Research Proposal

JANUARY 2021

RESEARCH PROPOSAL

INTERNATIONAL FASHION BUSINESS

An exploration into sustainable consumerism in the UK Luxury Fashion Market.

International Fashion Business FASH30013: Fashion Industry Trends and Innovation Heather Spenceley NO829119 2050 words 15/01/2021

contents PART 1

PART 2

PART 3

1 ABSTRACT 2 RATIONALE

3 AIM & OBJECTIVES

5 METHODOLOGY 5 data collection 7 data analysis

PART 4

PART 5

PART 6

9 PROPOSED LITERATURE & TOPICS 10 the concept of luxury 11 the luxury market 13 the luxury consumer

15 CREATIVE OUTPUT

17 CONCEPT MAP 19 REFERENCES bibliography appendix

PART 01 - ABSTRACT

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ABSTRACT Luxury is a subjective concept whose definition has evolved over time. The term has experienced semantic changes that reflect the construction of our modern consumer society and in the market today, luxury operates as a form of social recognition (Chevalier, 2012). This study will take the topic of luxury consumerism; a phenomenon which has been evolving for centuries in the fashion market in parallel with changing societal attitudes toward topics such as environmental sustainability. In recent years, luxury brands have made controversial business decisions relating to sustainability, leading to backlash.

Provoking the question, how well does this sector align with sustainability?

An example is Burberry’s controversial decision to burn unsold stock. In 2017 the British fashion house burned £28.6m worth of surplus stock to prevent items being stolen or sold cheaply (BBC news, 2018). This disposal technique is common in the fashion industry, especially in the luxury sector (Pinnock, 2018). In today’s climate, most executives and entrepreneurs can easily recognise that corporate sustainability has become a business requirement (Gardetti, 2019). In a world where corporate sustainability is expected, some may question luxury brands’ receptivity to toward sustainable practices, and consequentially the demands of their consumer. Experts are already noticing some changes in the luxury industry during the pandemic-induced recession. In their Future Forecast 2021 Report, The Future Laboratory (2020) noted that a “more considered luxury attitude is emerging” and that the fashion industry is “set for a slower, more responsible approach” resulting from the ongoing pandemic.

“A MORE CONSIDERED LUXURY ATTITUDE IS EMERGING”

THE FUTURE LABORATORY (2020)

RATIONALE

This study aims to decode the outlined attitudes toward sustainability and what it means for the UK luxury fashion market, taking the pandemic into account. This study will then investigate how this information can be applied by the luxury market to ensure correct alignment with the target consumer, amid and after a pandemic.

Sustainability is a prominent topic impacting fashion consumption and this is only being accelerated by the pandemic (Future Laboratory, 2020). This study is fascinated by the historical association of the word ‘luxury’ with “excessive or unnecessary, redundant, expensive objects” (Chevalier, 2012) contrasted by sustainability.

One definition of sustainability is “the ability to be maintained at a certain rate or level” (Oxford Dictionary, nd). The very idea that consumerism in an industry elevated by excess could be ‘maintained at a certain rate’ is thought-provoking and the basis of this study. Being a highly disputed topic at present because of COVID-19, this study will evaluate whether the pandemic truly is reframing the meaning of luxury (Bishop and Houghton, 2020) through its acceleration of sustainability. The findings of this study will be useful to luxury brands seeking connection with the correct consumers during the pandemic and in its residuum.

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PART 02 - AIM & OBJECTIVES

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AIM & OBJECTIVES The overall aim of this study helped to generate the objectives. Under each objective is a set of research questions which will underpin the topics, and subtopics, of the research.

AIM To investigate consumer attitudes toward sustainability in the UK Luxury Fashion Market.

OBJECTIVE 1 To explore the concept and definition of luxury.

1. How is luxury defined and identified?

2. How is luxury segmented?

3. What needs does luxury satisfy?

OBJECTIVE 2 To analyse the current state of the UK luxury fashion market.

1. What is Luxury’s relationship with sustainability?

2. What is the democratisation of luxury?

3. Has the pandemic financially impacted the market?

4. What is digital luxury?

OBJECTIVE 3 To identify and analyse modern luxury consumers.

