Creative Spin Tactical Plan

Tactical Plan

By Emily Meeson

This report aims to outline the tactical plan for the launch of the “Antimode Zine”. A campaign that aspires to educate its readers on the downsides of nostalgia marketing. The campaign has positioned the Zine as a new publication that will release regular issues, each issue exploring a different trend within fashion campaigns and delving into the ethics behind these trends. This tactical plan will focus on the “nostalgia edition” of the publication analysing the need for a campaign such as this, finding the target market and assessing the overall success of the Zine.

Goals of the Zine

The overarching aim of this zine is to highlight the negatives of nostalgia use in fashion marketing. It aims to showcase the oversaturation of nostalgia. Additionally, how nostalgia can lead to overconsumption, negative thoughts, and a rise in speed of the trend cycle.

Research has accentuated the fashion industry’s addiction to nostalgia (White Sidell, 2017). Many believe that this has led to a lack of experimentation in designs and silhouette (White Sidell, 2017). Nostalgia on social media has also led to the speeding up of trend cycles or the “TikTok-ification” of nostalgia (Richardson, 2022). The rise of social media has also led to a new era of trend growth. Trends are no longer being decided by designer brands (Hitch, 2023). They are now aligning with Blumberg’s “bubble up trend effect” (1974), where trends are decided by the many, not the few.

Nostalgia serves as a coping mechanism during turbulent times, which fuels its prevalence in marketing (Moore, 2022). However, the zine aims to challenge the notion that nostalgia is always positive, citing its association with overconsumption and sustainability issues (Wang and Chao, 2020). Additionally, it highlights the disparity between nostalgic fantasies and reality, cautioning against dwelling in the past to avoid negative psychological consequences (Baker, 2021).

Overall, the zine will seek to showcase the over-usage of nostalgia and to inspire young people to look for other areas of inspiration. Moreover, to be aware of brands marketing ploys.

Gen Z with an interest in fashion and young fashion professionals, will be the main target for this campaign, due to Gen Z’s susceptibility to nostalgic marketing (Caballero, 2019). Gen Z struggle with balancing their fashion consumption alongside their desire to be more sustainable (Williams and Hodges, 2022). So, a publication highlighting additional negative sides to fast fashion may assist in this transition.

So, why are Gen Z so captivated by nostalgia?

According to the Strauss-Howe Generational Hypothesis (1991), Gen Z are an adaptive generation (see Figure 1). An adaptive generation refers to an age group who have grown up as overprotected children during a time of crisis and chaos (McDaniel, 2020). Events such as the War on Terror, Great Recession, The Pandemic, The RussoUkrainian War are part of this causation (Howe, 2022; McDaniel, 2020). The events of the past two decades may explain why Gen Z has such a connection with nostalgia, as they long for a simpler time without crisis. Nostalgia helps to ease the transition between the past and the present (Campoamor, 2020).

We can also further explain Gen Z’s connection with nostalgia by analysing the current external factors that are affecting their lives. This DESTEP showcases current headlines that are potentially influencing Gen Z’s anxiety surrounding the future, which can explain their partiality for the past. Their future is uncertain, and nostalgia serves to alleviate existential anxieties and mitigates the impact of mortality salience (Deckman et al., 2020; Juhl et al., 2010) (See App. 2 for full DESTEP).

Figure 1. See App. 1 for full table.

See App. 2 for full

The next step in creating this zine campaign is to ascertain which brands have heavily relied on nostalgia and the reasons behind this. To do this we shall look over several campaigns that exemplify nostalgia in marketing. To understand the way in which these campaigns create nostalgia for their consumers we will use a Meta-analytical Theoretical Framework for Nostalgia, theorised by Santini et al., (2023). Santini et al’s theory examines the moderators that influence the effects of nostalgia such as nostalgia activators, cultures, and individual characteristics. We will use this theory to understand how brands use different moderators to cause nostalgia. In the figure below the moderators that influence the effects of nostalgia the most are highlighted.

