MILLY THE FASHION DEMOCRACY
LAUREN LOCKHART
MILLY: THE FASHION DEMOCRACY LAUREN LOCKHART M.A. FINAL PROJECT LUXURY + FASHION MANAGEMENT THE SAVANNAH COLLEGE OF ART AND DESIGN MAY 2017
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ABSTRACT In the United States, plus-size women represent 67 percent of the population, yet only nine percent of the fashion and apparel industry is made available in their sizes. This makes the plus-size market an area of huge untapped potential—one that designers should grasp if they want to remain competitive in the oversaturated fashion industry. This M.A. final project explores the sales and market potential of embracing the plus-size consumer by proposing a size-inclusive marketing strategy for U.S. womenswear brand MILLY. After analyzing the current strategy of MILLY and the plus-size apparel marketplace, the subject of size inclusivity is further explored through interviews with consumers, designers, and industry professionals. This information is compiled into a manual of best practices called the “How to be a Size-Inclusive Brand� Handbook, which serves as the guideline for developing a size-inclusive strategy for MILLY that covers all aspects of the marketing mix. This project aims to prove that with the right approach brands can grow their revenue, market share, and brand loyalty through a size-inclusive strategy.
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TABLE OF CONTENTS
START
PART I
INTRODUCTION
MILLY MARKETING MIX SWOT ANALYSIS INDUSTRY MARKETPLACE CONSUMER
pg. 10
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pg. 12
PART II INTERVIEWS: CONSUMERS
PART III KEY FINDINGS + ANALYSIS
DESIGNERS
STATEMENT OF STRATEGY
INDUSTRY PROFESSIONALS
STRATEGIC INITIATIVES
END CONCLUSION APPENDIX WORKS CITED
FINANCIALS
pg. 40
pg. 48
pg. 94
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INTRO The instant a woman puts on an outfit that makes her look and feel amazing, she believes she can conquer the world. This is the secret superpower of fashion: the ability to instill confidence within any woman by simply allowing her to express herself. It is the reason fashion permeates our culture, yet this superpower dangles out of reach for most. The 67 percent of women in the U.S. who wear plus-size apparel experience fashion in a completely different way. For them, fashion is a desolate minefield, completely lacking the chic, vibrant trends they spot on runways and in magazines. For them, fashion does not inspire joy, but rather insecurity. For them, fashion is a bully that actively excludes them from its private club. For the typical straight-size consumer, it is hard to fully grasp the distressing way plus-size 10
women experience fashion. Consider the personal testimony of an anonymous plus-size consumer who was interviewed for this project: “I have always been plus-size. It’s not a choice I made. I do not know anything different. People look at me like I need to lose weight in order to ‘earn the right’ to shop in typical stores. It’s painful and shameful. It makes my fashion journey very lonely.” Despite the swell in women’s empowerment through time, fashion continues to breed ideas of elitism and exclusivity, when in fact it should represent a welcoming community for all women. The plus-size body type is no longer seen as a temporary condition until a woman reaches the “ideal” size 2; women of all sizes are learning to love their bodies and celebrate their individual beauty. It is time for the fashion industry to catch up.
This final project boldly steps forward in embracing the long-neglected plus-size consumer through fashion. It explains why right now is the ideal time for designers and mass market brands to capitalize on the plus-size market gap. It also explores the distinct needs of the plussize sector through all steps of the value chain, including how extended-size garments need to be designed, sized, and priced compared to how these processes are currently being done and why they are unsuccessful. It further explains how a company’s promotional and placement strategies can shift in order to accommodate this market, and it provides examples of companies currently thriving under a size-inclusive strategy. Finally, it offers a detailed case study that applies a size-inclusive strategy to U.S. womenswear brand MILLY.
The project will begin with an overview of MILLY and why this company is uniquely set up to enter the plus-size market. Then, overviews of the plus-size fashion industry, consumer, and marketplace will be provided. This information will be compiled into a proprietary manual, the “How to be a Size-Inclusive Brand” Handbook, which will guide the strategic initiatives of MILLY’s venture into size inclusivity. With a comprehensive analysis of the plus-size sector and relevant strategies, this project aims to arm fashion brands with the information needed to integrate size inclusivity into their business models, allowing them to ultimately unleash fashion’s superpower to all women—no matter what size they wear.
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PART I MILLY MARKETING MIX SWOT ANALYSIS INDUSTRY MARKETPLACE CONSUMER
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MILLY
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MILLY celebrates the female figure through bold, custom prints and flattering silhouettes. The premium designer label was founded in 2001 when Michelle Smith noticed a gap in the market—at that time, there existed few contemporary sportswear brands offering apparel that felt luxurious, yet was affordable to the everyday woman (Fernandez, 2015). Smith’s professional background involves working in ateliers in France, including Hermés, Louis Vuitton, and Christian Dior haute couture (Milly.com, 2017). When she founded MILLY, Smith adopted the atelier style of manufacturing in the company’s New York headquarters, where each piece is made to order (2017). In addition to the flagship Manhattan store, MILLY owns two other stores: one in the East Hamptons, and one in Dubai, UAE (2017). MILLY is a private LLC that is owned 50 percent by Michelle Smith, who currently serves as the creative director and founder, and 50 percent by Andrew Oshrin, Smith’s husband and the president and CEO of the brand (Company Overview of Milly LLC, 2017).
The company earns about $34 million in sales each year (One Source, 2017). While the company is small, it is recognized for its cult following and loyal customers. MILLY is grounded in Smith’s mission to bring accessible fashion to the everyday woman. It is important to her that “women don’t feel alienated” from the apparel she designs; this mission parallels the ultimate reason for the brand to develop a plus-size line, for “alienation” describes how many plus-size women feel in regards to the fashion industry (MSNBC, 2015). Smith explains that when women put on her clothes, she hopes they feel three things: “beautiful, confident, and empowered” (MSNBC, 2015). While the women who wear a size 12 and below certainly feel empowered in MILLY apparel, the majority of women are deprived of the opportunity to connect with Smith’s mission of empowerment simply because of their dress size. Producing garments in extended sizes could allow MILLY to more fully promote this mission by aiming to empower women of all sizes.
Since founding, MILLY has introduced numerous brand extensions: outerwear, evening wear, swimwear, children’s wear, bridal, shoes, accessories, handbags, and jewelry (Fernandez, 2015). In fact, it seems the only sector MILLY has yet to extend into is the plus-size market. However, a representative of the company has stated that as long as the materials are available, a customer can place an order with the atelier for any size garment she wishes. Aside from custom orders, MILLY offers its womenswear in a size range from 0 to 12 (Milly.com, 2017). In June 2016, MILLY made headlines when its Selena Italian Cady dress—a red midilength number with an off-the-shoulder cut and dramatic bell sleeves—gained Instagram fame for being worn by numerous social media influencers (Schwartz, 2016). The dress perfectly represents the bold, feminine aesthetic of the brand and remains one of its best-selling items. Another popular item is the MILLY tee, a collection of limited-edition t-shirts emblazoned with messages that play with femininity and feminism, such as “I’m not bossy, I’m the boss,” “Poussey Riot,” and “Good Girls are Boring” (Milly.com, 2017).
MILLY Selena Italian Cady dress
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MILLY on Social Media instagram.com/milly
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MARKETING MIX
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PRODUCT
PRICING
MILLY manufactures and sells contemporary womenswear with the influence of Smith’s experience working in French ateliers. As such, all MILLY apparel is manufactured in New York, NY. When the brand launched, it offered ready-to-wear apparel in sizes 0 to 12. Since then, the size offerings have not changed, but MILLY has introduced several brand extensions. The MILLY customer is often a reflection of Smith herself: an ambitious young professional turned hip working mom who seeks versatility in her wardrobe. Says Smith, “I design clothes that I myself would want to wear,” and as such, the MILLY customer ranges in age from 16 to 60, but tends to target the younger end of the range around age 20 to 40 (Alati, 2012).
MILLY was first created when Smith saw a gap in the market for high quality, yet affordable contemporary womenswear. Accordingly, the brand has always taken a premium pricing strategy, with the average prices per apparel category listed below (MILLY.com). PRODUCT CATEGORY
PRICE RANGE
Limited-edition tees
$90 - 155
Swimwear
$180 - 210
Tops, Sweaters, Shorts, + Skirts
$195 - 395
Pants
$295 - 450
Dresses
$350 - 695
Outerwear
$435 - 850
Eveningwear
$725 – 1,395
PLACEMENT
PROMOTION
When MILLY first launched, the collection pieces were sold wholesale to department stores; this is still a large distribution channel for the brand, with retail partners including Bergdorf Goodman, Bloomingdale's, Saks Fifth Avenue, Neiman Marcus, and Nordstrom (Fernandez, 2015). The brand can also be found via various independent boutiques and online retailers such as Net-a-porter.com. Since founding, MILLY has opened three freestanding stores: the flagship New York store, an East Hamptons store, and a Dubai store (Milly.com, 2017). MILLY also sells directly via e-commerce at MILLY.com. Competitors include fellow designers at the lower end of the price bracket such as Diane von Furstenberg and 3.1 Phillip Lim (OneSource, 2017).
