Design Research

The project’s research was conducted through primary and secondary methods. The primary research came from survey distribution via social media platforms like Instagram. Instagram was selected during the research proposal phase as it was determined that this platform is used significantly by the target audience which resulted in guaranteed responses. It is also the dominant platform for clothing brands to promote their products (Keenan, 2024). The survey was brief and featured questions that understood the thoughts and feelings of the Gen-Z/Millennial demographic purchasing fashion in 2024. This was essential for understanding how to design the deliverables for this project.

The data collected from participants sought to understand age, annual income, and social media usage paired with their agreements on positioning statements about purchasing habits. The survey captured fifty-seven responses which was over the sample size goal stated in the research proposal. There was a 55-45% split for female to male respondents whilst only 25% of the sample were high-income earners (above £40,000) allowing for a more economically diverse group of participants. 70% of respondents reported that sustainability affects their purchasing choices with 60% of all the sample indicating they avoid products from unethical brands, showing a clear preference for ethical consumption. It is worth noting that the sustainable-conscious consumers tended to fall in the higher education and income brackets which reflects a more informed customer base.

The secondary research came from market and competitor analysis and academic resources on various sub-topics. It was also important to understand fashion industry trends, sustainability consciousness, and case studies of competitor brands to give a wider perspective on where Down 2 Earth would sit within the market landscape. Moreover, the research investigates digital analytics of social media accounts and the engagement with their followers to uncover the success and opportunities for the brand.

Starting with the primary research, it could have been simpler to break down the survey results between genders. Whilst this cross-examination is still appropriate, the project needed to conduct more advanced similarities and differences to further inform the design choices later on. This involved looking at the correlation between social media usage and sustainable purchasing habits. Key insights from the data include:

• Moderate social media users dominate the dataset, with most using social media for 1-3 hours per day. This suggests ample opportunities for brand engagement through well-targeted, time-efficient campaigns. The respondents who spent the most time on social media, however, are slightly less likely to base their purchases on sustainability. Albeit, they do avoid unethical products.

• Fashion engagement is relatively low compared to overall social media usage, which implies that fashion brands may need more interactive or immersive content to increase engagement levels.

• Sustainability-conscious behaviour is prominent, with a significant portion of respondents willing to change their purchasing decisions based on ethical considerations. This indicates that brands with strong sustainability credentials may have a competitive advantage.

• Adding income into the formula does not swing it considerably in one direction. There is only a slight positive correlation between purchasing choices and high levels of income.

With this data, the next step was to compare and contrast competitors in the industry and what could be gained from their business achievements. The two brands chosen are Broken Planet and Represent. Broken Planet distinguishes itself through its commitment to sustainability and innovation in fashion. By prioritising environmentally friendly practices and up-cycled materials, the brand appeals to a conscious consumer base. Their strategy of limited product releases, combined with transparent storytelling through their Instagram stories and posts, cultivates a community of loyal followers. On the other hand, Represent employs a branding approach that emphasises the fusion of heritage and modernity. By utilising high-grade materials and incorporating both timeless and avant-garde design elements, the brand curates an image of exclusivity and luxury. Through strategic collaborations with influencers and a robust social media presence, Represent effectively taps into a fashion-forward, digitally-native demographic.

These brands both have characteristics that D2E focuses on. D2E can emulate these strategies by first identifying its unique value proposition, whether it be through exclusive design, sustainable practices, or another distinguishing factor. Leveraging social media to tell a compelling brand story and engage directly with consumers can create a devoted community. Additionally, collaborations with influencers or other brands can amplify reach and lend credibility to a new brand. This approach, coupled with consistent, authentic engagement with the target audience, helps to build a strong community around the brand. By prioritising quality, narrative, and consumer engagement, D2E can successfully carve out its own space in the competitive fashion industry.

For this project, there were several sub-topics which were vital to research to gain a comprehensive overview of the fashion industry and sustainability.

Sustainable Clothing

The psychology of shopping is apt for another research project however 'our habits of consumption are intertwined with our identities, values, emotions and social influences' (Soron, 2010). Clothing becomes a visible statement to other human beings and portrays an identity within itself. The survey data indicated higher-educated and higher-earners more likely to purchase sustainably which suggests that brands must prioritise affordability without compromising on sustainability. This is backed by Anisah et al (2024) whose research details that Gen-Z is highly conscious of sustainability concerns but they often face challenges in choosing sustainable clothing over fast fashion due to price constraints and limited availability. In addition, Bläse et al deduct that the fear of missing out (known colloquially as FOMO) has a chokehold over consumers and directly 'influences…the purchase decision process' (2023).

Most of the survey respondents suggested that they interact with sustainable items and Parvin and Zilahy (2022) state that consumers who engage in activities such as garment care and recycling thereby extend the lifespan of clothing items. They also emphasise the need for further education on the environmental advantages of sustainable fashion to encourage more eco-friendly consumer behaviour. McNeil and Moore add that 'fashion consumers' attitudes' stem from 'their preconceptions toward sustainable fashion and…ethical consumption actions' (2015). Khare and Seshadri (2024) align with Parvin and Zilahy's view on garment care and detail that consumers can minimise their carbon footprint by adopting habits such as washing at a lower temperature, air drying and repairing garments instead of discarding them.

