Social media fashion influencer eWOM communications: understanding the trajectory of sustainable fashion conversations on YouTube fashion haul videos

Haines, Shelley; Fares, Omar H.; Mohan, Myuri; Lee, Seung Hwan

doi:10.1108/jfmm-02-2022-0029

Cited by 10 publications

(10 citation statements)

References 36 publications

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“…As noted above, research examining demographics and psychographics are inconclusive on the variables that make ethical consumption more likely. Although interest in sustainable fashion has increased [14,19,20,24], it is insignificant when compared to the DSP of the fast fashion industry [3,4]. As the main consumers of fast fashion, Generation Z are also the focus of fast fashion marketing and more responsive to the tactics [13].…”

Section: Social Contextmentioning

confidence: 99%

“…Further stimulation of the frequent impulsive fashion consumption process is found in the hedonic emotive response that fashion acquisition provides. For example, Ritch et al [13] found that consumers experience excitement when waiting for their purchase to arrive, and this unwrapping is often captured on social media for entertainment [24]. Engaging on social media is often a passive act, prompted by marketing that draws the consumer into social media, where consumption is just a few clicks away [8].…”

Section: Emotional Capital Of Fashion Engagementmentioning

confidence: 99%

“…Marketing further plays with emotions and feelings by situating fashion consumption as signalling success that represents "the good life" [28] often embodied by celebrities and, more recently, social media influencers [5]. Fashion hauls-videos in which influencers show a large volume of garments as a treat (see [24])-feed into marketing messages that obtaining new fashion is desirable and deserved, constructing the social norms and expectations of behaviour that formulate the DSP. If the DSP is to be disrupted, then social media is pivotal, as it fuels fast fashion consumption.…”

Section: Emotional Capital Of Fashion Engagementmentioning

confidence: 99%

“…However, this comes at a cost: exploitation of people and the planet [6]. As consumers are increasingly aware of the impact of fast fashion on the climate crisis and have expressed discomfort with the way in which fast fashion employees are treated [14,19,24], renting becomes a viable alternative that enables the utilitarian maximisation of scarce resources from the cradle to the grave [40]. Although Wardrobe satisfies those least willing to pay [51], it also aligns with status and esteem to develop a new purpose of renting, which addresses both the social and emotional context sought by Generation Z [14,19,22].…”

Section: New Technologiesmentioning

confidence: 99%

“…Similarly, social acceptance is crucial to advancing rental fashion [2], which illuminates the opportunity to mimic fast fashion marketing and permeate societal norms. Fashion consumers look to social media for fashion inspiration [24], and Wardrobe provides a similar online experience that provides the lifestyle experiences that Generation Z crave [4]. Content is stimulated by with #drops and new content that satisfies the hedonism of impulsive and frequent fashion acquisition [13].…”

Section: Exploiting Old Technologies In New Waysmentioning

confidence: 99%

See 4 more Smart Citations

Fashioning the Circular Economy with Disruptive Marketing Tactics Mimicking Fast Fashion’s Exploitation of Social Capital: A Case Study Exploring the Innovative Fashion Rental Business Model “Wardrobe”

Ritch,

Siddiqui

2023

Sustainability

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With the threat of the climate emergency intensifying and limited time left to reduce irreversible consequences, the need to consider how natural resources are excavated and managed from cradle to grave intensifies. This positions the circular economy (CE) as being highly relevant, particularly for the fashion industry, which is criticised for encouraging continued frequent and impulsive consumption of inexpensive garments with limited longevity. Advancing the circular fashion economy (CFE) has received little attention. Limited research to date has found that consumers have not been socialised to consider fashion acquisition as a collaborative or sharing activity, revealing an established attitude–behaviour gap that prohibits the advancement of the sustainable-fashion agenda. Primarily, fashion is imbued with social and emotional capital, as experienced with the dominant social paradigm (DSP) of fast fashion. This paper argues that similar tactics can be adopted for sustainable fashion practices through the CFE by exemplifying a case study of a fashion-renting platform, “Wardrobe,” that enables consumers to rent fashion owned by influencers and celebrities. In doing so, the paper makes four contributions to the knowledge: Firstly, in developing a conceptual framework from research examining fashion, sustainable fashion, and the CFE, the paper illuminates how fashion marketing emphasises social and celebrity capital to appeal to consumer emotions, encouraging frequent impulsive consumption, and how this can be transferred to the CFE. Secondly, the DSP is contextualised alongside the theory of disruptive innovation to understand how social norms of fashion consumption can be disrupted. Thirdly, although there is an emerging literature stream examining the CE and CFE, this focuses more on consumer practice and behaviours, and little attention has been paid to how the CFE can be marketed to engage with consumers. Fourthly, this paper illuminates how similar marketing tactics used by fast fashion can be exploited to advance the CFE.

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Section: Social Contextmentioning

confidence: 99%

Section: Emotional Capital Of Fashion Engagementmentioning

confidence: 99%