Diversity Within the

Fashion Industry

Billie Petrie
Q12675679 Research Folder 1
Contents Page 3 Page 12-13 Page 19
Proposal Personal Apperances The Want For Personalisation?
Page 4 Page 14-15 Page 20-22
What is Diversity?
Case Studies Primary Research
Page 5-8 Page 16 Page 23
Is the fashion industry racist? Consumer Attitudes Summary of Findings
Page 17 Page 24-26
Page 9-10 Consumer Groups
Gender Inequality Refrences

Page 11 Page 18
Is age just a number? How Do Consumers
Shop?

(collegecandy.com, 2016)
2
Proposal Throughout the fashion industry there is a conflict of interest with brands and the models they use and the lack of
diversity amongst those used in print and digital campaigns. With increasing cases of racism, sexism and other
diverse issues, this report will analyse if the industry will ever have a true acceptance of models through ethnicity,
gender, age, weight, and disability amongst other factors. In addition, issues such as over size zero models, black face
and using transgender models will analysed through comparing brands.

The effects of the lack of diversity upon social media and personal perspective will also be used to generate findings
that support this argument. Through primary and secondary research this report will further expand on and validate
the pre-existing research on the chosen topic whilst also intending to give a fresh perspective. Primary research will
be conducted through questionnaires with a number of fashion consumers which will give an in-depth viewpoint on
the views upon the current fashion industry, its diversity and how changes could be made to have a true acceptance
for all. Furthermore, secondary research in the form of academic texts, online resources, case studies and pre-
existing data will be used to support the argument and additionally develop the findings. The secondary data found
will likely bring forward the companies and brands within the industry that are become more accepting and diverse
particularly through the 21st century regarding emerging ethnicities, gender identities and other factors that were
previously not prevalent. The result of this report will be a collaboration with a specific and well considered brand,
chosen through the relevant primary and secondary research, of which will celebrate diversity and have high inclusive
morals.

Case Studies
A number of case studies will be formed including examining existing fashion campaigns which faced scrutiny across
social media and in the wider press. These campaigns were scrutinised for their lack of representation of the modern
woman whether this be through body type, race and physical appearance.

Questionaire
A Questionnaire/ Survey will be used to directly reach out to members of the public, gathering their thoughts and
emotional connections to the fashion industry and collect personal experiences and moments that might have affected
them through discrimination and the issues previously stated. These can be compared to those from the fashion
industry to highlight a differentiation in opinions and experiences.

Focus Group
A focus group will be used in order to get direct feedback. This feedback will be based upon the report within Research
and Development to gather thoughts and feelings upon the collection as well as research leading into it, ensuring it is
relevant to the consumer group as well as tackliling the issues disussed.

(fashionista.com, 2017)
3
What is Diversity? “the fact of many
different types of
things or people being
Through the changing attitudes of society, the fashion industry is replicating this within existing brands and
creating new brands. However, with the long history of brands the changes to diversification are late, and it
is questioned whether it is too late for the brands to make this change to a more diverse brand or has their
reputation been tarnished too much to be saved.
78.2% of
all the models
included in something; An all-time low for models of colour was 2016 of which the leading Fashion Weeks had shown signs of not featured in spring
a range of different keeping up with social changes. In a survey produced in 2016 it was made apparent that over 78% of models 2016’s fashion adverts
in Spring adverts were white, with brands Balenciaga and Vetements having a white only catwalk labelled as
things or people:” ‘shockingly out of touch with today’s global reality’ (Jason Campbell, 2016) suggests they aren’t adjusting to their were white 8.3% were
competitors changes to become more diverse; the problem is not only with these two brands, there are more black, 4% were Asian and
brands as well as the whole industry is subject to change.
Cambridge Dictionary 3.8% were Hispanic
(theguardian.com,
The diversity of skin colour and ethnicity is not the only form of diversification within the fashion industry. Until 2016)
recently, diversity within fashion referred greatly to race however age, gender, physical appearance are also
factors of which aren’t truly represented as well as other aspects that will be researched. Social issues such as
sexual assault and eating disorders are now aspects which affect the industry.

“ Without
question the issue
of diversity is at
the forefront of
our challenges.
The fact that there
is an issue at all
is unfathomably
disgraceful. “

Angus Munro, 2016

The Average
age for a model in
a luxary fashion show
is 22- though the average
age for women to own
pieces from a luxary brand
is 35. (theguaridan.com,
2016)
4
(manrepeller.com, 2016)

Is the Fashion Industry Racist?
(huffingtonpost.co.uk, 2013)
A question asked time and time again of ‘is the world of fashion racist?’ (thefashionlaw.com, 2016) Within the catwalks,
advertisement campaigns and website they clear lack of diversity is present with the lack of models of colour. Leading
fashion brands through the high-end designers to high street market levels have been criticised for their lack of
diversification causing a rise in social media outcry of the public, a change within brands and launches for new niche
brands.
‘For decades, the fashion world has been the target of enduring criticism for using models who are largely
white, waifish and woefully young’. (Elle.com, 2017)
The main topic for discussion is the lack of representation of women of colour amongst fashion advertisements
and fashion shows. Condemned for being a ‘parallel universe’ (theguardian.com, 2016), the industry is noted for
its use of predominantly white models. In 2015, 84.7% of models in fashion adverts were white (theguardian.com,
2016), this decreased to 78.2% in 2016 (theguardian.com, 2016) , a noticeable decline but still a long way to go to
have representation from black, Asian and Hispanic models whom are currently the minority. While the change in
percentage leaned towards models of colour, designer Demna Gvasalia showcased collections for Vetements and
Balenciaga which only had white models. (businessoffashion.com, 2016) For a designer whose brands are world
renowned with a band of millennial influencers, the choice of having a melanin-free catwalk was controversial and
not moving towards diversity as the rest of the industry. In response to this, casting director James Scully called out
the industry for being racist; in particular Balenciaga. During the Paris fashion show in 2017 it was said there were
inhuman treatments towards models (allure.com, 2017) as well as casting directors being ‘highly selective’ to choose
only white models to walk on the catwalk. Scully talked out more of his experiences with the industry; he states the
business has been ‘hijacked’ (thecut.com, 2016) and that casting directors are now told to not hire black or Asian
models and claims its part of a scheme of ‘groups of stylists, casting directors, and photographers who seem to go out
of their way to prove how much they dislike women.’ (thecut.com, 2016)
The overall industry is labelled as ‘clueless’ (vice.com, 2016) of how they represent women of colour and how culture
appropriation is still common amongst fashion brands and
fashion magazines.
Through the years 2007-2013, black faced was commonly used in (howard.readtherival.com, 2016)
the fashion industry leaving the question – why not just hire black
models? ‘The insensitivity of the fashion industry to the issue of “If you’re not color conscious, something’s
blackface is evident. ‘ (infusionmagazine.com, 2015)
wrong. You have to keep it real and not be
Though it is only recently been scrutinized it is people on social media afraid to say things.”
platforms that have addressed this as an issue rather than fashion
brands admitting their mistake or not to become repeat offenders. A
noticeable infamous source of blackface is Vogue. In October 2009 Angus Munro, 2016
Vogue Paris featured model Lara Stone head to toe in blackface,
Vogue Italy had a ‘black issue’ in 2008 however the models were still
made to be darker than their skin tone with make-up and body paint.
Another issue of Vogue in may 2013; the Netherlands edition featured
a white model with a black painted face which again caused large Key Findings
controversy for the magazine brand. (affinitymagazine.us, 2015)
‘Although their intention may not be to perpetuate negative African- Though there is noticeable changes in the industry
American stereotypes, this is exactly what they are doing. By becoming more diverse there is still a long way to go
choosing to cast a white model instead of a black model they are before there is a true representation. Through the years,
cultivating the same stereotypes that blackface did in the early 1900’s.’
there has been changes made which suggests the fashion
(infusionmagazine.com, 2015) industry is moving forward in the right direction however
which incidents such as Black face still occurring, where
It is not only fashion brands and magazines that are at fault for
brands and magazines choose to hire a white model and
blackface but also celebrities. In April 2015, social media influencer
and business woman Kylie Jenner was accused of doing blackface in a depict her as black rather than hiring a model of colour, it
5
photoshoot, though she commented back stating she was trying to look shows there’s still many attitudes and decisions that need
‘futuristic’ it still caused outrage on social media. changing.
 The height of black-face within the industry seemed to halt in 2015 however aspects and events of cultural appropriation are still
Is the Fashion Industry Racist? apparent in the most recent of fashion events. In an industry said to ‘not care’ (acclaimmag.com, n.d) cultural appropriation seems
to be one of fashion’s biggest offences mainly amongst high-end and respected brands.