Nostalgia

Nostalgia Activators

Nostalgia Recall - events vs objects

Nostalgia Intensity - real vs nonreal

Nostalgia Concept - people vs no people involved

Nostalgia Priming - visual vs textual

Nostalgia Type - personal vs collective

Culture

Cultural Orientation - long term vs short term

Psychological and Behavioural Responses

Pleasantness Self-continuity Attitudes

Behavioural intentions

Individual Characteristics

Gender Ratio - female vs male

Mean age - older vs younger

Events Intensity – Real Concept – People Priming – Visual Type – Collective

Tiffany’s About Love Recall – Events Intensity – nonreal

PLT X Kappa Recall – Events Intensity – non-real Concept – People Priming – Visual

Calvin Klein’s The Reissue Project

Tiffany’s About Love

Nike X Billie Eilish

Bella X ABOUT YOU

PLT X Kappa

Figure 3 See App. 4

detailed table

There are currently a few zines on the market that sit within a similar sector to which the Zine will sit in.

Fanzine by Fashion Revolution: What’s the point?

This Zine is released by Fashion Revolution, a charity that was founded in 2013 after the Rana Plaza disaster (Fashion Revolution, 2024). They have since become the world’s largest fashion activism movement. Their zine seeks to “uncover the stories behind the clothing we wear” (Harper, 2019). Their zines channel complex messages to their readers in a visual way (Fashion Revolution, 2024).

Sum Zine

What’s the point?

Hate Zine

What’s the point?

Described as “an accessible independent platform focused on social issues” (Hate Zine, 2023). The Zine is a collaborative publication that takes from various contributors to look at subjects such as climate change, social issues, political issues in a creative format.

Sum Zine is a slow fashion zine, that focuses on encouraging sustainability and creating conversation around ethical fashion industry practices (Harper, 2019). They are inspired by a phrase from Vivienne Westwood (2023): “Buy less, choose well and make it last”.

Tender Zine

What’s the point?

Photographer Heather Glazzard was inspired to create this Zine after a nasty interaction at a casting call (Rodgers, 2021). They believed it was important to create art that nurtured and nourished its subjects.

To find an appropriate place for the zine within the market, competitors within the Fashion Zine Sector were analysed alongside an axis of: Artistic/Educational and Mainstream/Fringe. This was decided by looking at the body of work each Zine had and whether they had a large following. Overall, we decided the best place for our campaign is between Educational and Fringe but still with a focus on the Artistic side. We believe with this positioning we can capture consumers that really care about a change being made in fashion marketing and communications.

Educational Artistic

Mainstream

Fringe

Tender Zine

Figure 4

wareness

To ascertain the best channels of communication for this campaign we have used the AIDA model to create a communication plan that will gain readers for the zine.

A press release will be sent to brands like Dazed, known for their online Zine library (Dazed, 2023). The Zine will be promoted on TikTok, which is popular among Gen Z (Thomas, 2024).

nterest

Educational TikTok’s exploring nostalgia’s impact on fashion marketing will be posted regularly to build a following. As will fashion industry news, analysis, and campaign reviews.

esire

Previews and behind-the-scenes content will be shared on TikTok to create anticipation. Reviews from early readers will generate hype. A networking launch event will include Zine readings and interactive activities (see event concept).

ction

The Zine will be launched on digital publication site, Issuu and promoted on social media. Physical copies will be distributed to zine libraries, cafes, and universities to reach fashion students.

Research shows that we are more nostalgic in colder months (Hepper et al., 2024), which is why brands pander to our nostalgia need during the Fall/Winter Fashion season. For this reason, the nostalgia edition of the Anti-mode Zine will be launched around the Fall/Winter 2025 London Fashion Week, taking place 13th-17th February (Maison Vivienne, 2024). We will launch the Zine shortly after LFW so consumers have time to decompress and can the view our zine from an enlightened perspective.

To ascertain the success of the Anti-mode nostalgia campaign we will use metrics from the sites and social media where the Zine has a presence.

On TikTok, where we will be posting educational and insightful fashion content; it will be key to track the views, comments, and follows to see how engagement grows. Making sure when content is posted we track reactions and notice any changes in engagement. We will also monitor the click through rate (CTR) of people who view our zine after viewing our TikTok’s.