MILLY utilizes promotion via traditional print advertising as well as social media marketing through platforms including Facebook, Instagram, Twitter, Pinterest, and Snapchat. However, the engagement on these pages is very low; the quality and quantity of postings indicate that social media marketing is a low priority for the brand. The two channels MILLY updates most regularly are Facebook and Instagram, but compared it is key competitors—Diane von Furstenberg and 3.1 Phillip Lim—its social media presence is far less engaging. With a more engaging social media strategy, MILLY could greatly improve its brand awareness and influence within the industry. Recently, MILLY has taken an edgier, more youthful approach to its promotional efforts. For
its Fall 2016 ad campaign, the company hired Sagmeister & Walsh to create a new brand image showcasing bold, bright depictions of models with painted tongues, unzipped skin revealing sprays of flowers, and icicles frozen to the face through CGI (Milly Rebrand Campaign by Sagmeister & Walsh, 2016). The latest marketing efforts indicate a desire to appeal to the growing Millennial market. And while the images portray the standard size 0 model, the underlying tones of feminism indicate the brand’s openness to explore relevant cultural subjects that progress society forward. The future use of plus-size models within this bold aesthetic could only further this message of empowerment by celebrating a more diverse group of women. 19
S • Atelier-influenced manufacturing • 100% manufacturing done in the U.S. • Many brand extensions • Privately owned by Michelle Smith (50%) and husband/ president Andrew Oshrin (50%) • Apparel utilizes custom prints and figure-flattering silhouettes
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W • Sizes limited to 0-12 • Low brand recognition • Poor social media marketing
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• Strengthen brand identity to better connect with consumers
• Oversaturation of apparel industry
• Increase sales and market share by offering extended sizes
• Prevalence of masstige brands that replicate designs at a much lower price point
• Appeal to the buying preferences of the Millennial generation • Imbue experiential branding into freestanding stores
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INDUSTRY Christene Barberich, the co-founder and editor-in-chief of the popular lifestyle website Refinery29 has said, "Plus-size women are not niche, but the norm; not just a lone column in a magazine, website, or community--they are the community itself” (The 67 Percent Project, 2016). In this day and age, 67 percent of American women identify as plus-size—wearing a size 14 or higher—yet they are still vastly underrepresented in the fashion industry (2016). Excluding plus-size-specific stores like Lane Bryant and Torrid, the majority of designers and clothing brands size their garments only up to a size 12, leaving two-thirds of the female population struggling to find clothing that not only fits, but makes them look and feel good (Gunn, 2016). The fashion and apparel industry is a consumer-driven business, yet as it currently stands, few brands are listening to the needs of one of the largest demographic markets. 22
Within the oversaturated fashion industry, the plus-size sector remains a white space in the market, presenting massive lucrative potential for brands who choose to embrace, rather than ignore, women who wear larger than a size 12. While the overall fashion industry has seen sales decrease in recent years, the plus-size market has outpaced overall industry growth for the past three years, growing by 17 percent from 2013 to 2016 (Banjo and Molla, 2016). Plus-size women are contributing to high apparel sales out of the basic need for clothing their size, yet the demand still far exceeds the supply. On average, plus-size clothing represents just 9 percent of the overall $190 billion fashion industry—this means that over two-thirds of women in America have less than one tenth of manufactured clothing available to them (Kuchinski, 2015). The chart on the following page illustrates this contrast between population and apparel production.
A recent Euromonitor report explains that with the right investment in manufacturing and marketing strategies, top apparel brands can change the fashion landscape (Big is Beautiful: Plus Size Gathers Momentum, 2014). At a time when body positivity messaging has never been more prevalent than it is now, the industry currently sits at the ideal precipice to finally embrace the long-neglected plus-size market. The current positioning of plus-size fashion within the overall industry is relatively isolated. Aside from a handful of designers— such as Michael Kors, DKNY, Calvin Klein, and Ralph Lauren—who create “closeted” plus-size lines that are available but not advertised, there exists little crossover between plus- and straightsize apparel (Black, 2014). Why do these two consumer groups remain separated? Designing and creating clothing for the plus-size consumer requires a distinct set of skills that most brands neglect to invest in.
Population of U.S. Women
67%
If a brand does offer larger sizes, it does just that: it simply produces garments in extended sizes without the thought or care needed to design and proportionately size these garments. As a result, plus-size consumers do not buy these unstylish and poorly fitting garments, and a selffulfilling prophecy occurs (Bain, 2017). Brands interpret the lack of sales in their plus-size lines as a lack of market demand, so they put even less effort into these lines, when in fact, the true cause of low sales is ineffective supply. If the plus-size offerings were meeting the standards of demand, then increased sales would surely follow. But, successful size inclusivity does not end with supply. On top of improving the quality of plus-size apparel, successful marketing strategies must be employed to reach the plussize consumer in a way that feels authentic and inclusive. To illustrate the needs of this market, an overview of the current apparel industry as it relates to plus-size fashion follows.
Manufactured Women’s Apparel
9%
Straight-size Plus-size
(Refinery29, 2016) (The Washington Post, 2015)
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WHAT NEEDS TO CHANGE
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DESIGN
SIZING
PRICING
PLACEMENT
PROMOTION
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DESIGN
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One of the biggest issues facing the plus-size consumer is the lack of on-trend, welldesigned garments. As Sharon Edelson says in a piece for WWD, “Typically, large-size options tend to be bland and boring, devoid of the personality and point-of-view seen in regularsize assortments. Experts said it takes about a year for trends to trickle down to the plus-size market” (2015). The challenge that designers run into is what flatters a size 2 or 4 may not flatter a size 18 or 20; rather than take steps to figure out what will flatter larger figures, they stick to what they know. For other designers, avoiding this consumer stems from an outdated, narrow viewpoint on what “beauty” means. In 2009, Karl Lagerfeld notoriously stated that “No one wants to see curvy women” on the runway (Gunn, 2016). An exception to this mindset is Christian Siriano, a prominent designer who grew up with women in his family of all sizes and accordingly has always kept a range of body types in mind when designing (NPR Staff, 2016, October). “We have dresses that I actually think look better if you have more of a bust or more of a hip,” he says. “That's why, in a collection, it should be as diverse as you can be” (NPR Staff, 2016, October).
While the design process varies from designer to designer, certain elements hold true as universally flattering for plus-size women: jewel tones read better than pastels, and medium-sized prints trump anything too small or large (NPR Staff, 2016, September). And because every plussize woman has her own unique proportions, separates instead of one-pieces—such as a dress or jumpsuit—better accommodate diverse topbottom sizes (NPR Staff, 2016, September). Ultimately, as with straight-sized clothing, plussized clothing is all about proportion and fit. Unlike straight sizes, though, plus-size proportion is less predictable as it varies from woman to woman, so extra care must be put into discerning the ideal design for this group of consumers. To understand how the design process can include the plus-size consumer, consider how Marina Rinaldi—a high-end plus-size branch of Max Mara that sells three million garments worldwide each year—operates its design process (Bellafante, 2010). The brand embraces the intricacies of plussize design, investing in 50 employees to handle patternmaking alone and utilizing plus-size fit models on a daily basis (2010).
In this case, meeting the needs of the plussize consumer requires skilled, knowledgeable labor to design, create, and fit each garment. Accordingly, one of the greatest barricades to designing plus-size apparel is developing the initial prototype, for accommodating the plus-size consumer requires creating new procedures for patternmaking and sizing (Bellafante, 2010). This analysis gives insight as to why so many designers abstain from diving into the plus-size market: will the potential sales compensate the large financial investment? Christine Hunsicker and her plussize fashion rental service Gwynnie Bee have developed a unique solution to this problem. When Gwynnie Bee was struggling with a low inventory of plus-size clothing from prominent designers. The company had been strengthening its expertise in “upsizing patterns,� so it offered to create plus-size patterns for each designer to use in production (Hunsicker and Henry, 2016). Since introducing its upsizing service, Gwynnie Bee has partnered with 190 brands (Hunsicker and Henry, 2016). Utilizing a third-party patternmaker delivers all of the skills needed to manufacture plus-size garments without the risk of overhead costs or sunk investments.
Christine Hunsicker Founder, Gwynnie Bee
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As mentioned previously, the plus-size figure is not standardized like the straight-size figure, for women carry their weight in different ways. An interview with 30-year veteran patternmaker Kathleen Fasanella puts this concept into perspective: The proportions of the body change as you gain weight, but for women within a certain range of size, there is a predictability to how much, born out by research dating to the 1560s. We know pretty well what a size 6 woman will look like if she edges up to a 10; her bustline might increase an inch. But if a woman goes from a size 16 to a 20, you just can't say with any certainty how her dimensions will change (Bellafante, 2010).
SIZING
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Consequently, in an in-depth study of 30 plus-size teens, apparel fit was the top complaint, voiced “96 percent of the time as the reason participants were not able to purchase desired items” (Romeo and Lee, 2015). Finding a garment that not only looks stylish, but also fits well is all too often an obstacle for the plus-size consumer.
To illustrate, consider the testimonial from Veronica Miller, a fashion student who is not only plus-size herself, but who also designs for the plus-size consumer. Miller explains that the single plus-size mannequin at her university shares her key measurements—bust, waist, and hips—yet their physical features are distributed completely differently (Miller, 2013). From the shoulder widths and hip heights to the armhole and rear sizes, the drastic dissimilarities between Miller and her mannequin demonstrate how one standard size can fit two plus-size women in completely different ways. It further proves the benefit of more size points beyond the basic bust-waist-hips when sizing plus-size garments. Despite this, many brands that do offer extended sizes simply “scale up” the pattern— that is, they take the sample size and grade up the measurements without actually adjusting any of the proportions. The standard sample garment is sized for a woman who is 5-foot-7 and wears a size 6, yet the average American woman is 5-foot-3 and wears between a size 16 and 18 (Givhan, 2016).
