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(17/01/20)
Dr Martens assortment mix for today.
As they are primarily a shoes/boots brand, this mix shoes a clear indication of this. They have only ever released 5 t-shirts, two shirts under the 'women' tab and 3 t-shirts under the 'men' tab.
they do have a range of accessories which is reflected in the chart too.

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As Dr Marten have never released a clothing collection, research into the brands competitors was done on the purpose of understanding what colours were working well and trending.
In my collection I have used black, white, yellow, green which is also in the Timberland colour mix for AW. This re enforces the collections colour palette.

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As this is a unisex collection, I wanted to keep the garments a very relaxed fit. the spattered denim jacket which is in my spec pack is an oversized fit, therefore will fit all shapes and sizes. The chest measurement is the same as the back width, as its unisex it doesn't take into consideration that women can have a bigger chest then men. But the oversized fit caters for the extra room that is needed.

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Oversized clothing is a necessity for autumn /winter. Ideal for layering up, the oversized trend isn't going anywhere anytime soon. Going supersize can be a legendary choice if you're looking for a style refresh for the new season.

Do it wrong and you're in dangerous territory of your body shape looking out of proportion, making it easy to make or break the oversized look. Here's how to pull off the anti-fit trend without failing...

Choosing the fit

Now more than ever, we're seeing menswear brands introduce their own oversized range, adding their voice to the growing trend. If you've seen a t-shirt in Mennace that doesn't come in an oversized fit, our tip is to inevitably go up one size to master oversized dressing. Depending on what oversized fit you want, going up a size will skim your body shape without appearing overly out of form. Going up two sizes more than your standard fit can still be versatile - just make sure to pair with skinny or slim fit jeans or trousers to avoid your overall silhouette looking too loose and sloppy.

What to pair with oversized clothing?

You want to stay away from drowning your frame. Pairing with baggy trousers, shorts or jeans can ultimately make you look shapeless, so finding the right proportion is key. Try a pair of skinny fit jeans and tailored fits which can balance your frame to give that off-duty vibe for day or night when styled with an oversized t-shirt or sweater. For those days where you want to go a little bit more oversized, look towards straight-fit jeans. This, again, doesn't merge your clothing all into one, but gives a hint to the grunge look which is a key trend for autumn and winter.

Key Oversized Pieces

The Oversized Sweater

Everyone needs one and not just for autumn / winter, this is an all-year essential. It's a necessity that can break some ground. Dropped shoulder styles can add something more than just an oversized fit and can actually appear more structured when styled properly.

Top picks:

The Oversized Coat And Jacket

It seems fitting at this time of year to invest in solid outerwear to see you through. Oversized outerwear makes it easy to diversify your style, making it a good option to trial the oversized fit. Opt for oversized utility coats to give a nod to the camo trend resurfacing for the season, as well as boxy jackets and relaxed wool coats that help you go subtly oversized.

Top picks:

The Oversized Shirt

Need to take it up a level? Oversized shirts are the way to go if you need something a little more smart as opposed to street casual. This season, shirts in an oversized fit have a solid frame which buffs up your look without looking slouchy. Pair with smart tapered trousers and boots.

Top picks:

The Oversized T-Shirt

The current weather is no option for wearing a t-shirt alone, but they're a great basis to jump start your layering. If you've got muscle fit, slim fit and boxy t-shirts in your wardrobe, add oversized to keep your basics fresh and covetable. Wearing an oversized t-shirt is effortless. Similar to oversized sweaters, look for a dropped shoulder style to add some edge. Simply add oversized outerwear, ripped jeans and boots to complete the look.

Top picks:

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How to Wear Oversized Clothes - The Guide | Mennace

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Oversized clothing is a necessity for autumn /winter. Ideal for layering up, the oversized trend isn't going anywhere anytime soon. Going supersize can be a legendary choice if you're looking for a style refresh for the new season.

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Timberland being one of r Martens main competitors. Their assortment mix is very different, however the brand is still primarily a shoe brand. Their clothing(tops) come in as second on the chart, this is the main difference that the two brands have. Timberland have ran with the brand reputation and used it within clothing too. this is utilising the loyalty that customer have to the brand, buying the clothing due to the logo printed onto it.

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the Timberland Carnaby Street store wasnt easy to miss. this the exterior and interior keeping within the brands reputation in appearance. the clean cut and simple colour theme was very easy on the eye.

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The Dr Marten has before one of the most famous boots, with its strong roots and history. The brand has lasted to many decades and worn by many sub cultures; The mods, Punks, skinheads, goths etc..
There is a reason why the brand has lasted and gone from strength to strength, the exterior of the boot and products hasnt changed, however Dr Martens are always researching and using different ways to connect with their consumer.

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Dr. Martens has walked through some of the world's most iconic eras. Its fame was kickstarted by The Who's Pete Townshend in 1967 and the world-famous utilitarian boot has since clad the feet of those looking to give the middle finger to the establishment.

Punks, mods, rockers, skinheads, goths and grungers: the footwear brand has remained resilient through six decades of cultural and political change and withstood the test of many fashions. And while those subcultures and that sense of rebellion are perhaps less obvious today, the brand and what it stands for still largely remains the same.

"There are still generations of consumers who have a common mental theme around being individual and wanting a brand to join them on a journey," Dr. Martens's chief product and marketing officer, Darren Campbell, tells Marketing Week.

"What we're looking to do is make sure we remain connected to what's going on with consumers globally, we're listening to them while still remaining true to our brand DNA. I see the brand still meaning the same in 10 years' time as it did 50 years ago but it's just a different consumer coming to it. Each decade the brand connects with a new culture, which keeps it young."

Commerce is a by-product of engagement. The consumer need might not necessarily be about buying a pair of shoes.

Darren Campbell, Dr. Martens

The brand might not have changed much, but the way it connects with consumers has. And while Dr. Martens prides itself on not chasing trends for the sake of it, one trend it has followed is the shift to digital.

The recent appointment of socially-led creative agency We Are Social reflects the direction the brand is going in as it looks to engage its global consumer base in a "relevant and digitally native way".

"The world is now the size of a smartphone so we've seen that even with through-the-line campaigns, a lot of our media spend is being spent in the digital sphere," Campbell explains.

"We have fantastic engagement across our social media channels, we are working heavily on our own ecommerce channel. As much as out-of-home isn't going to go away, we are finding that consumer engagement is coming more through the digital lens."

Beyond commerce, Dr. Martens is doing a number of things to "give back to consumers" so it is not just about the transaction, which can set shoppers back by as much as £170 for a pair of boots.

This includes in-store gigs - its flagship store in Camden has an annex called the Boot Room which often puts on free shows for around 60 people - as well as bringing barbers into the shop to offer free hair cuts.

While it hasn't gone down the route of tattooing yet - Campbell says that might be "one step too far" - it does have tattooists come in to personalise people's shoes and boots.

"Nowadays, commerce is a by-product of engagement," Campbell says. "The consumer need might not necessarily be about buying a pair of shoes, it might be about a favourite band that hasn't played for two years playing in a Dr. Martens store and they need to get there. It's about giving them that opportunity so then they buy into the brand while not necessarily having to buy into the product."

As much as Dr. Martens wants the brand to mean the same thing across the globe, there are regional nuances that have to be taken into consideration.

In Asia, for example, Campbell says the rebellious nature of the consumer is perhaps not as overt as it is in Europe and the US, so marketing teams will tweak global campaigns - which come from the global brand team in Camden - to make sure they are relevant to the market they are in.

"I liken it to the fact we all have the same vocabulary, but we may have a slightly different accent," he adds.

While he can't give much away about Dr. Martens's next campaign for autumn/winter 2019, Campbell says it will "hero the resilience of consumers" and act as a platform for them to share stories about themselves and the part the brand has played in their lives. It has been devised to have longevity beyond the season, something that Dr. Martens will build on into 2020 when it has its 60th anniversary.

"The days of brands telling consumers what the brand wants to tell has changed," Campbell says.

"For us, marketing is more about the common ground between the brand and consumer and making sure you are able to meet in the middle. Everyone has a story about Docs and their first pair. I'm really conscious of the fact we need to celebrate those who have made us the brand we are today and that goes back to consumer obsession."

Dr. Martens wants its employees to be obsessed with the brand too. When hiring new talent, Campbell says he is less concerned with technical ability, which can be learned, and more interested in whether they have an emotional connection with the brand.

"Businesses underplay the importance of culture and fit," he says. "In the olden days you could've gone from FMCG into branded goods and into pharmaceuticals because it was all the same, you were just trying to make a product and sell it. But now, having a true understanding of the brand and consumer is even more prevalent now as consumers get more educated and have stronger points of view on what brands stand for.

"In doing so you need to bring people into the business who truly understand the consumer obsession piece. When you're hiring, it's what is the emotional connection that the candidate has to the brand and to the consumer that we're going after?"

Because of this, Campbell says everyone in the business - whether in finance, HR, design or working in a cobbling factory - "thinks they're the brand manager" because they have such a strong point of view on what the brand stands for.

"This means you've got everyone in the boat and you're rowing in the same direction with wanting to be consumer obsessed, drive a focus on product, operate as efficiently as we can and drive sustainable global growth," he says.

"If they don't have the cultural fit and that passion for the brand, they're probably not going to enjoy the experience or add the value that they need to add."

Going forward, Dr. Martens is looking to Asia for inspiration. It is especially interested in how social platforms can be used to create a "one-stop shop" destination for marketing, social and commerce, like Asia's hugely popular apps WeChat and Weibo.

"But in a balanced way where the social platform isn't just seen as a second ecommerce site," Campbell says. "Consumers will call brands out of they think they are driving them to a social platform just to transact."

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How Dr. Martens is engaging consumers beyond the boot

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Dr. Martens has walked through some of the world's most iconic eras. Its fame was kickstarted by The Who's Pete Townshend in 1967 and the world-famous utilitarian boot has since clad the feet of those looking to give the middle finger to the establishment.

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This was a pinnacle moment in the Dr Marten history, Elton John wearing a pair of Dr Martens. This was picked up on by many other celebrities, public and Elton Johns Fans.
Elton John, being a massive icon and role model, this was then the brand and boots had a great increase in success.

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These boots were worn by Elton John as the Pinball Wizard in Ken Russell's 1975 musical film 'Tommy' based on The Who's 1969 rock opera album of the same name. These giant Doc Marten's have platform support above and metal callipers and leather straps for attaching to the legs. They were made by Northamptonshire chemical firm Scott Bader. Elton John reportedly agreed to take the part on condition he could keep the large boots afterwards. Elton John sold them in 1988 and they were purchased by R. Griggs Group Ltd who own them today. They are on permanent display at Northampton Museum.

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These boots were worn by Elton John as the Pinball Wizard in Ken Russell's 1975 musical film 'Tommy' based on The Who's 1969 rock opera album of the same name. These giant Doc Marten's have platform support above and metal callipers and leather straps for attaching to the legs.

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The brand Dr Martens have by been going for 60 years. From observation, the brand has adopted and innovated themselves, however they have still kept their roots and authenticity. This has allowed them to keep their loyal customers and win over a lot of the Gen Z generation, who have the same style visions as Dr Martens mature consumers.

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1960 The birth of an icon

Dr Martens go into production on 1 April 1960 at Bill Griggs's shoe factory in Wollaston, Northamptonshire. The air-cushioned-soles design was licensed to Grigg by German inventor Dr Klaus Maerten. Intended as orthopaedic shoes, they are marketed as industrial wear.

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1966 Height of fashion

Docs make the jump from factory floor to dance floor when the Who's lead guitarist, Pete Townshend, wears them at a gig in London. The band's mod fans follow Townshend's lead.

1975 Rock on, Tommy

Townshend pushes the brand back into fashion, putting Elton John in an outsized pair for rock opera Tommy. Despite having to wear foot-long callipers to move, Elton keeps the boots.

1979 Emblem of violence

The Jam sing "A-bomb in Wardour Street" about a "Dr Martens apocalypse" after football hooligans adopt the boots.

1993 Britpop revival

Dr Martens launches a clothing line with Wayne Hemingway's Red or Dead label. To celebrate the occasion, the company commissions a house tartan called "McMartens Tartan", which is still used 17 years later.

2000 A very happy birthday

The boots' 40th is also the best year for sales, with the company selling £250m of boots in 2000 alone. A commemorative book and a Dr Martens compilation album hit the shelves and prove major earners.

2003 End of an era?

With profits falling by 30 per cent in one year alone, the over-stretched boot maker narrowly avoids bankruptcy proceedings. All but one of the company's UK factories are closed, and only a collaboration with Jimmy Choo and Vivienne Westwood prevent financial collapse.

2005 Turnaround of the year

The company wins the Institute for Turnaround's annual award, after the Griggs restructure the company back to profitability. The firm opens a new store in Soho in 2006.

2010 Golden oldie

To celebrate the boots' half century, the company launches a new range of products that come with a lifetime guarantee. The seven-piece For Life collection is premiered at Dr Martens' pop-up stores in London.

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1960 The birth of an icon Dr Martens go into production on 1 April 1960 at Bill Griggs's shoe factory in Wollaston, Northamptonshire. The air-cushioned-soles design was licensed to Grigg by German inventor Dr Klaus Maerten. Intended as orthopaedic shoes, they are marketed as industrial wear.

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Which celebrities made Dr Martens famous?

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Which celebrities made Dr Martens famous?

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This article helped me alway in finding out the Dr Martens history and how they have kept true roots still today.
"Its fame was kickstarted by The Who’s Pete Townshend in 1967...

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Dr. Martens has walked through some of the world's most iconic eras. Its fame was kickstarted by The Who's Pete Townshend in 1967 and the world-famous utilitarian boot has since clad the feet of those looking to give the middle finger to the establishment.

Punks, mods, rockers, skinheads, goths and grungers: the footwear brand has remained resilient through six decades of cultural and political change and withstood the test of many fashions. And while those subcultures and that sense of rebellion are perhaps less obvious today, the brand and what it stands for still largely remains the same.

"There are still generations of consumers who have a common mental theme around being individual and wanting a brand to join them on a journey," Dr. Martens's chief product and marketing officer, Darren Campbell, tells Marketing Week.

"What we're looking to do is make sure we remain connected to what's going on with consumers globally, we're listening to them while still remaining true to our brand DNA. I see the brand still meaning the same in 10 years' time as it did 50 years ago but it's just a different consumer coming to it. Each decade the brand connects with a new culture, which keeps it young."

Commerce is a by-product of engagement. The consumer need might not necessarily be about buying a pair of shoes.

Darren Campbell, Dr. Martens

The brand might not have changed much, but the way it connects with consumers has. And while Dr. Martens prides itself on not chasing trends for the sake of it, one trend it has followed is the shift to digital.

The recent appointment of socially-led creative agency We Are Social reflects the direction the brand is going in as it looks to engage its global consumer base in a "relevant and digitally native way".

"The world is now the size of a smartphone so we've seen that even with through-the-line campaigns, a lot of our media spend is being spent in the digital sphere," Campbell explains.

"We have fantastic engagement across our social media channels, we are working heavily on our own ecommerce channel. As much as out-of-home isn't going to go away, we are finding that consumer engagement is coming more through the digital lens."

Beyond commerce, Dr. Martens is doing a number of things to "give back to consumers" so it is not just about the transaction, which can set shoppers back by as much as £170 for a pair of boots.

This includes in-store gigs - its flagship store in Camden has an annex called the Boot Room which often puts on free shows for around 60 people - as well as bringing barbers into the shop to offer free hair cuts.

While it hasn't gone down the route of tattooing yet - Campbell says that might be "one step too far" - it does have tattooists come in to personalise people's shoes and boots.

"Nowadays, commerce is a by-product of engagement," Campbell says. "The consumer need might not necessarily be about buying a pair of shoes, it might be about a favourite band that hasn't played for two years playing in a Dr. Martens store and they need to get there. It's about giving them that opportunity so then they buy into the brand while not necessarily having to buy into the product."

As much as Dr. Martens wants the brand to mean the same thing across the globe, there are regional nuances that have to be taken into consideration.

In Asia, for example, Campbell says the rebellious nature of the consumer is perhaps not as overt as it is in Europe and the US, so marketing teams will tweak global campaigns - which come from the global brand team in Camden - to make sure they are relevant to the market they are in.

"I liken it to the fact we all have the same vocabulary, but we may have a slightly different accent," he adds.

While he can't give much away about Dr. Martens's next campaign for autumn/winter 2019, Campbell says it will "hero the resilience of consumers" and act as a platform for them to share stories about themselves and the part the brand has played in their lives. It has been devised to have longevity beyond the season, something that Dr. Martens will build on into 2020 when it has its 60th anniversary.

"The days of brands telling consumers what the brand wants to tell has changed," Campbell says.

"For us, marketing is more about the common ground between the brand and consumer and making sure you are able to meet in the middle. Everyone has a story about Docs and their first pair. I'm really conscious of the fact we need to celebrate those who have made us the brand we are today and that goes back to consumer obsession."

Dr. Martens wants its employees to be obsessed with the brand too. When hiring new talent, Campbell says he is less concerned with technical ability, which can be learned, and more interested in whether they have an emotional connection with the brand.

"Businesses underplay the importance of culture and fit," he says. "In the olden days you could've gone from FMCG into branded goods and into pharmaceuticals because it was all the same, you were just trying to make a product and sell it. But now, having a true understanding of the brand and consumer is even more prevalent now as consumers get more educated and have stronger points of view on what brands stand for.

"In doing so you need to bring people into the business who truly understand the consumer obsession piece. When you're hiring, it's what is the emotional connection that the candidate has to the brand and to the consumer that we're going after?"

Because of this, Campbell says everyone in the business - whether in finance, HR, design or working in a cobbling factory - "thinks they're the brand manager" because they have such a strong point of view on what the brand stands for.

"This means you've got everyone in the boat and you're rowing in the same direction with wanting to be consumer obsessed, drive a focus on product, operate as efficiently as we can and drive sustainable global growth," he says.

"If they don't have the cultural fit and that passion for the brand, they're probably not going to enjoy the experience or add the value that they need to add."

Going forward, Dr. Martens is looking to Asia for inspiration. It is especially interested in how social platforms can be used to create a "one-stop shop" destination for marketing, social and commerce, like Asia's hugely popular apps WeChat and Weibo.

"But in a balanced way where the social platform isn't just seen as a second ecommerce site," Campbell says. "Consumers will call brands out of they think they are driving them to a social platform just to transact."

# data[].attributes.attachment_link.title
How Dr. Martens is engaging consumers beyond the boot

# data[].attributes.attachment_link.description
Dr. Martens has walked through some of the world's most iconic eras. Its fame was kickstarted by The Who's Pete Townshend in 1967 and the world-famous utilitarian boot has since clad the feet of those looking to give the middle finger to the establishment.

# data[].attributes.body
the reason why the brand is still around today is due the their innovative view on evolving the way they reach their customer and interact with different generations.
It was important to keep the range true to the Dr Martens roots but giving the customer on trend pieces which they can dress in different ways.