In 2015, Dolce and Gabbana were accused of using extreme stereotypes, having an Italian Rivera inspired runway but sending
the only three Asian models down the runway in Chinese inspired pieces (fashionista.com, 2015) Though at the time it did not
receive much controversy it is still questioned as to why the matter was overlooked. In 2016, Marc Jacobs SS17 models, whom
were majority white, walked down the runway with pastel coloured dreadlocks. The designer was accused of having racial
insensitivity, after choosing to cast only 10 black models compared to 52 white; the lack of black models confused the public as
Jacobs had chosen to use a hairstyle that is closely related to black culture. (theguardian.com, 2016) Jacobs commented back to
the issue stating ‘ I don’t see colour or race – I see people.’ (theguardian.com, 2016). Most recently Gucci have committed cultural
appropriation with their Fall 2018 collection. Within one of their runway looks, Gucci used what seemed to be a Sikh like turban,
which featured on white models. Gucci was criticised as they would have made more of a statement using Sikh models whom
would represent their religion. (businessoffashion.com, 2018)

‘ Every season, it seems that the fashion industry is confronted with allegations of cultural
appropriation... Despite social protest, designers don’t seem to take these accusations seriously or (hstigertimes.com, 2017)
simply struggle to figure out what they should be doing differently. ‘ (businessoffashion.com, 2018)
Key Findings
The aspect of diversity within the fashion industry
can also be presented between the link of race Some fashion designers and fashion houses have become
and politics. Fashion designers more than ever naieve to social changes regarding cultural, and rather
are being inspired by world politics and becoming than honour the religion they disregard it and appear racist.
more politically-motivated. Most notiably the biggest Through not understanding the emotional connection
political movement is #BlackLivesMatter than has cultures have with individuals their intentions are over-ridden
become an international activist movement. It’s with the negative aspects.
seen high profile models and celebrities talk out
about the political injustice for black women and Though these uses of political issues are being made into
men. It also saw the injustices featuring on clothing fashion statements it seems they can be highly controversial.
items upon fashion runways; T-shirts featured Though, through fashion, issues are being raised to public
slogans such as “Philando Castile,” “Sandra Bland,”
attention the issues aren’t actually being helped to be
and “Walter Scott.” Stoudemire’s shirt read, “Stop
Killing Us!” (vogue.it, 2016)
resolved and asks if politics should be used within fashion or
“This, however, isn’t necessarily good news. is it too much of a sensitive charged topic.
The fashion industry has a solid record of co-
opting political and countercultural movements,
marginalized groups and non-Western cultures,
then making a good profit out of it.” (cnn.com,
2018)

Other uses of political movements being used in

fashion are the #TimesUp of which A-List celebrities
wore all black at the Golden Globes to show
solidarity, Model Gigi Hadid wears a white bandana
on her in support of the #TiedTogether movement
(cnn.com, 2018)
(dazeddigitlal.com, 2017)

(independent.co.uk, 2017)
 Racism in the fashion industry is still perceived as a ‘glaring problem’ (thebritishblacklist.co.uk, n.d) The following timeline shows some racist events in the fashion industry since 2008, and whether
Is the Fashion Industry Racist? there is a future for diversity in the industry and if attitudes will ever change. Within the industry, the lack of diversification is not only apparent on magazine covers, on catwalks and in advertisement
campaigns but also within companies and their employees. This timeline covers some racial discrimination within brands as well as products they have released.

2011- 2015- 2017-

2013-
2008-
While in Paris, Zara is sued for Model Gigi
Karl Lagerfeld
American designer John $40 million for Hagid shared
used white model
Apparel are Galliano ranted dicriminating a video online
Claudia Schiffer
set a $1 million on how he ‘hates against its that showed
in a campaign, 2014- 2015-
discrimination Jews and loved employees. her mocking
giving her a
suit, after racial Hilter.’ (bet.com, People who Asian people. 2017-
yellow face for Zara are heavily According to
slurs were 2015) It not only didn’t suit Zara’s (huffingtonpost.
an ‘Asian look’ as criticised for reports, designer
contiously used lost him fashion ‘ideal’ of being co.uk, 2017) Vogue released
well as blackface making a Michael Kors
towards a store followers but his straight, Spanish She travelled a diveristy
with afro. (bet. children’s t-shirt went on a
employee. job at Dior, and Christian to China for the issue however
com, 2015) than resembled racially charged
(thefashionlaw. felt victimised Victoria Secret it faced great
2012- a Holocaust rant. (bet.com,
com, 2018) at the brand. fashion show backlash. in the
prisoner uniform. 2015) Alleged
Jeremy Scott (thisisinsider. (thefashionlaw. however failed issue model
to have said (abigail-polvadore.blog- to appear on
designs for com, 2018) The com, 2018) Karlie Kloss
“I’m tired of spot.co.uk, 2011) the catwalk,
Adidas, featured brand said the pretending I like was dressed
in his collection top was intended suggesting the as a Geisha,
blacks…Just video caused
are trainers that to be cowboy for the sake of causing Vogue
(thisisin- her to miss out.
have shackles, inspired, it was a sale I have to to have another
sider.com,
resembling them pulled from stores deal with women case of cultural
2018)
that were used and ‘destroyed.’ like Nicki Minaj? appropriation.
in slavery. (bet. (thisisinsider.com, I’d rather not.” (huffingtonpost.
com, 2015) 2018) (bet.com, 2015) com, 2017)

2009- 2013- 2015- 2016- 2017-

Abercrombie Former model For the fourth time, GAP is slammed for its In late 2017,
face a lawsuit Bethann American online kids campaign having American Eagle sold
against Harrison writes retailer Nasty racial implications. a men’s bracelet that
discrimination a letter calling Gal is sued for (nydailynew.com, resembled a slave
of hiring am out racism in discrimintation of 2016) Pictured was shackle. (thisisinsider.
employee. The (bet.com, the industry its employees. a white girl who was com, 2018) The
retailer refused 2015) and designers (thefashionlaw.com, leaning on a black metal cuff was quickly
2014-
to hire a Muslim that are racist. 2018) The law suits girls head with twitter removed from stores
woman whom (bet.com, 2015) were based upon users labelling it after blacklash on
For their holiday
wore a hijab. Designers sex and employee ‘passive aggressive Twitter.
collection of
(thefashionlaw. 2013- named featured pregnancies. racism’. (nydailynew.
2014, Ralph
com, 2018) Versace, com, 2016)
Lauren used
Barneys is sued Louis Vuitton, photos of
for discrimination. Alexander
A former customer McQueen,
deceased Native Key Findings
Americans Within the industry it is not only brands that perceive a racist attitude through what they
states racial Calvin Klien, and dressed release in their products and advertisement campaigns but also fashion magazines as
discrimination Prada and them in their well as fashion influencers such as the designers themselves and models. Brands do not
was present when Chanel. new collection,
making a purchase only perceive a racist approach but also have one throughout their brand, having law suits
this cultural
and the brand from employees whom feel discriminated. The timeline only shows events from 2008-
appropiation
paid out $525,000.
(thefashionlaw.com,
offended a lot 2017 however there are still racial events that happened before and after these dates,
showing racism is still a large problem within the industry.
7
of people. (bet.
2018)
com, 2015)
 However, the argument for diversity with race isn’t only just about skin colour and ethnicity but also for religion. Within the industry women and
Is the Fashion Industry Racist?
men from religious walks of life are rarely seen on fashion runways, in advertisement campaigns and amongst fashion magazines. In London
Fashion Week 16/17 one addition to the catwalk were hijabs. In the previous year H&M released an advert with their first Muslim woman in
hijab as well as House of Fraser launching a range of ‘sporty’ hijabs for exercise and high-performance activities. (telegraph.com, 2016) The
high fashion LFW saw Dolce and Gabanna, Tommy Hilfiger and Oscar De La Renta releasing hijabs for women to wear. These brands choice
of expansion is clear to see as the Muslim fashion market is estimated to be worth £226 billion by 2020 (telegraph.co.uk, 2016) Dolce and
Gabbana’s launch into this market was seen as successful by some however was criticised as the official advertisement for the collection
featured women whom were not of a Muslim background.