Garments are typically graded up by simply adding one inch to each measurement— bust, waist, hips, and so on—thus resulting in a uniformly larger garment; however, women’s bodies are not uniform (Bain, 2017). The predictability of sizing can be illustrated by a bell curve: the closer the graded size is to the sample size, the better chance it has of fitting (2017). The further away—as extended sizes tend to be from the typical sample size 6 or 8—the lesser chance it has of fitting correctly (2017). Andrea Kuchinski, the founder of sizeinclusive athletic apparel brand From Thick to Thin, explains that most brands do not “[account] for the necessary longer hem length, bigger arm holes, or greater thigh circumference needed to fit a larger figure” (2015). Therefore, it should come as no surprise when a non-samplesize woman tries on an item of clothing, it is unlikely to be a perfect fit. Grading up a pattern proportionately for larger sizes is possible, but it requires extra time and money that most brands are either unaware of or unwilling to invest in (Bain, 2017).
As a result, consumers do not purchase poorly fitting plus-size garments, and brands react to low sales figures by producing less plussize garments instead of working to produce wellfitting garments that would actually sell (2017). This vicious cycle explains why plus-size sales account for only a fraction of overall apparel sales, despite the high market demand. Brands that do enter the plus-size market often struggle to manufacture apparel that fits all plus-size women. This typically results in designs that are shapeless to make allowance for a variety of figures, thus resulting in a final garment that does not flatter anyone (Bellafante, 2010). Manufacturing apparel in a range of sizes that fits a variety of body types creates additional steps in plus-size product development that straight-size production does not encounter (Miller, 2013). While this is an obstacle that may never be completely resolved, designers looking to include the plus-size consumer can take into account the main fit issues this consumer group faces and create a sizing system around it.
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PRICING
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When a brand chooses to add extended sizes to its range of products, the issue of pricing naturally arises. Products are priced in the supply chain according to the type and amount of raw materials used to meet the required profit margin. In some cases, brands have responded by pricing their plus-size apparel higher than that of its straight-size apparel to make up for extra material usage. One example of a company that has utilized this method is Old Navy, which garnered negative attention upon the public discovering it charged $27 for a pair of size 8 jeans, yet $45 for a pair of size 28 jeans (Lubitz, 2015). While plussize garments do use more raw materials—such as fabric, thread, and notions—the amount of extra materials is negligible up until around a size 6X. Therefore, this significant pricing difference that occurs for brands like Old Navy is the result of poor supply chain planning. If the goal is including the plus-size consumer, forcing her to pay nearly double than what her straight-size counterpart pays for the same garment only further isolates the plus-size consumer within the industry.
The solution for this pricing disparity is simple: rather than use a size “Medium” garment as the basis for pricing, as most brands do, a size-inclusive brand can use a size that more accurately represents the median of its product line. Mallorie Dunn, the founder and designer of size-inclusive fashion startup SmartGlamour, explains her pricing method: My set size range runs from XXS to 6X. I base my prices off of the fabric consumption for XL and 1X sizes. Not only are they in the middle of the size range and take up the mid amount of supplies, but they are also the most commonly found size of American women. It is a no-brainer and completely evens out (Lubitz, 2015). In order to provide apparel for both straight-size and plus-size consumers, certain strategy changes must occur within early stages of the supply chain for long-lasting and profitable results.
Mallorie Dunn [center] Founder, SmartGlamour
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PLACEMENT
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The next component to consider is how plus-size clothing is merchandised in stores. For the purpose of this project, the focus will be on retail stores that include both straightsize and plus-size apparel. The first and most noticeable display is the typical sectioning off of plus-size clothing. Whether labeled “Plus” or “Women’s,” garments sized 14 and up are almost always segregated from straightsize apparel. For many plus-size women, this segregation makes them feel “alienated from the mass market,” rather than included and accepted (Romeo and Lee, 2015). Furthermore, retail stores often place their plus-size size sections at the back of the store, concealed from the entrance as if attempting to hide this merchandise from the rest of the store (Anthony, 2017). In fact, a survey of 80 plus-size consumers revealed that only 15 percent of respondents could easily find the plus-size section upon entering a clothing store, and only 25 percent found the plus-size section “accessible and unobstructed” (2017). When the consumer does locate the plussize section, she is often presented with a scarcity
of stylish options. Quantities by size are limited, if available at all. While several brands may carry extended sizes, many do not stock them in stores, instead making them only available online (Anthony, 2017). Beyond further perpetuating the message that plus-size consumers do not “belong” in this store, this limiting of online-only sizes prevents the plus-size consumer from being able to try on the garment in person, an invaluable experience considering the unpredictable sizing issues of plus-size clothing as discussed previously. Not only are plus-size sections in retail stores known for being cramped, but they also often have a scarcity of mirrors, plus-size mannequins, and comfortable fitting rooms (Anthony, 2017). These absences are marketing failures to the plus-size consumer; as Valerie Seckler explains in an article for WWD, “plus-size women have difficulty picturing what a garment would look like on themselves when the only paradigm is a size two model or mannequin” (2005). When a customer feels unwelcome or uncomfortable within a retail store, it discourages her from wanting to linger, try on garments, or make a purchase.
This concept feeds directly into the excuse many brands provide for not offering more plussize options: they report that poor sales figures of plus-size apparel prevents them from increasing offerings (Anthony, 2017). However, when one considers the way in which plus-size apparel is typically displayed in stores—not to mention the overall dearth in available inventory compared to straight-size options—it is clear to understand why these garments are not selling. If a plus-size consumer has a negative instore experience, she is unlikely to return. The result is a self-perpetuating cycle in which the low supply and poor merchandising prevent the potential for sales growth within the plus-size demographic. Compare this approach towards merchandising to that of plus-size specific stores: plus-size retail spaces make the consumer feel welcome through the use of plus-size mannequins, relatable visual imagery, spacious aisles, and knowledgeable sales associates (Anthony, 2017). As proof that including the plus-size consumer is not limited to plus-specific stores, online retailer ModCloth has taken great strides as the paradigm for size inclusivity. In November
2016, it opened its first brick-and-mortar store in Austin, Texas as a “fit shop” for sizes ranging from XXS to 4X (Black, 2016). The store is uniquely set up like a showroom, offering samples in every size for customers to try on; instead of buying the garment and taking it home with her that day, the customer places an order, which arrives to her home within one to two days (2016). This setup removes the typical inventory back stock, thus creating a larger retail space and allowing a wider range of sizes to be carried (2016). While ModCloth explains that this unusual concept takes a little adjusting to from the customer’s standpoint, the brand has seen little resistance since the order arrives quickly to the customer— not to mention, it arrives with the fit guarantee since the customer has already tried it on (2016). The case of ModCloth proves that size inclusivity in the retail space is not impossible, but it does require a thoughtful approach that is truly tuned in to the needs of the consumer.
ModCloth Flagship Store Austin, TX
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PROMOTION
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In recent years, the growing body positivity movement has blossomed, with plussize influencers celebrating their figures and encouraging their fellow full-figured women to do the same. One of the most prominent principles to arise from this movement is the #DropThePlus campaign, which pushes for the removal of the term “plus-size” within the language of fashion (Drop the Plus, 2015). Lane Bryant has taken a similar approach with its recent #PlusIsEqual campaign. The term “plus-size” is only relevant within the fashion industry, for outside of referencing apparel, most women who wear a size 14 or higher do not identify themselves as “plus-size” in their everyday vernacular (Womenswear in the U.S., 2017). For many, the term is sullied with negative connotations, implying that clothing sized 14 or higher warrants a special labeling, thus perpetuating that plus-size fashion is somehow less “normal” than straight-size fashion (Lubitz, 2015). Based on statistics alone, it is actually the plus-size woman who represents the “normal” consumer’s body size. By removing this clear delineation within apparel sizing, the implication that straight sizes are “more worthy” than plus sizes is also removed (2015).
For brands that carry both straight and plus sizes, this can be as simple as removing the term “plus-size” from any garment that is 14 or higher and simply continuing the numbered sizing within its regular range to include women of all sizes. When it comes to advertising, many brands that offer both plus- and straight-size clothing struggle to find the balance between inclusion and maintaining brand image. A 2017 category briefing by Euromonitor explains this phenomenon: Should a brand be marketed overtly as plus-sized, that in itself is enough to turn some people off. The wrong language will quickly alienate or annoy the very consumers the retailers are trying to attract; it is an extremely difficult proposition. Rather than an overt plussize campaign, there is opportunity for retailers to do away with the labels and simply incorporate larger models into their visuals, without dividing opinion by incorporating references to “plus size” (Womenswear in the U.S., 2017). The seamless inclusion of plus-size women in advertising would fit the #DropThePlus community goal of ousting the “plus-size”
distinction, but how would a brand’s current consumers perceive this marketing decision? Findings on this subject are inconsistent at best. One 2011 study evaluated consumers’ perceptions of a mass market brand based on the size of the model, who varied from thin, to overweight, to obese (Aagerup, 2011). This study found that slender models fostered the most positive brand perception, while overweight models fostered the least positive brand perception; obese models fell in the middle (2011). In another survey that analyzed consumer perception on size 0 versus normal-sized models, it was found that for established brands presented within traditional frameworks—for example, a longestablished fashion magazine such as Vogue—the brand’s use of normal-sized models was perceived less favorably than the use of size 0 models (Bian and Foxall, 2013). Only when the brand was not established and presented in a non-traditional framework—such as a magazine that regularly features full-figured women—was the brand’s use of normal-sized models perceived more favorably (2013). With this information pointing against plussize inclusion in advertising, how should brands react? Instinctively, the typical brand would not want to create a more negative perception of
itself, especially when the goal is the inclusion of more consumers. To answer this dilemma, a real example of size inclusivity put into practice in advertising is evaluated. Aerie, the lingerie brand of parent company American Eagle, has gradually increased its size diversity since its #AerieReal “no photoshopping” policy rolled out in 2014 (Richard, 2016). Most recently, Aerie has upped its usage of women of all body shapes and sizes on its website and in its advertising campaigns. Not only has the public responded enthusiastically to Aerie’s conspicuous promotion of body diversity, but the financial payoff has been significant, “driving double-digit sales growth for parent brand American Eagle and attracting a huge, attentive, and fiercely loyal community of supporters” (Richard, 2016). The case of Aerie shows that size inclusivity can boost a brand’s reputation and consumer loyalty: two factors that are critical to sustainable success. The key for success is authenticity; brands cannot simply add a plus-size model to one advertising campaign for the sake of proving inclusivity. They must make a genuine effort to accept and support the plussize consumer as part of their brand community, as Aerie does. #AerieReal campaign images
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MARKETPLACE An evaluation of the current U.S. women’s apparel market provides deeper insight into the potential for embracing the plus-size consumer. Even though plus-size fashion caters to twothirds of the U.S. female population, its current sales are a fraction of that of overall women’s apparel sales. In 2016, plus-size clothing sales were $20.4 billion, while total women’s apparel sales were $120.3 billion (NPD Group, 2017). Not surprisingly, plus-size apparel sales pale in comparison to overall sales based on the limited supply of apparel within this subset of the larger market. Despite lower sales overall, the plus-size industry is experiencing a higher growth rate than the overall industry; statistics show that “for the past three years, [plus-size women] have increased their spending on clothes faster than their straight-size counterparts” (Gunn, 2016).