# data[].attributes.attachment_link.readable_text
Dr. Martens has walked through some of the world's most iconic eras. Its fame was kickstarted by The Who's Pete Townshend in 1967 and the world-famous utilitarian boot has since clad the feet of those looking to give the middle finger to the establishment.

Punks, mods, rockers, skinheads, goths and grungers: the footwear brand has remained resilient through six decades of cultural and political change and withstood the test of many fashions. And while those subcultures and that sense of rebellion are perhaps less obvious today, the brand and what it stands for still largely remains the same.

"There are still generations of consumers who have a common mental theme around being individual and wanting a brand to join them on a journey," Dr. Martens's chief product and marketing officer, Darren Campbell, tells Marketing Week.

"What we're looking to do is make sure we remain connected to what's going on with consumers globally, we're listening to them while still remaining true to our brand DNA. I see the brand still meaning the same in 10 years' time as it did 50 years ago but it's just a different consumer coming to it. Each decade the brand connects with a new culture, which keeps it young."

Commerce is a by-product of engagement. The consumer need might not necessarily be about buying a pair of shoes.

Darren Campbell, Dr. Martens

The brand might not have changed much, but the way it connects with consumers has. And while Dr. Martens prides itself on not chasing trends for the sake of it, one trend it has followed is the shift to digital.

The recent appointment of socially-led creative agency We Are Social reflects the direction the brand is going in as it looks to engage its global consumer base in a "relevant and digitally native way".

"The world is now the size of a smartphone so we've seen that even with through-the-line campaigns, a lot of our media spend is being spent in the digital sphere," Campbell explains.

"We have fantastic engagement across our social media channels, we are working heavily on our own ecommerce channel. As much as out-of-home isn't going to go away, we are finding that consumer engagement is coming more through the digital lens."

Beyond commerce, Dr. Martens is doing a number of things to "give back to consumers" so it is not just about the transaction, which can set shoppers back by as much as £170 for a pair of boots.

This includes in-store gigs - its flagship store in Camden has an annex called the Boot Room which often puts on free shows for around 60 people - as well as bringing barbers into the shop to offer free hair cuts.

While it hasn't gone down the route of tattooing yet - Campbell says that might be "one step too far" - it does have tattooists come in to personalise people's shoes and boots.

"Nowadays, commerce is a by-product of engagement," Campbell says. "The consumer need might not necessarily be about buying a pair of shoes, it might be about a favourite band that hasn't played for two years playing in a Dr. Martens store and they need to get there. It's about giving them that opportunity so then they buy into the brand while not necessarily having to buy into the product."

As much as Dr. Martens wants the brand to mean the same thing across the globe, there are regional nuances that have to be taken into consideration.

In Asia, for example, Campbell says the rebellious nature of the consumer is perhaps not as overt as it is in Europe and the US, so marketing teams will tweak global campaigns - which come from the global brand team in Camden - to make sure they are relevant to the market they are in.

"I liken it to the fact we all have the same vocabulary, but we may have a slightly different accent," he adds.

While he can't give much away about Dr. Martens's next campaign for autumn/winter 2019, Campbell says it will "hero the resilience of consumers" and act as a platform for them to share stories about themselves and the part the brand has played in their lives. It has been devised to have longevity beyond the season, something that Dr. Martens will build on into 2020 when it has its 60th anniversary.

"The days of brands telling consumers what the brand wants to tell has changed," Campbell says.

"For us, marketing is more about the common ground between the brand and consumer and making sure you are able to meet in the middle. Everyone has a story about Docs and their first pair. I'm really conscious of the fact we need to celebrate those who have made us the brand we are today and that goes back to consumer obsession."

Dr. Martens wants its employees to be obsessed with the brand too. When hiring new talent, Campbell says he is less concerned with technical ability, which can be learned, and more interested in whether they have an emotional connection with the brand.

"Businesses underplay the importance of culture and fit," he says. "In the olden days you could've gone from FMCG into branded goods and into pharmaceuticals because it was all the same, you were just trying to make a product and sell it. But now, having a true understanding of the brand and consumer is even more prevalent now as consumers get more educated and have stronger points of view on what brands stand for.

"In doing so you need to bring people into the business who truly understand the consumer obsession piece. When you're hiring, it's what is the emotional connection that the candidate has to the brand and to the consumer that we're going after?"

Because of this, Campbell says everyone in the business - whether in finance, HR, design or working in a cobbling factory - "thinks they're the brand manager" because they have such a strong point of view on what the brand stands for.

"This means you've got everyone in the boat and you're rowing in the same direction with wanting to be consumer obsessed, drive a focus on product, operate as efficiently as we can and drive sustainable global growth," he says.

"If they don't have the cultural fit and that passion for the brand, they're probably not going to enjoy the experience or add the value that they need to add."

Going forward, Dr. Martens is looking to Asia for inspiration. It is especially interested in how social platforms can be used to create a "one-stop shop" destination for marketing, social and commerce, like Asia's hugely popular apps WeChat and Weibo.

"But in a balanced way where the social platform isn't just seen as a second ecommerce site," Campbell says. "Consumers will call brands out of they think they are driving them to a social platform just to transact."

# data[].attributes.attachment_link.title
How Dr. Martens is engaging consumers beyond the boot

# data[].attributes.attachment_link.description
Dr. Martens has walked through some of the world's most iconic eras. Its fame was kickstarted by The Who's Pete Townshend in 1967 and the world-famous utilitarian boot has since clad the feet of those looking to give the middle finger to the establishment.

# data[].attributes.body
Black, Yellow and burnt orange colour theme.

# data[].attributes.headline
Digital boards up around the shop with picture slides

# data[].attributes.subject
Digital boards up around the shop with picture slides

# data[].attributes.body
The bold and statement billboards ran through the store, with embracive statements. 'Tough as you' was a regular statement, which as a customer, came across that the boots will last as long as you, with you through the tough and smooth. Reinforcing the boots reputation of durability, trusted, loyal, tough, strong, hard wearing and reliable.

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Retro vintage juice machine (not playing music, only for decoration)

# data[].attributes.subject
Retro vintage juice machine (not playing music, only for decoration)

# data[].attributes.body
This sets a scene and creates a vintage/retro vibe. A lot of the stores interior, represents the history of Dr Martens and the sort of people who are loyal to the brand. This Juice box was a real staple object in the store, it was located in the middle of the shop, just after the accessory corner.

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Oversized cassettes and cassette cases. Reflection of the Dr Marten reputation and style. They were positioned in a colarsh style, giving a sense of customisation, which is in the roots of the Dr Martens story.
Background colour was a similar colour to one of their best seller colour boots.

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The outside seemed to flow into the shop, with nature details appearing throughout. Around the shop were posters and signs of how they create their products and what goes into them. Some customers were walking round reading all the information about the products, as though the shop was a Timberland gallery.The colour theme was very effortless and therefore easy to browse for a longer period of time.

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The space lay out and fixtures were slightly over crowned, let the wall fixtures seemed simple and flowed. With outfit building around placed crafty within the arrangement of the products, it was easy to pick up more than one garment.

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They are every transparent in the way the showcase what they do in the background and what materials are used to make the products. This builds trust and a closer relationship with the customer.

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Vegan range with the dominant vegan tags (synthetic polyurethane plastic).

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Vegan range with the dominant vegan tags (synthetic polyurethane plastic).

# data[].attributes.body
The Vegan range were at the top of the stairs, on the second floor. The labels and boot colours contrast, which makes it very easy for the customer to register straight away that it is the Vegan range.

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As there is an uprise in people turn vegan and vegetarian, their is a massive opportunity for vegan clothing to increase. Dr Martens have taken this opportunity an ran with it. The results speaks for themselves, with a 70% increase in profits.
this is one different path Dr Martens have gone down to direct their range of consumers, catering to peoples eating habits, instead of just style/fashion habits.

# data[].attributes.attachment_link.title
Dr Martens’ profits up 70% with success of new ‘vegan’ range

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Equity investor Permira weighs up sale or flotation to realise profits on £300m investment

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With Dr Martens struggling at the very start, their fame stemmed from their exposure through the rich and famous.
The Dr Marten appeals to more and more people, starting within the The Mods, Punks, Goths....exploding into the general public.

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Surprisingly, perhaps, for a term that yields 345 million results on Google, there appears to be no industry consensus on where the phrase "model off-duty style" originated. Popular in the early 2000s, around the birth of street style, it came to denote Alexander Wang skinny jeans, a grubby tank top, an Acne Studios "Velocite" shearling jacket and a mop of bed-head hair. Today, thanks to social media, there's little formula to models' pavement looks - with one exception: a pair of Dr Martens boots.

Bella's got them. Gigi's got them. Kaia, Candice, Kendall have got them. And where the supermodels walk, others follow: profits at Dr Martens surged by 70 per cent in the year to the end of March, with online sales rising by two thirds. Since 2014, when the company was acquired by the private equity house Permira, it has almost tripled its annual revenues to £454 million.
Read: 14 Pairs Of Heavy-Duty Boots To Ground Your Autumn Look
The lug-soled boot with the distinctive exposed yellow stitching chimes with a bigger trend for autumn/winter 2019, where heavyweight boots flooded the catwalks. At Prada, The Row, Bottega Veneta and Alexander McQueen, bovver boots were paired with everything from minimal camel coats to exquisitely worked evening dresses. Faced with an unrelentingly negative news cycle, sandwiched between global climate change marches, designers spoke of the need for clothes to combat "romance and fear," as Miuccia Prada put it. And what better than a pair of boots that could quite literally kick ass?

"There is a toughness about our product" that is key to Dr Martens's appeal, according to Andrea Moore, global marketing director, who joined the brand earlier this year. "People use the word "durable" in our research, and I wonder if that has some relevance with how people are feeling at the moment in terms of Brexit," she told Vogue, in a phone interview. "I was at one of the marches and saw a lot of people wearing them - it's representing the mood of the people."

Fans of DMs reference the feeling of "invincibility" a pair of the chunky boots can lend. Daisy Hoppen, whose PR company DH-PR reps brands including Ganni, Molly Goddard and Aesop, has two pairs. "Over the last month, I've worn them almost every day - from fashion week shows, to an event at Frieze Masters, with a black velvet evening dress, and for a Dover Street Market rave, where I wore them with a Comme des Garçons bubble mini skirt and danced in them for hours," she says. "They're just so practical. I don't have to think in the mornings. I just pull them on and run out the house."

As the company nears its 60th birthday in 2020, the best-selling Dr Martens boot is still the 1460 style, the original eight eye boot, in smooth black leather. "It's surprising how little [that boot] has changed over the years," says Moore. "We may add quadruple soles to give an alternative look, but the original product doesn't look out of place today. And what's really interesting is that it's such a diverse range of people who wear them - supermodels, footballers, musicians." A new podcast series from the brand, Talking Tough, which launches this week, captures those diverse stories. Meanwhile, the brand has invested £2 million in its Northampton factory, aiming to double production in the UK by 2020, with 165,000 pairs of shoes made there every year.

At Paris Fashion Week, you couldn't move for lug-soled boots. As lithe young models exited shows, weaving between cars as they searched for their motorbike taxis, they posed for street style photographers, daring drivers to advance over their well-protected toes. For as Hoppen says: "They're the ultimate commuter shoe - no one dares to step on your feet."
More From British Vogue:

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How Dr Martens Boots Became A Model-Off-Duty Staple

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Surprisingly, perhaps, for a term that yields 345 million results on Google, there appears to be no industry consensus on where the phrase "model off-duty style" originated. Popular in the early 2000s, around the birth of street style, it came to denote Alexander Wang skinny jeans, a grubby tank top, an Acne Studios "Velocite" shearling jacket and a mop of bed-head hair.

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The Grunge look was very noticeable. May famous bands and celebrities rocked this look in the 80s and 90s.  "...Nirvana, Smashing Pumpkins and Sound garden had gained huge commercial success and their style was influencing fashion."
A key garment that they used wear was the layered t- shirt. This style of t-shirt has seen seen on the catwalks too, therefore could be the next big trend.

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Grunge Fashion: The History Of Grunge & 90s Fashion

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90s Retro - Find out more about the history of grunge fashion, features of the lifestyle, and how you can incorporate the look into your wardrobe.

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The article in a key example and a great explanation of how brands/styles/fashion and changes and what happens throughout time. Trends come and go. Trends come back round. Trends stay and evolve.

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Being in a social mould wasn't an option for The Mods. This sub-culture were well known for their military boot styles (Dr Martens) and grungy attire. The young Mod groups always made a statement when around and a lot oft he public saw them as rebellious and intimidating. The majority of The Mods were men. However some women were influenced by their style and attitude.

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The Mods and their counterparts were the first post-war generation to reach their teenage years without suffering the combined misery of national service or austerity and they were going to make the most of it.

These young people, some of whom were now earning more money than their parents, were going to break and smash the mould that society had in place for them. Mod life provided an opportunity to rebel against the older generation and lay down a newfound financial and creative independence based around music, fashion and amphetamines.

Although none of them realised it at the time, the young people of Leicester and Nottingham and their rebellion in lifestyle, music, fashion, politics and aspiration really did change not only their home town but, together with others of their generation, the wider world forever.

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Who were the Mods? | Shaping a Generation

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The Mods and their counterparts were the first post-war generation to reach their teenage years without suffering the combined misery of national service or austerity and they were going to make the most of it. These young people, some of whom were now earning more money than their parents, were going to break and smash the mould that society had in place for them.

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The Mods style started off quite smart and fitted. through the decades, they wore more relaxed, hardwearing style clothing, with denim jackets, Levi jeans, graphic t-shirts and Dr marten boots. They drove round Vespas in a group, always being heard when around.

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Throughout the Mod movement the main influencers have been Music and Fashion (closely followed by smart haircuts) - when the two go together a culture is created. Each play an equally important role in what makes a Mod, a Mod. Initially it was Music that fashioned an entrance for the Mods, but as the movement grew and image became more important, especially for bands, it was the Mod look and the subculture itself that paved the way for bands, the prime example being The Jam.

Examples of Artists influenced by the Mod subculture are: The Action, The Who, The Rolling Stones, Rod Stewart, Small Faces, The Kinks, The Beatles, David Bowie, Marc Bolan, The Specials, The Jam/Paul Weller, Oasis, Blur, The Libertines, Amy Winehouse, Miles Kane, Jake Bugg.

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British Mod Culture and Fashion: Discover John Smedley

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Discover how British Mod Culture has been influencing fashion since it's inception, and how it still influences our designs today.

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The Mods - history, media and development

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The Mods - history, media and development

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Gang terms shifted and evolved throughout the decades. In the early 50's, the term 'Teddy Boys' were used in a Newspaper article. They quickly not a reputation of being dangerous and aggressive.

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Published on

Collective identity homework

1. 1. The teddy boys - 1950s

2. 2. History * The subculture began in London in the 1950s, and rapidly spread across the UK, and then became strongly associated with rock and roll. * Originally known as Cosh Boys, the name Teddy Boy was coined when a 1953 Daily Express newspaper headline shortened Edwardian to Teddy.

3. 3. Teddy boy fashion & style * Teddy Boy clothing included jackets that were reminiscent of 1940s American zoot suits worn by Italian-American, Chicano and African- American communities, usually in dark shades, sometimes with a velvet trim collar and pocket flaps, and high-waist "drainpipe" trousers, often exposing the socks. * The outfit also included a high-necked loose- collared white shirt (known as a Mr. B. collar because it was often worn by jazz musician Billy Eckstine); a narrow "Slim Jim" tie or western "Maverick" tie, and a brocade waistcoat. The clothes were mostly tailor-made at great expense, and paid for through weekly instalments. * Footwear included polished Oxfords, chunky brogues, and crepe-soled shoes, often suede. * Preferred hairstyles included long, moulded greased hair with a quiff at the front and the side combed back. Another style was the "Boston", in which the hair was greased straight back and cut square across at the nape.

4. 4. Musical preferences * Teddy Boys were associated with rock and roll music, but prior to the advent of that genre, Teddy Boys mainly listened to jazz and skiffle music. A well-known dance that the Teddy Boys adopted was The Creep, which was a slow shuffle.

5. 5. Media representation * The Teddy boys was represented negatively by the media * When teenager John Beckley was murdered by a Teddy Boy gang known as the Plough Boys in July 1953 after a fight that started on Clapham Common, the Daily Mirror's headline 'Flick Knives, Dance Music and Edwardian Suits' linked criminality to clothes. * "These 'Teddy Boy' gangs must be broken up" said one London Magistrate.

6. 6. 100 TEDDY BOYS FIGHT AT FAIRGROUND The biggest Teddy Boy gang fight ever known in Leicester flared up at Saffron Lane Fairground in the second week in May of 1958. At the height of the battle, fairground workers joined in to protect their stalls and rides as many Police arrived on the scene. According to the showpeople, there were more than 100 Teds mixed up in the fight, and estimates the number of Police involved ranged from a dozen to nearly 30 or 40. A veteran showman, Mr M. Harris, said this was the worst fight he had seen since the Irish Gang Battle at Coventry some years ago

7. 7. * Karel Reisz's We Are the Lambeth Boys (1959) film once again took a sympathetic approach to an aspect of working-class life largely neglected by commercial British cinema. * Lambeth Boys attempted to deliver a positive portrait of the lives of ordinary teenagers, far from the usual violent 'Teddy Boy' stereotype. * Lambeth Boys was shot over six weeks in the summer of 1958 in and around the Alford House, a youth club in the Oval area of South London. It follows a group of teenagers at work, at home and in their leisure time, giving them space to express their frustrations and aspirations Contrasts to their representation in the media

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Published on Collective identity homework 1. The teddy boys - 1950s 2. History * The subculture began in London in the 1950s, and rapidly spread across the UK, and then became strongly associated with rock and roll. * Originally known as Cosh Boys, the name Teddy Boy was coined when a 1953 Daily Express newspaper headline shortened Edwardian to Teddy.

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"An angst-ridden London youth, Jimmy Cooper (Phil Daniels) escapes the drudgery of his postal job as a member of the Mods, a sharply dressed gang constantly at odds with their rivals, the Rockers. When the Mods and Rockers clash in the coastal town of Brighton, England, it leads to both trouble and an encounter with the lovely Steph (Leslie Ash). Returning to London, Jimmy, who aspires to be like Mod leader Ace Face (Sting), becomes even more disillusioned and longs to return to Brighton."

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The lost Mod who may have inspired The Who's 'Quadrophenia'

In the climactic scenes of the film Quadrophenia, based on The Who's concept album, Jimmy (Phil Daniels) rides a prized Mod scooter along the cliffs at Beachy Head, East Sussex, before hurling it over the cliff on to the sea-lashed rocks below. It's a symbolic end to Jimmy's life as a Mod, as a follower believing in false idols, like his hero Ace Face (Sting) (whose scooter he stole), a local Mod leader, who turns out be nothing more than a bell-boy lackey. Jimmy's fall is central to the film, and to Pete Townhend's album. But Jimmy's symbolic crash may have actually been inspired by the death of Mod teenager, Barry Prior in 1964.