Religion has been seen to be inspiration amongst the catwalk and designers have took to
religious connotations and events to inspire their collections. Christian Dior’s A/W 2000
catwalk show saw John Galliano following a transgression theme, with priest and nun
featuring in the show. (dazeddigital.com, 2017) Following the same inspiration, Givenchy’s
2010 menswear collection featured religious iconography; sexy nuns and chic nuns were
seen on the catwalk. As a tribute to Jesus Christ, all the models had a gold crown on with
silver thorns around their neck, also shown was a t-shirt with ‘Jesus is Lord’ on to strongly
portray the religious message. (dazeddigitial.com, 2017) In spring 2013, we’ll find that Dolce
& Gabbana presented their outstanding fall 2013 ready-to-wear collection that was highly
influenced by religion: Sicily’s Cathedral of Monreale’s Byzantine and Venetian mosaics. (dazeddigitial.com, 2017)
(missmillmag.com, 2014) River Island Case Study
Religion has also taken as influence amongst the high street and contemporary trends. For River Island’s 30-year anniversary, the brand launched
Christian and Catholic crosses have been used in jewellery as well as printed on garments, a new advertisement campaign which their diverse range
rosary beads have been used as fashion accessories as well as Vandikush’s evil eye used in of models reject labels stating ‘labels are for clothes’
necklaces and rings. While these pieces are presented as fashion, the religious elements are (drapersonline.com, 2018) The campaign featured the
still there and their history is being disrespected by being seen as a ‘must-have accessory’. brands first ever Hijab wearing model, a cleat turning point
for the brand within diversification. Zara Sheriff a British
The Met Gala is Vogue’s famous yearly fundraising event that has yearly themes; with born Muslim woman with Pakistani heritage features in the
2018’s theme being fashion and religion. In 2015, their ‘through the looking glass’ caused campaign.(draperonline.com, 2018)
lots of controversy with the cultural appropriation of Western designers and Asian influences.
(independent.co.uk, 2017) With past designers using Christian iconography in their past The campaign also featured a gay couple, a transgender
designs, it is rumoured to take centre stage as the main inspiration for this year’s MET. woman and a curve model. ‘“In recent years we have
witnessed a shift in the market and the attitudes of our
consumers – they want to express themselves and not
be defined by convention. This campaign is a recognition
of this welcome movement. We aim to continuously
evolve as a brand
and ensure that
our campaigns are
the truest possible
representation of
(dazeddigitial.com, 2017) the modern River
(telegraph.co.uk, 2016) Island customer.”
(draperonline.com,
2018)
Key Findings
Though brands such as River Island and H&M are hiring models of religious
backgrounds that wear religious garments such as the hijab, there is still a lot more
high street as well as high end brands that need to show solidarity and hire models
of the same background as well. With religion also appearing on the catwalks in
the sense of inspiration, its questioned to whether this is racist. The rise of religious 8
symbols and imagery has increased in fashion garments and accessories.

(drapers.com, 2018)
 Discrimination within the fashion industry does not only cover race and religion but also sex and gender inequality. In the industry, there is still
Gender Inequality a problem with the attitudes towards female and male models as well as they pay gap. Perceived to be an industry led by women, Business
of Fashion found out that only 47.3% of womenswear brands are actually headed by women. (teenvogue.com, 2016) The number of women
at the top of brands in comparison to men was only 40% at London Fashion Week in 2016. (teenvogue.com, 2016) There are a huge number
of females within the industry through designers and models however there are only a few whom are at the top, asking a question as to why
aren’t females given bigger roles? Business of fashion insider suggests it down to age and experience alongside lifestyle choices that affect
the rise of women professionals in fashion; stating that creative directors age between 30 and 45, an age where women traditionally are
getting married and starting a family. (teenvogue.com, 2016) Attitudes towards this show that women are still expected to choose between a
successful career or a family, something that the men in the industry may not have to face. Another aspect said to widen the gap between
top female designers and male designers is perception; characteristics linked to successful designers are that of power, independence and
dominance that is mostly associated with men. (businesoffashion.com, 2016) The media also helps to depict this image that men are more
original and artistic than women which may help them secure more important roles in the industry. (businessoffashion.com. 2018) The overall
pay gap between men and women in fashion is an average of £22,000, with women earning an average £37,000 compared to a man’s wage
of £59,000. (drapersonline.com. 2017) This massive pay gap shows the discrimination of women amongst the industry and how they are not
as valued as men within head office positions.

(the-pool.com, 2016)
“... almost everything to do with fashion
has to do with the divide still keenly felt
between men and women.”
(wellmadeclothes.com, 2017)
The issue of gender inequality is not only in fashion offices but also on the catwalk, where roles are reversed and men are at the minority. The
pay gap is more present on the catwalk than in the office, with women said to earn 75% more than men. (standard.co.uk, 2017) In addition to
women getting paid more than men, the top 10 highest earning models in British fashion comprises of 9 women including Cara Delevigne and
one male, David Gandy. (standard.co.uk, 2017) Said to be the only job roles of which women could earn more than men, women models can
earn up to £40,000 for walking in a top fashion show where as a man could only earn £10,000. (bbc.co.uk, 2016) The difference in pay is said
to be that women are driving the industry, and spend more money on female products (bbc.co.uk, 2016) however with the changes in societies
and the rise in gender fluidity and transgender that is changing.
The fashion industry is known for its reaction to changes and trends that may arise from society, one of which has been is main topic is
transgender and the acceptance of people no matter their gender. The start of this turning point to the acceptance of this taboo is gender
fluidity and androgynous dressing, which saw transgender models step forward and into jobs amongst highly sought after brands. The change
described to be that because of millennials who seek more liberal, open-minded and positive attitudes. (ecosalon.com, 2017) Transgender
models have become a ‘must-have’ amongst catwalks as a source of inspiration to millions of people whom give with gender discrimination
and gender confusion. (ecosalon.com, 2017) In New York Fashion Week, transgender models were seen walking the catwalk for the first time,
which led to the opening of the first trans modelling agency in New York. (ecosalon.com, 2017)

Leading figures in the transgender modelling community include Teddy Quinlivan, she came to the spotlight in 2015 in Louis Vuitton S/S show,
has worked for Marc Jacobs, Coach and Oscar de la Renta only came out as transgender in 2017. (independent.co.uk, 2017) With the truth
out, Teddy hopes to use her voice to ‘ encourage and inspire acceptance, equality, understand and love.’ (independent.co.uk, 2017) Other
famous transgender models that are becoming increasingly successful in the industry are Peche Di, Hari Nef, Shane Henise, Carmen Carrera,
Laith Ashley and Casil McArthur. Also through celebrity influences transgender has become more accepting within the industry; Caitlyn Jenner
has become a spokesperson for transgender women and in 2017 shortly after her transition she collaborated with make-up brand MAC to
show solidarity and support than the industry is becoming more accepting.

(ecosalon.com, 2017)

Key Findings “Even if certain fashion houses were created

by women at their time, today they often have
The gender inequality is extremely noticeable within the industry, with the main emphasis being on the pay gap. The difference between the creative leaders that are men.”
catwalk and office of brands is extraordinary with men having the pay advantage in head offices but women leading the catwalk, it shows
confusion and inequality within the industry as a whole. - Business of Fashion, 2016
Through society’s changing views, transgender is becoming more accepted into day to day life and this is reflected in the fashion industry.
The rise of models in more high profile shows and advertisement campaigns inspires as well as teaches the public on the issues than still
need to be addressed, and even though there is acceptance they still face issues to have true equality in the industry.
9
 Through gender discrimination and inequality, the rise of androgynous fashion has become bigger than ever with gender neutral
Gender Inequality clothing seen as no longer a trend, but the new normal. The 60’s and 70’s saw the beginning of gender neutral clothing that ‘blurred
gender lines’ (theatlantic.com, 2015) with the US taking lead and having specific unisex clothing sections throughout department
stores. (theatlantic.com, 2015) Though the 1980’s saw the divide between men and women’s clothes increase there was a rise once
again in gender fluidity in clothing in 1990’s than is now currently bigger than ever.

Key celebrity figures have driven gender neutral clothing and helped to maintain androgynous dressing as a fashion trend; through
people in the spotlight inspiring members of the public to push gender confinements. One of the first icons was Katharine Hepburn,
wearing trousers throughout her acting careers she once said “Any time I hear a man say he prefers a woman in a skirt, I say Try
One.” (vogue.com, 2017) David Bowie, Grace Jones and Prince all pushed gender boundaries with their performances and outfits both
onstage and off as well as Annie Lennox, sticking to power tailoring and Kurt Cobain who favoured ‘cosy’ flower patterns. (vogue.com,
2017) These fashion icons have “helped other people to change so they can see more kinds of beauty.” (vogue.com, 2017) and made
it seem somewhat ‘more acceptable’ to be a man dressing in flares and dresses and women in tailoring and masculine shapes; they
became significant icons in gender-neutral clothing and helped to inspire designers today.