Year-over-year Growth of Total Women’s Apparel Sales vs. Plus-size Apparel Sales
Straight-size Plus-size
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(Banjo and Molla, 2016)
There exists great potential for sales growth if the supply of plus-size apparel can better meet the demand; one source estimates that ignoring the plus-size consumer results in about $12 billion to $14 billion of business lost every year (Lockwood, 2014). Another source, the research firm NPD group, estimates that plus-size apparel sales are half of what they could be if more options were offered (Bain, 2017). Conversely, the overall women’s apparel market has seen slow growth over the past few years, and it remains an oversaturated industry. As of 2016, no company held more than a 5 percent share of the women’s apparel market (Womenswear in the U.S., 2017). When considering that the vast majority of brands are competing for just 33 percent of available consumers, it is understandable why the market remains highly fragmented. Expansion into the remaining 67 percent of consumers—those who wear plus-size apparel—could provide a significant opportunity for brands to gain market share.
A handful of companies have begun taking advantage of the growing demand for plus-size apparel in the past couple of years. For example, last year Lane Bryant and JC Penney each collaborated with prominent designers, including Lela Rose, Isabel Toledo, and Prabal Gurung, to create plus-size collections, while Forever 21 and Target each launched new plus-size lines (Womenswear in the U.S., 2017). As more brands tiptoe into the plus-size sector, it is predicted that plus-size consumers will recognize their increased options, thus boosting their apparel consumption and, consequently, the growth of the plus-size sector “potentially at a very fast rate” (Big is Beautiful, 2014). Another factor contributing to the forthcoming potential of the plus-size apparel industry is the growing investment by private equity companies, demonstrating that “the category has huge profitability potential” because these companies “are only interested in brands with rapid and muscular growth capacity” (Big is Beautiful, 2014).
A final aspect of the marketplace to consider is the growth of e-commerce as a retail channel, particularly when it comes to plus-size fashion. With significantly lower overhead costs than brick-and-mortar stores, many onlineonly plus-size retailers have recently emerged, including cult favorite Eloquii (Targeting Plus Size Apparel Consumers: Time for a Rethink?, 2015). Not only have these online retailers increased options for the plus-size consumer, but they have also “[put] to bed the tired argument around lack of demand” while “[proving] that it is possible to cost-effectively manufacture plus-size clothing despite variations in body shape” (2015). For retailers with a brick-and-mortar presence, the online channel is still a crucial element to consider moving forward. Generally speaking, this means integrating a seamless shopping experience between the brand’s instore and online channels. The blurring of these two channels through technology is particularly fitting for the unique sizing and fit needs of the plus-size consumer. For example, the introduction of virtual reality through a “virtual fitting room” can allow consumers to virtually try on a garment to see how it would fit; while an in-store kiosk connected to the brand’s website can allow consumers to order out-of-stock items online from within the retail store (Womenswear in the U.S., 2017). These elements are not only the future of retail, but they solve for several of the current challenges the plus-size majority encounter while shopping. 37
CONSUMER Looking at the women’s apparel industry as a whole, the most influential consumer bracket is the Millennial cohort, which comprises those born roughly between 1985 and 1999 (Womenswear in the U.S., 2017). Representing 23 percent of the U.S. population, this generation in currently entering the prime years of life, which means they are also reaching peak buying power (2017). In total, this equates around 80 million Millennials in the U.S. with $200 billion in annual buying power—and, consequently, a high amount of influence on market trends (Schawbel, 2015). Assuming that approximately half, or 40 million, of Millennials are women, and that 67 percent of those women wear plus sizes, it can be estimated that there are nearly 27 million plus-size Millennial women—that is 27 million people who are being neglected by the majority of fashion brands. This sizable number is only expected to grow in the 38
coming years; in fact, Euromonitor International’s Economics and Consumers Report projects that by 2021, the overweight and obese population will rise to comprise 73 percent of the overall U.S. population, up from 70 percent in 2016 (Womenswear in the U.S., 2017). As high as the demand for plus-size apparel is now, these numbers show that consumer demand will only grow with time. The Millennial generation is a fashionconscious one, and members of this generation are drawn to brands that authentically connect with them (Schawbel, 2015). By this logic, recommendations from bloggers have a greater influence on purchasing behavior than traditional advertising, with one-third of Millennials consulting a blog before making a purchase (2015). Even though this generation often views traditional advertising as inauthentic or even fake,
it does not mean that Millennials cannot develop strong brand loyalty. On the contrary, 60 percent of Millennials feel loyal to brands from which they currently purchase (2015). Loyalty grows when a brand invites the consumer into its community, such as by engaging with them on social media or inviting them to help develop future products (2015). Within this generation, the plus-size consumer in particular is described as “one of the most loyal consumers you will find” (Lockwood, 2014). Considering how difficult it can be for the typical plus-size consumer to find a brand whose apparel makes her look and feel great, it is understandable that when she does find it, she immediately develops a strong sense of brand loyalty. Beyond brand loyalty, the plus-size demographic is also affluent and interested in fashion, contrary to what high-end designers may
suggest. A recent study commissioned by retailer ModCloth found that a staggering 81 percent of plus-size women surveyed would spend more money on clothing if more styles were available in their size (Kuchinski, 2015). Furthermore, 21 percent of plus-size women reported spending at least $150 per month on apparel, compared to 15 percent of straight-size women (B., 2014). This statistic shows that not only are plus-size consumers spending as much on apparel as their straight-size counterparts, but they are actually spending more. In the case of ModCloth, which has greatly expanded its extended size options in recent years, its plus-size customers place 20 percent more orders than its straight-size customers (B., 2014). Regardless of how the fashion industry views and treats the plus-size consumer, the data proves that this is a consumer market worth pursuing. Eloquii.com 39
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PART II INTERVIEWS: CONSUMERS DESIGNERS INDUSTRY PROFESSIONALS
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CONSUMER INTERVIEWS A sample of twelve female consumers who wear plus-size apparel have been interviewed in order to gain deeper insight into the specific needs of this market. While secondary research provides an excellent overview, these interviews allow for more personal reflection from real consumers on their shopping experiences, preferences, and attitudes. The consumers represent a diverse range of women, and a breakdown of key demographic information as well as specific demographic profiles for each interviewee are included in the appendix. All interviews have been conducted either in person, over the phone, or via video conferencing. Interview questions accompanied by key insights follow. 42
What are your favorite places to shop for clothing?
Do you prefer to shop in stores, online, or both?
Old Navy, ASOS, Target, Nordstrom, ModCloth, and Ann Taylor Loft were the most mentioned stores. Though some of these stores do feature plus-size lines or extended sizes, none of the most mentioned stores are plus-size specific stores. When plus-size specific stores, such as Lane Bryant and Torrid, were mentioned, they were generally mentioned together; this indicates that the consumers interviewed either shop at plussize stores all-inclusively or not at all.
Some interviewees preferred the online shopping experience for its convenience and ability to filter clothing according to size. Others claimed to never shop online, because it doesn’t allow them to see the garment in person and try it on before purchasing. For the most part, consumers seemed more willing to shop online for brands they were familiar with or had good customer service and return policies. These varied responses show that brands should offer both options to appeal to all consumers.
Do you feel the plus-size consumer is included in the fashion industry?
What are the challenges you encounter with the fit or sizing of clothing?
What other challenges do you encounter while shopping for clothing?
All interviewees said “no,” though several felt inclusion has gotten better in recent years. Some interviewees cited the overall scarcity in plus-size clothing as an indication that this consumer is not included. Others mentioned the lack of plussize women in magazines. Said one interviewee, “If I look through Vogue, all the people are skinny or smaller in size. I never see street style from larger women. They’re not integrated at all; and if they are shown, they’re kind of separated into their own category.”
Each interviewee claimed having issues with fit, but the specific fit issues were as diverse as the women themselves. The common thread was that many interviewees wore a different size on top and bottom, which made finding a garment that fits the bust, waist, and hips difficult. A couple of interviewees brought up the challenges of finding fit as petite plus-size women. Other challenges that were mentioned include armholes not being big enough and skirt and dress hems being too short.
Many reported frustration during their shopping experiences, with one saying she “feels judged” when a store doesn’t carry her size. She went on to say, “Shopping is not fun for me. It’s a struggle, but it shouldn’t be.” Even within plus-size stores, there can be challenges. One interviewee said she does not always feel sales associates are fully knowledgeable about fit and are instead simply trying to sell product. She says, “I want to feel that the employees really want to help me and that they know firsthand what fits.”