Novelist, journalist and musician, Simon Wells believes he has uncovered the lost Mod who may have inspired Townshend's Quadrophenia. Wells is the author of such best-selling biographies as Coming Down Fast on Charles Manson; Butterfly on a Wheel: The Great Rolling Stones Drugs Bust, The Beatles 365 Days, and a novel Tripping Horse. He has just finished a book on the making of the film Quadrophenia, which will be released next month. In 2009, Wells uncovered a news-clipping about Barry Prior's death, which started his investigations into the story.

In the spring of 1964, a 17- year-old trainee accountant by the name of Barry Prior fell to his death at [Saltdean]. He'd been down to Brighton with a group of friends from London, to engage in what history now defines as the "Mods and Rockers" riots of the early 1960s. Whether by design or through an act of eerie synchronicity, Barry's journey is echoed by the album and attendant film version of Quadrophenia, Pete Townshend's classic paean to teenage angst. The fact that the concept's protagonist, a similarly aged office worker from London, met his "demise" on a Brighton cliff top haunts me. As far as I'm concerned, these similarities are just far too extraordinary to be an act of coincidence.

Wells uncovered a local newspaper report of the accident, which detailed what had happened to Prior.

I pull out a photocopy of a news feature concerning Barry's death that I uncovered quite by accident a while back. It's from the Brighton Evening Argus, a provincial daily newspaper that's as much a fixture of the town as the promenade and pier. Next to the headline, "Mod Falls to Death at Brighton Cliff", there's a photograph of Barry's scooter and a group of sullen youngsters in a huddle around the cliff edge.

As one would expect from a local newspaper, it's pretty stilted in its reporting of the drama. Additionally, as the Argus is a daily issue, the feature was probably thrown together in order to meet the noonday deadline. The article informs me that following an eventful day in Brighton, this group of thrill seeking Mods arrived at Saltdean around 3am.

What happened in the ensuing hours is a mystery. All that is known is that Barry's body was discovered shortly after 7am, lying sprawled some 100 feet below on the beach. Colin Goulden, one of Barry's circle recalled the moment when they discovered that Barry wasn't where he should be.

"One of the boys said he was missing and we started looking for him," said a stunned Goulden.

"Someone looked over the cliff and saw him lying there. He shouted out, but at first we thought he was mucking about, trying to get us all up."

Fred Butler, another friend from London could hardly bring himself to look at Barry's scooter as reporters pressed him for an explanation:

"I don't know what could have happened. There was no trouble or fighting. We came out here to get out of the way. Perhaps he got up in the night and went for a walk. No one saw anything and there were no screams."

Trying to make some sense of this, my immediate thought is that in his bleary state, Barry may well have gone for a pee or some other ablution, misjudged his footing and headed off into the unknown. Presumably, the fence is a recent addition; had it been in place back in 1964 history might well have been different. I gingerly venture forwards and peer over the cliff. It's absolutely terrifying and offers no respite in its descent to the ground. Barry wouldn't have stood a chance.

Barry's friends went for help, but after the events in Brighton between Mods and Rockers earlier in the day, no one would answer their doors, as one friend explained to the paper:

"We went over to the houses on the other side of the road to call the police," recalled one of the lads. "But they wouldn't open their doors at first. They thought we were out for trouble: you know what it is."

Emergency services eventually arrived, who then had to make a 1600 foot detour along the cliff to reach Barry's body on the shore below.

One of youths, either too shaken or terrified to give his name to the Argus, recalled the grisly scene when they approached Barry's body.

"It was horrible," he said. "He was lying there wearing a green anorak and socks but no shoes. He was horribly bashed up."

The article concludes that after Barry's body was taken away by ambulance to hospital, the police took a few of the Mods back to Brighton to fill out witness statements. Following the completion of the necessary paperwork, they were allowed to leave. It must have been a pitiful and sombre retreat back to London, with the impending horror of having to recount Barry's death to his family weighing heavily on their minds.

Brighton was a focus for the Mods during the early 1960s, where they famously gathered to face-up to rival Rockers. The town was also a favorite haunt for The Who, performing extensively here in 1964 at the Florida Rooms.

The place obviously found favour with Pete Townshend, who dedicated Quadrophenia's album to those lucky few who attended those Florida Rooms gigs. When pressed on this, Townshend has recalled a seismic event that occurred in his consciousness one blisteringly hot summer night in August 1964. Following a typically frantic Who performance, Pete left the sunken reaches of the venue and perched himself on the promenade to wind down. As he meditated on the sea while having a relaxing smoke, the last few stragglers from the concert made their way up the marble steps to street level. As the faintly metronomic sound of the tide morphed with the strains of Tamla Motown seeping out of the Ballroom, it made for an enchanting aural concoction. As if on cue, a few hardy Mods stepped into their scooters, and drove around in a circular formation before moving off into the darkness. As these disparate elements gradually merged into a moving motion picture, Townshend was entranced. To him it was the "most perfect moment of my life", a confirmation of the sort of landscape that had played in his head, but rarely in reality. Elements of this scene are echoed in the film of Quadrophenia, where a group of scooter riders similarly engage in an automated circle dance at first light. As I piece the images together at the same location, it strikes me that this particular experience defined Townshend's vision for Quadrophenia more than any other factor.

A coroner's inquest concluded a verdict of "death by misadventure." But the story doesn't finish there, as Simon Wells discovered that Barry's brother was later employed by The Who, which makes it more than likely that Pete Townshend had heard of Barry Prior's ill-fated trip to Brighton and tragic death long before he wrote Quadrophenia.

Read Simon Wells original article here, details of his forthcoming book Quadrophenia: The Book of the Film here.

Previously on Dangerous Minds
The Rolling Stones great drugs bust

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The lost Mod who may have inspired The Who's 'Quadrophenia'

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In the climactic scenes of the film Quadrophenia, based on The Who's concept album, Jimmy (Phil Daniels) rides a prized Mod scooter along the cliffs at Beachy Head, East Sussex, before hurling it over the cliff on to the sea-lashed rocks below.

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There are 11 types of sexualities and 52 different genders. This is a clear indication on how the two widely known genders (Female and Male) is a very poor representation of todays human raise. Each individual has the choice to wear their style, whether that garment is categorised under the womens or mens sections.

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Your sexuality and gender are completely different things. Sexuality is the sexual orientation you choice to pursue. Your gender is what you identify as. Within my range, I have chosen not to choose a certain colour or style to suit a gender, it will suit the 'Dr Marten' customer directly, however they see themselves as = No discrimination

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The attraction to a gender the same as their own (commonly used to describe someone who is gender binary [female or male] attracted to the same binary gender). Sometimess referred to as Romantic Orientation- Who you are romantically attracted to meaning wanting to be in a romantic relationship with and is unrelated to sexual attraction.
Sexual Orientation- Who you are sexually attracted to meaning who you get turned on by or who you would want to engage in sexual behaviors with.

ll listed below are applicable also to romantic orientations. These take the prefix of the word and the ending -romantic, i.e. heteroromantic, panromantic, aromantic.

Heterosexual- The attraction to a gender different from their own (commonly used to describe someone who is gender binary [female or male] attracted to the other binary gender).
gay.
Lesbian- Women who are attracted only to other women
Bisexual- When you are attracted to two or more genders. This term is generally used to describe being attracted to men and women, but can apply to being attracted to any two or more genders. Note that you do not have to be equally attracted to each gender.
Pansexual- When you are attracted to all genders and/or do not concern gender when you are attracted towards someone
Bicurious- People who are open to experiment with genders that are not only their own, but do not know if they are open to forming any sort of relationship with multiple genders.
Monosexual- Being attracted to only one gender Polysexual- When you are attracted to many genders Allosexual- When you are not asexual (attracted to at least one gender)
Androsexual- Being attracted to masculine gender presentation
Gynosexual- Being attracted to feminine gender presentation
Questioning- People who are debating their own sexuality/gender
Demisexual- When you only experience sexual attraction after forming a strong emotional bond first or a romantic bond Asexual- Not experiencing sexual attraction (note that you can also be aromantic and you do not necessarily have to be asexual and aromantic at the same time). Sometimes the term, Grey Asexual- When you only experience attraction rarely, on a very low scale, or only under certain circumstances ace, is used to describe asexuals. Perioriented- When your sexual and romantic orientation targets the same gender (for example being heteromantic and heterosexual or being biromantic and bisexual)
Varioriented- When your sexual and romantic orientations do not target the same set of genders (for example being heteromantic and bisexual or being homoromantic and pansexual)
Heteronormative- The belief that hetersexuality is the norm and that sex, gender, sexuality, and gender roles all align
Erasure- Ignoring the existance of genders and sexualities in the middle of the spectrum
Cishet- Someone who is both cisgendered and heterosexual. This is sometimes used as a slur.
Polyamorous- An umbrella term referring to people who have or are open to have consensually have relationships with multiple people at the same time
Monoamorous- People who have or or open to have relationships with only one other person at a time. The term, monogamous, is also sometimes used. Queer- A reclaimed slur for anybody in the LGBT+ community or who do not identify as cisgender and/or hetersexual/heteromantic
Ally- A supporter of the LGBT+ community that does not identify as LGBT+

Sex- Your assigned gender at birth and/or the gender of your reproductive organs
Gender- Where you feel that you personally fall on the spectrum between male and female. Commonly people identify as male or female, but some fall in the middle or move throughout the spectrum.
Cisgender- When you identify with the gender you were assigned at birth
Transgender- When you identify with a gender different than that you were assigned at birth
Transsexual- When you have had Gender Reassignment Surgery (GRS) to change the sexual organs you were born with to that of a different gender.

*note that you will sometimes see an astrid after Trans (Trans*) which is meant to include both transgendered and transsexual individuals

Male to Female (MtF)- When somebody that is assigned as a male at birth identifies as a female
Female to Male (FtM)- When somebody that is assigned as a female at birth identifies as a male
Binary- The genders at each end of the gender spectrum (male and female)
Non-Binary- An umbrella term for genders that fall somewhere in the middle of the gender spectrum and are neither strictly male or female. This can be used as a gender identification without further explanation. Sometimes the term, genderqueer, is used. Genderfluid- Moving between genders or having a fluctuating gender identity
Agender- Not identifying with any gender. Sometimes referred to as being genderless or Bigender- Identifying as two genders, commonly (but not exclusively) male and female. Sometimes you feel like both genders at the same time and sometimes you fluctuate. gendervoid Polygender- When you identify with multiple genders at once. Sometimes referred to as multigender. Neutrois- When you identify as agender, neither male nor female, and/or genderless
Gender Apathetic- When you really do not identify nor care about any particular gender. You are fine passing off as whatever and you really do not have an opinion towards your own gender.
Androgyne- This term overlaps a lot between gender identification and presentation. It can be used to describe others and as an identification. This term is used to describe people who are neither male nor female or are both male and female. Basically anyone who does not fit into a binary gender category.
Intergender- Somebody who's gender is somewhere between male and female
Demigender- When you feel as if you are one part a defined gender and one or more parts an undefined gender. Terms can include demigirl, Greygender- Somebody with a weak gender identification of themselves demiboy, Aporagender- Somebody with a strong gender identification of themselves that is non-binary demiagender, ect. Maverique- A non-binary gender that exists outside of the orthodox social bounds of gender
Novigender- A gender that is super complex and impossible to describe in a single term
Designated gender- A gender assigned at birth based on an individuals sex and/or what gender society percieves a person to be
AFAB- Assigned Female At Birth
AMAB- Assigned Male At Birth
Gender roles- Certain behaviors an activities expected/considered acceptable of people in a particular society based upon their designated gender
Gender Presentation- The gender you present yourself to others. This is sometimes referred to as gender expression Transitioning- The process of using medical means to change your sex Intersex- A biological difference in sex that is when people are born with genitals, gonads, and/or chromosomes that do not match up exactly with male or female. Intersex individuals can have any romantic/sexual orientation and can have any gender identification. Intersex individuals are about as common as redheads.
Dyadic- Someone who is not intersex and when their gentinals, gonads, and chromosomes can all match into either a male or female category
Trans Woman- Someone who is assigned as a male at birth, but identifies as a woman
Trans Man- Someone who is assigned as a female at birth, but identifies as a man
Trans Feminine- Someone who identifies as feminine, but identifies as neither a man nor a woman. They must also be assigned male at birth.

Social Dysphoria- Discomfort experienced when acting in ways socially different than your gender or being addressed in ways different to your gender
Body Dysphoria- Discomfort experienced because of the difference between gender and your sex, role, or gender expression
Butch- A term used to describe someone who's gender expression is more masculine than feminine. This is commonly used in describing women or lesbians.

Binarism- Putting gender strictly into two categories (male and female) and refusing to acknowledge genders outside of male and female.

Someone who identifies as masculine, but identifies as neither a man nor a woman. They must also be assigned female at birth.

A term used to describe someone who's gender expression is more feminine than masculine. This is commonly used in describing women or lesbians.

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A list of genders & sexualities and their definitions

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The attraction to a gender the same as their own (commonly used to describe someone who is gender binary [female or male] attracted to the same binary gender). Sometimess referred to as Romantic Orientation- Who you are romantically attracted to meaning wanting to be in a romantic relationship with and is unrelated to sexual attraction.

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Street graffiti, which wasnt purposefully set out to be graffiti. Stickers/newspapers/posters stuck on and worn or been ripped off to create a dishevele/worn piece of wall art. This reflects a customisation idea, with all different components coming together to create a look/peice of art.

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A colash is a very personal and customised piece of work. I want to express little details of customisation, to make the customer think the range is personal and unique/original.

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When the concept of vintage and the art of graffiti comes together, picture comes together which looks likes its been years in the making. With the merging colours/words and pictures, it changes from loads of different sections to one piece of fluent art. With vintage being old pieces that have lasted fro a long time, the connotations of the vintage look in durable, hard wearing and resilient.These connotations are what the brand Dr Marten holds and the customer truly believes too.

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29/11/19
- Intro
The historic roots of the brand Dr Marten. Why they became a famous brand? Who wore the boots? What did the boots represent. A time line of the brand.

- Brand research
Which sub-cultures wore the brand? The Mods, The Punks, Skin heads.

- Planning/Website/Location
Flagship store (Camden) and online

- Range development
Versatile, easy, casual but can be dressed up. No discrimination, just simple styles, with the focus purely on the comfort and uniqueness.

- Range plan
Using complementary colours, which can all be worn together or by themselves.

- Launch
Whats the best way to start the clothing line off. What should it look like/how it would be showcased in store(flagship) and online.

- Evaluation
What are the reasons behind each decision, why will they work, what will make the range successful?

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Creating an idea and plan for my range; inspiration? sub-culture inspiration? type of products? styles? How to make it as commercial as possible.

Inspiration - vintage graffiti
Sub-cultures - The Mods, The Punks
Type of products - t-shirt with logo, layered t-shirt, joggers, cargo trousers, denim jacket
Style - oversized, layering

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"Notice that there are no separate ‘women’s’ and ‘men’s’ clothing sections on our website?

That’s because every item we sell is unisex.

Our brand is an inclusive and diverse clothing company that fits any shape, any size, any gender. We want our customers to be able to wear whatever they want and feel comfortable (and look good too, that’s always a bonus!) so there are no boundaries and no rules.

Both our male and our female models wear the same clothes. We focus on designing fashion that can be worn by anyone and our sizes cater to fit anyone’s taste, whether that be tight fit or oversized.

The G&G team are passionate about providing our customers with universal fashion and constantly coming up with new designs and ideas. So have a gander through our website and check out our collections. Feel comfortable and look good at the same time, what could be better?"

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it was clear to see that Punk details are coming back in, with customisation very popular. From the catwalks using different personalised touches, which will soon be tickling down into the high street.

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Research into more abstract patterns was needed for this collection, as it is unisex, the patterns had to be gender neutral, therefore WGSN forecasts and trending patterns re- enforced my choice of patterns. With going for a acid wash, this will be trending in AW 20/21.

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The gender neutral research started with simply looking at unisex brands. The top 12 gender neutral brands have many things in common, the fit is loose and fits a multitude of body shapes. The colours are both masculine and feminine, cancelling eachother out.

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With fashion being one of the most fun, creative forms of self-expression, now more than ever people are choosing not to dress in clothes that denote their assigned gender at birth. People are beginning to question why, when walking into a shop, the girls section has pink frilly dresses and the boys section has blue shirts with superheroes on, from very early years. The fact there are gendered sections whatsoever. Why should our clothes be gendered, why in an industry brimming with amazing designs by amazing designers, must we be restricted to only wearing clothes that encourage society to put us in gender boxes? These unisex, gender-neutral fashion brands are the answer to that question...
Unisex loos may be popping up here and there and understanding and acceptance of people who identify as gender-neutral or gender-fluid may be better than it was in the past, but there's still a long way to go in the journey to equality, diversity, representation and inclusiveness of all humans, no matter how they identify. The following innovative and exemplary fashion brands are the alternatives in a world of strictly male and female. Their clothes are gender-neutral or gender-fluid, meaning they're for everyone and anyone. Discover them, understand them, love them, and shop from them.

All brands come recommended by those who identify as gender-neutral or gender-fluid.

8 Gender-Neutral Fashion Brands to Know and Love

If you identify as a cis-gender hetero woman who loves stealing your boyfriend's clothes, Agender is the ideal brand for you. The pieces are strong, pulling in both typically masculine and feminine traits but overall, are flawlessly genderless. The Check shorts are perfect for a working day, and the shirts from the SS18 collection are great for layering this winter. Inspired by art collages, the 'UNTITLED' uses screen printing silk screen, PVC press and embroidery. The silhouettes are flattering and elude to the authentic craftsmanship of the designers. Simply put: we want it all. Shop via us.wconcept.com or agender.co.kr

https://www.instagram.com/p/Bnqquj_lfK0/?utm_source=ig_web_copy_link

Telfar, a unisex clothing line created in New York in 2005, is 'not for you - it's for everyone'. Sold internationally, Telfar's most recent Spring Summer 19 collection was a hit at New York Fashion Week as excited guests saw an unusual runway show that was an audio-visual experience, something founder Telfar Clemens is excellent at producing. On the website, you can find select pieces from the SS18, FW18 and C21 Capsule Collections, including cosy hoodies perfect for winter and high-quality leather belts and shopping bags.