1. What is the luxury consumer demographic?

2. What are consumer motivations for luxury consumption?

3. Is sustainability and important factor?

4. Do consumers purchase purposefully?

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PART 03 - METHODOLOGY

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METHODOLOGY DATA COLLECTION Luxury consumerism is a well-researched topic, although prior research is limited on the UK market. There is also limited research measuring the true impacts of COVID-19 on the industry, as highlighted by Bain and Company “with the pandemic still developing, it is difficult to predict accurately its full impact on the broader economy and the luxury industry specifically” (D’Arpizio et al, 2020). This quote illustrates how experts are concerned with the economic impacts of the pandemic; however, this study focuses on consumer attitudes relating to sustainability during the pandemic, supported by economic data.

This study aims to gain a comprehensive understanding of sustainable consumption in luxury fashion; therefore, the demographic will be varied. Participants of the research will be of any gender and aged 18 and over, as this age group are typically able to participate in research without gaining informed consent from an adult.

This age range encompasses the later bracket of Generation Z, who comprise the primary luxury demographic (Buckle, 2019). Participants will reside in the UK, the geographic focus of the research.

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SECONDARY

PRIMARY

With the nature of this study being consumer-oriented, research techniques will be predominantly qualitative as to gain consumer perspective. Prior research studies from trusted insights platforms such as LS:N global will be used to understand general consumer behaviour and perceptions towards sustainability in luxury. Much of the secondary sources will be reports and articles covering the latest consumer and industry information, reflective of the pandemic.

Books and journals will be used mainly to source and analyse relevant theories, models and definitions. In store and online luxury behaviour will also be examined using existing qualitative and quantitative research to gain understanding of shopping attitudes and patterns during the pandemic.

Surveys and focus groups will be used to support secondary research and gain a more in depth, current understanding of luxury shopping motivations and perceptions during a pandemic with a focus on sustainability and the related microtrends.

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PART 03 - METHODOLOGY

METHODOLOGY

DATA ANALYSIS

This study will also use theoretical sources such as Maslow’s Hierarchy of Needs to analyse the secondary information collected; these theories will be expanded on later in the proposal. Factor analysis will be used to analyse and organise primary research, this will allow information to be grouped based on different factors and will highlight any patterns in the responses.

LIMITATIONS & CHALLENGES

This study will come with challenges. Firstly, the research has been limited to the UK as it was decided that in the current climate and with the short time frame it would not be feasible to collect and analyse the data in enough depth on an international scale.

Secondly, due to social distancing measures, primary research will likely have to be carried out online. This creates difficulties in observatory research such as detecting non-verbal cues like body language. Online qualitative techniques can be good for breadth of insight, but can sometimes lack depth (Comley & Beaumont, 2011).

Evidently, this is a challenge the researcher may encounter when explaining complex issues in an online focus group or interview.

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PART 04 - TOPICS & LITERATURE

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TOPIC BREAKDOWN & PROPOSED LITERATURE

The research will be organised themeatically under 3 main topic headings, based on the research objectives. These topics will be broken down into sub-topics.

AIM

SUB-TOPICS

TOPIC

To investigate consumer attitudes toward sustainability in the UK Luxury Fashion Market.

OBJECTIVE 1

OBJECTIVE 2

OBJECTIVE 3

The concept of luxury

The luxury market

The luxury consumer

1. Luxury definition and identification 2. Segmentation of luxury 3. The needs luxury satisfies

1. Luxury’s relationship with sustainability 2. The democratisation of luxury 3. Pandemic impact (financially) 4. Digital luxury

1. The luxury consumer demographic 2. Consumer motivations for luxury consumption 3. The importance of sustainability 4. Luxury attitudes during the pandemic 5. Purposeful buying

Fig 1. The proposed thematic structure of research (Spenceley, 2020)

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Table 1

LEVEL 1: INNACCESSIBLE LUXURY Exclusive Made in single units Highest price-tag, few people can afford Tailor/handmade E.g. Hermès

LEVEL 2: INTERMEDIARY LUXURY Limited number manufactured High price-tag Fashion e.g. Louis Vuitton

LEVEL 3: ACCESSIBLE LUXURY “reachable luxury” (Fashionbi, nd) Made in large quantities in factories/workshops Widely available Fashion e.g. Alexander McQueen Levels of luxury (Allérès 1991; Chevalier, 2012)

THE CONCEPT OF LUXURY To understand consumption in luxury fashion, the concept of luxury must first be investigated. There has been much debate around this; therefore, it will be the first topic explored in this study. A vital text is Luxury Brand Management: a world of privilege (Chevalier, 2012). Chevalier discusses the idea of luxury being subjective, comparative to the definition of what is beautiful. This study will build on his idea that luxury now operates as social distinction which holds both positive and negative connotations.