Would you rather shop at a plus-size specific store or at an “all-size” store?
How much are you willing to spend on well-fitting garment?
Do you feel positive/negative/neutral to the term “plus-size”?
Most interviewees agreed that they will shop at whichever store has the best quality and most stylish apparel—whether that is a plussize or a size-inclusive store. A few mentioned a preference for plus-size specific stores, for they felt these stores had greater expertise in fit. Conversely, some interviewees wholeheartedly want to shop at a store that carries all sizes, with one interviewee stating, “Women are all sizes— why don't the stores carry all sizes?”
The garments most interviewees said they would be most willing to spend money on were jeans, a dress, and a suit. While prices varied, the majority of consumers under age 30 did not exceed $150 - 200 as their maximum, but a few said if they had a larger income, that number would rise significantly. Consumers over 30 had higher maximums—typically up to $400—but a few mentioned there was no limit to what they would spend on a well-fitting investment piece.
While no interviewee reported feeling positive towards the term, not all interviewees felt negative towards it. A few even stated that the term was convenient for shopping purposes, allowing them to easily know which garments were available in their size. Many agreed that the term “plus-size” carries a stigma, for it causes a separation between smaller- and larger-sized clothing. Furthermore, they felt that it is only the removal of this term that will eliminate the stigma.
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DESIGNER INTERVIEWS Fashion designers have been interviewed to better understand the design and manufacturing process. All designers requested for interview are either plus-size, size-inclusive, or have the ability to design and manufacture a range of sizes. The two designers who completed interviews are Mallorie Dunn of size-inclusive brand SmartGlamour and Hannah Olson of size-inclusive brand Hannah Caroline Couture. Interview questions and insights from each designer follow.
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Tell me about your clientele—how often do you design for/sell to the plus-size consumer?
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When designing a collection, how much do you consider plus-size needs versus straight-size needs?
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What do you identify as the unique design needs of the plus-size consumer?
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How do you handle sizing/pricing your garments for consumers of a wide range of sizes?
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What do you think is the potential for brands who choose to adopt a sizeinclusive strategy?
Mallorie Dunn | Founder/Designer, SmartGlamour SmartGlamour designs and manufactures apparel for women ranging in size from XS to 6X, and the most ordered size is 1X. When asked about how she designs for her consumers, Dunn explained that she does not take any specific plussize factors into consideration. She has found that while her plus-size customers have specific fit needs, so do her straight-size customers. She adapts to this by designing clothes within her aesthetic, and then allowing for customization. Any customer that places an order can select from numerous fit customization options, from
lengthening the hem to adjusting the bust-to-waist or hip-to-waist ratio. Dunn shares that about 50 percent of her orders include customization, but out of that number, not all customizations are fit related, and not all come from plus-size women. Dunn prices her items according to size 1X, not only because it is her most ordered size, but because it also the size of the average U.S. woman. She explains that the costing differences ranging from the XS to the 6X even themselves out. As for brands considering a size-inclusive strategy, Dunn advises them to do a lot of
research and make sure they are featuring a diverse range of body types in their promotional efforts. Dunn has truly built her business model around addressing the needs of her customers, and this dedication to a 100 percent sizeinclusive strategy has successful elements worth considering for other companies.
Hannah Olson | Founder/Designer, Hannah Caroline Couture Hannah Caroline Couture is an independent design house that is owned and operated by Hannah Olson, who herself is plussize woman. She explains that while she designs each collection specifically for plus-size women, she also does a lot of custom work for clients, and those generally range from size 0 to 10. Accordingly, her customer base is split fairly evenly between plus- and straight-size women. In the case of Olson’s business, being primarily a plus-size design house has not prevented straightsize customers from taking part.
Olson designs with the plus-size consumer in mind; for example, she understands that many plus-size women cannot go braless, so she makes sure the backs of her tops and dresses do not scoop too low to prevent the ability to wear a bra. She also factors in how the sleeves will fit— an issue many plus-size women encounter—as well as the proportions of design elements like peplums and the stretch of the fabric. As for sizing and pricing her garments, Olson takes a similar approach to Dunn of SmartGlamour, using a size 20 as her sample size
and base for costing. She explains that not only do the costs even out for smaller and larger sizes, but that it is easier to grade a pattern down in size than to grade it up. Though her business is small, Olson understands the immense market potential of the plus-size sector, explaining that stylish and quality clothing is in high demand for the this demographic. She is able to include the plussize and straight-size customer in the same community, making both feel considered and cared for. 45
INDUSTRY INTERVIEWS Monica Velez Nine people who work within the supply chain side of the fashion industry were contacted to better understand the garment production process and how it is adapted for a range of sizes. Each of these professionals has extensive experience in either patternmaking, product development, or merchandising. The questions varied for each interviewee, based on their area of expertise. Out of the nine people contacted, three have been successfully interviewed, and findings from each follow. 46
Monica Velez is the product merchandising manager at Vanity Fair. According to her, the sign of a successful plus-size brand is one that “treat[s] the consumer sizes different because the body types are different.” She also mentioned that the plus-size market is growing— which supports existing secondary research—and that brands are beginning to recognize it.
Velez explained that different grading systems exist for straight-size and plus-size apparel because plus-size women carry their weight differently. This is an interesting point to note for size-inclusive brands: if a brand creates a garment in both straight and plus sizes, how must that grading system be adjusted? It is important for brands to consider these differences when determining its size-inclusive sizing system.
Eliane Sobral Eliane Sobral has handled product development for Levi Strauss & Co., Express, Victoria’s Secret, and Ann Taylor, though she explains that at the time she worked for them, none of them carried plus sizes. The largest size available at any of these brands was a size 14. Sobral explains that most garments are fit for a sample size 6 and simply graded up for larger sizes, which results in poor fit. When she worked for Levi Strauss & Co., each garment went through three fit sessions before being approved for production, but this process only occurred for one size. This process could be altered for
size-inclusive brands that use mass manufacturing by requiring approval on more than one size before production can occur. According to Sobral, the difficulty in fitting larger sizes is the range of plus-size body types. When asked if she thought it was possible for product development or manufacturing teams to product garments for a wider range of body types, she believed it could be done. She recommended that the brand hone in on two or three different body types to accomplish this. She also mentioned that many brands already have a general body type they design for, which
is evidenced by the body type of the fit model they use. If a size-inclusive brand can incorporate a more diverse range of fit models—perhaps two or three that each have a different body type representative of the U.S. female population—that brand can better ensure that they are creating apparel that will fit and flatter more women. Sobral’s perspective allows for better understanding of how the product development process works for larger brands that utilize mass manufacturing instead of made-to-order manufacturing.
company can build in extra time with the manufacturer for a more extensive grading process. While this step does not typically occur and does add time and money, it allows for the company to receive a few samples in various sizes and make grading adjustments as necessary. For a size-inclusive line, this added step could be well worth the extra time and cost to ensure fit across the entire size range. The usual production process omits this step, and grading occurs according to preset measurements. The key insight from the interview with
Nomi is that changes in the production process are possible to better accommodate a range of body sizes and shapes. The success of a plus-size line hinges on the quality of fit, and for a company that wants to bring in this consumer market as long-term, loyal customers, it is a step that can greatly benefit the final product. For a company considering adding this extra step in production, it would need to consider the extra time—and adjust its production schedule accordingly—as well as the added cost to determine if it affects the required margins.
Julie Nomi Julie Nomi is the product director at TomboyX, brand that makes underwear for women of all sizes and gender identities. Now knowing that most garments are approved for production based on one sample size, Nomi was asked if and how a company could utilize multiple samples. She said this could be done, but the development team would first need to start with one base size, which should represent the target demographic. Once the base sample is approved, the grading process begins.. Nomi shared that a
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PART III KEY FINDINGS + ANALYSIS STATEMENT OF STRATEGY STRATEGIC INITIATIVES
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KEY FINDINGS + ANALYSIS Plus-size women do not feel included in the fashion industry.
Secondary research says “drop the plus,” but not all plus-size women agree.
All twelve plus-size consumers interviewed agreed that the plussize consumer is not included in the fashion industry. They mentioned the exclusion comes from scarcity in clothing and the neglect of plus-size women in advertisements and store merchandising. A 2017 category briefing by Euromonitor explains how brands can better include the plus-size consumer through their marketing efforts: “Rather than an overt plus-size campaign, there is opportunity for retailers to do away with the labels and simply incorporate larger models into their visuals, without dividing opinion by incorporating references to “plus size” (Womenswear in the U.S., 2017). Though some studies have shown that consumers react less favorably to overweight models than they do to thin models, the utilization of size inclusivity by lingerie brand Aerie proves the real-world success of this concept. The key for success is authenticity; brands cannot simply add a plus-size model to one advertising campaign for the sake of proving inclusivity. This inclusion must feel real and relatable.
Movements such as the #DropThePlus campaign argue that the term “plus-size” is sullied with negative connotations, implying that clothing sized 14 or higher warrants a special labeling, thus perpetuating that plus-size fashion is somehow less “normal” than straight-size fashion (Lubitz, 2015). However, interviews with plus-size consumers reveal that not all plus-size women dislike the term. A couple of interviewees stated that the term was convenient for shopping purposes, allowing them to easily know which garments were available in their size. Though “plus-size” carries a stigma for many women, it is a term that has been utilized for so long that it is ingrained within the industry. Until the term is transitioned out, there may still exist a need for differentiation of extended sizes. If differentiation is used, it is crucial that it serves to help, not segregate, women. For example, garments available in extended sizes can be integrated with the rest of merchandise, but it can feature subtle labeling to let consumers know that garment is available in their size.