Gender neutrality was forefront at their recent Spring/Summer 19 show, with bold prints such as red and white stripes and a glorious cowhide design that would work on any and all genders. Found in prestige shopping locations across the globe such as Dover Street Market in New York, Galeries Lafayette in Paris, Opening Ceremony in Tokyo, Matches in London alongside Net-A-Porter and Ssense online, Ekhaus Latta designer Mike Eckhaus explains 'we relate to gender identity a little less aggressively. It's less binary and I think that's something we have always felt attuned to.' eckhauslatta.com

Toogood, a beautifully artistic fashion brand created by sisters Faye and Erica Toogood offers sustainable, gender-neutral garments that are inspired by utilitarian workwear. Each collection has a backstory, for example, Collection 003 which highlights the importance of embracing one's individuality and leaving behind conformity and convention. We have our eyes on the Toogood Denim collection, entirely designed and constructed in Britain, using Britain's only selvedge denim fabric and manufactured in a century-old mill in Lancashire before being completed in a London atelier. Buy directly from their website, which doubles as a sort of online art exhibition in itself, or find them in Selfridges in London amongst department stores worldwide. t-o-o-g-o-o-d.com

https://www.instagram.com/p/BnHX6hjlnqm/?utm_source=ig_web_copy_link

For gender-neutral basics ideal for creating a minimalist and stylish capsule wardrobe, look no further than One DNA. The emerging designer based in New York City creates ready-to-wear apparel that suits a multitude of body shapes and sizes. Getting unisex clothing right is notoriously difficult, but One DNA have hit the nail on the head with their clothes that break down the womenswear/menswear barrier without sacrificing its style DNA. onedna.earth

Artist, photographer, film-maker and designer Rad Hourani celebrates neutrality in the form of genderless fashion and in 2007, started the first gender-neutral unisex collection in fashion history. The website welcomes you with undeniably cool pieces including monochrome shirts and jersey turtlenecks, alongside art prints. Invest in the cosy-looking coats in time for winter and treat yourself to the cotton caps for bad hair days. radhourani.com

https://www.instagram.com/p/BkCvrh5jN2y/?utm_source=ig_web_copy_link

Inspired by fashion, music, art and nature, Africa Fashion International Young Designer of the Year in 2014, Rich Mnisi, is a South African based brand showcasing a genderless, contemporary look. The NWA-MULAMULA: MOTHER '18 collection is particularly striking and unique, featuring bold prints, asymmetric hems and flattering shapes that wouldn't look out of place on a red carpet or equally at the pub. Mnisi's clothes are glamorous and modern and just one piece would infuse anyone's wardrobe with enough style to make a statement on any street. richmnisi.com

https://www.instagram.com/p/BjbuAYDhjTs/?utm_source=ig_web_copy_link

London-based design studio Bethnals are the experts at creating denim that is completely undefined by gender. Inspired by the diverse cultural hub that is London, Bethnals offer comfortable fits that put a contemporary spin on the classic jean staple. Layer on top of the Indigo Max Dungarees, dress up or dress down the Charlie Selvedge jeans and keep warm in the Tommy Borg jacket, all at very reasonable prices. bethnals.com
11 of the Best Sustainable & Ethical Fashion Brands to Know

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8 Gender-Neutral Fashion Brands to Know and Love | Style

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With fashion being one of the most fun, creative forms of self-expression, now more than ever people are choosing not to dress in clothes that denote their assigned gender at birth. People are beginning to question why, when walking into a shop, the girls section has pink frilly dresses and the boys section has blue shirts with superheroes on, from very early years.

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The distressed look is coming back into play, with WGSN speaking about distressed dyes, this shows that my pattern choice of acid wash and splattered paint is commercial and on trend at the moment.

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These brands take a non binary approach to designing clothing. Focusing on the detail, fit and expression that the clothing demonstrates. As it shouldn't depend on if its in the 'Womens' or 'Mens' section of a website to determine if you are allowed to wear it in society or not.

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The Good Trade editors endorse products we've personally researched, tested, and genuinely love. Learn more about our methodology and business model here.
Style doesn't have a gender-why should it? We know it's possible to reject the framework of binary gender identity, and embrace what we and our communities want to wear without the stigma. We've been seeing a lot of inquiries into gender-neutral and gender-inclusive fashion and wanted to provide a one-stop shop for brands that lie at the intersection of gender inclusion and sustainability.

These 11 values-driven brands are looking out for the planet's wellbeing and belong in everyone's closets. Investing in brands like these helps to support those often overlooked by the mainstream fashion industry. Remember: Wear what you want, advocate for the rights and safety of others to do so, and forget the rest!

1. WILDFANG

WILDFANG started in a studio apartment in Portland, OR by a group of ex-corporate workers tired of asking the same questions about their clothes: Why doesn't this have pockets? Is there a button down that won't give me a boob gap? And why doesn't this have pockets? Their mission is to design clothes that don't conform to gender or stale fashion norms, and they have joined Pledge 1% to give back to good causes. And their super fly, unisex blazers all come with pockets.

2. TomboyX

TomboyX is a sustainable clothing company offering unisex undergarments for all shapes and sizes. These are designs that fit who you are, not who others tell you to be. The gender-inclusive company produces each piece without harmful chemicals, including using a water recycling program for water-based methods. In addition, TomboyX cares for the people along their supply chain by maintaining communication with all suppliers and factories. This brand hopes to change the systems within fashion on all fronts.

3. Big Bud Press

For colors and styles as vibrant as you are, check out Big Bud Press. This LA-based brand creates premium unisex goods from XXS through 6XL, prioritizing local sourcing and ethical manufacturing every step of the way. Because Big Bud's garments are genderless, each size is made to accommodate all body types-if you're not sure where you fall, just reach out. (The jumpsuits are a TGT team favorite!)

4. Riley Studio

Riley Studio is an eco-conscious apparel brand with a mission to do better by the planet and its people. The company prioritizes transparency, providing information on each supplier and factory within its supply chain. In addition, the brand sources recycled and regenerative materials from waste such as recycled polyester, ECONYL® Yarn, and Recover® Yarn. Riley Studio products come with a lifetime warranty for repairs and can take your old pieces to recycle into new ones.

5. Kirrin Finch

Kirrin Finch is a clothing company hoping to "do good in this world." The menswear-inspired brand produces its garments in partnership with fair and ethical factories and boasts close relationships with the people who are making each of its products. Kirrin Finch also utilizes low-impact dyes, all natural fabrics, and organic materials. Their mission is to make dapper style accessible to all, like we all deserve.

6. Origami Customs

Origami Customs is a handmade swimwear and lingerie company specializing in gender-affirming garments. In addition to custom orders (paused during COVID), the brand will alter or cut existing pieces for free for the best fit. With a focus on ethical manufacturing, Origami Customs partners with closed-loop and family-owned partners for deadstock, local, and recycled fabrics-all sewn in-house by a small team and a partner co-op. Find transmasculine, transfeminine & transfemme products, as well as binders, packing bottoms, and gaffs.

7. Olderbrother

Olderbrother is a conscious apparel company focused on keeping clothing natural. From the cultivation of its unique dyes using hibiscus or sustainable wood bark, to its attention to detail around sustainable materials, the brand is a one-of-a-kind ethical fashion shop. The company believes in supporting 'self-definition' and creating garments which can be worn by any body.

8. IJJI

IJJI is a genderless clothing brand based out of California. Since 2016, this fashion-forward brand has focused on natural fibers like wool, silk, cupro, and organic cotton to create beautiful and unique silhouettes. IJJI garments are produced near its local studio so the brand can vet production and ethics regularly. We love that you can filter by your preferred color or fabric!

9. Lonely Kids Club

Lonely Kids Club is a clothing brand that started out as a simple graphic t-shirt company. As the brand has grown, so has the product range. The not-so-small business prides itself on maintaining individuality and humor in its designs, while also touting sustainable and ethical practices. Lonely Kids Club feels passionate about mental health awareness as well as gender inclusivity too, and aims to create a safe space for both.

10. Industry of All Nations

Industry of All Nations wants to not just raise the industry standard but change it altogether. By putting manufacturing at the source of the raw materials (think cotton in the US, alpaca wool in Bolivia, natural dyes in India) they provide opportunities for the workers to grow, breed, and make their goods from start to finish. The brand sees this as a worldwide shift in sustainable industrialization, with the ethical standards of human production at its core. With a commitment to eco-consciousness and minimal waste, this is a company we can get behind. Try their naturally dyed tees or opt for the undyed version for a relaxed, natural vibe that never goes out of style.

11. Official Rebrand

Official Rebrand is a gender-free clothing brand concentrating on artistic exploration and eco-friendly practices. Each piece utilizes pre-worn items to create upcycled garments decorated with painted images of 'sinuous, genderless people, blinded by desire.' All products are one-of-a-kind and many can be customized. Official Rebrand feels strongly about making clothing that rejects societal norms and provides a freedom of expression for whoever decides to wear them.

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11 Gender Neutral Clothing Brands For Genderless Style - The Good Trade

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Isn't it time fashion extends beyond the limits of the binary? These sustainable brands are making clothing fit for every wardrobe.

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Turkey is massive in the fashion fashion retail world. With ASOS manufacturing its own brand from Turkey for over 10 years now. This massively shows how effective, reliable and efficient Turkey factories are.

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Turkey has very high air pollution, causing more sickness than normal, can have a major effect on the workers who are in the factor. even resulting in many sick days, therefore delays can accrue.

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Turkey: Environmental Issues, Policies and Clean Technology

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Turkey hopes to continue their economic expansion and become one of the world’s 10 largest economies by the year 2023.

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AMAIN PRODUCTS/SERVICES: knit fabric from cotton, viscose, polyester. Leading factory within Turkey and highly recommended. Have a few hundred staff, which means a fast turn over of created garments.

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Arge Textile,one of the leading companies in the knitted fabric sector,was established in 2009 in Istanbul and in 2013, incorporated its dyehouse operating on 48.650 m² open and 16.500 m² covered areas.

We are one of the leader company about Since all stages of production process knitting and dyeing all kind of fabrics with our 35 knitting machines, 28 dyeing machines and more than 400 labour force in Turkey.

Our dyeing capacity is 1.000 ton per month and we are able to design and produce fabric demands of our valuable customers rapidly.

(from yarn to dyed fabric) are occurred in our factory, we can give our more competitive offers to our customers. We also would like to send you our samples with the prices list and get your appreciation about our products. Besides that if it is required, we can design a sample for you and send it within ten days.

P.S. HS codes of our most exported products:

Contact Now

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Arge Textile,one of the leading companies in the knitted fabric sector,was established in 2009 in Istanbul and in 2013, incorporated its dyehouse operating on 48.650 m² open and 16.500 m² covered areas.

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Natural disasters can not be avoided. Turkey have had many earthquakes, which have destroys buildings. As this can not be helped for stopped, it could have a massive impact on the critical path due to major delays

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An earthquake with a magnitude of 6.8 has killed at least 18 people in eastern Turkey.

More than 500 have been left injured and several are trapped in the wreckage of toppled buildings. Rescue teams from neighbouring provinces were dispatched to the affected areas, working in the dark with floodlights, and defence minister Hulusi Akar said troops were on standby to help.

TV footage showed rescuers pull out one injured person from the rubble of a collapsed building in the eastern Elâzığ province. At least three people were believed to be trapped in a building in the area, where officials said four or five structures were toppled, including one at least four stories high.

The Turkish president, Recep Tayyip Erdoğan, said on Twitter that all measures were being taken to "ensure that the earthquake that occurred in Elâzığ and was felt in many provinces is overcome with the least amount of loss".

He said the ministers for the interior, health and the environment were sent to the afflicted region.

The quake struck at 8.55pm local time, 5.55pm GMT, at a depth of 6.7km near the town of Sivrice, the Disaster and Emergency Management Presidency (AFAD) said. It was followed by several aftershocks, the strongest with magnitudes 5.4 and 5.1.

Elâzığ is about 750km (465 miles) east of the capital, Ankara.

The health minister, Fahrettin Koca, said 13 people were killed in Elâzığ, including two people who suffered heart attacks, and five others died in Malatya. A total of 553 people were hurt, including 11 who were in serious condition.

Thirty buildings had collapsed from the quake in the two provinces, according to the environment minister, Murat Kurum. People were being moved to student accommodation and a sports centre amid freezing temperatures.

Elâzığ's governor, Çetin Oktay Kaldırım, told Turkish television station NTV that a fire broke out in a building in Sivrice, near the epicentre, but was quickly brought under control.

The interior minister, Süleyman Soylu, was at a meeting on earthquake preparedness when the quake struck.

The Kandilli seismology centre in Istanbul said the quake measured 6.5, while the US Geological Survey gave the preliminary magnitude as 6.7, and said the quake affected not only Turkey but also Syria, Georgia and Armenia. Different earthquake monitoring-centres frequently give differing estimates.

Turkey sits on top of two major fault lines and earthquakes are frequent.

Two strong earthquakes struck north-west Turkey in 1999, killing around 18,000 people. A magnitude 6 earthquake killed 51 people in Elaziğ in 2010.
Topics

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Multiple fatalities after earthquake hits eastern Turkey

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An earthquake with a magnitude of 6.8 has killed at least 18 people in eastern Turkey. More than 500 have been left injured and several are trapped in the wreckage of toppled buildings. Rescue teams from neighbouring provinces were dispatched to the affected areas, working in the dark with floodlights, and defence minister Hulusi Akar said troops were on standby to help.

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If Syrian refugees are stopped from entering the country, this can decrease the skilled workers and therefore take longer for the goods to be made.

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As Syrian refugees continue to pour into Turkey, desperate for any source of income, many are taking jobs in Turkey's garment industry.

In February, the Business & Human Rights Resource Center reported that an estimated 250,000 to 400,000 Syrian refugees were working in Turkey illegally, including at apparel factories that supply well-known brands. While providing income to these migrants is undoubtedly helpful, those that get jobs without a work permit are particularly vulnerable to exploitation and abuse.

To make sure refugees aren't being exploited, Primark, the Irish chain known for its astoundingly cheap clothes, has said it doubled its factory inspections in Turkey.

"We know Syrian refugees are an issue in Turkey at the moment so we have gone to unannounced audits in Turkey," Paul Lister, head of Primark's ethical trading team, recently told Reuters.

Lister said Primark sources from about 100 suppliers in Turkey, accounting for about 5% of its production. It's one of several major brands that produce clothes in the country, including Inditex, which owns Zara, and H&M.

In its report, the Business & Human Rights Resource Center asked 28 brands about the factories they contract with directly in Turkey, and found that some, including H&M, Next, Primark, and C&A had discovered refugees in a small number of their factories. H&M found one factory using refugee children to make clothes, and Next found two.

"In accordance with our policy on Syrian refugees in Turkey, we terminated this business relationship immediately," a spokesperson for H&M said. "We then informed our NGO partner to get their support on the remediation activities."

Primark said it discusses the situation with the supplier and puts a "time bound" plan in place to resolve any problems. "If we do not see the required level of engagement we expect on remediation, business relationships with suppliers are reviewed, and in some cases terminated," the company said in a statement.

There are different points of view about what steps are best for brands if they do discover refugees without work permits in their supply chains. No brand wants its image tainted by child labor or human rights abuses, but at the same time these jobs, which often require little training, can be vital for migrants who have no other source of income.

H&M says it will terminate its relationship with any supplier found to be employing workers without a work permit. Others say the best approach is to continue working with the factory, but help workers to get the right permits and make sure they're being paid properly. Ruth Vermeulen, senior international verification coordinator at the Fair Wear Foundation, told the Guardian that brands "should work together with the supplier towards formalising the workers' status, however possible."

Many companies, including Inditex, told the Business & Human Rights Resource Center they have programs in place to assist migrants in getting the proper documentation. Some of the camps set up by the Turkish government even run workshops to train Syrian refugees in marketable skills, such as sewing.

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Major fashion brands are trying to stop their factories in Turkey from exploiting Syrian refugees

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As Syrian refugees continue to pour into Turkey, desperate for any source of income, many are taking jobs in Turkey's garment industry. In February, the Business & Human Rights Resource Center reported that an estimated 250,000 to 400,000 Syrian refugees were working in Turkey illegally, including at apparel factories that supply well-known brands.

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From my research, many brands label some of their jeans as unisex, but this is just in relation to the style of the jean, not the actual sizing.
ASOS Collision collection do a one sizing strategy, with different options for waist. But they have taken the average leg size, this is the only leg size they do.
I have adopted this sizing strategy within my range, for the straight leg jeans.
I have chosen to do the same leg length but different option waists too. the reason for this is that the Dr Marten boot will more than likely be worn with the jeans, therefore with men, the boots will come up to the jeans hem if the jeans come up a little short. In addition, if the jeans come up too long for a women, they are encouraged to customise and roll the jeans up to give a retro rolled up effect (relates back to the trend of customisation).
If the the jeans sell out and get great feedback, the size ranges can be extended to 30L and 34L to cater for more customers.
Sizing chosen:
28W 32L
30W 32L
32W 32L
34W 32L

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16/12/19 - 30/12/19(2 weeks)
- Research
- Brain storm
- Plan and breakdown the over concept
- Understand how unisex clothing is sized and measured/fitted
- Visualise the main purpose of this range
- Demographic/target audience of this range
Evaluate other unisex clothing ranges in comparison
- What is is about unisex clothing that makes them attractive to both genders?

30/12/19-  06/01/20
- Write up concept, highlighting pinnacle thoughts and ideas which has created this range idea.
- What different generations are like and how do they shop (Gen Z and Millenniums)
- How have shopping habits changed? Why have they changed? what are they now?
- Analyse comparison shops and websites. What are they doing to be successful and attract their audience. Are they transparent?
- Whats inspiring? Who is inspiring?  Which sub-cultures can get this idea to be a fully developed, commercial range? Inspiring patterns/prints? Graphic patterns what have history and a story to tell. Graffiti? Splattered paint? Paint fight? Paint party?
06/01/20 - 13/01/20
- Mood board
- Keys trends
What key topics has made this idea come alive? From the core of this idea, flexible identities is one of the most important part to this range.
- A sub-culture that is expressed in little details through the range, Punks being a very expressive sub culture, knowing who they are, not letting a gender, society or politics determine what they wear or how they act.
- Giving prints and patterns another name for themselves. Using patterns that looks like they have been added to the garment to customise it, not just because its on trend.
- Understanding what is in at the minute, what details make a range the most commercial? (Oversized, wide fit, graphic, relaxed fit and branded).
- Fabrics and materials
- Details to incorporate
Laying out the range (over two pages max - simple and concise)
- outfit building+product development
13/1/20 - 20/01/20
-WGSN analysis
- assortment mix (using edited to look at Timberland assortment mix to compare).
- colour and pattern mix (comparing colour mix with Timberland+using WGSN for pattern re enforcement)
20/01/20 - 27/01/20
-Price architecture (using edited to look at competitors pricing ranges)
- Washing line
- Garment Tech
thorough research into unisex sizing and understanding what sort of fit works well for all genders.
27/01/20 - 3/02/20
- Sourcing strategy
Keeping the roots of the brand still live with sourcing partly from the UK. Using Turkey to gain margin back and placing bigger orders on the core pieces to confirm low cost prices.
- Merchandising analysis (Using timberland as a comparison
- Space layout ( using Timberlands layout as a reference).
3/02/20 - 10/02/20
- Planogram
- Marketing strategy (understanding how different generations like to be marketed).
- Packaging - recycled (sustainable element to the collection)
10/02/20 - 16/02/20
- Executive summary ( leave this until the last so you have the fullest understand of the whole project).
- Evaluation (What went well? what was challenging? any changes? what I got out of it? Margin expectations?
- PESTEL(Political, Economical, Social, Environmental and legal)
- SWOT(Strengths, Weaknesses, Opportunities and Threats)

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A simple long sleeve t-shirt and a simple short sleeve t-shirt are very commercial silhouettes. when combined, they go from a core piece to a fashion pice within the range. However can be worn separately, increasing the garments versatility.