The rise began back in 2015, where London Fashion Week menswear was all about feminisation and blurring gender boundaries, with
this being the first time it sprung into high fashion and was seen a ‘must-be wearing’ trend. In early 2015 department store Selfridges
transformed its store in Oxford Street into a gender-neutral shopping experience. Selfridges launched ‘Agender’ when their buyers
noticed customers where stepping out the male and female departments and shopping in the opposite sexes department, the whole
concept took two years of development before it was launched in store. (dazeddigital.com, 2015) The pop-up experience in store
was only part of Selfridges ‘Agender’ idea, the department store still have their genderless shopping across fashion, accessories and
beauty stating the products “mark a significant turning point in the way we think about fashion.” (Selfridges.com, 2017)
Since then, the gender norms of fashion haven’t gone back to just pink is for girls and blue is for boys. Cara Delevinge has featured
in advertisements for DKNY in a full suit, H&M launched a genderless denim collection as well
as competitors Zara launching a genderless collection called Ungendered and Diesel having
(theguardian.com, 2015) gender neutral advertisement campaigns. Criticised for gender-neutral clothing just being

H&M Case Study a marketing ploy, it seems whether brands

“Fashion is an industry that prides itself on being ahead want to be inclusive or want to buy into the
of the curve, so naturally it’s important that it keeps pace genderless trend either tactic is working to
In 2017 H&M launched a new collection of which furthered
with the progress we are seeing in society as a whole. make them successful land have a knock-on
their group and success within the market. The collection
The blurring of gender distinctions also gives designers effect to other brands.
was non-gender-conforming full of garments that were
greater freedom, with a much broader range of forms and
suitable for men and women. The unisex line was entitled It is noted than womenswear and menswear
silhouettes to explore.”
Denim United which featured denim pieces such as jeans, aren’t the other categories affected by
- Faye Toogood
dungarees, shirts as well as cotton pieces such as hoodies genderless clothing. In late 2017, John
(selfridges.com, 2017)
and t-shirts. The collection had extra appeal as it was all Lewis became the first UK retailer to remove
made from sustainable materials such as organic cotton and gender labels from children’s clothing. (vogue.
recycled cotton. (harpersbazaar.com, 2017) A spokesperson com, 2017) The company’s children’s collection will also feature gender neutral clothing
for H&M commented about the collection, “Fashion should items and have gender neutral advertisements for the department. The head of John Lewis’
always be inclusive… It is very natural for us to launch a Childrenswear commented “We do not want to reinforce gender stereotypes within our John
unisex collection Lewis collections and instead want to provide greater choice and variety to our customers, so
as fashion is that the parent or child can choose what they would like to wear.” (vogue.com, 2017)
constantly evolving
and intersecting and
(vogue.com,
today we see there
2017)
are no boundaries Key Findings
in democratic style.” However much success there is, the androgynous movement and gender neutral is criticised; to whether it
(harpersbazaar.com, is aimed at both men and women, as it is predominantly women shopping in this market. “Women are more
2017) The collection inclined to step into that gender-neutral role. They’re more likely to head over to the men’s section. Men don’t
was not only gender like to deviate.” (vogue.com, 2017) The overall gender-neutral fashion trend is condemned as whether brands
exclusive but the actually care about individual or want to buy into the trend to benefit their own brand. Though whatever the
campaign showed
diversity featuring
truth may be, the rise of gender neutral clothing is bringing awareness to social changes and what society is 10
both men and
changing towards; showing acceptance to whatever people choose to wear.
women of colour. (harpersbazaar.com, 2017)
 Within diversity age is also a factor to be presented as issue within the fashion industry; said to be the ‘most ignored; term of diversity (vogue.com, 2010) Life expectancy is rising yearly, with it
Is Age just a number?
predicted to be 83.1% in 2017 (ons.gov.uk, 2017) and with this rising and the aging population growing; its expected for the percentage of 65 and over to be 30% by 2030 in the UK. (ons.gov.uk, 2017)
As a result of the growing population of older citizens, its questioned to whether they should be better presented in the industry as they present a market that could have significant success; growing
old in inevitable and with products targeted at ages 50 plus it could be popular. With the over 65-year-old spending £6.7 billion (theguardian.com, 2017) a year on clothing, it seems it’s a profitable
market to aim products at, or at least include women of that age in marketing and advertisement campaigns to secure their sales. Previously, designers have spoken out about ageism, admitting on
past occasions of rejecting an A-list celebrity of wearing their designs because of her age. (thegurdian.com, 2017) This type of discrimination towards older women is apparently normal within the
industry, with fashion models being as young as 14 to an average of 28 wearing luxury ready to wear collections that the consumer is more than double the model’s age. (vogue.com, 2010)

With the representation of older women amongst the catwalk at a low percentage, many every-day women have taken to blogs and Instagram. The mature influencers reflect women whom seek the
same lifestyle and style as them. “It’s exciting to see a whole generation of older self-selected ambassadors who have become digitally
literate, with a lot to say” says Debra Bourne, awarded an MBE for her services to diversity (theguardian.com, 2017) whom also states
she wants to see the industry be based upon values more significant than just appearance. (theguardian.com, 2017)

There is evidence that the industry is changing its attitude towards older women in their feature amongst fashion brand campaigns as
well as on catwalk shows. 2016 saw H&M take one of the first steps to tackle ageism, with 60-year-old
Over-50s stylist Gillean McLeod modelling the brands swimwear. (theguardian.com, 2017) In 2017, Calvin Klein
revealed 73-year-old model Lauren Hutton as the face of their new lingerie campaign and fashion blogger
already account
Lyn Slater became the face of Mango at the age of 63. In 2016, 13 models that were over the age of 50
for around 47%
walked in SS17 catwalk shows, the most represented the older woman has ever been. (telegraph.co.uk,
of all UK consumer 2016) With such well known retailers making steps to include women of an older age it not only shows
spending. diversity and the acceptance of changing attitudes but also helps the brand to expand their target market
(theguardian.com, and gross profit; this change being both beneficial for consumer and company.
2017)
(thenet.og, 2017)
Older Influencers Case Study
The rise of the older woman amongst the fashion industry can be
seen as a direct effect of the rise of mature influencers. Social media
is the main cause for older women becoming key influencers in
fashion and becoming highly successful.

98 year old Iris Apfel is an American businesswoman, starting as an

“...a survey by the London College of Fashion
found that 97% of women aged 40-89 want to
interior designer she is now a fashion icon worldwide with 845,000
Instagram followers. In 2013, she appeared in The Guardian’s 50
best-dressed over 50, starting her fashion career after retirement
age. (telegraph.co.uk, 2016) She’s worked with Kate Spade,
collaborated with MAC and featured in campaigns for & Other
Stories. (telegraph.co.uk, 2016) In 2018, Iris was honoured with her
own Barbie doll. (vogue.com.au, 2018)

(medium.com, 2017)
see older models used in advertising.”
Another high profile OAP is Baddiewinkle, a 89 year old Instagram
famous celebrity whose fame has seen her collaborate with high-
(theguardian.com, 2017) profile brands. Personal heartache caused her to have a new
Key Findings chapter of her laugh and become the over the top, bad-ass character
she is known for. (telegraph.co.uk, 2015) She now has over 3.4
Seen as a highly profitable market, with consumers over 65 spending nearly 7 billion pounds on clothing a year in the million Instagram followers, is best friends with the Kardashians and
UK, it is noted that the industry is taking advantage of this. With attitudes in 2010 expressed in an article in Vogue, it was is a spokesperson for Missguided.
common for 20-year-old women to be the face of anti-aging skin care campaigns and older women hardly seen on the
catwalks amougst the sea of pre-teen looking women. Fast forward to 2018, and older women seem to be slowly making an
appearance amid major fashion brands and appearing on London Fashion Week catwalks. The changes in consumer habits
has led to the industry becoming more accepting on the mature woman.
11
 Through the journey of diversity, it is also presented that personal appearances and the perception of a person’s image is largely scrutinised. In (pulptastic.com, 2015)
Personal Apperances the fashion industry models are criticised for their appearance as well as the brands that book them for marketing campaigns and catwalk shows.
At the frontline of criticism is how thin models and the rise of size zero models. Designer Elsa Schiaparelli is seen to be the first fashion designer
who used thin and tall models (Hoskins, page 113, 2014) and started the revolutionary that was using this body shape for models. It was seen
that this proposed ‘ideal’ shape was the expected for all women; Director of Models 1 agency Jo Fonseca commented “I can think of nothing
worse than being fat. The only reason that thin girls look so unusual at the moment is because there is so many fat people.” (Hoskins, page 113,
2014) Soon enough the rise of the size zero model was apparent, in 2013 the models amongst the catwalk were ‘thinner than ever’ and had waist
measurements equivalent to a seven-year-old. (Hoskins, page 114, 2014) The rise of this size of model is argued as ‘editorial producers looking
to shock’ (Hoskins, page 116, 2014) and also that models are required to be that small so the clothes ‘hang better’ as if the women are human
coat hangers. (Hoskins, page 116, 2014) Of course the rise of size zero models did not go unnoticed, it is said that models being this skinny
were damaging people’s health and leading to a growth in the number of people with eating disorders to get to this body type. In 2017 a change
seemed to have been started, with French fashion houses Saint Laurent and Louis Vuitton pledging to stop using size zero models. (theguardian.
com, 2017) Other brands include Christian Dior and Gucci who state their female models must be at least a UK size 6, the French government
implemented these laws to help model’s welfare and hope that other brands throughout the industry will follow in the footsteps of banning size 0
models. (theguardian.com. 2017)