The broad, explorative nature of this text was a source of influence for the proposed sub-topics to be discussed in this section (see fig 1). The text discusses Danielle Allérès model (see table 1) which distinguishes 3 levels of luxury. This model will also be used to define luxury segments throughout the study.

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PART 04 - TOPICS & LITERATURE

THE LUXURY MARKET Next, to achieve the overall aim (see Fig 1) the market must be thoroughly investigated.

Therefore, an analysis of the UK luxury fashion market and its relationship with sustainability is necessary. This topic requires modern texts with reference to the pandemic. The main source will be The State of Fashion Report, 2021 (Amed et al, 2020). This source gives context to the state of the current fashion market, examining the industry going into 2021. Although this report outlines informed predictions over the next year, it is not UK specific. Therefore, other reliable sources and primary research will be used to build upon this information.

Sustainability in luxury will be analysed using Luxury and Sustainable Development (Gardetti, 2019). Gardetti is the Director of both the ‘Centre for study of Corporate Social Responsibility’ and of ‘Sustainable Luxury’, he is therefore knowledgeable in this field. This text reasons that “If sustainability implies a principle of social justice and equality, and some people think of luxury as an excess, then it cannot be moral while there is poverty.” Implying that luxury consumption will always seem immoral to some when there is poverty in the world, so it is therefore contradictory to associate it with sustainability. The text also considers that luxury “promotes a culture opposite to using and throwing away; it is about timeless, long lasting products” (Alexandra de Royere). Therefore, this text provides an unbiased, explorative approach to the relationship between luxury and sustainability, combined with industry outlook.

“LUXURY PROMOTES A CULTURE OPPOSITE TO USING AND THROWING AWAY”

PLANET

Alexandra de Royere (n.d.)

SUSTAINABILITY PEOPLE

PROFIT

Figure 3. The 3 Pillars of Sustainability overlapped model

PLANET

PEOPLE

PROFIT

The 3 Pillars of Sustainability model nested (Fig 2) will be used to define sustainability and discuss its relationship with luxury. Although some confusion surrounds the origin of this model, resulting in its variety of forms (Fig 2 and 3), it is a “dominant interpretation within literature” (Purvis et al., 2018) and the three core ‘components’ (Du Pisani, 2007) displayed will be foundation for this research point.

Figure 2. The 3 Pillars of Sustainability nested model 12

PART 04 - TOPICS & LITERATURE

THE LUXURY CONSUMER It is necessary to research the current luxury fashion consumer to achieve the overall aim of the study. Therefore, this section will concentrate on traits of luxury consumers, with a deeper focus on psychographic tendencies as to understand consumer attitudes.

A text which has been predominantly useful in influencing research topics for this section is Understanding Luxury Fashion: From Emotions to Brand Building (Scott, 2019).

This text discusses the changing needs of modernday consumers, highlighting that factors like health, enlightenment, freedom, social and environmental responsibility are the new luxuries. This resembles needs approached in Maslow’s Hierarchy of Needs (1943), a theory (Fig 4) which will be used in this section to analyse consumer motivations behind luxury purchases and if sustainability is prioritised.

The Conceptual Model shown in fig 5 represents the “different values of luxury consumption as perceived by consumers and their reference groups.” (Wiedmann et al., 2007). Combining personal and interpersonal perceptions of luxury along with situational aspects. This model will be used to understand luxury purchase motivations as it adopts the notion that different sets of consumers have different perceptions of luxury value for the same brands.

Additionally, key consumer reports such as Clothing Retailing: Inc Impact of COVID-19 (Sender, 2020) will be used to analyse behaviour toward luxury consumption during the pandemic. Primary research will be heavily used to support this area of research as it cannot be assumed consumers all fall into the patterns highlighted in the identified texts.