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smart casual is a massive trend which has been going on for a few seasons now. The combination of comfort, yet sophisticated.The development is a growing trend that is being used in many ways. In this instance, a jogging pant draw string and material in used, with the style of a wide leg trouser. this results in a relaxed but form bottom.

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Layering of t-shirts are now being seen on the catwalk once again. This style with the graphic print is highly on trend and will be seen tickling down into the high street.

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Exposed stitching is coming into play, giving an industrial look. Dr Martens use it on they boots with the exposed yellow stitching. I have incorporated this onto one of the t-shirts to keep the link flowing from the boot collections into the clothing range.

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Acid dye and merging colours are making a turn, which links back to customisation.

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“Dr. Martens’ biggest focus, though, has been its e-commerce division, which saw revenues jump 67%...”
There has been a massive shift in the way consumers shop and buy. This has to be adopted my retailers to be able to stay on top of their game. Dr Marten have taken a a massive focus into e-commerce platforms.

As well as opening more stores, as its important to the Dr Marten Customer to touch and feel the boots. With a clothing range, this department is easier to buy online, in addition, with it being unisex, the fits on the clothing are primarily oversized and would be hard to not fit right. With the help keep return rates down.

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Dr. Martens is enjoying the benefits of the current '90s fashion craze.

But, according to CEO Kenny Wilson, the firm has not just been letting trends propel it forward. Instead, the iconic label has spent the past year implementing an aggressive strategy focused on operational efficiencies, stronger direct-to-consumer channels and product innovation.

And it just might be on to something. The Northamptonshire, England-based shoe brand reported its fiscal 2019 sales results this week, noting a 30% climb in revenues to 454.4 million pounds (US$547.9 million) and a 70% leap in profits to 85 million pounds (US$102.5 million) for the 12 months ended March 31.

"I believe the results demonstrate that what we're doing is working," said Wilson, who joined the company in July 2018 after stints at Levi's and Cath Kidson.

Most important, he noted, the company saw strong double-digit growth across all retail channels and all key regions. "I've gone on record before saying I think in the next few years we can make Dr. Martens a 1 billion-pound (US$1.2 billion) brand, and we believe that. We believe that our [current] strategy is the right one to take us above a billion," said Wilson.

During its fiscal year, the company was particularly focused on enhancing its direct-sales channels. It opened 20 brick-and-mortar stores globally, including eight in Europe, four in the U.S., six in Japan and two in Hong Kong, ending the year with a total of 109 doors.

"We believe that stores play an important role in allowing our customers to interact with the full range of the product and try the product on, which is important with footwear," said Wilson. He added that this year the brand will aim to open a similar number of locations: "The markets we'll look at will be the Americas, Germany, France and Japan."

Dr. Martens' biggest focus, though, has been its e-commerce division, which saw revenues jump 67% last year to 72.7 million pounds (US$87.7 million). Wilson said that after re-platforming its sites for Europe, North America and Korea last year, the firm is now in the process of doing the same in South Korea, and it also has been staffing up with more digital talent at the HQ and regional levels.

Online sales represented 16% of total revenue at the end of the fiscal year, but Wilson predicted it could reach 30% within the next five years. To move that needle, he said his team will continue to invest heavily in people and platforms.

Another bright spot for the company last year was its product selection. Not surprisingly, its most iconic styles from the Originals collection continued to fly off shelves, with 28% sales growth. Even more unexpected was the whopping 84% increase that its Fusion category logged. Wilson explained: "The growth [for Fusion] was a combination of strong sandal sales for spring/summer, plus our quad-sole products, which were really successful in every region throughout the year."

The CEO noted that Dr. Martens' ongoing challenge is to both cater to its existing customers and attract new ones, by keeping its heritage styles fresh and introducing different designs. "Next year is a very important year for the company," said Wilson. "It's 60 years of the 1460 boot, so every month we're going to be releasing a limited-edition 1460 collaboration to celebrate. Ultimately, the goal is to celebrate our icon product and at the same time continue to build our sales beyond the icons."

After a year of aggressive action, Wilson said he has no plans to slow the brand's pace. "We've got a [strong] brand name, we trade in 57 countries, people know Dr. Martens and what it stands for, but we're only doing 450 million pounds (US$545 million) in sales," he said. "This has got the potential to be a much, much bigger brand than that. I feel confident that we can continue to accelerate the performance."
Want more?
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Dr. Martens Sues Three Fast-Fashion Retailers for Allegedly Copying Its Shoes

5 Dr. Martens Sandals That Are Perfect for Music Festivals
See how celebrities style their outfits with workboots:

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Dr. Martens CEO Reveals Why the Brand Is Growing - And It's Not Just the '90s Craze

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Dr. Martens is enjoying the benefits of the current '90s fashion craze. But, according to CEO Kenny Wilson, the firm has not just been letting trends propel it forward. Instead, the iconic label has spent the past year implementing an aggressive strategy focused on operational efficiencies, stronger direct-to-consumer channels and product innovation.

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This inspiration for my planogram was from the Carnaby Street Timberland store. The back wall of their clothing collection was sleek and flowed. Garments were grouped together to easy building outfits. this was a key idea I took away from Timberlands space layout.

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With The Punks being one of the main sub cultures that wore Dr Martens, their overall style and presence was inspiring.
their outlook on life and day to day attitudes expressed pride and confidence is who they are. They expressed their personalities through what they wore.

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Punk is made up of an assortment of smaller subcultures, including anarcho-punk, crust punk, and horror punk, which distinguish themselves through unique articulations of punk culture. Several subcultures have developed out of punk to become distinct in their own right, such as goth, psychobilly, and emo.

Hello have fun with the project, about Punks

In the late 1960's, The Stooges and MC5 began to play a stripped-down, louder and more aggressive form of rock 'n' roll (sometimes called pre-punk or protopunk) as a response to the commercialization of the hippie counterculture. Bands such as the Ramones, Television, and Talking Heads were heavily influenced by this and took it further. These New York bands started to frequent CBGB's, and the first punk scene was formed.

In this same period, bands formed independently in other locations, such as The Modern Lover] in Boston; Electric Eels, Rocket from the Tombs, and The Dead SEX dildos in Ohio; The Saints in Brisbane, Australia, and The Stranglers and the Sex Pistols in London. July 4, 1976, The Ramones and The Stranglers played at The Roundhouse in London. This show is often cited as the event that launched the punk scene in London. By the end of 1976, many fans of the Sex Pistols had formed their own bands, including The Clash, Siouxsie & the Banshees, The Adverts, Generation SEXXX, The Slits and X-Ray Spex. Other UK bands to emerge included The Damned, The Jam, The Vibrators, Buzzcocks and London.

Music is the most important aspect of punk. Punk music is called punk rock, sometimes shortened to punk. Most punk rock is a specific style of the rock music genre, though punk musicians sometimes incorporate elements from other genres. Punk subcultures often distinguish themselves by having a unique style of punk rock, though not every style of punk rock has its own associated subculture. Most punk rock involves simple arrangements, short songs and lyrics that espouse punk values. Punk rock is usually played in bands, as opposed to solo artists.

Punks seek to outrage propriety with the highly theatrical use of clothing, hairstyles, cosmetics, jewelry and body modification. Punk clothing adapts existing objects for aesthetic effect: previously ripped clothes are held together by safety pins or wrapped with tape, written on with marker or defaced with paint; a black bin liner might become a dress, shirt or skirt. Leather, rubber and vinyl clothing are also common, possibly due to its implied connection with transgressive sexual practices, such as bondage and sado-masochism. Some punks wear tight "drainpipe" jeans, brothel creeper shoes, T-shirts with risqué images, and possibly leather motorcycle jackets and Converse sneakers.

Some punks style their hair to stand in spikes, cut it into mohawks or other dramatic shapes, and color it with vibrant, unnatural hues. Punks will use safety pins and razor blades as jewelry. Punks tend to show their love for a band or idea by pin-back buttons or patches, which adorn their jackets and other clothing items. They sometimes flaunt taboo symbols such as the Iron Cross. Early punks sometimes wore the Nazi swastika for shock-value, but most modern punks are staunchly anti-racist, and will more likely wear a crossed-out swastika symbol.

Punk aesthetics determine the type of art punks enjoy, usually with underground, minimalistic, iconoclastic and satirical sensibilities. Punk artwork graces album covers, flyers for concerts, and punk zines. Usually straightforward with clear messages, punk art is often concerned with political issues such as social injustice and economic disparity. The use of images of suffering to shock and create feelings of empathy in the viewer is common. Alternatively, punk artwork may contain images of selfishness, stupidity, or apathy to provoke contempt in the viewer. Subculture is a group within a larger society that has values, beliefs and behaviors that go against the larger society.

Much of the earlier artwork was in black and white, because it was distributed in zines reproduced at copy shops. Punk art also uses the mass production aesthetic of Andy Warhol's Factory studio. Punk played a hand in the revival of stencil art, spearheaded by Crass. The situationists also influenced the look of punk art, particularity that of the Sex Pistols. Punk art often utilizes collage, exemplified by the art of Crass, Jamie Reid, and Winston Smith. John Holmstrom was a punk cartoonist who created work for the Ramones and Punk Magazine. The Stuckism art movement had its origin in punk, and titled its first major show The Stuckists Punk Victorian at the Walker Art Gallery during the 2004 Liverpool Biennial. Charles Thomson, co-founder of the group, described punk as "a major breakthrough" in his art. [1]

A variety of dances are popular within the punk subculture. Commonly performed at punk shows, these dances often appear chaotic, or even violent. The punk subculture and its immediate predecessors originated many of these dance styles from the 1970s onward. Moshing and the pogo are the types of dance most closely associated with punk. Stage diving and crowd surfing were originally associated with protopunk bands such as The Stooges, but went on to find a place at punk, metal and rock concerts. Ska punk promoted the dance style of skanking. Punk concerts often appear to be more like small-scale riots than rock concerts. Hardcore dancing is a later development based on all of these styles.

Punk has generated a considerable amount of poetry and prose. Punk has its own underground press in the form of punk zines, which feature news, gossip, cultural criticism, and interviews. Some zines take the form of perzines. Important punk zines include Maximum RocknRoll, Punk Planet, and Cometbus. Several novels, biographies, autobiographies, and comic books have been written about punk. Love and Rockets is a notable comic with a plot involving the Los Angeles punk scene.

Jim Carroll and Patti Smith are two examples of punk poets. The Medway Poets group included punk musician Billy Childish and had an influence on Tracey Emin. Jim Carroll's autobiographical works are perhaps the first punk literature. Punk has inspired the cyberpunk and steampunk genres.

Many punk movies have been made, and punk rock music videos and punk skate videos are common for some bands. The use of stock footage typifies punk film. The No Wave Cinema movement owes much to punk aesthetics. Derek Jarman and Don Letts were punk filmmakers.

Participants in the punk subculture are usually called punks, punk rockers, or, less often, punkers, or punx. Not everyone who plays a hand in the punk subculture is identified as a punk. Specific subsets of punk identify with the mainline subculture to varying degrees, and use a number of different terms to distinguish themselves, but these usually involve the use of punk as a suffix.

Typically, a punk enters the subculture during the first few years of high school. Many punks continue playing a role in the subculture for several years, and some even make their involvement a lifelong commitment. Although adolescents are the main age group in punk, there are also many adults who hold to the punk mentality, but do not necessarily dress the part. Some punks eventually leave the subculture in favour of the status quo, which is sometimes regarded as selling out by those still in the subculture.

Punks are typically white, male adolescents from working class or middle class backgrounds, although exceptions abound on every count. Punk is - except for the riot grrrl subculture - largely male-dominated, though punks rarely tolerate overt sexism. Since its inception, female punks have always played important roles in the punk subculture [2], but, numerically speaking, they are vastly underrepresented. Compared to some alternative cultures, however, mainline punk is much closer to being gender equalist, at least so far as its dominant ideological view of gender relations goes.

In comparison to mainstream culture, larger portions of the punk community are homosexual or bisexual, especially in the queercore subculture. Punks have always been a common fixture of altporn.

Although the punk subculture is overwhelmingly anti-racist, it is vastly white, especially in Europe and North America, and some fringe punk factions espouse views of white supremacy. These groups are usually treated with hostility by the rest of the subculture. Numerous ethnic minorities have taken part in and contributed to the development of the subculture, such as Blacks, Latinos, and Asians. The documentary film Afro-punk examines the role of African Americans in the punk subculture.

Originally, most punks came from working class, inner-city backgrounds, but these demographics have since shifted, so that now many punks come from middle class, suburban homes. Punks often hold minimum wage jobs or are unemployed. A number of punks are homeless, and some rely on squatting, dumpster diving, or shoplifting to survive. There is a tension within the punk community between the refusal of gainful employment and a disdain for dropping out. Gutter punks and squeegee punks vary in their actual involvement with the punk subculture.

Several major figures in the punk community have died from drug overdose or suicide. Substance abuse is somewhat common in the punk scene, with the exception of the straight edge faction. The original punk movement was largely fueled by heroin, methamphetamine, and alcohol. Methamphetamine and alcohol continue to find wide use in the subculture, though heroin usage has declined since the early 1980s. The punk subculture also has an association with the abuse of inhalants.

Punks mostly interact with one another in their local area, forming a local punk scene. In dozens of countries worldwide, almost all major cities, many medium-sized cities, and a few small towns have such scenes. Several local punk scenes with close ties to one another form a regional scene. The worldwide punk community may sometimes be called the punk scene.

Punk scenes, both local and regional, are concentrated in North America, Europe, and Japan. There are also scenes in Central America, South America and Australia. The more cosmopolitan cities of mainland Asia, and the Middle East also play host to scenes. In Africa, punk scenes are mostly limited to South Africa. On the whole, punk scenes are most prominent in global cities.

The way punks express their culture varies not from scene to scene, and there may be vast differences between regional scenes. The global punk subculture contains speakers of many languages, citizens of dozens of states, and members of a variety of nationalities and ethnicities. This wide variety of backgrounds ensures that punks create a vast range of culture that reflects the unique conditions of their local or regional scenes.

Local punk scenes cannot be as small as half a dozen punks, or can encompass thousands of members. A local scene usually has a small group of dedicated punks surrounded by a more casual periphery. On the outer fringes of a punk scene are the poseurs and wannabes, whom the core members do not consider to be participants in the subculture at all.

A typical punk scene is made up of: several bands who perform music at shows and record albums; fans who attend these shows and purchase these albums; independent record labels which produce these albums; zine makers who document the activity of the bands, fans and labels; visual artists who create artwork for these shows, albums, labels and zines; and fashion designers who create clothing and accessories. A punk may perform any number of these functions in his or her local scene, and it is not uncommon for a single punk to perform all of them.

Punk culture is exchanged within the punk community in a number of ways. Punk rock can be played in concert at either venues or basement shows, aired on radio stations, or recorded to albums or bootlegs for dissemination by the punk wing of the cassette culture. Parties also serve as an important component of a punk scene, providing an event to exchange music and reinforce scene solidarity. Punk zines are sometimes exchanged at zine distros catering specifically to the subculture.

Squats play a major role in the punk community, providing shelter and other forms of support. Punk squats and other punk houses often provide a place to stay for touring bands. These houses are usually found in low income urban areas in or around skid row. There are some punk communes, such as the Dial House.

In recent years, the Internet has been playing an increasingly larger role in punk [3], specifically in the form of virtual communities and file sharing programs. There have also been several formal organizations based around uniting punks, but these have largely disappeared.

Some punks and groups of punks, especially punk rock bands, gain notoriety within their local scene, regional scene, or the punk subculture as a whole, and some go on to become (in)famous in the mainstream as well. Well-known punks include Joey Ramone, John Lydon, Sid Vicious, Nancy Spungen, Jello Biafra, Joe Strummer, Billy Idol, Siouxsie Sioux, and Vivian Westwood. The punk subculture sometimes treats these figures as folk heroes, although some punks reject this as a form of idol worship.

Punk is made up of a diverse assortment of smaller subgroups, each with its own take on punk styles. These groups distinguish themselves from one another through differences in attitude, music and dress. Some of these groups are antagonistic towards one another, and there is widespread disagreement within punk whether or not some are even part of the larger subculture. Some factions are tied to particular regional or local scenes. Others, such as hardcore, are prevalent throughout the entire subculture. A single punk may identify with any number of these factions, or none in particular.

Anarcho-punk is as old as the punk movement itself, and has supplied the punk subculture with many elements of its dominant ideology. It consists of groups, bands and individuals promoting anarchist ideas such as animal rights, feminism, anti-authoritarianism, anti-war, anti-capitalism, and anti-racism. Anarcho-punk bands include Crass, Conflict, Flux of Pink Indians, and the Subhumans. Anarcho-punk fashion ranges across the entire spectrum of punk fashion.

Celtic punk which began in the early 1980s, fuses punk with the traditional cultures of Scotland, Ireland, and the Irish diaspora. Celtic punk music combines the rock beats and electric guitars of punk with traditional celtic melodies and instruments, such as the bagpipes.

Christian punk is affiliated with Christianity, instead of the secularism of the main punk subculture. Christian punk grew out of the 1980s American hardcore scene. Christian punk fashion is similar to that of typical punk fashion, and often incorporates Christian symbolism such as the cross, the crown of thorns, the Ichthys, the Labarum, and the newly-created "Alpha is Omega" symbol.

Crust punk is a more extreme version of the anarcho-punk subculture. Members of this faction are sometimes called crusties. Crust punk music fuses elements of anarcho-punk and heavy metal with the harshest aspects of hardcore, often sounding similar to grindcore, and using elements of d-beat. Crust punk fashion is based strongly on ethics - always D.I.Y., and often anti-social, nihilistic and anti-consumerist. Crust punk ideology follows in the same vein as anarcho-punk.

Conservative punk is a group within punk which holds conservative political values.

Cowpunk, fused stylistic elements of punk with country and rockabilly music, fashions, and dance. Cowpunk originated in southern California during the early 1980s.

Deathrock distinguishes itself by its adoption of the cultural sensibilities of horror films. Deathrock focuses on "dark" culture, such as occultism, and death. It was originated by musicians such as Rozz Williams, Eva O and Dinah Cancer in California during the late 1970s and early 1980s.

Glam punk and art punk were the first punk-like subcultures to arise, though they are usually seen as distinct from the movement they helped inspire.