Plus size models are also talk amongst the catwalk and how they aren’t represented. In 2014, the term ‘fatshion’ was used to search for bloggers
whom were of a larger size. (Hoskins, page 124, 2014) With the UK average dress size now at a 16 (theguardian.com, 2017) it is perceived that
brands have to adjust their sizing’s to cater for this; some have and some haven’t. Curvy women used to be banned from the catwalk however in
Spring 2016 shows the first plus size model and since then the number of plus size models has risen, with an all-time high being in Spring 2018
shows with 38 plus size models. (thefashionspot.com, 2018) However, across London, New York, Milan and Paris’ fashion weeks the number
declined in Fall 2018, asking if there is now a decline in the want for plus size models. The problem with plus size seems to be amongst high end
fashion designers, whom consider size 12 plus size whereas within the high street many brands such as H&M, River Island, New Look offer sizes
up to a UK 28. It is predicted that in 2017 the plus-size market is worth £6.6 billion and will outperform the overall womenswear market. (pwc.co.uk,
2017) It is noted that the market is only going to grow and that high-end brands should invest as well as other high-street retailers to include more
inclusivity.
“It’s just like fashion shows are so behind
ASOS Case Study still. It’s really frustrating,” - Anna Wintour
Online only retailer ASOS have been one of the main
(standard.com,
conversation topics in fashion as of currently with regards of their (teenvogue.com, 2018)
2018)
clothing and how they advertise them. In 2018, ASOS featured Across looking at personal appearances of models it can’t be
on their app an website different body shapes that show off limited to just weight but also disability and how these models
the same outfit; for example a consumer can see the same are also discriminated. Model Kelly Knox stated “I never considered myself disabled until I started
dress in a size 8, 12 and 16. ASOS use an Augmented modelling” (bbc.co.uk, 2018) after being born without a left forearm. It seems as if the overall industry is
Reality technology to superimpose the clothing on women not inclusive of people with disabilities and only as of recently have a handful of models have become
of three different sizes and has already been well received mainstream. In 2015, Jillian Mercado was signed to renowned modelling agency IMG Models. The
throughout social media. (standard.co.uk, 2018) Not only model who has muscular dystrophy most notably featured in Diesel’s “we are connected’ campaign.
does the new feature to the website and app include size but (theguardian.com, 2015) Another important figure in representing disabilities is Madeline Stuart. The
also ethnicity and height as factors of which consumers buy. 21-year-old model has down syndrome but that hasn’t stopped her walking in New York Fashion week
and in 2017 launched her design label at NYFW. (independent.co.uk, 2017) Though these changes
ASOS have also been praised as of recently for being one
are happening it is said that the fashion world is ‘frustrating’ (theguardian.com, 2015) and that there is
of the first brands to include plus size for men. In addition, forms of cultural invisibility when seeing people of disabilities within fashion. 15 percent or 1.2 billion
the retailer also used a model with a disability in a recent people of the world’s population are mentally or physically disabled with a spending power of $2.1
advertisement campaign. In January 2018 ASOS released trillion (businessoffashion.com, 2017) proving that the market is most certainly for brands to include;
an active wear collection of which the advert embraces either designing especially for them or making them feel inclusive in their marketing and advertisement
diversity with models of various skin tones, gender and abilities; campaigns.
with model blogger Mama Cax whose leg was amputated
as a teenager. (standard.co.uk, 2018) However, there have Key Findings
been some criticisms of the brand. In March 2018, consumers Within the personal appearances of models, it seems brands are still naive to be more inclusive
discovered they stock sizes as small as a UK size 2, with them whether that is because of some models dress size or whether they have a disability. The
being criticised as ‘insensitive’ and ‘dangerous’. Though some ignorance is especially apparent with high-end brands and couture brands whom, with the size
consumers argued that it was inclusive, the online retailer also 0 ban, still use smaller models. There has been a decline of the number of plus size models (instyle.com, 2016)
stock a UK size 30 that also described just as ‘dangerous’ and throughout the four city fashion weeks, as well as key plus size models becoming smaller and losing weight,
‘irresponsible’ as the smaller size. asking if smaller sized women are coming back into fashion? With the large population of people whom are
disabled they have a buying power of $2.1 trillion and with families, parents and carers included it rises to $6.9 12
(standard.com, trillion; as aspect that brands should consider including due to the possible gross profit rise.
2018)
Personal Apperances Missguided Case Study
Misguided have become a leading fashion retailer in many aspects; becoming the first online only retailer
to open multiple stores they have also been at the forefront of body positivity. In December 2017 the brand
launched a new campaign which featured models of all sizes as well as making the images they used in the
campaign untouched. The campaign used the hashtag #MakeYourMark to celebrate individual’s imperfections
and refused to airbrush cellulite and stretch marks in the advertisement material. Missguided stated they
were ‘on a mission’ to inspire their customers worldwide to love themselves for themselves and help them
to embrace their flaws. (blog.missguided.co.uk) The untouched images have not only appeared in their
advertisements but also have appeared on their website to ‘ take a stand for photo-shopping’ and allow
customers to see what the clothes look like on ‘real women’. (blog.missguided.co.uk, 2017)

‘ We strive on female empowerment and we want all of our babes to

#keeponbeingyou, celebrate what makes you unique, embrace your “flaws”
and truly #MakeYourMark! ‘ - (missguided.co.uk, 2017)
(blog.missguided.co.uk, 2017)

Missguided’s #MakeYourMark campaign was also featured

instore through their mannequins. The brand launched new
mannequins in their Westfield store that had different body
imperfections such as stretch marks, vitiligo and freckles.
The mannequins also featured a hijab wearing model. The
campaign was seen
as highly successful,
the online website has
seen a 20% increase
in UK visitors since
the initial launch of the
campaign in October
to December 2017.
(independent.co.uk, (huffingtonpost.com, 2017)
2017)
Key Findings

Through looking at Missguided it is noted that the brand

is making steps in the right direction through diversity
of the women they use in their campaigns. They are
using the #MakeYourMark campaign to strengthen their
brand through customer support as well as adapting
(huffingtonpost.com, 2017)
to changes in society; with the UK average size being
16, the plus size market is financially worth investing
into and this campaign helps to appeal to plus size
consumers. They use of their different models instore
now appeal to a more range of customers and help 13
them feel represented.
(blog.missguided.
co.uk, 2017)
 In the fashion industry, there are brands that are credited for their work within
Case Studies diversity however there are brands which are scrutinised by the media and
consumers on how they’ve missed the mark. Focusing on four brands which
have represented the good and bad of fashion diversity, highlighting both their
successes and their downfalls.

In 2011, US rapper Kanye West took to the fashion world where he released his
first clothing collection DW Kanye West and a second brand Yeezy followed in
2015. The brand had previously collaborated with Adidas to create it’s Season
1 and the following season’s being independent to West’s brand. The Yeezy
brand is described as ‘the most diverse brand in the world’ with Season 4 of
the brand featuring 97% of them models being of colour. (bet.com, 2016) The
previous season 3 featured models 100% of colour; the first catwalk show of its
kind with super model Naomi Campbell leading the runway. The cause of these
extraordinary numbers of representation were due to West advertising for ‘mul-
tiracial women only’. (vogue.com, 2016) West’s Yeezy brand is also credited for
its gender-fluidity and neutral dressing as he himself doesn’t ‘confide to society
norms.’ (vogue.com, 2016)

(dazeddigitial.com, 2017)
In 2016, Beyoncé co-found active wear brand Ivy Park alongside Sir Phillip Green to create the clothing line that
would be sold within Topshop worldwide. Through being an inclusive brand, the height of its diverse marketing was
in 2017 where the Fall/Winter campaign celebrated ‘everyone’s uniqueness.’ (dazeddigitial.com, 2017) The cam-
paign featured both men and women of colour as well as age, with 60-year-old choreographer Karen McDonald.
(dazeddigitial.com, 2017) If the campaign wasn’t diverse enough, the final model in the campaign was transgender
model and actress Laverne Cox. “My goal with Ivy Park is to push the boundaries of athletic wear, and to support
and inspire women who understand that beauty is more than physical appearance.” (telegraph.co.uk, 2016)

“ This is a huge step for Ivy Park, and a huge step for
the fashion industry. We need to make efforts for more
diversity on the fashion scene. All of these models are
here to show that different is also beautiful. The aim is to
encourage people to love themselves just the way they
are.” (dazeddigital.com, 2017)
Key Findings
Both Yeezy and Ivy Park showcase that brands can be diverse, in their cases complete
diverse with 100% of the models used in the portrayal of the brand being of colour. Ivy Park
also shows diversity with the use of models of an older age as well as transgender model
showing that the brand is aware of changing social attitudes and expectations. Both brands
specialise on being active-wear based brands, the athleisure market is worth £4.5 billion in
the UK alone (telegraph.co.uk, 2016) showing a healthy to be placed in and with both brands
(huffingtonpost.co.uk, 2016) being fronted by A-list celebrities Kanye West and Beyoncé, it’s assumed the brands will never 14
be short of success.