Self-fulfillment needs Selfactualisation Esteem needs

Psychological needs

Belongingness & love needs

Safety needs

Basic needs

Physiological needs

Figure 4. Maslows Hierachy of Needs (1943)

Price Value

Financial Value

Usability Value

Quality Value

Functional Value Luxury Value

Uniqueness Value

Self-identify Value

Individual Value

Hedonic Value Materialistic Value

Social Value Conspicuousness Value Prestige Value Figure 5. The Conceptual Model of Luxury Values (Wiedmann et al, 2007)

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PART 05 - CREATIVE OUTPUT

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CREATIVE OUTPUT

THE ANTHRO COLLECTION One piece of literature which inspired this output is Luxury with Good Intentions (Scott, 2019), which outlines a holistic methodology for future luxury clothing. In this text, Scott provides a speculative future framework born out of the predictions of the Barkcloth Research Network (Appendix 1), where a sustainable process from the design approach to the product end of life is depicted (simplified in Fig 6). This will be the basis for the creative output, depending on the prior findings of the study.

The pandemic has allowed time for reflection on what consumers consider as luxury in their lives and has accelerated the shift toward sustainability. This collection takes inspiration from the idea that sustainability is not just about environmental factors, it is also synonymous with ‘preserving’ or ‘withstanding’. These synonyms connote survival and protection, which will be the focus of this collection.

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DESIGN APPROACH

END OF LIFE

Figure 6. The Barkcloth Research Network simplified (Scott, 2019)

Evidencing this connotation, WGSN reported that “Products that keep people healthy, secure and safe will have a higher value, and will attract more of consumers’ budgets, even in financially impacted households” (2020). Suggesting that consumers at all levels of income are expected to require protection factors. Could ‘Protection Value’ be a new addition to the functional section of the Weidmann et al (2007) Conceptual Model (Fig 5) going into 2021? A multifunctional collection allows for items to be transitioned through seasons, with the added benefit of nourishing or protecting consumers and promoting survival.

“VALUE DOESN’T NECESSARILY MEAN PRICE. THINK MULTIPURPOSE AND MULTIFUNCTIONAL” WGSN (2020)

The name ‘Anthro’ takes inspiration from the ‘Anthropocene Age’. Defined by National Geographic as the Age of Man; established when human existence began negatively impacting the planet (Kolbert, 2019). It is also an abbreviation of Anthropology – the study of what makes us human. Anthropology takes a holistic approach to understanding humanity and what is important to humans (American Anthropological Association, n.d.). This collection would manifest from the findings of what humans want and need from their luxury items following a pandemic.

The concept is a capsule collection of multifunctional pieces which take inspiration from the Barkcloth Research Network.

Produced from sustainable fabrics which nourish and protect, to appeal to the identified multifunctional and security values.

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PART 06 - CONCEPT MAP

06

CONCEPT

PROPOSAL

An exploration into sustainable consumerism and the UK Luxury Fashion Market.

MAP

AIM

To investigate consumer attitudes toward sustainability in the luxury fashion market.

OBJECTIVES

SECONDARY METHODOLOGY

To explore the concept and definition of luxury.

Future Forecast 2021 Report, The Future Laboratory (2020)

To analyse the state of the UK luxury fashion market.

Luxury and sustainable development Gardetti, M. (2019)

To identify and analyse modern luxury consumers.

Measuring Consumers’ Luxury Value Perception Wiedmann et al (2007)

Evaluate the receptivity of the luxury fashion market is to sustainable practices.

Luxury brand management: a world of priviledge.

Chevalier & Mazzalovo (2012)

SEMESTER 1 17

PRIMARY METHODOLOGY

DISCUSSION POINTS

CONCLUSION

PROPOSED CREATIVE OUTPUT

How can these findings be applied to the UK Luxury Fashion Market in the future.

Sustainable, protective clothing range.

The concept of Luxury.

Survey The state and situation of the market.