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Plus-size women are willing to spend a large amount of money—relative to what they currently spend—on a well-fitting garment.
There is no standard proportion for plus-size. Plus-size women generally understand their own proportions very well.
A recent study commissioned by online retailer ModCloth found that a staggering 81 percent of plus-size women surveyed would spend more money on clothing if more styles were available in their size (Kuchinski, 2015). Furthermore, 21 percent of plus-size women reported spending at least $150 per month on apparel, compared to 15 percent of straight-size women (B., 2014). Most of the consumers interviewed agreed that they would be willing to spend a significantly higher amount of money on a great-fitting garment. One interviewee, who spends $200 - $500 per month on clothing, said she would pay a 25 – 30 percent premium for a well-fitting garment. A few interviewees even said they would have no budget if they found a quality item that fit well. These findings reveal that plus-size women highly value something that many straight-size women take for granted: the availability of well-fitting garments for their body type. The access to well-made and stylish apparel that is fitted for plus-size body types is so rare that these consumers will happily spend more money when they find it.
Of the twelve plus-size consumers interviewed, the specific fit issues shared by each were as diverse as the women themselves. No two consumers had the exact same fit issues or preferences. This insight falls in line with secondary research stating that the plus-size figure is not standardized like the straight-size figure, for women carry their weight in different areas. Because there is a range of plus-size proportions, it is more difficult to manufacture garments that will fit all of these proportions. Of the women interviewed, each had a sharp eye for her own proportions. It seems this self-knowledge arises from dealing with fit issues time and time again. This insinuates that if a brand created a plus-size garment accompanied by an explanation of the body type it best fit, the fashion-conscious plus-size consumer would know how to shop for herself. When presented with a greater variety of garments in her size, she may be more skilled in discerning which silhouettes are best for her, compared to straight-size women.
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KEY FINDINGS + ANALYSIS Garments are approved for production based on only one size. Strategic product development changes are necessary to improve plus-size fit. The industry interviews provided key insight into how garments are approved for production for mass manufacturing brands. Eliane Sobral explained that while each garment typically goes through a three-stage approval process, only one size is approved. This means that when garments are sized up, the graded-up sizes have not been approved for fit. In order for a brand to be truly size inclusive, changes must be made in the product development phase; however, striking the balance between what would best benefit the plus-size consumer and what is feasible for the company is the true challenge. While a mass manufacturer cannot practically use numerous fit models on a regular basis, it needs to solve for ways to accommodate a variety of figures. This could mean designing specific pieces with a specific body type in mind, adopting mass customization, or developing garments with adaptable details, such as removable straps or adjustable waistbands.
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A plus-size brand extension would fit MILLY core values.
Michelle Smith has said that she wants every woman who wears MILLY to feel “beautiful, confident, and empowered” when they wear her garments (MSNBC, 2015). She has also stated that approachability is key for her brand, and she doesn’t want women to feel “alienated” from MILLY (MSNBC, 2015). By offering apparel sized only up to a 12, MILLY is not fully living this value, for it is alienating all women who wear a size 14 or higher. By embracing the plus-size consumer and extending its sizes, MILLY will be promulgating the core mission of its founder and designer. Furthermore, Smith has stated that she views MILLY as a business first and foremost, which means that growth and profitability are critical to her. By capitalizing on the neglected 67 percent of women who wear plus sizes, MILLY has the potential to grow its consumer base, its profits, and its market share. A plus-size brand extension would focus MILLY’s strategic vision by capitalizing on a gap in the marketplace and furthering the message of female empowerment that MILLY is already projecting through its brand image.
The time is now to embrace the plus-size consumer.
While the overall fashion industry has seen sales decrease in recent years, the plus-size market has outpaced overall industry growth for the past three years, growing by 17 percent from 2013 to 2016 (Banjo and Molla, 2016). As more brands tiptoe into the plus-size sector, it is predicted that plus-size consumers will recognize their increased options, thus boosting their apparel consumption and, consequently, the growth of the plus-size sector “potentially at a very fast rate” (Big is Beautiful, 2014). There has never been a better time for brands to enter the plussize market: the combination of the oversaturation of the industry and the rising body positivity movement have already starting pulling companies towards this sector. Yet, few top designers still have not embraced this market, so any that do have the potential to make big waves in the industry. For a brand like MILLY—which is well-loved by its customers but still relatively unknown by the general public—positioning itself as a proud, sizeinclusive brand could offer incredible impact in building its brand loyalty and reputation. 53
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STATEMENT OF STRATEGY MILLY will create and market a size-inclusive capsule collection that embraces the 67 percent of U.S. women it currently does not reach. This strategic initiative will not only expand its consumer market and push MILLY at the forefront of size inclusivity, but it will more fully emanate the brand’s mission to empower and celebrate all women.
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CAPSULE COLLECTION MILLY will introduce a capsule collection of 12 items that are available in sizes 0 – 24. This collection will be a way for MILLY to venture into size inclusivity and test the success of this new strategy. Following this collection, MILLY may choose to introduce two 12-piece size-inclusive collections per year or—if it proves highly successful—to adapt the entire brand into a sizeinclusive one.
The collection will be true to the MILLY aesthetic, but with the plus-size consumer in mind. The styles will be versatile, with some featuring removable straps or two-piece combinations instead of dresses to allow for differences in top/bottom sizing. Certain garments will also be designed with different silhouettes in mind to accommodate the diverse body types of plussize consumers. The collection will feature an
iconic MILLY tee with the body positive messaging “Body Pos AF,” a cheeky and confident tagline that reflects both the Millennial demographic the current lexicon used by the brand. The collection will be introduced for the S/S 2018 season, launching at New York Fashion Week. The campaign will run for six months; at the 3-month mark, the MILLY team will analyze sales and determine plans to produce another size-inclusive collection for A/W 2018-19.
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COLLECTION CONCEPT
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Approving two sample sizes before production
PRODUCT DEVELOPMENT Each design will be sized and costed according to a size 16, which falls within the middle range of sizes offered and represents the average size of the U.S. woman. Working with this size—as opposed to a smaller 8, 10, or 12—will allow the design and development team to better understand the fit needs of the true plus-size consumer. Garments can then be sized down with relative ease. This method will allow the product development team to set the price for each garment, which will fall in the range of MILLY’s current pricing strategy.
Typically, only one sample size is developed and approved for production. It is recommended that MILLY produce two samples for each garment: one within the size 6-8 range, and another within the 16-18 range. This way, the development team can test the fit and shape of each garment on a wider range of body sizes. Only when each garment has been fitted and adjusted for both sample sizes will it be approved for production.
Because designing and sizing for the plussize consumer is a new venture for MILLY, the company may opt to partner with a third-party patternmaking service, such as that developed by Christine Hunsicker of Gwynnie Bee, to gain expertise in sizing up garments. In order to create a collection that truly meets the needs of plussize consumers, it is recommended that MILLY connect and partner with plus-size influencers or designers to authentically understand the various fit needs of this consumer group.
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[L] Example of plus-size inclusive merchandising in Lane Bryant [R] Unique store tag for capsule collection
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DISTRIBUTION The capsule collection will be available at the MILLY flagship store in New York City as well as the MILLY website, a fast-growing channel for the brand. MILLY will also establish and exclusive partnership with Nordstrom to carry the capsule collection in 12 stores across the U.S as well as Nordstrom.com. As the collection grows with time, additional distribution channels may be opened up in order to increase convenient access for more consumers.
Each retail point will be adapted make the plus-size consumer feel welcomed and included during her shopping experience. The extended size garments will be integrated with the rest of MILLY merchandise, and plus-size mannequins and imagery will be brought in to establish size-inclusive merchandising. Each collection garment will feature a unique store tag labelled with “Available in Size 0 - 24� so that customers can easily identify which MILLY garments are available in extended sizes.
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“Instagrammable” area in MILLY flagship store
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MILLY FLAGSHIP STORE The capsule collection will be displayed prominently in the MILLY flagship store to encourage consumers to walk in and discover it. Collection items will also be disseminated throughout the store with regular merchandise, and each will feature the unique store tag. Store displays will reflect a size-inclusive atmosphere, with plus-size mannequins being integrated and the campaign photos featuring women of all sizes being added throughout the retail space. If the needed size is not currently in stock to be purchased, the consumer can place an order directly through the store, which will ship the item to the consumer at no additional cost.
In order to boost the authentic influence that can occur through social media, the MILLY store will create an “Instagrammable� area near the dressing room that will encourage customers to take a photo of themselves wearing a collection item that makes them feel confident. The area will feature a striking photogenic backdrop, flattering lighting, and the hashtag #BodyPosAF so that customers can share their photos on Instagram under the curated feed. This consumer-driven form of word-of-mouth advertising via social media is one of the most powerful and authentic ways to promote the new collection.