There are also environmental and social issues caused by mass production including pollution, labour exploitation and the depletion of natural resources (Jayakumari et al, 2024). Therefore, Down 2 Earth needs to promote limited releases to not over-manufacture and use ethical practices during production. Hur and Cassidy suggest that 'both the role of design and designers can be key to stimulating design practice' indicating us as designers have a big role to play in the future of the design production practice (2019).

Fast-Fashion and Ethical Practices

One of the project's deliverables is to create an Instagram account to promote the brand’s vision and to raise awareness about climate issues. Social media has had a negative impact on the environment by creating 'micro-trends' whereby fleeting, viral moments happen and exacerbate overconsumption and overproduction (Kothari and Sohoni, 2024). Fast fashion brand Shein is a monumental example of this with low-cost, high-speed production with consumers sharing their hauls on social media to followers leading to climate degradation and poor working conditions (Azevedo et al, 2024). Jin (n.d.) calls for both consumers and fashion brands to take responsibility for reducing waste and promoting ethical consumption. Brewer (2019) has a varied stance and argues that 'legal reforms and increased support' is what are needed 'to reorient the fashion industry'. Therefore, it is imperative to show up in this space and use social media for the opposite and educate consumers on better habits.

Bommanavar and Malipatil (2024) state that brands are integrating elements of slow fashion into their production models without completely abandoning the fast-fashion approach yet conclude that brands must fully commit to slow fashion principles rather than merely incorporating them superficially. Surjit et al (2024) concur and suggest that for corporate social responsibility to be truly effective, fast fashion brands must undergo a more profound transformation in their practices. This could be done with the role of technology shifting within the textile industry. Priyadarshini and Prasad (2024) detail that advancements in digital tools such as artificial intelligence (AI), large data models and blockchains are supporting brands in monitoring supply chains and waste and enhancing transparency.

Fashion Brand Websites

The main part of this design work is the website prototype as most of the desired consumer engagement would be through purchasing garments from the brand's online store. Fashion websites are a big piece of work as they have a vast amount of elements and coding for layout, user experience and interface to focus on how they influence user engagement and customer satisfaction (Feshchenko, 2024). Sultana et al's (2024) research discovers that to convert visitors into buyers the website must have clear product displays and fast loading times and have features that detail product descriptions, high-quality images and various payment options.

Consumer Behaviour in E-commerce

The e-commerce landscape is being shaped by Millennials and Z through their adoption of online shopping applications. Gen Z relies heavily on social media for product discovery whilst millennials prefer value and brand loyalty. (Widodo et al, 2024). Bernovskis et al (2024) argue that Society 5.0 (a human-centred approach to technology integration, where advanced technologies such as AI, the Internet of Things [IoT] and large data models are used to create personalised consumer experiences) is delivering exceptional customer service and present that businesses must adapt to this new paradigm to stay competitive.

Just over 10% of the survey respondents were students who would potentially sit within the Gen-Z bracket (unless they are mature students). Their income is sparser compared to the rest of the sample and therefore means that brands must provide competitive pricing to retain customer loyalty and drive sales (Mandagi and Lapian, 2024). This can be achieved through Buy Now, Pay Later (BNPL) methods which Gen-Z are particularly responsive to as they value convenience and are more likely to make spontaneous purchasing decisions (Sela and Saerang, 2024). These elements should be implemented on the website during the purchasing flow to support the target demographics conversion.

Fashion and The Role of Social Media

Social media provides an opportunity for fashion brands to visually tell a story through unique tools that can create engaging narratives (Nurgaliyeva, 2024). Ahmad et al (2015) note that social media platforms are a direct and dynamic communication channel between fashion brands and consumers. They discuss the role of fashion influencers who use their platforms to showcase trends and set new fashion standards. This could be essential for the sustainability piece to help drive forward the ethical commitments by holding companies accountable and letting consumers offer feedback (Kim and Kim, 2020). Users can share tips and recommendations through brand communities which links back to Jin's (2024) point on consumers taking some of the responsibility.

Social media enables fashion companies to showcase their products to a global audience without the need for traditional advertising which potentially can connect with more consumers than ever before and democratise the market (ApparelMagic, n.d.). Brands now have a closer relationship with their audience with real-time feedback during launches and is now a critical part of the fashion ecosystem allowing brands to stay connected to consumer needs.

E-Commerce and Social Media Engagement

Lastly, statistics provide current market data and provide the scale of the industry being designed for. The global fashion e-commerce market is expected to reach $1 trillion by the end of the year with social media being a crucial diver in direct interactions with brands and customers (Keenan, 2024). Globally, there are 2.71 billion active online shoppers which shows how vital it is to be with the size of the prize possible (Mileva, 2023). The large valuation refers back to the Society 5.0 integration earlier and the prediction that this will grow the market significantly in years to come (The Business Research Company, 2024).