Focus group Luxury consumers

SEMESTER 2 18

PART 06 - REFERENCES Amed, I., Berg, A., Balchandani, A., Hedrich, S., RÖLKENS, F., Young, R., EKELØF JENSEN, J., & Peng, A. (2020, December 1). The State of Fashion 2021. McKinsey. https://www.mckinsey.com/~/media/ McKinsey/Industries/Retail/OurInsights/Stateoffashion/2021/The-State-of-Fashion-2021-vF.pdf American Anthropological Association. (n.d.). What Is Anthropology? Retrieved January 13, 2021, from https://www.americananthro.org/AdvanceYourCareer/Content.aspx?ItemNumber=2150 BBC News. (2018, July 19). Burberry Burns Bags, Clothes And Perfume Worth Millions. BBC News. https://www.bbc.co.uk/news/business-44885983 Bishop and Houghton, 2020 Buckle, C. (2019, April 1). The Luxury Market In 2019: Consumer Trends And Behaviors. GWI. https://blog. globalwebindex.com/chart-of-the-week/luxury-market-2019/ Chevalier, 2012 Comley, P., & Beaumont, J. (2011). Online research: Methods, benefits and issues — Part 2. https://doi. org/10.1057/dddmp.2011.23 D’Arpizio, C., Levato, F., Fenili, S., Colacchio, F., & Prete, F. (2020, March 26). Luxury After Covid-19: Changed For (the) Good? Bain. https://www.bain.com/insights/luxury-after-coronavirus/ Du Pisani, 2007 Gardetti, M. (2019, December 7). Luxury and sustainable development. Springer Link. https://linkspringer-com.ntu.idm.oclc.org/chapter/10.1007/978-981-15-2047-1_1 Kolbert, E. (2019, July 5). Age Of Man: Enter The Anthropocene. National Geographic. https://www. nationalgeographic.org/article/age-man-enter-anthropocene/?utm_source=BibblioRCM_RowMaslow Oxford Dictionary. (n.d.). Sustainability definition. Lexico Dictionaries. Retrieved January 15, 2021, from https://www.lexico.com/definition/sustainability Purvis, B., Mao, Y., & Robinson, D. (2018). Three pillars of sustainability: in search of conceptual origins. https://doi.org/10.1017/s0376892900011449,Scott, 2019 Sender, T. (2020, October). Clothing Retailing: Inc Impact Of COVID-19. Mintel. https://reports.mintel. com/display/989478/The Future Laboratory (2020 WGSN. (2020). White Paper - The Value Shift — Add Value. White Paper - The Value Shift. https:// createtomorrowwgsn.com/2110643-wp-the-value-shift/6/?_fsi=CQcnU6hRWiedmann et al., 2007 Wiedmann, K.-P., Hennigs, N., & Siebels, A. (2007). Measuring Consumers’ Luxury Value Perception: A Cross-Cultural Framework. Kommunikationsforum. https://www.kommunikationsforum.dk/Profiler/ ProfileFolders/Kkort/luksus.pdf

PART 06 - BIBLIOGRAPHY Amed, I., Berg, A., Balchandani, A., Hedrich, S., RÖLKENS, F., Young, R., EKELØF JENSEN, J., & Peng, A. (2020, December 1). The State of Fashion 2021. McKinsey. https://www.mckinsey.com/~/media/ McKinsey/Industries/Retail/OurInsights/Stateoffashion/2021/The-State-of-Fashion-2021-vF.pdf American Anthropological Association. (n.d.). What Is Anthropology? Retrieved January 13, 2021, from https://www.americananthro.org/AdvanceYourCareer/Content.aspx?ItemNumber=2150 Angel Gardetti, M. (2019, December 7). Luxury and sustainable development. Springer Link. https://linkspringer-com.ntu.idm.oclc.org/chapter/10.1007/978-981-15-2047-1_1 BBC News. (2018, July 19). Burberry Burns Bags, Clothes And Perfume Worth Millions. BBC News. https://www.bbc.co.uk/news/business-44885983 Buckle, C. (2019, April 1). The Luxury Market In 2019: Consumer Trends And Behaviors. GWI. https://blog. globalwebindex.com/chart-of-the-week/luxury-market-2019/ Chevalier, M., & Mazzalovo, G. (2012a, June 18). Luxury brand management: a world of priviledge. VLE Books. https://www.vlebooks.com/vleweb/Product/Index/43750?page=0 Comley, P., & Beaumont, J. (2011). Online research: Methods, benefits and issues — Part 2. https://doi. org/10.1057/dddmp.2011.23 19