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Mockup of product listing “hover” user interface on MILLY.com
MILLY.COM The capsule collection will be integrated into the MILLY website so that consumers around the country can order from the line. During the key promotional period, the campaign video and photos will be prominently displayed on the homepage. The items will be integrated within their respective categories under the “Women” tab; this promotes inclusivity and allows consumers unfamiliar with the collection to discover it while shopping on the website. The site’s current filter feature will be updated with the new sizes, allowing women to quickly and easily locate the extended sizes without having to scroll through all product listings. Each collection item will be photographed for its product listing on at least two models: one who is straight-size, and one who is plus-size. This will allow consumers to not only see that the
garment is available in a range of sizes, but to also see how it fits on these diverse sizes. Each listing will have detailed measurements and recommendations for body types. In addition to photos, each listing will feature a short video sharing how the garment moves and fit tips for consumers. Companies like ASOS and Zappos currently use videos like this on their product listings to provide consumers with a more comprehensive understanding of each item. MILLY will also introduce a virtual fitting room into its website. Through this technology, consumers can enter their measurements— such as bust, waist, hips, and height—as well as select their body type from the four core figures listed in the “How to be a Size-Inclusive Brand” handbook. Then, they can virtually “try on” the capsule collection items to envision how the
garments would look on them. Virtual fitting rooms invite consumers to explore and engage with MILLY, and it instills within these consumers greater confidence to make a purchase. MILLY will implement a Live Chat feature with in-house fit experts so consumers can get personal insight on sizing before placing an order. These fit experts will be trained on the core four female body types and distinct fit attributes of each garment. Furthermore, collection items will feature an exclusive free exchange and return policy to encourage consumers to place an order without worrying about the extra cost to ship it back should it not fit. Each of these recommended e-commerce strategies is meant to increase online ordering ease and accessibility for consumers of all sizes. 65
MILLY Exclusive Launch Event
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NORDSTROM PARTNERSHIP In order to expand the distribution channels of the size-inclusive capsule collection beyond MILLY’s flagship store and website, the brand will establish an exclusive partnership with Nordstrom. The collection will be introduced in 12 Nordstrom stores across the country as well as Nordstrom’s website. Nordstrom has been selected for this partnership because it is a department store that currently sells MILLY, and because it is wildly popular amongst Millennial women, the target consumer of MILLY’s capsule collection. By developing an exclusive contract with Nordstrom, MILLY will have the power to negotiate control over several aspects of the collection’s distribution.
First, MILLY can control its merchandising, possibly even securing a larger or more prominent area on the floor. It can also ensure that plussize mannequins and size-inclusive imagery are integrated into the merchandising. Second, MILLY can request specific training of Nordstrom sales associates on fitting various body types and the correct lexicon to use when selling the collection. Finally, MILLY can nego.tiate bonus promotional efforts, such as a dedicated window display the month the collection launches or a fashion show launch event at one of Nordstrom’s locations. Depending on the success of MILLY’s inaugural size-inclusive collection, more distribution points through Nordstrom may be expanded in the future.
67
Mindy Kaling wearing #BodyPosAF MILLY Tee
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MARKETING CAMPAIGN For MILLY’s inaugural size-inclusive capsule collection, the campaign draws inspiration from the idea of a “fashion democracy.” The collection itself is rooted in bringing all women— regardless of the number on their dress label— into the fashion community, and the democratic notion of freedom and empowerment brings a clear, cohesive story to the 6-month promotion. MILLY will bring a patriotic wink to the campaign, playing off the U.S. colors of red, white, and blue with modern shades of pink and blue. The American flag symbols of stars and stripes will be playfully reinterpreted as subtle motifs throughout campaign visuals. These aesthetic details are not meant to take away from the collection apparel, but rather provide a unified vision that will connect all promotional materials across retail points and digital media.. 69
Stills from campaign video “proof of concept” mockup
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CAMPAIGN CREATIVE A photo shoot featuring models of various body types and sizes will be the core of all marketing efforts; images from this shoot will be included in all promotional efforts, from the MILLY website, to store displays, to social media. An empowering, attention-grabbing campaign video will also be created and promoted via the MILLY website and social media. A video is the ideal medium for promoting this campaign because its active, engaging quality allows MILLY to broadcast the powerful message of size inclusivity in a way that stagnant photos cannot. Furthermore, videos are typically the format consumers find most engaging on social media, so the choice to center promotional efforts around a video brings the potential for make a widespread impact. Additional short videos or gifs featuring the models or body-positive influencers may also be created for social media promotion.
Gifs are not only popular amongst Millennial consumers, but it is a medium that MILLY currently utilizes. The aesthetics of the campaign will mirror the playful aesthetic of MILLY—bold, bright colors and cheeky messaging—to further communicate inclusivity. The idea of the capsule collection is to blend in seamlessly with MILLY’s current product offerings, so it is natural that the coordinating marketing efforts will also blend in. The biggest difference is that the models used will cover a size-inclusive range, and the promotional efforts will be interwoven with inspiring messages of size inclusivity and body positivity—not in a way that feels overly sentimental or gloomy, but rather confident and empowered. This balance allows MILLY to bring more substance and personal connection to its campaign without taking away from the true focus: the apparel. 71
72
Mindy Kaling
BRAND AMBASSADOR Actress and comedian Mindy Kaling has been selected as the face of the size-inclusive collection. She is best known for her role as Kelly Kapoor on The Office, creating and starring in The Mindy Project, and writing two best-selling memoirs that are favorites amongst Millennial women. Kaling is not only a modern fashion icon—she often shares photos of herself rocking bold colors and mixed prints to her 2.7 million Instagram followers—but she is a body-positive force in Hollywood. She has openly shared her struggles with clothing as a non-size 2 actress as well as her sense of self-confidence no matter what size she is.
Despite her fame, Kaling maintains an approachable and relatable reputation: she is not afraid to make fun of herself, and she is the kind of woman that other women want to call their best friend. She not only fits the MILLY brand image, but she has the potential to elevate MILLY’s standing through her influence. Best of all, Kaling’s personality can bring the authenticity that MILLY is currently lacking in its promotional efforts. By serving as the face of the brand, she is serving as a real, relatable MILLY woman that consumers can connect with on a personal level. As the brand ambassador, Kaling will be featured in several of the campaign photos. However, she will generally take a more personal
role with the brand. She will not be a mere celebrity endorsement, but an active representative of the MILLY woman. MILLY’s social media platforms will feature posts by Kaling, where she can use her voice to connect with consumers. Several of these posts will feel candid, real, and humorous—they will go beyond the staged campaign photos many brands utilize with their celebrity representatives. Kaling will represent the brand on her own social media platforms, sharing posts of her wearing MILLY and interacting at MILLY events. She will be prominently featured at the collection launch party and will wear MILLY at awards shows, on television shows and appearances, and at other publicized events. 73
Social Media Mockups featuring Mindy Kaling
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Examples of influencers: Top [L to R] Jay Miranda, Clementine Desseaux, Bo Stanley, Nicolette Mason Bottom [L to R] Sabina Karlsson, Tess Holliday, Barbie Ferreira, Gabi Gregg
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INFLUENCERS To further showcase the size-inclusive message of the capsule collection, MILLY will partner with social media influencers in a range of body sizes and shapes to promote the collection. Social media infuencers have become a valuable promotional tool for fashion brands, for their genuine connection amongst followers allows successful product promotion to work like word-of-mouth referrals at a multiplied level. These influencers will be a mix of body positive models, actors, and bloggers—all of which have contributed in some way to promoting body confidence. The influencers will be gifted with a collection item of their choice, and they will be encouraged to share posts on their own social media feeds wearing MILLY. They will also be
featured on MILLY’s social media and may take turns hosting a “takeover” of the MILLY Instagram page. The goal of using influencers is to not only create an authentic campaign by using body positive women and sharing their personal stories, but to also boost a personal connection with consumers on MILLY’s social media, which it is currently lacking. Each influencer has her own social media following, and including them in the campaign provides the opportunity to turn these followers into MILLY customers. The women selected will capture a balance of body positivity and glamour, which is fitting for the premium designer status of the MILLY brand. Examples of influencers include Clementine Desseaux, a plus-size model
and co-founder of the body-positive All Woman Project; Gabi Gregg, a blogger and designer of her own “fatkini” swimwear line; and Nicolette Mason, a writer for Marie Claire and plussize fashion activist. These influencers will authentically convey the overarching message that women of all sizes are beautiful, confident, and empowered—just as designer Michelle Smith has stated as her mission for the brand. The success of utilizing social media influencers will be measured by the referral traffic to MILLY’s website from each influencer’s post. Web tracking services that determine if a sale was made from a specific influencer’s referral link such as RewardStyle and LIKEtoKNOW.it can also be used to measure the influence of that particular influencer on driving sales. 77
Social Media Posting Schedule FREQUENCY
WEEK 1
2-3x / day 1x / day 3-4x / week 1x / week 1x / 2 weeks Facebook Instagram
78
WEEK 2
WEEK 3
WEEK 4
MONTH 2
MONTH 3 MONTH 4 MONTH 5 MONTH 6
SOCIAL MEDIA MILLY’s core social media platforms are Facebook and Instagram, and these are the two channels that will be focused on during the marketing campaign due to their strength in visual storytelling. Twitter will also be used, but only to supplement Facebook posts; it will not possess a distinct strategy. The main campaign video that will be shared on Facebook as well as MILLY.com, gifs will be shared on Instagram, and shorter videos and photos will be shared on both. Social media has allowed for the growth of the body positivity movement, and this channel is a smart and authentic way for MILLY to capitalize on that. It provides the potential for content to be shared and go viral, and its paid advertising feature will allow the brand to boost the level of engagement on its campaignrelated posts.
Success on Facebook will be measured by the three key traits: post views, post clicks, and post shares. The combination of these measurements reveals not just how many people see each post, but how many people engage with it. This lets the brand know if followers are truly connecting with the capsule collection and if social media efforts are bringing traffic to website and ultimately producing sales. The growth in followers is another key measurement, for the larger the following, the greater MILLY’s influence becomes for future social media marketing efforts. The social media campaign will run for six months with trailing intensity. Posts and paid promotion will occur most heavily within the first two weeks, with less frequent posts occurring until the 3-month mark, and even less occurring until the end of the campaign period.