(dazeddigitial.com, 2017)
Case Studies Swedish fashion retailer H&M is the second biggest retailer in the world, however this does not limit them
to controversy regarding race and culture. One of the first incidents took place in 2013, the retailer started
to sell Native American inspired headdresses which people saw as a sign of cultural appropriation. (vogue.
co.uk, 2013) H&M responded that headdress was made for the upcoming festival season but apologised for
any offence. The following year, the fashion brand was in trouble again. A menswear vest was seen as anti-
Semitic with a skull in the centre of a Star of David and was removed immediately from stores. (vogue.co.uk,
2014) Later in 2016, H&M added a cream and blue striped scarf to their website of which caused outrage on
social media as it was accused of being a copy of a Jewish prayer shawl. (vogue.co.uk, 2016) Most recently
and the biggest incident the brand has faced was controversy surrounding a children’s jumper. In January
2018, a black child was modelling a jumper that wrote ‘Coolest monkey in the jungle’, the image faced lots
of social media criticisms as well as photos edited as responses with ‘king of the world’. (vogue.co.uk, 2018)
it was not only members of the public that were outraged but celebrities too; P Diddy, The Weeknd, LeBron
James all shared their disappointment with the brand after the event. A month after the dispute H&M had
another racial scandal thrown their way; the brand recalled children’s socks that had a pattern on them that
was said to have spelt out Allah in Arabic. (vogue.co.uk, 2018)

Key Findings
The problems addressed that involve Victoria’s Secret show that the brand is perceived as racist but
also the models; through their attitudes and behaviours away from the catwalk. The brand has not
responded to the racial claims they have faced and seem to have in fact repeated the same mistakes
with cultural appropriation making their reputation seemingly worse and with people boycotting
(flare.com, 2018)
attending their annual fashion shows and wearing their attire.

As a response to the racism claims, H&M have hired a global diversity manager of which they hope
will be committed to addressing diversity and keep the company free of racial accusations in the
future. (vogue.co.uk, 2018) Though in response to the particular kid’s jumper with the child of colour
many members of the public did not see the jumper as racist only as one person’s view which then
became public knowledge. The events shown by H&M were not intent for racism and it was because
of personal interpretation that they were perceived to be offensive. With the hiring of the new global
manager it shows the brand are apologetic of past events and are certain to no longer make products
that can be deemed as culturally offensive and racist.

Victoria’s Secret is a brand that is also not short of controversies. The American womenswear retailer faced
their first accusation of racism back in 2012 where model Karlie Kloss walked the catwalk in a full Native
American headdress, it caused so much outrage that it didn’t make it to the TV broadcasting of the show.
(harpersbazaar.com, 2017) More cultural appropriation was to follow in 2016, the show of that year featured
traditional Chinese and Mexican attire featured on white models. (harpersbazaar.com, 2017) In 2017, again
the annual fashion show was scrutinised. The show featured tribal and Native American outfits as well as
featuring an outfit with another Native American headdress. (harpersbazaar.com, 2017) Not only have the
brand faced racism claims but also the models who work for them. In 2017, Gigi Hagid posted a video online
that mocked Asian people the same year she as meant to be in Shanghai for the annual VS fashion show,
she has earlier confirmed her appearance on the catwalk however when the actual event happened she was
not on the catwalk and did not even fly in for the show. (standard.co.uk, 2017) Later in 2017, the angels were
accused of racism again when a video posted online showed the all-white models singing a racial slur of the N
word. (harpersbazaaar.com, 2017) The video was deemed highly offensive as the models are representations
of the brand.
15
(harpersbazaar.com, 2017) (harpersbazaar.com, 2017)
 Diversity issues that are presented within brands have great responses from consumers mainly among social media. Social media platforms can be the biggest tool to spread brand awareness but they
Consumer Attitudes can also be used to tarnish a brand’s reputation. Through looking at racially perceived brands and media campaigns it is noted that the response to them and consumer attitudes are important; it shows
what societies views of the events taken place and how a brand can learn from their mistakes.
In 2018 ASOS faced criticism after carrying a brand with racist name, people on Twitter called out the brand who quickly removed the
brand and further working relationships with the brand in question. Though ASOS were quick to act on the claims and since consumer
have forgotten the blunder, some brands aren’t that lucky to overcome backlash.

In 2017, Dove released a new campaign to promote their body lotion however was subject to many complaints of racism. The ad-
vert featured on the brand’s Facebook page and showed a black woman taking off her t-shirt after using Dove body lotion, to reveal
a white woman. (theguardian.com, 2017) The ad was supposed to implicate the woman becoming ‘clean’ but associating the black
woman with dirt was highly offensive. The brand faced large social media recoil before removing the ad. They did however face a
similar allegation, in 2011 a similar campaign featured a black and a white woman with ‘before’ and ‘after’ that had the same connota-
tions. (theguardian.com, 2017)
One of the biggest backlashes and boycotts is H&M with their ‘coolest monkey on the jungle’ jumper. The jumper first came to public
attention on 8th January 2018, with a Tweet from singer The Weeknd stating “woke up this morning shocked and embarrassed by this
photo. i’m deeply offended and will not be working with @hm anymore..” (bbc.co.uk, 2018) He was not the only celebrity to cut their ties
with the brand, rapper G Eazy was scheduled to release a collection with H&M in march 2018, but after wake of the scandal he ended

‘I have H&M clothes I’m

the collaboration commenting ‘Whether an oblivious oversight or not, it’s truly sad and disturbing that in 2018, something so racially and
culturally insensitive could pass by the eyes of so many…” (theguardian.com, 2018) People on twitter called out the brand and fashion bloggers spoke out saying ‘I
have a lot of H&M clothes im going to burn.’ (timeslive.co.za, 2018) Other social media influencers spoke out; “We used to be slaves and now we are billionaires
in the countries we were sold in. We did this with no help from the oppressor. Black people start at the bottom of the food chain and work their way up. Plus we do it
with so much swag. WE ARE THE KINGS OF THE WORLD AND WE ARE BEAUTIFUL!!! #BlackExcellence#BlackIsKing #BlackIsBeautiful” (timeslive.co.za, 2018)
The racism accusation escalated as protestors in South Africa took matter
going to burn’ – Local
into their own hands. 5 days after the photo of the jumper was released
riots began across South African H&M stores which forced the brand to
celebs outraged over racist advert
stop trading. Mannequins and rails were thrown to the floor, posters ripped
from the walls as the radial opposition party in Johannesburg trashed stores
causing thousands of pounds of damage. (thewest.com, 2018)
It seems that racial occurrences with brands may make consumers boycott them, consumers actually boycott brands
for other reasons. A survey found that 51% of people would boycott a brand that supported a political party that they
didn’t whereas only 44% of people would boycott a company with racism. (www.onbuy.com, 2017) Whether brands
are actually boycotted because of negative media attention is also questioned. W24 magazine did a poll, where 51%
of people said they have never actually boycotted a brand after ‘they’ve done something you haven’t agreed with’.
(w24.co.uk, 2018)

(thewest.com, 2018) “Racism and Sexism

Key Findings are key triggers for brand
Some brands such as H&M have been labelled ‘tone-deaf’ (w24.co.uk, 2018) through their fashion boycott... 58 percent of
garments that continue to perceive to be racist. They have since hired a global diversity manager whom respondents said they would
hopes this will stop the same racial mistakes occurring, a change which shows that H&M are truly sorry boycott brands or retailers that
for the racist clothing garments. The repercussions of the incidents directly effect a brand, such as appeared racist.”
the protests in South Africa and that H&M in particular are sitting on $4.3billion of unsold goods and a
62% drop in profits since February. (harpersbazaar.com, 2018) Though the case of the monkey jumper (globenewswire.com,
and the lack of sales may not have a correlation they both occurred in the same time frame and with 2017)
bloggers saying they have started to boycott the Swedish retailer they will need the newly appointed 16
(theguardian.com, 2017)
manager to try and rectify their tarnished reputation.
 While looking at consumer attitudes and responses to diversity issues, it is prevalent to see what consumer groups are targeted and the most accepting to social change regarding diversity. If brands do
Consumer Groups not notice what each generation they are marketing towards wants it could create issues for the brand as they are not targeting their audience correctly and can lead to customers no longer having brand
loyalty.
Millenials
The generation born between 1980 and 2000 said to be the first people to come of age in the 21st century and having to deal with the technological
changes and how to navigate the new age. (nytimes.com, 2014) Given the nickname ‘Generation Nice’ they are said to be sceptical of political and
religious institutions and prefer to create solutions that challenge the moment. (nytimes.com, 2014)
“First, American millennials grew up in an era defined by the September 11 terrorist attacks. Most of them were old enough to grasp the severity of the
event when it occurred, and still remember it now. They then came of age during the wars in Afghanistan and Iraq, and the intense political polarisation
those helped usher in.
Millennials were also between the ages of 13 and 27 when the first black president was elected in the US – largely on the strength of the youth vote.
They also came into adulthood in the midst of the ensuing recession, which shaped many of their career trajectories for years to come.” (independent.
co.uk, 2018)
Also labelled the ‘me, me, me’ generation they are the largest generation yet with 2.5 billion worldwide as well as being the most ethically and diverse
generation. They grew up alongside technological advances so have a high dominance of social networks. (whymillennialsmatter.com, n.d)
On fashion, the millennials prefer ‘disposable’ clothing items from stores such as Zara and H&M however only 16% of millennials make the majority
of their purchases on a mobile device.(forbes.com, 2017) They spend $600 billion a year and by 2030 predicted to be 35% of consumer spending.
(forbes.com, 2017) They as a whole are driven by fast fashion and mix fast fashion retailer items to make looks that dupe catwalk looks however do
invest in luxury accessories such as handbags. (digiday.com, 2017) The millennials are money savvy and conscious about saving in the age of where
they may never own a house, they shop frequently where they can use coupons or get discounts. (forbes.com, 2017)