On Issuu, where our Zine is published digitally. It will be key to trace the amount of reads and views to judge the success of the campaign. We will observe the time spent reading the Zine, to confirm that the Zine is being thoroughly read. It is also worth noting whether people are clicking on the links to resources within the Zine, as we want to provide useful resources for our consumers.

Additionally, it will be key to keep watch over general comments, reviews, and interactions with consumers. We will track these alongside levels of engagement, to make sure we are putting our consumers first.

Limited Audience Reach –

As a start up Zine it will be difficult to reach a wide audience early in the zine’s lifespan.

What can we do?

It is vital to take thorough research into the target audience, making sure we understand their interests and what makes them tick. We will make sure to heavily push our TikTok strategy to capture our desired audience.

Competition from established publications –

There are many Zines already populating the market.

What can we do?

Our Zine is different from other publications, there aren’t any Zines focusing on fashion marketing trends, we will corner our part of the sector and draw in consumers.

Negative feedback –

There is risks of receiving negativity when addressing issues within popular industries.

What can we do?

We will endeavour to address any valid criticism and make changes if they are required.

Using the Shannon Weaver Model of Communication, we will unpick responses from consumers to understand how to improve the campaign.

The Sender is the zine as a brand. The brand of “Anti-Mode” wants to disrupt the industry by debunking fashion marketing trends. It wants to create a change for good.

The Zine aimed to send the message that nostalgia is overused, causes overconsumption, and can lead to looking negatively at one’s life.

The noise is the other creators online that create similar content. Additionally, if there are some technical issues, for instance, within a survey carried out some respondents struggled to read the campaign, as they were looking on their phones.

The Zine has two primary channels: Issuu and TikTok. TikTok’s that were posted as a part of this campaign received a respectable response of over 7000 views total and over 700 likes (see appendix 5). This shows that if the promotion continued anti-mode could have a large social media presence.

The campaign has had a positive response from consumers. In a quantitative survey (see appendix 7) the overall design of the zine was rated four out of five. 76% of respondents enjoyed the informal tone of voice and found it easy to understand. Respondents enjoyed the photos in the zine, the design, the article talking about negativity from nostalgia. However, respondents were unsure about the use of a poem in the zine, some were also unsure about what a zine was. It was a drawback in research that some respondents didn’t know what a zine was, so it will be imperative in future to fully explain the concept to survey respondents.

There are two ways in which the campaign could be perfected.

Consider the content.

As some comments were made in the survey about the inclusion of a poem within the Zine, each piece of content needs to be thoroughly considered. One respondent suggested that maybe a small introduction to the poem which would clarify why it is included, since then an introduction has been added. It is important to look at the campaign from the consumers perspective to make sure it is easy to understand.

Other comments were also made about the sizes and legibility of the text within the zine. Future Anti-Mode Zines would have a more accessible look to them, so nobody is excluded from reading our zine.

References

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Figure 1 -

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Figure 2Santini, F., Lim, W.M., Ladeira, W.J., Pinto, D.C., Herter, M.M. and Rasul, T. (2023). A Meta-analysis on the Psychological and Behavioral Consequences of nostalgia: the Moderating Roles of Nostalgia activators, culture, and Individual Characteristics. Psychology & Marketing, 40(10). doi:https://doi.org/10.1002/ mar.21872.

Figure 3Santini, F., Lim, W.M., Ladeira, W.J., Pinto, D.C., Herter, M.M. and Rasul, T. (2023). A Meta-analysis on the Psychological and Behavioral Consequences of nostalgia: the Moderating Roles of Nostalgia activators, culture, and Individual Characteristics. Psychology & Marketing, 40(10). doi:https://doi. org/10.1002/mar.21872.

Figure 4

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hate zine (2023). hate zine. [online] hate zine. Available at: https://www.hatezine.co.uk/ [Accessed 3 Mar. 2024].

Jen, T. (2014). Sum Zine. [online] Tiffany Jen – Designer. Available at: https://www.tiffanyjen.com/sumzineraw [Accessed 3 Mar. 2024].

Figure 5

Rawal, P. (2013). AIDA Marketing Communication Model: Stimulating a Purchase Decision in the Minds of the Consumers through a Linear Progression of Steps. IRC’s International Journal of Multidisciplinary Research in Social & Management, 1, pp.37–44.

Figure 6

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