical introduction and notes by H. J. Tozer, etc. London: Swan Sonnenschein & Co.
  8. United Nations. (2022). The Sustainable Developments Goals Report. New York: United Nations.
  9. UN World Commission on Environment and Development. (1987). Brundtland report. Geneva: United Nations.
  10. World Economic Forum, Ellen MacArthur Foundation and McKinsey & Company,. (2016) The New Plastics Economy: Rethinking the Future of Plastics. http://www.ellenmacarthurfoundation.org/publications).
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My favorite Brand: Schiaparelli

My favorite Brand: Schiaparelli

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Schiaparelli was founded by the unique creative Elsa Schiaparelli in 1927. It all began when she decided to create her first trompe l’œil motif on a hand-knit sweater for herself. They were the black and white pullover that boasts the illusion of a bow, pierced heart, skeleton, or a sailor tattoo. It was shortly after that in 1931 the brand’s first artist collaboration took place with Russian-French writer Elsa Triolet to create the iconic Aspirin Necklace. This catalyzed the brand’s identity as a champion of surrealism and the arts. Later on, Elsa collaborated with artists like Salvador Dalí pushing even further the barriers that divided fashion and art. Schiaparelli began a new movement and a new vision for what fashion could become, clothes for the sake of artistry and aesthetics rather than just luxury and practicality. Currently, the brand describes its offer as an alternative luxury proposal for the audience that seeks to acquire a long-lasting piece of fashion. Something to pass on down from generation not just as one inherits a bag but rather a masterpiece like a canvas or a sculpture.

What is most unique about it is its close relationship to the Fine Arts and how it showcases fashion as an art form rather than a superficial product. The garments look like a piece of art rather than a garment as it challenges the concept that a piece of clothing could be in a museum rather than a shop. The key to the brand’s vision lies in the strong creative concept behind every runway, which nowadays is being created by Daniel Roseberry. Some collections like Inferno (Haute Couture 2022) are perfect examples of how the brand aims to portray fashion as wearable pieces of art. The event displayed outfits with elements like lion heads, a guest completely painted in red and covered in Swarovski crystals (Doja Cat), and shape-innovative garments to refer to the gates of hell. This demonstrates just how important craftsmanship and artistry are for the brand.

Overall, Schiaparelli is an exciting brand that challenges the status quo and has managed to remain exciting throughout the decades. It adheres to the standards of traditional Parisian Haute Couture but with an innovative performative element that cannot be found in any other brand. To wear Schiaparelli means to wear a piece of art, a performance, and a unique garment all in one.

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