Sometime around the beginning of the 1980s, punk underwent a renaissance in the form of the hardcore punk subculture in North America. Hardcore music is a faster and heavier version of punk rock, usually characterized by short, loud, and passionate songs. Major bands include Bad Brains, Black Flag and Minor Threat. Hardcore fashion differs in several ways from that of the original punk subculture. The UK equivalent of American hardcore is UK 82.

Horror punk is essentially a more hardcore version of deathrock.

Punk metal and crossover thrash, fuse the punk and heavy metal subcultures.

Nazi Punk espouses neo-Nazism and white supremacy. It grew out of the original UK punk movement in the late 1970s, and later spread to the USA and other countries. The music played by Nazi punk bands is called Rock Against Communism, hatecore or simply Nazi punk. Skrewdriver, the archetypical Nazi punk band, is largely responsible for creating this faction. Skrewdriver was considered to be one of the original Oi! bands, and started out as apolitical. The now-defunct Punk Front was a notorious Nazi punk organization in the UK during the late 1970s. Nazi punks often wear swastikas, or other symbols of hate in combination with more typical punk dress.

The Oi! and streetpunk genres identify strongly with punk's working class sensibilities, though they carry no specific political ideology other than a rough quasi-socialist populism. However, there have been Oi! bands from the entire political spectrum, from left to right. Having its origins in the original UK punk subculture, Oi! seeks to align punk with a working class, street-level following, often associating with football hooliganism. Oi! punk ideology promotes unity between punks, skinheads and other working class youths. Major bands include Cock Sparrer, the Cockney Rejects, Angelic Upstarts, and Sham 69. With close ties to the Oi! punk subculture, though without placing the same importance on football rivalries, streetpunk is a working class, inner-city punk subculture. Some anarcho-punks and crust punks have problems with Oi! punks for their lack of radical political ideals, their emphasis on work, and other views exspressed in Oi! music.

The now-extinct positive punk subculture, so-called because it lacked the violence that characterizes the rest of punk, began in late 1970s in the London punk scene around the Batcave nightclub, and quickly developed into the goth subculture.

Queercore is a branch of hardcore punk that developed alongside riot grrrl, based on the experiences of lesbians, homosexuals, bisexuals and transsexuals. Queercore music, exemplified by bands like Pansy Division, Tribe 8 and Mukilteo Fairies is similar to hardcore, and its lyrics often deal with issues surrounding marginalized sexuality. Likewise, queercore fashion is similar to hardcore dress, though it incorporates some elements from sexuality and gender identity-based subcultures.

Riot grrrl is an offshoot of hardcore punk that places strong emphasis on feminism. This segment seeks to create a girl-friendly space within the subculture, accomplishing this task with feminist zines and all-woman bands. Riot grrrl arose from the Seattle, Olympia, and Washington, D.C. hardcore scenes around 1991, and shared significant cultural cross-pollination with the developing grunge subculture. Bratmobile and Bikini Kill are two prime examples of riot grrrl bands.

Scum punk, a subgenre with some ties to hardcore, is known for its disregard of safety, morals, and hygiene. It is more of a philisophical subgenre of punk than truly a musical one, much like the straight edge scene, though opposite in views. Songs in the scum punk subgenre are usually sexual or violent in nature and contain tabboo subject matter (including incest, rape, pedophilia, bestiality, and drug use). Concerts by scum punk bands usually engage in some sort of trangsgressive act. The name itself is derived from GG Allin and one of his many backing bands, the Scumfucs. Many of GG Allin's songs also used the word "scum" in them including Bite it You Scum, Scum Fuck Tradition, and Outlaw Scumfuc. Today, scum punk is seen as an underground scene with a small following.

The skate punk subculture began in the 1980s in Venice Beach, California as a fusion of punk and the subcultures associated with skateboarding and surfboarding. This faction was largely created by a skateboarding team called the Z-boys. Musically, skate punk music emerged from hardcore punk.

Ska punk and Two tone combine punk with the Jamaican rudie culture. It's closely related subculture which places emphasis on inter-racial unity. The ska punk musical style, which combines punk rock and ska, sometimes features wind instruments, distinguishing it from most other punk music. Ska punk popularized a dance step called skanking. The UK saw the rise of ska punk shortly after the genesis of punk. This faction has since spread to North America, where it gained considerable mainstream attention during the early 1990s.

Punk has unique relationships with other subcultures and popular culture as a whole.

The goth subculture began in the gothic rock scene, a music genre that developed from punk rock and post-punk in the late 1970s. The subculture is noted for its macabre outlook and fascination with dark subjects and fashion.

Psychobilly incorporates the music and fashions of the rockabilly subculture with horror themes. Psychobilly music is generally played with an upright bass instead of an electric bass. Cowpunk and punkabilly are related subcultures.

New Wave Music and its attendant subculture arose along with the earliest punk groups; indeed punk and the new wave were originally interchangeable terms. Combining elements of early punk music and fashion with a far more pop oriented and less "dangerous" style, new wave became one of the most popular music movements of the early 1980s before essentially dying out in the middle of the decade.

Emo developed from the Washington, D.C. punk scene in the late 1980s. Punk and emo have a sometimes antagonistic relationship, since emo as a movement has become increasingly mainstream, and punks generally reject any form of music or subculture that has "sold out".

An outgrowth of hardcore punk, straight edge is based around a lifestyle of abstinence from alcohol, tobacco, and recreational drug use. The movement was kickstarted by Washington, D.C.'s Minor Threat in the 1980s. The lead singer of Minor Threat, Ian McKaye, is credited with coining the term in their song "Straight Edge". He has since disowned the movement. Someone who is "straight edge" follows the punk lifestyle, but doesn't drink, smoke, or do drugs. Some straight edgers avoid promiscuous sex, and many modern straight edgers are vegetarian or vegan. Straight edge was a reaction to the self-destructive nature of the scene and it's drug use. One sign that a person is "edge" is a black "X" written with marker on the person's hand. This comes from the practice of marking an "X" on the hand of underage youths at shows so the bar tender would know not to serve them alcohol. Hardline is a social movement which originated in the straight edge punk subculture. Hardline is based around extreme politics, mostly derived from the doctrines of deep ecology. It is controversial, even within straight edge for it's militant stance against drug use. Hardliners will sometimes attack strangers who are drinking, smoking or doing drugs. Some people have been killed as a result of these actions. The most well-known hardline band is the now-defunct Vegan Reich.

The indie scene is an offshoot of punk that carries on punk's DIY ethic, though indie music is sonically more diverse. Characterized by independent labels, regional diversity, and grassroots fanbases, the indie scene encompasses a wide variety of underground music genres, most notably alternative rock and particularly its subgenres such as indie rock, indie pop, and indietronica. A prime example is the Seattle grunge scene that developed in the late 1980s. Grunge had considerable mainstream success in the early 1990s, during which the media placed an emphasis on the bands' working class clothing and indie ethics along with other alternative rock-related tropes such as Lollapalooza in an attempt to define it as a supposed "alternative culture" for Generation X.

Punk has ties to the skinhead subculture, a working class youth subculture which originated in the UK in the 1960s. The original skinhead movement had largely died out by 1972, but in the late 1970s it underwent a revival, partly as a reaction against the commercialization of punk. Punks and skinheads have had both antagonistic and friendly relationships, depending on the circumstances. Also in the late 1970s, punk influenced skinhead fashion, leading to the punk-skinheads code of dress.

Punk and hip hop emerged around the same time in New York City, and there has been a surprising amount of interaction between the two subcultures. Some of the first hip hop MCs called themselves punk rockers, and some punk fashions have found their way into hip hop dress. The Beastie Boys originally started out as a hardcore band. Malcolm McLaren (the manager of the Sex Pistols) played roles in introducing both punk and hip hop to the United Kingdom. Recently, hip hop has influenced several punk bands, including The Transplants and Refused, and punk themes, such as disenchantment with the urban-industrial landscape, have been expressed in the lyrics of many hip hop artists.

The industrial subculture has several ties to punk.

Additionally, punk and the heavy metal subculture have shared similarities since punk's inception, and the early 1970s metal scene was instrumental in the development of protopunk. Glam rockers The New York Dolls, massively influential on early punk fashion, also influenced the look of glam metal. Alice Cooper was a forerunner of the fashion and music of both the punk and metal subcultures. Motörhead, since their first album release in 1977, have had continued popularity in the punk scene. Hardcore was a primary influence on thrash metal bands such as Metallica and Slayer and, by proxy, an influence on death metal and black metal. Conversely, punk subgenres like metalcore, grindcore, punk metal and crossover thrash were greatly influenced by heavy metal. As a result, many punks are fans of heavy metal, and many metalheads find punk rock an acceptable musical style. The grunge subculture resulted in large part from the fusion of punk and metal styles in the late 1980s. However, there have long been tensions between the two groups. In particular, metal's mainstream incarnations have proven anathema to punk. Hardcore and grunge developed in part as reactions against metal music popular during the 1980s.

Punks were once known for fighting Teddy Boys and sometimes Greaser/Bikers. Many older British punks also recall Skinheads at shows/gigs firstly beating anybody with long hair, then beating up the punks and then beating up each other. In punk's original heyday, punks faced harassment and even violent attacks, particularly in the U.K., where brawls with Teddy Boys or fans of rockabilly were often reported. In the U.S. punks sometimes faced abuse from rednecks and other right-wing groups such as the Nazi-Skinheads. In Sweden it was raggare that attacked punks.

There was considerable enmity between positive punks and the New Romantics.

Other subcultures have had relationships to punk including Beatniks, Hippie, Yippie, Mods, Rockers, and Cybe.

Nowadays it is relatively acceptable to present oneself as a punk, and doing so is often merely a fashion statement among youth. Bryn Chamberlain writes, "By the mid 1980's the punk became publicly acceptable. The punk became intelligent, artistic and fun. This became the constructed punk: a sterilized figure, a shadow of his mindless adolescent ancestor." [4] Thus, some maintain that the punk scene has lost the very heart of its former nature as one of explosive creativity, rebellion, anger, and individualism, and that it has become a mere caricature of what once was. Others suggest that little has changed except the popularity of the genre. Disillusioned ex-punks see punk as outdated and obsolescent, especially as mass acceptance means that punk is now even influencing boy bands, albeit in a sanitised form.

Punk has influenced and has been influenced by popular culture in a number of ways. Since the beginning of the subculture, major label record labels, haute couture, and the mass media have attempted to use punk for profit. For the most part, punk has met this cultural appropriation with resistance because of the punk ethic of musical integrity which punks often feel is threatened by profit motivation. Many members of the original punk subculture, as well as some of the modern adherents, find the commercialization of punk disillusioning. They argue that punk is by definition unpopular (seeing "pop punk" as a contradiction in terms) and should remain that way because it provides a needed challenge to mainstream culture.

Our Band Could Be Your Life: Scenes from the American Indie Underground 1981-1991 by Michael Azerrad

Psychotic Reactions and Carburetor Dung by Lester Bangs, ISBN 0679720456

American Hardcore: A Tribal History by Steven Blush

The Boy Looked At Johnny: The Obituary of Rock and Roll by Julie Burchill and Tony Parsons, 1978, Pluto Press, UK, ISBN 0861040309X

Punk: The Definitive Record of a Revolution by Stephen Colegrave

Burning Britain - A History Of UK Punk 1980 to 1984 by Ian Glasper, Cherry Red Books, ISBN 1901447243

A Punk Manifesto by Greg Graffin, Bad Times, 12/98

Resistance through Rituals: Youth Subcultures in Post-War Britain Stuart Hall, ISBN 0415099161

Subculture: The Meaning of Style D. Hebdige, ISBN 0415039495

From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World by Clinton Heylin, Penguin Books, ISBN 0140179704

From the Velvets to the Voidoids: The Birth of American Punk Rock by Clinton Heylin

Please Kill Me: The Uncensored Oral History of Punk by Legs McNeil and Gillian McCain, 1997, Penguin Books, ISBN 0140266909

The Philosophy of Punk by Craig O'Hara

Punk Rock: So What?: The Cultural Legacy of Punk by Roger Sabin

England's Dreaming : Anarchy, Sex Pistols, Punk Rock, and Beyond by Jon Savage, 1991, Faber and Faber, UK, ISBN 0312069634

We Owe You Nothing: Punk Planet, the Collected Interviews by Daniel Sinker.

Make The Music Go Bang!: The Early L.A. Punk Scene by Don Snowden

We Got the Neutron Bomb: The Untold Story of L.A. Punk by Marc Spitz

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Punk is made up of an assortment of smaller subcultures, including anarcho-punk, crust punk, and horror punk, which distinguish themselves through unique articulations of punk culture. Several subcultures have developed out of punk to become distinct in their own right, such as goth, psychobilly, and emo.

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PEST analysis on the whole of the retail industry

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PEST analysis on the whole of the retail industry

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Anti - trust issues are a major problem, with the uncertainty of Brexit, this has made an impact on the consumer and how they are holding back when spending money.

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New forces and trends are shaping the retail landscape. Particularly, it is the technological and economic trends that are having the deepest effect on it. However, with time the competitive pressure is also growing which is because of the growth in the number of players and proliferation of the e-retail. 2015 was an year of whopping growth for e-retail. Amazon has grown by leaps and bounds. Since the recession passed, retail sales globally have kept growing and by 2020 they are expected to have grown to $28 trillion. Globally, retail is a major contributor to the GDP of nations and also employs a very large workforce. However, there are several forces in the macro environment that affect it and are going to shape its future. So that they can exploit the changing demographic and economic trends, retailers are expected to make better use of technologies like Cognitive intelligence and Artificial Intelligence to better serve their customers and grow their market share. Here is a PESTEL analysis to show how the various forces affect the retail industry.

Political factors like government policies and regulation of the retail industry affect its revenue and profitability. The political environment affects so many things including economic environment of a nation and international supply chains of businesses. Political stability means better business because political disruption leads to the disruption of supply chain and sales. Moreover, political issues can also become hindrance to smooth business operation. The anti trust issues have continued to trouble Amazon and the issue seems to have reignited with Trump as president. In all the nations, the business environment is affected by the political landscape. The Asian economy is growing at a faster rate than other parts of the globe. However, the government and Red tape can be a big problem in the Asian nations. For the big International retailers it can be quite difficult to expand into the Asian countries. India still has difficult laws and restrictions on Foreign Direct Investments. All these factors can make it difficult for the retail brands to operate profitably in the international environment.

Economic factors are always very important in the context of trade and business. The state of the world economy decides the state of sale and profits for the industry. The world economy has rebounded and is growing. Economic growth means that people are going to spend more on shopping. However, even in the time of recession, the retail industry had maintained impressive sales. In 2015, it achieved global sales of $20.8 trillion. Based on the economic scenario worldwide, the retail industry is predicted to have grown to $28 trillion by 2020. The labor market and the economy both are in very good shape and an increase in disposable income has also boosted consumer confidence. All of these are very good signs for the retail industry. The better the shape of the economy, the higher will be the revenue and profits for the retail brands. Better economic scenario means a growth in sales and overall better shape of the retail sector.

Social trends are also a major impact on the retail sector and its profitability. Demographic changes and changing consumer preferences are going to have a deep impact on retail sector. The millenials have different preferences than the previous generation. When it comes to customer service they want more personalized service. Retailers will have to change the way they serve their customers and design their service experience better to lure in millenials in higher numbers. Demographic changes have also affected the popularity of products. the technological products are in more demand than ever. The demands of the new generation are much different than the older generations. The importance of customer service is growing and a lot of retailers' popularity will depend on how well they have crafted their customer experience. More focus shall have to be on customer engagement.

Technological:

Technological factors are now all the more important whether in terms of supply chain, customer service or sales. The growth of digital technology has also increased the number of players in the retail industry. Technology affects several things including user experience. If e-retail has enjoyed exponential growth then it is because of the additional convenience provided by technology. More and more retailers are trying to make better use of technology to make the customer experience better. A number of new technologies like AI and cognitive intelligence are going to change the retail landscape in the coming years. Even cloud computing, IoT and Distributed intelligence are going to have a deep impact on the retail sector. In the coming years several more things will be determined by technology which will remain at the center.

Environmental:

Like the other industry sectors, the retail sector is also affected by the sustainability concerns. Packaging , waste reduction, renewable energy and several other concerns related to sustainability are there before the retail sector. The big brands like Amazon and Walmart have already invested a lot in reducing their carbon footprint and in renewable energy. Apart from that the focus is also on packaging and sourcing in an environmentally responsible manner. Amazon is always driving improvement in packaging sustainability across the entire supply chain. It is focusing not just on reducing its carbon footprint but also on achieving 100% renewable energy usage in the long term.

The legal factors are also just as important for the retail sector. There are so many laws related to business and employment that affect it. Labor laws are particularly a big pain for the retailers who have to maintain low prices to remain competitive. Walmart has had so many tussles with laws over labor related issues. Apart from that, the other laws like product and packaging related laws also apply to the retail sector. Overall, the legal scenario is quite complex and retailers have to be cautious since any violation can result in big fines. Both Amazon and Walmart have had to deal with their fair share of legal issues in the past. These laws and the level of legal scrutiny differs from nation to nation and everywhere the retailers have to be cautious about compliance.

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New forces and trends are shaping the retail landscape. Particularly, it is the technological and economic trends that are having the deepest effect on it. However, with time the competitive pressure is also growing which is because of the growth in the number of players and proliferation of the e-retail.

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This sub - cultural wasn't afraid of standing out from the crowned. They wore what they wanted and acted how they liked. It was a very empowering sub culture with the way they didnt want to be anyone but themselves.

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Punk subculture

Punk subculture (Punks, the punks, punk counter-culture) emerged in 1976. Punks were consciously working class, scruffy, earthy, dirty in clothing and language, but at the same time with a sense of parody and steeped in irony. Punk music was heavily influenced by Reggae. Reggae was alien music that refuse to acknowledge Britishness and the Punks openly identified with Black British and Caribbean culture. Punks used some features from Rastafarian styles: dreadlocks, Ethiopian colours, and some Rastafarian rhetoric and even a hybrid 'Punk dub' appeared in Punk Rock. Punk bands play a part in the anti-National Front, Rock against Racism campaign. But at the same time Reggae and Punk Rock were different, and developed in separate directions.

Punk bands sang of dole queues, high rise flats, exile, alienation, hopelessness white riots, anti-royalist sentiments and anarchy. The whole Punk style was embedded with anarchy and nihilism. It was a celebration of chaos. The clothing and hair styles were corresponding with the swearing, spitting, vomiting, amphetamines, and crude and chaotic music. Punk was a culture that reflected a consumer-based society moving out of affluence into real economic, social, and political crisis. The Punks intentionally disconnect themselves from the parent culture and represent themselves as aliens, inscrutable. Their rituals, accents, and objects were used to signify they belonging to working class.

Unlike any previous music-based youth culture, the punks attempted to break down the barriers between performers and audiences. Punks produced their own literature - badly produced fanzines like 'Sniffing Glue'. Although the style signified chaos at every level it was thoroughly ordered all the same.