D’Arpizio, C., Levato, F., Fenili, S., Colacchio, F., & Prete, F. (2020, March 26). Luxury After Covid-19: Changed For (the) Good? Bain. https://www.bain.com/insights/luxury-after-coronavirus/ DeAcetis, J. (2020, July 9). Digitize Or Die: Technology Makes Luxury Brands More Accessible. Forbes. https://www.forbes.com/sites/josephdeacetis/2020/07/09/digitize-or-die-technology-makes-luxurybrands-more-accessible/?sh=450b474d69e5 Du Pisani, J. A. (2007). Sustainable development – historical roots of the concept. Environmental Sciences, 3(2), 83–96. https://doi.org/10.1080/15693430600688831 Fashionbi. (n.d.). Luxury, A Desirable World Of Exclusiveness. Retrieved January 14, 2021, from https:// fashionbi.com/newspaper/luxury-a-desirable-world-of-exclusiveness Indvik, L. (2020, March 27). Virus Impact On Fashion And Luxury To Be ‘worse Than Recession.’ Financial Times. https://www.ft.com/content/4bee8020-5781-4658-839a-c8d56fc102e7 Kolbert, E. (2019, July 5). Age Of Man: Enter The Anthropocene. National Geographic. https://www. nationalgeographic.org/article/age-man-enter-anthropocene/?utm_source=BibblioRCM_Row Oxford Dictionary. (n.d.). Sustainability definition. Lexico Dictionaries. Retrieved January 15, 2021, from https://www.lexico.com/definition/sustainability Passport. (2020). THE NEW NORMAL IN STORE-BASED SHOPPING FOR FASHION AND LUXURY: WHAT DOES THE FUTURE HOLD? file:///C:/Users/Heather/Downloads/The_New_Normal_in_Store-based_ Shopping_for_Fashion_and_Luxury_What_Does_the_Future_Hold.pdf Payne, S., Cookson, C., & Neville, S. (2020, December 18). Boris Johnson Refuses To Rule Out Third National Lockdown In England. Financial Times. https://www.ft.com/content/7cdf0b71-4f69-48c99ac0-9f6b0c09cebb Pinnock, O. (2018, July 20). No One In Fashion Is Surprised Burberry Burnt £28 Million Of Stock. Forbes. https://www.forbes.com/sites/oliviapinnock/2018/07/20/no-one-in-fashion-is-surprised-burberryburnt-28-million-of-stock/ Purvis, B., Mao, Y., & Robinson, D. (2018). Three pillars of sustainability: in search of conceptual origins. https://doi.org/10.1017/s0376892900011449, Scott, K. (2019, November 9). Understanding Luxury Fashion. Palgrave Macmillan. https://link-springercom.ntu.idm.oclc.org/chapter/10.1007/978-3-030-25654-8_5 Sender, T. (2020, October). Clothing Retailing: Inc Impact Of COVID-19. Mintel. https://reports.mintel. com/display/989478/ Shepheard, M. (2020, June 20). UK net zero target. IInstitute for Government. https://www. instituteforgovernment.org.uk/explainers/net-zero-target The Climate Change Committee. (2019, May). Net Zero - The UK’s Contribution To Stopping Global Warming - Climate Change Committee. Climate Change Committee. https://www.theccc.org.uk/ publication/net-zero-the-uks-contribution-to-stopping-global-warming/ UK Government. (2019). The Climate Change Act 2008 (2050 Target Amendment) Order 2019. Gov.Uk. https://www.legislation.gov.uk/uksi/2019/1056/contents/made WGSN. (2020). White Paper - The Value Shift — Add Value. White Paper - The Value Shift. https:// createtomorrowwgsn.com/2110643-wp-the-value-shift/6/?_fsi=CQcnU6hR Wiedmann, K.-P., Hennigs, N., & Siebels, A. (2007). Measuring Consumers’ Luxury Value Perception: A Cross-Cultural Framework. Kommunikationsforum. https://www.kommunikationsforum.dk/Profiler/ ProfileFolders/Kkort/luksus.pdf Wightman-Stone, D. (2019, June 6). British Luxury Sector Has Grown 49 Percent In Four Years. https://fashionunited.uk/news/business/british-luxury-sector-has-grown-49-percent-in-fouryears/2019060643531 Willersdorf, S., Ricci, G., Bianchi, F., Yang, V., Hazan, J., Prénaud, A., & Seara, J. (2020, July 21). A New Era And A New Look For Luxury. Boston Consulting Group. https://www.bcg.com/en-gb/publications/2020/ new-era-and-new-look-for-luxury

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PART 06 - APPENDIX APPENDIX 1 The framework below has been born from the reflective practice of the Barkcloth Research Network (Scott, K. 2019).