The posts will include not only the campaign images and videos, but also “behind the scenes” photos and videos that serve as original content exclusive to social media platforms. These posts bring a more personal element, which is fitting for social media and the importance of MILLY making a genuine connection with its followers. With MILLY’s current social media strategy, the posts that perform best are those that feature non-professional photos of founder Michelle Smith. This shows that personal connection performs well on social media and that followers admire the designer behind the brand. During this campaign, more posts featuring Smith and her unique voice will be created to further promote her message of female empowerment while building a sense of loyalty amongst followers. 79
Instagram Mockups
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81
82
THE MILLY MAG The launch of the capsule collection will revive The MILLY Mag, the brand’s blog that currently exists at its own URL at blog.milly.com and has not been updated in over a year. However, it brings a great opportunity for the brand to connect more personally with its customers, and the groundwork is already in place for this blog to be reawakened. The blog will move from its separate URL and will now be integrated into the main website through an added tab called “MILLY Mag.” New posts will be added twice per week and will range in topic from behindthe-scenes reports on New York Fashion Week, MILLY photo shoots, and life at the MILLY atelier. It will also highlight charities and organizations close to MILLY, such as those that support the arts, body positivity, and women’s empowerment.
Each month, Michelle Smith will write a “Message from Michelle” post sharing her thoughts and inspiration; this blog is also where interviews with and guest posts by both Mindy Kaling and other influencers can be shared. Blog posts will be teased on social media, linking back to the blog to encourage followers to connect closer with MILLY through this reinvigorated channel. The success of the blog will be determined not just by the number of page views, which can help determine which topics are the most engaging with followers, but also the number of blog post referrals to product listings, which can result in higher sales. The sources of traffic will be monitored to determine which links influence followers the most. All of this data can provide MILLY with valuable insight into consumer behavior and preferences.
[L] Mockup of revival of The MILLY Mag. A sample 1-month posting schedule is listed in the appendix.
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84
Sampling of the 300+ body positive articles on Refinery29
PUBLIC RELATIONS
Though MILLY has run print advertisements in magazines since 2013, the capsule collection will not be advertised through this channel. Not only is it incredibly costly for a small company like MILLY, but it is difficult to capture the authentic messaging of this collection through a single, static image. In addition to the planned online efforts, MILLY will focus heavily on PR to promote this collection. Considering the boom in the body positivity movement and the prevalence of media coverage on this topic, it is predicted that the release of one of the first sizeinclusive collections from a premium designer will garner significant attention. Sites that cover fashion, have large female audiences, and have
promoted body positive articles in the past will be targeted; examples include Refinery29, WWD, The Washington Post, and The Skimm, as well as the online sites of various fashion magazines like InStyle, Glamour, and Marie Claire. The potential PR gained through this collection not only creates a powerful ripple effect in making people aware of this collection, but it has the capability to boost MILLY’s brand image entirely. For many, this collection could be the first time they have heard of MILLY. Connecting MILLY’s current mission of empowering women with its new sizeinclusive collection strengthens the brand’s identity and can bring in a number of new loyal consumers based on this messaging alone. 85
Product Placement Lena Dunham, Girls
86
PRODUCT PLACEMENT Rather than invest in television commercial spots that many viewers skip through, MILLY will reach out to networks for native advertising, or integrating product placement into a television show. TV programs with large female audiences as well as those that feature strong female characters will be contacted and offered items from the capsule collection to outfit their characters. As opposed to native advertising used by most consumer goods brands, using product placement through apparel feels more authentic, because it is simply showcasing the beautiful garment as worn by a character rather than the brand name. This is enough to get viewers who are interested in the garment to look further into where they could
buy the garment. Online forums such as Sawitonscreen.com can be contacted with garment details and a link to MILLY.com where consumers can access it. MILLY will publish a blog post and social media post every time a capsule collection garment is showcased in a TV show. Connecting the concept of native advertising with public relations, morning talk shows with female audiences, such as The Today Show and The Talk, will be contacted asking for Michelle Smith to share the capsule collection and show the garments on models with varying body types. The success of native advertising can be measured by spikes in sales, website visits, or social media growth following any of these product placements or media appearances by influencers. 87
LAUNCH PARTY The capsule collection will be introduced through a launch party that will coincide with MILLY’s runway show at New York Fashion Week. The event will invite the media, influencers and bloggers, and industry leaders to view the collection before it is released to the public. The show itself will include the size-inclusive capsule collection, and models of various sizes and body types will be used. The recent use of plus-size models in NYFW runway shows has consistently made headlines, and promoting size inclusivity during the pinnacle fashion industry event proves MILLY’s commitment to the cause. Each launch party attendee will be gifted with a “Body Pos AF” MILLY tee, and the hashtag #BodyPosAF will be promoted during the event. 88
MILLY LEADERSHIP A final strategic initiative requires the buyin from the MILLY team--from the leadership all the way down to the sales associates. As mentioned previously, the only two shareholders of the company are Michelle Smith and Andrew Oshrin, but they are not the only two people with a stake in MILLY. All corporate employees are representatives of the brand, and it is important that they carry forward an accepting and inclusive message in their professional lives. It is recommended that all employees read the “How to be a Size-Inclusive Brand� Handbook in order to understand the needs of the plussize consumer, and they will be encouraged to explore body positive activism and published articles on their own. To further demonstrate its commitment to size inclusivity, MILLY may also choose to partner with a local or national organization that promotes positive body image. 89
MEDIUM
INITIAL COST
MONTHLY FEE
TOTAL COST
Campaign Video + Photos Creative Development $2,500 $0 $2,500 Production $20,000 $0 $20,000 Viral marketing + seeding $20,000 $0 $20,000 Total $42,500 Search Engine Optimization $5,000 $500 (x6) $8,000 Web Content Marketing $10,000 $0 $10,000 Social Media Advertising $ 0 $1,000 (x6) $6,000
Brand Ambassador $20,000 $0 $20,000 Launch Party
$15,000 $0 $15,000
TOTAL
$101,500
60% of 6-mth budget
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MARKETING BUDGET MILLY earns an annual revenue of around $34 million (One Source, 2017). Taking the standard 10 percent of annual sales to dedicate to marketing, that equates an annual marketing budget of $340,000. For a 6-month period, that allows for a budget of $170,000. Because this budget is small compared to other designer brands, the collection will take a grassroots approach to marketing, focusing almost exclusively on digital promotion. MILLY will invest the majority of its marketing budget in developing and promoting a high-impact campaign video; the rest of the budget will be allocated towards low-investment, high-return digital marketing, such as SEO, content creation, and paid social media advertising. The overall predicted marketing spend for the capsule collection is a little over $100,000, or about 60 percent of its 6-month marketing budget. 91
CATEGORY
STYLES
RETAIL $
STOCK
Dresses
4
$450
936
Tops
3
$250
Skirts/Pants
3
Swimwear
1
MILLY tee
1
T/O RATE
$421,200
2.0
468
$117,000
2.2
$330
702
$231,660
2.0
$200
156
$31,200
1.5
$100
546
$54,600
2.5
2808
$855,660
2.0
92
INV. VALUE
SALES FORECAST IN-STORE
ONLINE
TOTAL
$842,400
$168,480
$1,010,880
$257,400
$51,480
$308,880
$463,320
$92,664
$55,984
$46,800
$9,360
$56,160
$136,500
$27,300
$163,800
$1,746,420
$349,284
$2,095,704 Within first 6 months
The capsule collection will be distributed in thirteen retail points, plus two additional e-commerce channels via MILLY.com and Nordstrom.com. The twelve collection items have been priced, and a low inventory turnover rate has been estimated to determine sales. The result is a conservative forecast of $2.1 million in sales from the size-inclusive capsule collection during the first six months. However, considering that current market conditions have proven a high demand for plus-size apparel, there exists a highly plausible potential that actual sales could significantly outperform the forecast. 93
94
CONCLUSION Embracing the long-neglected plus-size demographic is not just the right thing to do; it brings massive lucrative potential to brands who aim to increase their sales, grow their market share, and expand their consumer base. However, adopting a size-inclusive strategy that authentically welcomes the plus-size consumer into the fashion community requires deliberate thought and effort. MILLY was selected as the case study to demonstrate how a designer brand can tap into the plus-size market for long-term success. The strategy developed in this project not only propagates MILLY’s mission of female empowerment, but it also strengthens its brand identity. The strategy solves for issues with design,
sizing, pricing, placement, and promotion outlined in the “How to be a Size-Inclusive Brand” handbook to reach the plus-size market authentically and effectively. MILLY’s size-inclusive strategy estimates a conservative sales forecast of $2.1 million, or 6.2% growth in revenue within six months. However, considering the high market demand for plus-size apparel, the potential for higher sales is plausible. Best of all, MILLY can set the pace for designer brands by demonstrating that size inclusivity does not mean sacrificing brand reputation. When the fashion industry celebrates all women—regardless of the number on their dress label—both the designer and the consumer win. 95
96
A
APPENDIX A. Demographic Profiles of Consumer Interviewees B. Breakdown of Main Demographics of Interviewees C. Design and Fabric Recommendations for a Size-Inclusive Collection D. Example of 1-month Posting Schedule for The MILLY Mag
97
A.
98
B.
99
C.
DESIGN RECOMMENDATIONS > Surplice drape
> Ponte knit
> V-neck and square necklines
> Viscose (+ elastane)
> A-line skirts and dresses
> Twill (+ elastane)
> Defined waistline
> Cotton (+ elastane)
> Peplums
> Neoprene
> 3/4 sleeve > Princess-cut silhouette > Adjustable belts
100
FABRIC RECOMMENDATIONS
D.
101
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LAUREN LOCKHART M.A. FINAL PROJECT LUXURY + FASHION MANAGEMENT THE SAVANNAH COLLEGE OF ART AND DESIGN MAY 2017