It is practically impossible in one article to describe the phenomenon of punk subculture. Therefore, Punks, punk subculture will be presented in a few specific articles, where each one is covering one part of punk counter-culture.

Punk movies - best films about punk subculture
Punk books

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Punks are members of youth counter-culture based around Punk rock music. Punk subculture emerged in 1970s in UK and USA, and then spread around the world.

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The Punks were a very creative subculture. Their self expressed looks, using customised details like safety pins, paint and self made rips. These creative expressions made The Punks extremely recognisable on the streets. Society thought they were fighting back at society, but expressing their personality was more important.
These customised changes was a key detail that influenced my collection.

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*Link to above concepts slideshow on WGSN*

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*Link to above concepts slideshow on WGSN*

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Over the past few years, colours are stuck and some have faded off. Yellow is one colour that keeps coming back, with the term 'Gen Z Yellow' this is the colour of the future.

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The shade white is one of the most commercial colours within the market. It is trending and will no doubtably will continue trending throughout the up coming seasons.

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This detail was an inspiration for my range as a whole due to it trending at the moment. However it was also a detail i wanted to include as the Dr Martens boot have a yellow exposed stitching, which is the brands trademark detail.

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Many of the patterns I have included over lap one anothers mean, with the overall sense of customisation. the splattered paint reflects worn in, durable quality, with a side of expression, creativity and rebellious behaviours.

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Due to Dr Martens have never released a clothing line, I used Timberlands Edited pricing figures to compare. the majority of their clothing products sit between £20 - £80. This is also reflected within my pricing.

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Timberland store interior - Drapers article link

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Timberland store interior - Drapers article link

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Multiple retailer store closures in the UK rose by 79% in 2019 to almost 6,000, the Centre for Retail Research reported. Director Joshua Bamfield attributed the closures to high costs, low profitability, and the rapid growth of online, and cited the lack of investment in stores coupled with weak forward planning.

As store portfolios continue to shrink, and shoppers turn increasingly online, retailers have to change their strategy to keep bricks-and-mortar shopping appealing. Drapers speaks to leading retail design agencies and retailers, and finds that conveying purpose, creating community and embracing digital will be central in weathering the changing climate.

Give it a purpose

Shoppers want to buy from a brand whose values are aligned with theirs, and this is becoming more relevant as issues such as sustainably shift further into the public's focus.

"Stores give a brand the opportunity to demonstrate its purpose - something that's increasingly important with today's savvy and demanding consumer," says Paul West, strategy director at retail design agency Dalziel & Pow. "Brands are putting less emphasis on the right flooring and lighting options and more emphasis on telling their authentic story."

Adam Brinkworth, CEO of retail design agency Brinkworth, agrees: "The most significant change in the role of store design in recent years is the increased need for brands to build relationships with their customers and to offer [a space] that allows the customer to have a meaningful connection with both the brand, and each other."

Timberland's "purpose-led", sustainable store on London's Carnaby Street (pictured above), which opened last November, does just that. Designed in partnership with Dalziel & Pow, the 2,594 sq ft space brings Timberland's CSR strategy to life with towering pillars in store referencing the brand's use of recycled materials, community projects and technological innovations within its products.

Other features include a transparent "community table" in the centre of the store, which gives examples of how small actions have driven notable change in the communities such as the "urban greening" practice of planting trees in cities.

Alison Cardy, managing director at retail design agency HMKM, says the "long-overdue embrace of sustainability is the most striking trend" in store design for the coming decade: "Our recent project with [US] charitable fashion brand Olivela is a good example of how to best allow customers to see in sharp detail the direct impact for good that each item in store can have in the world. As a customer picks up key products, a focused digital point of sale describes the product provenance."

Olivela contributes funds to girls' education and other charitable causes with every purchase, and the store in Aspen, Colorado, also creates an "Instagrammable" moment in which a wall projection thanks the customer by name and displays the number of school days paid for.

Retailers should consider also consider "brand frustration" to give their store portfolios longevity, says Adam Devey Smith, managing partner of creative design agency The One Off: "Valuable insight gained from customers [during work with Frasers Group] enabled us to really understand brand perception and frustration, meaning we were able to implement a strategy that would evolve the brand for a new generation of consumers.

"The nature of fast fashion and sport as a sector means that any one store design can no longer stay the same. Cookie-cutter stores will not stand up, and a flexible element is crucial to ensure successful future-proofing for the Sports Direct brand."

Build it and they will come

With brand purpose also comes a focus on community for the next generation of retail stores.

" There has always been a strong need to socialise as part of a store visit - beyond just going through racks of garments - but today, stores are not always providing this experience, particularly in the high street," says Carlos Virgile, director at retail design specialist Virgile & Partners. Looking forward, as "the mere existence of physical stores seems to be challenged" Virgile explains store design will play a bigger role in "creating a new type of environment that provides stronger emotional interaction and create a sense of community."

"A major factor for us is creating stores with a 'neighbourhood' feel," Paul Horne, head of store design for H&M in the UK and Ireland, tells Drapers. "We want our stores to integrate seamlessly into the locations they exist in, and, most importantly, we need to make sure that they deliver on what a specific customer is looking for."

This means being more selective in stock allocation, he explains: "It's no longer about how many products we can fit into a store. It's much more important to streamline what we make available and make it easier for the customer to find the things we think they'll really want."

The bigger a brand gets, the more beneficial it is for them to act smaller

Paul West, Dalziel & Pow

An example of this is the refit under way on H&M's Oxford Street East store. The new concept will be a global first to focus on a younger customer group with emphasis on its Divided collections.

It follows the relaunch of the retailer's Hammersmith store at the end of 2018. The concept store in Kings Mall tested initiatives such as garment repair service Take Care, interactive fitting room screens and a warmer tone for the fit out with greenery and a wrought iron staircase in the place of escalators to give "the look and feel of a modern neighbourhood store".

For global heavyweights such as H&M, it is becoming increasingly important to approach store design in this "glocal" way, says Dalziel & Pow's West: "The bigger a brand gets, the more beneficial it is for them to act smaller, offering a more personalised and localised brand experience."

Anthropologie has taken this approach under managing director of international, Peter Ruis. In April, the lifestyle retailer unveiled its new local store strategy which will open doors in strategic, smaller "neighbourhood locations". Since debuting in Tunbridge Wells in April last year, the concept has been rolling out across the UK with an opening in Winchester in December and an upcoming Oxford launch.

It is a change that has been driven by ecommerce, says Ruis: "In a world where you can get everything online, and your website is your bestselling store with your biggest amount of choice, you have to change your retail strategy to bring your stores and experience to people so that it feels like a part of their normal life, as opposed to a designated shopping trip into a specific place."

Anthropologie's new stores also embed local heritage into their design. In its Winchester store, it has incorporated the building's history as the town's first "talkie" cinema with vintage chairs and projections.

"There tends to be a local artist involved in some way in every single store," says Ruis. "We build all the windows and our seasonal changes by hand using old-fashioned techniques like collage and papier mache. Historically, we would ship materials in from the US for the shop fit, but now we design all the stores individually and locally, so we are able to adapt to the architecture much more."

Value retailer Primark is also focusing on the local. The retailer's massive 160,000 sq ft Birmingham store has Brummie slang plastered on the walls, alongside maps of local landmarks, and customers can bag locally inspired products made specifically for that branch.

Online partnerships

To survive the rise of ecommerce, retail store design should collaborate with digital channels, rather than compete.

Adidas's London flagship on Oxford Circus is a good example of physical, human and digital integration, says Tahira Taylor, strategy director at retail and brand consultancy Fitch: "The wider shopping experience is digitally integrated to make shopping in store feel better than it would at home. The changing rooms use RFID (radio frequency identification) technology to recognise products, and the store's 'Bring It to Me' feature uses in-store geolocation tracking to provide an uninterrupted browsing experience from the store to your app."

The flagship also acts as an important source of marketing for new launches through features such as the current front-of-store takeover to celebrate the latest release of its Predator 20+ Mutator football boot, which was produced in partnership with Fitch.

"Today, stores are not only a vital tool for building trust and positive human relationships - they can also be used to drive traffic to online," says Dalziel & Pow's West. "Modern brands and retailers should be joining the dots and achieving connectivity across physical and digital channels. The most effective way to drive traffic online is by creating an environment that reflects the brand and gives people the right desire to discover."

To futureproof their stores, retailers must cash in on customers' desire for a sense of belonging and their new local shopping habits. Community-focused and detail-orientated designs will build lasting relationships and nurture omnichannel customers.

"To me [a retail store] is and always will be the perfect invention," says Anthropologie's Ruis. "It will obviously adapt and develop, and there might not be as many as there used to be, but I think it plays a really important life in the social fabric of every single town in Britain."

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Change in store: future-proofing bricks and mortar

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Multiple retailer store closures in the UK rose by 79% in 2019 to almost 6,000, the Centre for Retail Research reported. Director Joshua Bamfield attributed the closures to high costs, low profitability, and the rapid growth of online, and cited the lack of investment in stores coupled with weak forward planning.

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All good much be checked at the border, therefore can cause serious delays and sometimes being held for days or even weeks if they are not happy to release the goods.

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In a speech on Monday, the Chancellor of the Duchy of Lancaster, Michael Gove, said the government will introduce import controls on EU goods at the border next year, which will "inevitably" result in regulatory checks.

Traders in the EU and the UK will have to submit customs declarations and be liable to goods checks after the transition period ends. Gove confirmed the policy easements put in place for a potential no-deal exit will not be reintroduced, as businesses have time to prepare.

He said: "The UK will be outside the single market and outside the customs union, so we will have to be ready for the customs procedures and regulatory checks that will inevitably follow."

"As a result of that, we will be in a stronger position, not just to make sure that our economy succeeds outside the European Union but that we are in a position to take advantage of new trading relationships with the rest of the world."

He added that all UK exports and imports will be "treated equally".

The government said businesses can prepare for border controls by making sure they have an Economic Operator Registration and Identification (EORI) number, and by looking into how they want to make declarations such as using a customs agent. It said it "will ensure facilitations currently available to rest of the world traders will also be open to those trading between GB and EU".

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In a speech on Monday, the Chancellor of the Duchy of Lancaster, Michael Gove, said the government will introduce import controls on EU goods at the border next year, which will "inevitably" result in regulatory checks. Traders in the EU and the UK will have to submit customs declarations and be liable to goods checks after the transition period ends.

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With immigration getting more strict, skilled workers cant get into the country and therefore less workers in the factory to make the garments. this is another issue that can cause massive delays and continuous delays.

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Following the UK's departure from the European Union, the government proposed to introduce a new points-based system for introduction as early as January 2021. Last year it commissioned the Migration Advisory Committee (MAC) to assess such a regime and also to review the salary thresholds for entry.

The MAC reported its recommendations yesterday. It suggested the minimum salary threshold of £30,000 should fall to £25,600 for all workers and advised against a points-based system.

A Home Office spokeswoman could not say whether the government would adopt the recommendations, but clarified: "We will deliver on the people's priorities by introducing a points-based immigration system from 2021 to attract the brightest and best talent from around the world, while reducing low-skilled migration and bringing overall numbers down.

"This firmer and fairer system will let us decide who comes to this country based on their skills and the contribution they can make - not where they come from. We will continue to speak with businesses of all sizes as the system is designed and rolled out."

The report follows a letter written last week by lobby groups including the UK Fashion and Textile Association, Confederation of British Industry, British Chambers of Commerce and Federation of Small Businesses, to home secretary Priti Patel setting out four priorities for a new regime, support for a drop in salary threshold and calling for the scrapping of the net migration target.

Industry lobby groups' four priorities

flexibility for skilled workers to enter the UK through a points-based system

a temporary visa route for all sectors

a minimum salary threshold set at a level that supports the economy

and a "radically reformed" sponsorship process.

Fashion retail business leaders expressed concern about the new post-Brexit uncertainty and implementation of any new regime.

"Whether you are a large or a small business, suddenly finding you can no longer access the skills you need will cause very significant disruption," said Simon Cotton, CEO of Johnstons of Elgin. "I would hope the government will do all it can to minimise the shock to businesses and employees, and give everyone time to understand and prepare for whatever new system emerges.

"I very much appreciate that our industry bodies are singing the same song in approaching the government on this issue.

"If we want to have a thriving textile sector in the future, the ability to quickly bring people into the UK with key skills, without too much cost or bureaucracy is essential. If we do not achieve this, UK manufacturers will be forced to scale down according to the local skills availability, limiting the long-term prospects for people in the UK."

Mike Cherry, national chairman of the Federation of Small Businesses, agreed: "A lot of firms will be concerned about the timetable for the new system. The government promised that changes will be introduced in a 'phased way' to give small businesses time to prepare - now there are fears it will be sprung on us at the drop of a hat."

Meanwhile, industry sources said a system change could give the industry the chance to grow, as it would enable more skilled workers to enter the UK.

One footwear supplier said: "Across the industry, it is well known that British people don't want to do some of the unskilled and skilled jobs in manufacturing. Companies have been able to survive by migrants coming into the UK and taking up those roles.

"I welcome any changes that allow the UK to bring in more people interested and skilled in those jobs."

He added: "It is a concern that businesses will have to adapt to these changes fairly quickly now that Brexit has been shoehorned in, but everyone has known about these potential changes for a while now. Everyone will also be on a level playing field."

Kate Hills, founder of manufacturing trade show Make It British, said:"The biggest shortage of staff in the UK is garment manufacturers and machinists, and other roles within the textile industry.

"One of the main issues is that government doesn't understand what the roles look like. There needs to be a clearer definition of what there is a shortage of, in terms of roles. They need to not base it on salary, but on skills. The value they can add to the economy is what the government should be looking at.

"A system change will give the industry the chance to grow, which it needs and wants to do. It has not been able to grow because of the lack of available skilled staff. It needs to happen very quickly as we can't train people fast enough."

Cherry agreed that the system should not be based on salary: "The £30,000 figure has to be looked at again, and a more sensible threshold of £20,100 rolled out for skilled workers. Certain sectors, not least construction, manufacturing and IT, will be hit particularly hard if the current proposals are implemented unchanged."

British Chambers of Commerce head of people policy Jane Gratton said: "While companies are investing more in homegrown skills, they will continue to need access to migrant skills at all levels.

"A flexible and supported transition to new arrangements will be essential if businesses are to thrive."

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Skills shortage fears over post-Brexit immigration

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Following the UK's departure from the European Union, the government proposed to introduce a new points-based system for introduction as early as January 2021. Last year it commissioned the Migration Advisory Committee (MAC) to assess such a regime and also to review the salary thresholds for entry. The MAC reported its recommendations yesterday.

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The trend of sustainability is constantly growing and being spoken about even more. DR Martens competitors are using other alternative materials which are kinder tot he planet e..g. recycled materials and organic cotton. This is not only a unique selling point, but also a massive appeal for the Gen Z generation to buy.

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Timberland's global apparel design director Nick Barber joined the company five years ago. His career has spanned numerous sports and lifestyle brands, including Bench, Henri Lloyd and Umbro. He says moving to Timberland in 2015 and leading its clothing category seemed like "a nice, exciting challenge", as it is known for its footwear.

Based in Switzterland, he is currently responsible for a team of 12 designers who divide their time creating apparel for the brand's three target groups: the "city lifestyle-r"; "outdoor seeker" and "street-savvy customer". Menswear wholesale prices range from £8 for a jersey T-shirt to £180 for a waterproof parka.

With Timberland's focus on amplifying its brand purpose, Barber is proud to support the company's sustainability initiatives from using recycled materials and organic cotton to protecting nature and encouraging consumers' well-being.
What's the first thing you do when you get up in the morning?
Get dressed, then head straight to my espresso machine.
What was your first job?
I worked in the produce department at what was Safeway supermarket.
How would you describe the brand in one sentence?
Timberland stands for nature and a greener future.
What's your coffee (or tea) order?
A double espresso every time.
Where are your favourite places to shop?
Every time I go home to Manchester, I visit [menswear independent] Oi Polloi. They're a great centre for indie fashion and have great taste... I always end up spending money when I go there!
Last fashion purchase? Why did it catch your eye?
A jacket from [Italian brand] ABCL. They're based in Venice but use a lot of Japanese material, which is what attracted me to the jacket.
Emails or phone calls?
Face to face is always best. If not, email: you have more time to consider your responses and can share images, which is handy for my line of work.
Most important lesson you've learned during your career?
Always keep pushing forward and try to break new ground, be it from an innovation or style perspective. As a designer, I am constantly challenged to give consumers something new and to improve on previous seasons and collections.
What would be your ideal office/meeting space?
Somewhere outdoors on a sunny day.
What's your favourite part of the creative process?
I like all aspects but am very much involved in the beginning of the process. Creating narratives for the upcoming seasons and guiding the team's thoughts and ideas is a very exciting and important part of the design process. I also love the end, when everyone's hard work comes together and we get excited about the product. I'm very lucky that I love my career and all aspects of it!
What has been your proudest moment since joining the company?
Launching our "Plant the Change" initiative [Timberland has committed to planting 50 million trees around the world over the next five years]. Timberland has made a promise to [address] the climate crisis and is tackling a problem that everyone is talking about, but not doing all that much about...
What's the last book you read?
The Uninhabitable Earth by David Wallace-Wells.
Last holiday?
It was a fun one - we went on a family trip to Florida and did the whole Disney experience.
Who in the fashion/retail industry inspires you?
There's a few people - I'm really inspired by [British designer] Sir Paul Smith and his whole creative process. It's amazing how he is able to find inspiration in everything! I was also lucky enough to work with [Dior's artistic designer] Kim Jones at Umbro. As a young designer, watching his process and ground-breaking ideas come to life was really inspiring. And now, at Timberland, our creative director Christopher Raeburn has introduced a new approach to the creative process and is a strong advocate of making new things from otherwise waste.
What's the biggest challenge facing fashion today?
The amount of waste and energy that the industry generates is a huge problem. As creators, we really need to address these issues and start thinking differently. We can't go on stripping the earth of its resources.
One piece of advice would you give your younger self?
Be bold and confident, always believe in your ability and trust your instinct.
Who do you turn to when you need advice?
My wife.
What would we find you doing at the weekend?
I'm a really keen cyclist and living in Switzerland is great for that. We have some amazing roads for cycling and hiking, so I'm usually outdoors.
What are you looking forward to most in the year ahead?
Continuing to do what Timberland does best and keep pushing things forward. We've done a lot of purpose-driven work in the last 12-months and I'm very excited to see the 2020 collections hit the stores and see how we can learn from them.

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Purposeful design: Timberland returns to it roots

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Timberland's global apparel design director Nick Barber joined the company five years ago. His career has spanned numerous sports and lifestyle brands, including Bench, Henri Lloyd and Umbro. He says moving to Timberland in 2015 and leading its clothing category seemed like "a nice, exciting challenge", as it is known for its footwear.

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Smart stock take in the vision of the future. When this comes into play, more time will be free to work on other productive procedures which makes operations more efficient and pro active.