Holistic design methodology explained Design approach Future luxury clothing should be designed to produce tangible and intangible benefits to the wearers, to the makers and to the plant: the styles, shapes, details, materials and textures used should contribute human wellbeing, informed by research from psychology, health and other disciplines. Design must consider waste minimization, waste repurposing and ensure that all components are reusable, recyclable or compostable. Luxury fashion should be innovative, but timeless—not tied to seasonal trends—and be produced in small collections, in limited runs or as bespoke. Great care should be taken to promote lasting value through design, technique and process Materials Natural, sustainably sourced materials should be used for future luxury clothing that help to connect the wearer to the environment and to global, artisan communities. It should be sourced from small producers, from artisan groups, and handcrafted in a way that helps to ensure the preservation of heritage or endangered textile traditions. The materials used should promote lasting value through the craft of their making, their beauty and the stories behind them. They should, as much as possible, provide therapeutic benefits to health and wellbeing and be reusable, recyclable or compostable Dyes Natural, sustainably sourced dyestuffs should be used that add distinctive aesthetic qualities to materials.

As much as possible, any dyes used should impart additional properties to the clothes and their wearers, such as benefits to health and wellbeing or strengthening properties. Colours should be used that age well, to promote lasting value, and the materials should remain fully recyclable or compostable after dyeing Treatments Any treatments applied to the materials to improve properties such as strength, body, wear, and their aesthetic values, must be natural and biodegradable. These might include surface treatments that add colour, lustre, decoration or water resistance, or natural stiffening or softening agents. Any interfacings used must be natural and recyclable or fully compostable Making Making processes must follow a circular approach that considers the values of longevity through lasting attachment, as well as end of life/next life of the garment in all decision-making. The making techniques used for new luxury clothing must show a high level of neocraft that promotes the value of the handmade in contemporary luxury—thus establishing a connection between consumers and makers. Technology will be incorporated as appropriate. Embellishments should provide additional benefits such as strengthening the cloth or adding properties to support wellbeing. Fabric waste must be reused, perhaps in decorative finishes, or repurposed; it should be fully compostable; any beading used should be reusable 21

Sourcing Materials should be sourced transparently, direct from makers, and in ways that provide benefits to those makers beyond the short term. Opportunities for further investment in community and environmental projects should be sought. The story behind the sourcing should be considered crucial to the future of luxury Branding The branding should reflect the ethical position of the brand as well as its other distinctive characteristics.

It should acknowledge the supply chain, so emphasis should be given to the makers, their stories and their craft. The use of ingredient branding is recommended for specific materials to highlight their authenticity and to help protect the intellectual or cultural property of the makers Promotion The storytelling about the product, its qualities, and the makers involved in its creation should be central, with strong educational content to promote social and environmental sustainability and awareness of the lives of others. Promotion should be honest and inclusive, and models used should be diverse and representative of contemporary western societies. It is envisaged that small installations will provide the best way to showcase and promote new luxury clothing, where contact with the product and its story will forge a bond with consumers, and allowing detailed information to be communicated about the processes of their creation. This approach will link the product with art and thus reinforce its status. Technologies such as Virtual and Augmented Reality and 360 degree film will be harnessed for installations and popups. A website will provide information about the brand, its values, the clothing, its makers and events, with a strong presence on social media Selling Small collections of limited edition, luxury clothing should be sold through the installations described above, by invitation, and orders taken for bespoke items. In addition, pop up shops should be used in proximity to selected stores that share similar values. Selling will therefore be face-to-face, reinforcing connection between the brand and the consumer; there will be no online retailing—the website should be used to steer potential consumers towards events Wear The clothing should be innovative and designed to wear well, working with the specific qualities of the materials used to promote lasting value and emotional attachment. All materials used should be of good quality. The wearer should feel uplifted when wearing the clothing, as elements have been integrated in its design and creation to foster wellbeing. The clothing should fit its function, adopting aspects of biomechanics to improve comfort End of life Everything used in the creation of these luxury garments should be reusable, recyclable or fully compostable, to provide biological nutrients to the soil

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