Generation Z
Generation Z is the most recent generation with people born after 1995 and by 2020 are predicted to account for one third of the US population.
(huffingtonpost.com, 2016) They are the most connected, educated and sophisticated generation yet.
“Gen Z’s have been born into the crisis period of terrorism, the global recession and climate change. They are predicted to spend their young adult
years in a time of economic and social renewal. They are also living in an era of changing household structures, and are the students of today and
university graduates, employees and consumers of tomorrow.” (generationz.co.au, n.d) Generation Z are driven and competitive and have the most
optimism and inclusive attitudes. They value diversity alongside their open-mindedness. (inc.com, 2017) Seventy-three percent believe in marriage
equality in the US, 74% believe in equal rights for trans¬gender people, and nearly two-thirds say their
generation is pushing the boundaries of what it means to be feminine and masculine.
(WGSN.com, 2015)

The generation want self-expression and privacy and prefer social media platform Tumblr to Facebook. (wgsn.
com, 2015) They are said as a whole to have an 8 second filter; a limited attention span but are able to process
more information and have extreme screen multitasking. (wgsn.com, 2015)

Generation Z seem to care less about prices than the millennials; only 58& of generation Z compared to 71%
millennials say they follow an advertisement to make a purchase. (huffingtonpost.com, 2016) Because of their
more open-minded attitudes, Generation Z breaks down barrier with gender neutral clothing.

Key Findings

The two generation groups millennials and generation Z were chosen for this comparison as they
are the most recent generations and would be most relevant to the development and outcome of
this project. Side by side comparisons show that millennials have a significantly higher purchasing
power forecast and favour Facebook over Snapchat. Generation Z are future focused and
realists, whereas millennials are focused about the now and are optimist; they are very different
(buxtonco.com, n.d)
generations an brand may struggle to target both groups. However, with the growth of generation
Z and them being more in touch with caring about diversity and equality, they are the generation 17
(wgsn.com. 2015) to watch for brand growth and brand awareness.
How Do Consumers Shop? Through looking at the different consumer groups that are apparent to social changes such as
attitudes to race, the millennials and generation z in particular, it is to be shown exactly how they
shop and make purchases. In a survey conducted in 2017 of 1000 people, it was discovered that
they were split into three groups; people who shop online 32.5, in-store shoppers 29.70% and a
combination of both 37.8%. (prnewswire.com, 2017)
Brick-and-Mortar
The advantage of shopping in store is a personal experience that is brought forward through
emotions. Consumers whom shop in store feel the need to see and touch merchandise as well
as not waiting for delivery (prnewswire.com, 2017) as well as 75 percent of people said the

E-Commerce
experience of human connection and personal interaction was the reason they bought in store.
(business.com, 2017)

“Millennials are leading a change in purchase trends,” said Rodney Mason, global vice president
of marketing at Blackhawk Engagement Solutions. “As such, it’s incredibly important for retailers
and retail marketers to understand how to appeal to this demographic. Millennials are savvy
shoppers and many have come of age in a post-recession era, and our research shows that this
group routinely comparison shops on mobile to get the best value and shopping experience.”
(entrepreneur.com, 2015) Millennials still rely heavily on smartphones to make their purchases;
Millennials, sometimes referred to as generation Y, have a ‘see and buy’ shopping mentality where
they will see things and instantly buy them. Generation Z is different as they look upon social
approvals for potential purchases to see what their peers think on social media platforms.
Though Generation Z are technology savvy and use multiple screens at once, they still shop in-
store; 58% see high-street shopping as their preferred method of shopping. Whereas to millennials
they prefer shopping online with 60% and only 40% preferring in-store. (retail-assist.co.uk, 2016)
Generation Z see shopping as a social activity; as part of their day out to spend with family and
friends this could be perceived due to them being new to having social freedom and exploring their
town or city centre. (retail-assist.co.uk, 2016) “It’s possible that Gen Z prefers to shop in stores
because they often don’t have their own credit or debit cards, though they also prefer to pay with
their phone or wearable devices more than other generations.” (uk.businessinsider.com, 2017)
Generation Z do not have a high brand loyalty so therefore, have the power to switch between
retailers. (fitch.com, n.d)

Generation Z’s ‘Five Points to Purchase’

Millennials are more likely to shop across channels; they buy online and return in store or browse
online before they shop in store. 92% of millennials do this in comparison to 75% of generation
Z whom do this. (retail-assist.co.uk, 2016) Millennials are more likely to use incentives such as
click and collect that generation z. 60% of millennials would make a purchase due to social media
recommendations (such as platforms of YouTube, Facebook, Twitter and Instagram) whereas
generation z is 73%. (retail-assist.co.uk, 2016)

“Millennials and Gen

Z buyers actually represent
FITCH is an online consumer experience analyser of which connects brands to
the future for retail stores,
consumers and focuses on the rise of generation z as a valuable consumer. FITCH
but they’re different from other
predicts there are 5 distinct stages of generation z on how they purchase products
with each stage having ‘key drivers, touch-points and behaviours’ (fitch.com, n.d)
generations in that they’re seeking
STAGE ONE; Finding out
a more personalized experience
They scan social media and multi-task on their multiple screens. Touchpoints include;
with the products they shop for.”
peer suggestions, celebrity endorsements, celebrity collaborations, TV adverts,
(marketingland.com, 2017)
YouTube advertisements and sidebars, magazines and store visits. (fitch.com, n.d)
STAGE TWO; Browsing
They start with search engine Google and remix style trends to create their own look.
(fitch.com, n.d) Touchpoints include; google, brand websites, screenshots and screen-shots. (fitch.
com, n.d)
STAGE THREE; Decision Making
Key Findings Generation Z seek approval from peers. Touchpoints are price comparisons sites as
well as visit stores again. (fitch.com, n.d)
STAGE FOUR; Buying
Researching both generation Z and millennials shopping patterns was interesting as it was made apparent that Generation Z are cash poor but savvy and use bargain websites to make the most
generation Z still heavily shop in store even though they are extremely technology savvy. Through this, they use of the money they have. Touchpoints are eBay, planned store visits and bargain /
search engine google to have price comparisons amongst brands and have a high tendency to browse. They seek second hand websites. (fitch.com, n.d)
social approval and will look to their peers before making purchases. They do not tend to have brand apps on their STAGE FIVE; Show and Tell
mobile phones. Looking at their purchasing behaviour was also interesting, as they have a 5-step purchase of After purchasing, generation z immediately wants to connect with peers to show
which steps two to four are considered to be ‘browsing’ but seem more like hesitation and want to ensure they are what they have bought. Touchpoints include social media platforms, SMS photos,
purchasing the right product and perform their own market research to compare price. instant chat apps. (fitch.com, n.d) 18
The Want For Personalisation? In today’s society, its often the retailer that go that little bit further that have the most brand loyalty and success, consumers often want personalisation
throughout their shopping experience as well as in the products they are purchasing.
“These findings point
When making purchases between retailers, 48% of Generation Z states they like when retailer websites remember their previous orders and this to a generation that values a
leads to product recommendations and overall provides a good customer service experience for them. (mobilemarketingmagazine.com, 2017) Even seamless, low friction experience
though generation z surprisingly still enjoys shopping in-store, the tech-savvy consumer wants a personalised online experience making it more of online. An experience that is
an enjoyable process. Generation Z are less inclined than millennials to have brand loyalty and retailers are using personalisation and personal shaped by relevance and consistent
experiences to build and maintain a relationship with this generation. The personal experience by retailers includes enhancing in-store and online personalisation across every aspect of
strategies to create fun and experiential experiences as well as offering personal products of which the generation want. the online environment - not just search,
recommendations and navigation but
A survey conducted by engagement company Crowdtwist looked into the shopping habits of Generation Z and suggested “that brands must build product selections, listings and sort
personalized experiences, facilitate engagement across all channels including in-store, online,
orders,”
social, and mobile, and provide relevant loyalty rewards and a wide range of opportunities to
(mobilemarketingmagazine.com,
earn loyalty program points, that includes playing games and writing reviews.” (thedrum.com,
2017) The survey also found out that 75% of Generation Z are willing to share personal information 2017)
such as emails in exchange for a more personalised experience.

It It is considered important for retailers to be able to tailor their product range to each customer; this being
based on what they want to buy, what they’ve bought before and future recommendations. It is not only the actual purchasing
process generation z want personalised but the actual products they buy too. In a generation that is powered by social media
and the want to share with peers. Key social media influencers and celebrities have been the forefront for personalised
fashion with designer pieces such as Burberry and Gucci,

Selfridges even have dedicated a section of their website to personalised gifts and personalised products. In Topshops S/S16
show, the models wore personalised t-shirts of which customers could design their own and purchase them in their Oxford
Street flagship store. The trend of personalisation hasn’t gone away since then, with embroidery patches taking control on
how to customise any garment or accessory with words, pictures and intimate meaning to the consumer who designed them.
Topshop, H&M and Monki as well as phone accessories company Skinny Dip all sell packs of patches that they encourage
customers to use on products they buy instore to create the ultimate personalised, one of a kind product.

(telegraph.co.uk, 2015)

Key Findings
It is clear to see that Generation Z are very fond of personalised services and products provided by brands. The
overall experience for them is important, with them preferring more personalised experiences over privacy and
security of their information. Generation Z likes brands that make recommendations of things to buy from the items
they’ve already purchased. Also liking features such as ‘other people looked at’ or ‘other people also bought’;
this tends to create more brand loyalty as they brand recognise their shopping habits as well as provides them
to information as to what other consumers are buying. Generation Z are also keen on the actual products they
buy being personalised and able to be customised depending on their individual characteristics and interests;
designer brands such as Burberry have mastered this concept however this brand is predominantly out of reach
for Generation Z due to its price point. High-Street retailers such as H&M and Monki are increasingly selling iron-
on patches in different styles which can be suited to individuals who want to personalise clothes as well as create
anagram with initials which show the personalisation of each consumer.

19
(k3retail.com, 2015)
 Primary research was conducted in the form of a questionnaire to see what current attitudes consumers have and their awareness of diversity issues within the fashion industry. Different age groups
Consuer Survey- Primary Research as well as genders were asked to get a varied result of answers and analyse between them. The survey was shared amongst social media platforms such as Facebook and Twitter, this was to directly
target people to answer the survey as well as have a larger reach of responses. The overall survey was answered by 150 anonymous participants and consisted of 10 questions.

Question 1- What is your age? Question 2- What is your gender?

(surveymonkey.com, 2018) (surveymonkey.com, 2018)

Key Findings- Question 1 Key Findings- Question 2

The first question was a general question to gather the ages of participants. The
age ranges were from under 18 to over 65, split into smaller age groups, to see the
different opinions of consumers based upon their age. The biggest age group to
answer the survey were 18-24 year olds with 68.37%, which falls into the millennial
generation and early generation Z.
The second question was another general question to decipher what the gender
of participants was and whether this would affect their answers given. Male par-
ticipants had 26.2% of the answers and females have 71.7%; 2% of people whom
answered the survey preferred not to disclose their gender.

Question 3- Do you believe there is a diversity issue within the fashion industry?

Key Findings- Question 3

Question 3 introduced the definition of Diversity so that the participants understood the
whole survey. “The concept of diversity encompasses acceptance and respect. It means
understanding that each individual is unique, and recognizing our individual differences.
These can be along the dimensions of race, ethnicity, gender, sexual orientation, socio-
economic status, age, physical abilities, religious beliefs, political beliefs, or other
ideologies” (oxforddictionary.com, 2018) It followed to ask whether people believed there
was a diversity issue within the fashion industry to which 61% answered yes. This was
a good response to have as it shows consumers are aware of diversity issues within the
industry and that they are clear to see from a public perspective and perhaps someone
who is not knowledgeable about fashion.
(surveymonkey.com, 2018)
20
Consuer Survey- Primary Research Question 4- What do you believe is the biggest diversity issue within fashion? Question 5- In a recent survey 78% of models in Fashion Week Shows were white. Do
you personally see this as a problem?

(surveymonkey.com, 2018) (surveymonkey.com, 2018)

Key Findings- Question 4 Key Findings- Question 5

Question 4 was a multiple-choice question which allowed the respondent to answer more
than one answer. It asked what is he biggest diversity issue within the industry with op-
tions including ethnicity, gender, age and physical appearance. Though Ethnicity got 31%
as being the biggest issue and gender with 25%, it was surprise that physical appearance
got 75% of the responses as the biggest diversity issue; with plus size and physical dis-
abilities considered. Age received 24% compromising mostly of the 55-64 and 65+ age
groups.
Question 5 asked respondents about their attitudes to racism within the industry. 68.7%
answered yes there should be more models of colour whereas 6% of respondents an-
swered no. There was also an ‘unsure’ option to the question, for people whom may not
see all social / diversity issues the same, of which this had 25.3% of respondents votes
which is a slight shock that so many participants are unaware of racism in fashion.

Question 6- UK female models get paid 75% more than male models.Do you believe
there is gender inequality within the fashion industry?

Key Findings- Question 6

Question 6 introduced the gender inequality within diversity of the fashion industry. 84%
of participants answered yes, all models should be treated/ paid and booked the same
which is interesting to note as the previous question was how models are booked based
on colour and that wasn’t as much as a clear winning answer as yes was within gender
inequality. This then shows that within this focus group racism is overlooked compared to
how models are paid and treated based upon their gender.

(surveymonkey.com, 2018)
21
Consuer Survey- Primary Research Most Accepting To Diversity

Question 7- For the final outcome of this project a collaboration with a brand will be created.Please order these
retailers in order of how you see them from most accepting to diversity to least. 

(brandsoftheworld.com, 2018)

(brandsoftheworld.com, 2018)

(brandsoftheworld.com, 2018)

(surveymonkey.com, 2018)

Key Findings- Question 7

Question 7 allowed the respondents to associate brands to how accepting they are to diversity. Five high-street stores were chosen for this question
due to their accessibility of which consumers would have knowledge upon them and most likely have shopped within the retailer. H&M, Zara, New Look, (brandsoftheworld.com, 2018)
River Island and Topshop were chosen for this question as they were studied throughout the research folder. H&M was voted number 1 being the most
accepting to diversity in the eyes of the participants and New Look was voted the least accepting to diversity. This comes as a surprise following H&M’s
racial scandals they have faced as of recently, however this seems to have either been overlooked with this question or have been forgiven.

The questionnaire also asked participants if they could think of an discrimination events that
took place within the fashion industry as well as their views on a collaboration with a high-street
brand. The analysis of these three questions will feature in the development folder as this will
be the starting point of the development of the project.
Least Accepting To Diversity (brandsoftheworld.com, 2018)

22
Summary of Findings Through looking at different types of discrimination within the fashion industry, it shows that the
industry is still a long way from full diversity and has lots of flaws amongst brands, models, fashion
magazines and fashion advertisements.

While conducting research to fill each topic of the research folder different diversity issues were
looked upon to explore not only the obvious diversity issue of race but other over-looked issues
such as physical appearance to understand the gap in the industry and try to question if it will ever
be fully diverse.

While looking into racism it was apparent that the industry is still very much racist with all white-
catwalk shows still being apparent as well as cultural appropriation. The timeline of racism only
chooses a short time-frame of events from 2008-2017, of which there are still more recent racist
occurrences in the industry. Through societies changing attitudes it is still apparent that racism still
is an issue as it is not noted by everybody, this becoming apparent with the rise of the link between
race, politics and fashion to get voices heard.
Gender inequality it is still apparent in the industry; that it is not only in-equal through the pay
of models on the catwalk and in brand Head offices. There is however a changing attitude in
transgender models and how they have become accepted in the fashion world and are now taking
over the industry as the faces of important and powerful brands such as Diesel Tom Ford and
Givenchy. Also, the rise again of gender neutral clothing and the apparent of it now staying in the
case of John Lewis genderless children’s wear and H&M and Zara’s gender-neutral clothing ranges.
Discrimination through age is also noted, though the catwalks upon London Fashion Week and New
York fashion week are becoming more accepting. The changes as well with personal appearances
within the industry were also researched, with plus size and size zero models still being an issue
within the industry. A leader within this sector is Missguided whom their campaigns and in-store
mannequins are spreading body positivity for different body shapes as well as individual flaws
which are creating positive change.

While looking at consumer groups it was noted that generation Z are the influencers for social
change and are a generation as a whole whom do not confined to social normalities, as they are
the current and most accepting generation while the population is rising it is apparent that the
development folder will take influence from generation Z and a collaboration will be designed as
them as the target demographic.

Collecting the primary research in the form of the questionnaire allowed the author to have direct
responses about the fashion industry and its diversity issues. One surprise from the findings was
that physical appearances in the sense of plus size and physical disabilities was seen as a more
diverse issue that that of ethnicity and gender. As well as the respondents views on that models
should be treated the same based on their gender but perhaps not because of their skin colour.

In conclusion, will all the sections of diversity explored and taking in consideration all the research
that was found, the basis of the development folder will consider racism as well as personal
(vogue.co.uk, 2017)
apperances as its main diversity issues as the author believes these are the sectors that is lacking
in change and following primary research it is seemed that consumers are unsure upon their
attitudes on ethnicities and diversity should be brought to their attention as well as discrimination
to body size. A collaboration with a brand will be created as well as a seperate online tool which
aids consumers in shopping.

23
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