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With more than 800 exhibitors and 38,000 attendees sprawled over 275,000 sq ft, the National Retail Federation's NRF Big Show is the place to be to understand the current state of retail, and more importantly, where it is heading.

From robots, drones and in-store GPS to improve the omnichannel experience, through to sustainable on-demand manufacturing and self-checkout smart trolleys, every aspect of the retail journey was covered.

Taking place at New York's Javitz Center on 12-14 January, 2020's conference and expo bought together retail's biggest international players - such as department store Kohl's, clothing hire site Rent the Runway, etailer JD.com and sportswear giant Nike - and the latest technology aimed at powering the industry's success.

Though vast in its scale and packed in terms of its schedule, these are the key themes that unified this year's event.

Self-service 2.0

"This holiday [season] was the first time that 51% of our sales were online," revealed Neela Montgomery, CEO of American interiors giant Crate & Barrel during her keynote discussion. Though online is growing, she stressed that this does not mean retailers should shift their focus away from stores. "What [it] means is that we have to service our customer that comes to store... but we also have to service the customer that wants ultimate convenience, [that is] frictionless across all channels. And that's really hard to do."

As shoppers' desire for speed and convenience grows, NRF's exhibition halls hosted several businesses offering smart technology aimed at speeding up checkout procedures, in particular offering a new take on self-service.

Showing in NRF's Innovation Lab, which highlighted 50 international businesses that are new to market within the last two years, Israeli company Walk Out's tech replaces manual barcode scanning with vision-based autonomous check out via shopping carts and trolleys. Created as a retrofit for old trolleys, the technology knows when an item is place in or removed. It means shoppers no longer need to scan items and can check out automatically via the trolley's screen, which can also display promotional information.

Similar "smart carts" were also on show in the new business Start Up area from Caper, which was promoting a "grab and go" concept to speed up check out that also used image recognition cameras, while German company Rapitag exhibited its mobile self-check out "scan and go" technology, which uses self-opening security tags that enable customers to scan products, pay and remove security tags themselves.

Streamlining convenience

"If we think about how customers are shopping today, it's so different from 10 years ago," said Michelle Gass, CEO of Kohl's. "The best retailers are figuring out how to think about their stores and digital, and the interplay [between the two]. Channels should be complimentary and reinforcing each other."

This omnichannel thinking plays into the convenience focus, and there were several innovative technology companies working to better connect digital with bricks and mortar.

Position Imaging's iPickUp technology aims to finesse the "buy online, pick up in store" (BOPIS) click-and-collect option for customers, providing a speedy, self-service collection point that is easily integrated into stores. With no bulky lockers and no need for staff assistance, the units use laser guidance connected to a store's established labelling to guide customers to their package. This can be installed in a room, behind a counter or even on the shop floor, speeding up click-and-collect services and sewing together online orders and in-store collection.

Connecting fashion's future

Join the industry's biggest gathering digital and ecommerce leaders at Drapers Digital Festival 2020.

On 30 April Drapers Digital Festival will bring fashion's digital and ecommerce community together to learn, celebrate, innovate and shape the future.

The festival offers a chance for the community to hear from pioneers of the digital economy, leading fashion retailers and tech giants about what's driving the industry's transformation, ideas to stimulate future trends and how to stay ahead of the game.

The full-day conference taking place at 133 Houndsditch, London includes three streams of unmissable cutting-edge content, live-judged awards and fringe events.

The festival culminates with glittering Drapers Digital Awards ceremony at the Grosvenor House, where we will celebrating the best of the best in ecommerce across the fashion industry with awards such as Best Digital Retailer, Best Use of Technology in Store, Digital Rising Star and Team of the Year.

With clients including clothing etailers Everlane and Revolve, Happy Returns is a "reverse logistics" company that is also striving for convenience, simplifying online order returns that blends the physical and digital worlds. With its Return Bar initiative, shoppers can take any product, from any participating brand, to one of 700 return locations in stores across America.

Staff process the return and the item is aggregated into batch shipments, minimising hundreds of individual returns. Shoppers can return any item, anywhere, with no need for printed labels or even packaging. The aggregation of items also brings a more sustainable element to the returns process.
Shopping maps
Another trend at NRF that aimed to tie together different retail channels was technology that enables shoppers to digitally map, search and shop bricks-and-mortar stores as if they were using Google maps.

Businesses such as SIRL and Intra Position exhibited indoor GPS systems that not only help customers to navigate shops, but also allow for upselling via push notifications to highlight discounts or deals based on shopper's location in store, while feeding back data that helps retailers to understand how their customers physically shop and interact with product.

Staff productivity

"There's no better investment you can make than the people in your team," Walmart CEO John Furner told the audience at NRF. Certainly, while there were plenty of customer-facing tech innovations on show and discussions around delighting shoppers as part of retail's experiential focus, another thread that permeated much of the event was a focus on the employee experience and staff productivity.

"Physical retail in this omnichannel environment is about efficiency and engagement," added Mark Qualls, VP, US Operations at GameStop during his address. "How can we do more with less, with a more demanding customer base. For us it [is] about how to tap into our [store staff] to deliver a better experience."

Alexa Geovanos, brand president, north and south America at Chloé, revealed that the French fashion house has already implemented technology to help - the Chloé Academy Tool - which aimed to "put all the information in the hands of [store staff]. Really giving them whatever tools we can to achieve and maximise [their roles]."

In terms of innovations at NRF, this resulted in technology that utilises the power of data and the convenience of digital capabilities to empower staff.

The Innovation Lab was home to Arcade, an app used by Under Armour, among others. It uses gamification to improve staff performance by turning KPIs into team-led motivational content, focusing on rewards and recognition, goals and games, and chat-based communication on mobile devices.

Beekeeper, which was found in the Start Up zone, similarly aims to improve productivity of staff by powering connectivity and communication across all work shifts, locations and languages. It can be particularly useful in connecting store staff with head office functions.

Intra Position drew attention to the capabilities of in-store GPS technology to help improve staff productivity, by quickly guiding staff around stores and helping with product picking.

Smart stock-take

Laborious tasks such as stock-taking and restocking were also being tackled by tech start-ups at NRF, aiming to further improve worker productivity.

Businesses such as CGI and Vayvar track the content of shelves and out-of-stock inventory, not only providing notifications to staff when replenishments are required, but also providing data analytics to optimise displays.

Wise Shelf similarly has sensors that sit on shelves within stores to help retailers keep track of exactly what stock is where, and prevents out-of-stock situations by alerting staff when stock levels change. Meanwhile, Snap 2 Insight uses image-recognition technology via photographs to analyse how products are performing on shelves and track sales driven by shelf and display execution

Pensa, on the other hand, uses autonomous self-guided drones that scan shelves, analysing and flagging stock conditions in store, while Gather uses drones and computer vision to take autonomous inventory checks of warehouses or distribution centres, speeding up the process to allow staff to focus on other tasks.

Another crowd pleaser in the Innovation Lab, Right Hand Robotics presentation showed how its picking robot, which can lift items up to 2kg, can streamline order fulfilment to make selecting items in warehouses quicker and easier.

Sustainable futures

Andy Ruben, former chief sustainability officer at Walmart and now CEO and founder of Yerdle, which runs resale platforms for brands such as womenswear brand Eileen Fisher, declared at NRF that "sustainability is the topic of our time", highlighting the push from "younger customers who shop differently to previous generations".

Certainly, the topic of sustainability was a key theme of much of the conference - a topic that many businesses are addressing as imperative to future success.

"Circular business models used to be a competitive edge," added Phil Graves, head of corporate development at Patagonia, "but going forward they are going to be a means for brands and retailers to survive."

A standout in this area exhibiting was NAbld, a quick turn-around, on demand manufacturing pre-sale and production management tool. It allows brands to manufacture products on demand in six weeks or less via a network of no-minimum, tech-enabled manufacturers. It means brands can operate in an inventory-free world, creating product only when it is needed, therefore reducing risk and waste.
Augmented try-on
Virtual reality (VR) and augmented reality (AR) have been buzzwords in the tech world for a while, but real-life retail applications are beginning to trickle into the market. A standout at this year's NRF was Wannaby, which creates AR commerce experiences. Wannaby's Wanna Kicks technology is a virtual shoe try-on app that provides an impressively realistic visual of customers trying on shoes via their phones.

Other businesses, including Tangiblee and Fingerfood also use AR to enable innovative visual and try-on services. The latter creates AR experiences of tents for outdoors brands that allow customers to experience the products without the time or space needed to set up numerous products in real life.

While much of this technology is not necessarily new, and the concept of robots and drones integrating into stores still feels futuristic, many of the businesses at NRF were showing real-life ways this tech can be integrated into retail. And to stay ahead of competitors, and more importantly, ahead of customer expectations, retailers need to keep up with technology.

"The best thing to do is try and imagine where the world will be in 10 years and start there [today]," said Ron Johnson, the CEO and co-founder of Enjoy, which provides in-person expert support when customers make tech purchases such as a new mobile phone. He is also former senior vice-president of retail operations at Apple, where he created and led the Apple Stores concept.

"[Apple] launched handheld check outs back in 2009," he said. "You have to be a decade ahead to really be an innovator. [And] you need a team that embraces what is coming next."

"If you wait for the mainstream it's too late," echoed Patrick Gauthier, vice-president of Amazon Pay during his talk. "The time is now, because the customer is telling us."
Photographs by Jason Dixson Photography for the National Retail Federation

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Thinking a decade ahead: NRF Big Show 2020

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With more than 800 exhibitors and 38,000 attendees sprawled over 275,000 sq ft, the National Retail Federation's NRF Big Show is the place to be to understand the current state of retail, and more importantly, where it is heading.

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From the graph, veganism is increasing YOY, therefore more people will be looking for suitable clothing/shoes that is vegan friendly. This is a strength of Dr Martens, as they have a vegan boot range.

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From this article, veganism is grown fast and if retailers don't understand in which the way peoples eating habits and lifestyle in changing, they will lose sales.

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Once a fringe movement, veganism is now a trend that extends far beyond food choices, and affects all aspects of consumer habits. Fashion brands and retailers taking note as a more conscious shopper continues to emerge.

The number of full-time vegans - those who choose not to use any products derived from animals - is rocketing in the UK. The Vegan Society estimates that there were more than 600,000 vegans in the UK in 2018 - a number that has been steadily doubling every year since 2014. More than 250,000 people - a record amount - took part in "Veganuary" in the UK during January 2019, where participants adopt a vegan diet for the first month of the year.

Food is by no means the only focus of veganism. Materials such as leather, wool and silk are out of bounds for vegans - so fashion and clothing is also a focus. In the three years from August 2015 up to September 2018, consumer insights company Hitwise reported a 39% increase in web searches for vegan fashion or vegan clothes in the UK.

Keen to appeal to the growing market, big-name retailers are beginning to expand their offers as a result - keen to appeal to the growing market. But as they introduce new items to satisfy demand, they must remember that "vegan" and "sustainable" are not interchangeable terms and carefully consider where their priorities lie.

Expanding offer

In January, Marks & Spencer vastly expanded its line of vegan footwear, offering more than 350 vegan footwear styles for spring 19 across men's, women's and children's ranges.

Stephen Lawson, footwear and accessories product development technologist at M&S, explains that the decision was made after M&S observed a 200% spike in searches for vegan products on its website.

"We decided to go the extra mile to ensure our synthetic products were free from animal derivatives and make it easier for customers to make their own choice," he explains. "Over the last nine months, we have analysed our products and worked with our suppliers to form a process that ensures that all the components used in our synthetic shoes are free from animal derivatives and therefore offer a clear alternative to leather."

Consumers are evaluating all aspects of their lifestyles and attitudes towards consumption

Emily Gordon-Smith, Stylus

Emily Gordon-Smith, director of consumer product at trends intelligence company Stylus, says M&S has tapped into the trend at the right time: "It's a savvy move. M&S has no doubt been tracking the broader lifestyle shift towards veganism through its food business - insight another fashion brand might not have.

"In a year when sustainability truly goes mainstream, consumers are evaluating all aspects of their lifestyles and attitudes towards consumption."

The impact of the demand for vegan-friendly product can be seen across the fashion spectrum, and vegan products and brands are experiencing huge growth.

Luxury etailer Net-a-Porter has reported "exceptional" sales from Hungarian brand Nanushka, driven by its luxury vegan leather items, which include a shirt, skirt and midi-dress. Many lines sold out within a few weeks of launching on the site for autumn 18. The response was such that Net-a-Porter has upped its order by 200% for the pre-spring and spring 19 collections, and has focused on vegan leather and sustainable styles.

As the success of vegan styles continues, Net-a-Porter is also launching the new vegan outerwear brand Ochi and vegan jackets from the New York brand Oresund Iris for spring 19.

"Vegan fashion is developing - becoming something that can be luxurious and cool," explains Amber Chapman, founder of Emslie Creative, agent for Canadian vegan bag and accessories brand Matt & Nat. "People's mentality towards veganism has changed so much in the last few years. It feels like it is not just a niche movement any more - it's something that's being talked about widely."

She notes that veganism has become an "added selling point" and a point of difference for Matt & Nat when retailers are seeking to take on new brands.

"When we used to sell the brand [Emslie has handled Matt & Nat's UK sales for four years], buyers wouldn't always know or care what it stood for, and bought it for the shapes and practicality. That has now changed in some cases.

"The vegan market is still lacking a little in quality and variety, so good product stands out," she notes. Recent new stockists for the brand include John Lewis, which picked up the brand for autumn 18 across 10 stores and online.

As Cora Hilts, co-founder of sustainablity-focused multi-brand ecommerce site Rêve en Vert explains, the rise of vegan fashion ties into the increasingly conscious and connected consumer: "There's a huge ethical aspect for people buying vegan fashion," she says. "People have seen videos of [animal] cruelty in the supply chain. With the rise of social media, stories are now being shared a lot - that's a huge component. There's also an environmental element and a huge health element that goes hand in hand with the rise of the more conscious consumer."

Textile trouble

For brands seeking to make the vegan switch, sourcing fabrics can be a challenge. Womenswear ecommerce brand Kitri had huge success with its vegan leather shirt dress, which launched for autumn 18 and sold out twice, but the development process was far from simple.

"It took us a long while to get the quality of vegan leather that we wanted," founder Haeni Kim explains. "Vegan or fake leather has a bad reputation for looking cheap or being brittle. It took us a good year to find the quality of leather that we wanted. We found that many options were just not a high enough quality."

She also notes that finding the right fabric can come at a cost: "It's more costly than other synthetic fabrics that we use, but that gives us a fantastic-quality material and we feel that our customers really notice the difference."

It's definitely one of the most exciting areas within fashion at the moment

Agatha Lintott, Antibad

Hilts, meanwhile, makes the important distinction between vegan brands and sustainable brands, as many vegan products include fake leather or fake fur derived from plastics - particularly PVC or PU - which are not sustainable.

"I've really pulled back on plastic-based leather alternatives, and I won't go back to that area until brands can tell me they're investing more sustainable materials," she says. "With our stance on plastic, it's really difficult to bring on any vegan brands."

However, Agatha Lintott, founder of sustainable London-based etailer Antibad says that recent developments are leading exciting new materials to emerge, thus making it easier for retailers to source vegan products.

"Because it's such a contentious area and has been environmentally damaging, there has been a lot of investment going into the development of these materials," she explains. "It's definitely one of the most exciting areas within fashion at the moment.

"It's not just an add-on. It's a lot harder to make good products and develop these materials, so it makes you think outside the box," she says. "People are looking for exciting alternatives [to traditional fabrics]. Vegan fashion is definitely a huge movement and generally people are thinking more carefully about their lifestyles."

Innovative new fabrics include "leather" created from natural sources as diverse as pineapple leaves, fermented yeast, wine-industry by-products and mushrooms (a material now used by vegan brand Stella McCartney). Alternatives to wool and silk, made from cellulose fibres are also being developed to offer good-quality, sustainable and vegan options for designers.

Lintott highlights the footwear brand Rafa, which creates shoes using a suede alternative, as a perfect example of a brand that combines style, sustainability and quality in its shoes, which are priced at the premium end of the market from £240: "They stand alongside really high-quality suede styles and I think in many ways they're actually better than suede. They're made of recycled PET [plastic] bottles, you can clean them quite robustly and wear them in the rain. It's not just about being vegan - it has to be a really good-quality item as well."

As the demand for vegan fashion seems set to grow, fuelled by a conscious and connected consumer, providing and signposting suitable options is a smart choice for retailers and brands alike. Although the sustainablity credentials of some vegan products may be questionable, the market is developing quickly, and there is innovations and creativity across the spectrum. Vegan brands are an area to watch, even for the most sceptical buyers.

Brand insight
Sandra Sandor Tell us about the vegan leather you use Founder and creative director, Nanushka How do you include the fabric in the collection?
Our vegan leather is certified under REACH [the European Union Registration, Evaluation, Authorisation and Restriction of Chemicals regulation] and doesn't contain any PVC. By using vegan leather, we can cut out the tanning process which involves toxic chemicals. The vegan leather we use comes from an Italian supplier and it has a buttery soft texture.
Is there strong demand for the vegan leather products?
It's such a new material that we are still exploring it a lot. I only use vegan leather for ready-to-wear and we are slowly converting our accessories line [to vegan leather]. This will take longer as I really want to find the right types of vegan fabric from every perspective.
Are retailers asking for vegan products?
People are more interested in vegan leather than ever before. The fashion industry is more vocal about sustainability and the changes needed ito save our planet. The positive response - from both consumers and our wholesale accounts - has confirmed to us that we made the right decision in terms of using more vegan leather. Styles such as the Hide jacket or the vegan leather dresses are our bestsellers.
Will you extend your vegan offer?
Yes, I think they are more interested in the range. That's also connected with the customers as well, as they are looking for these products. Consumers are more aware of how clothes are made and how we use them, and also want to make changes that will have a positive impact on the economy and environment.

We would like to be [fully vegan] one day, but we have a long journey ahead, as it's not just the product itself, but the methods and procedures around them need to be considered. It is a step-by-step process that doesn't happen overnight.

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Veganism in vogue: why animal-free fashion is booming

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Once a fringe movement, veganism is now a trend that extends far beyond food choices, and affects all aspects of consumer habits. Fashion brands and retailers taking note as a more conscious shopper continues to emerge. The number of full-time vegans - those who choose not to use any products derived from animals - is rocketing in the UK.

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The collection will be launched on the 14th of September in the flagship store and online. This innovative store still keeps its history and traditional roots, but allows customers to have an experience and actually learn about the brand.With the virtually reality tour of one of their factories, this builds even more trust in the brand as transparency is key with todays generation.

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Since it first stomped onto the scene in 1960, the durable Dr. Martens boot has always stood for empowerment and rebellious self-expression. From punk to rock to Britpop, the shoe with the trademark yellow stitch has always been beloved by Camden's music scene - and now the brand is coming home, with a new concept store in Camden Market.

The brand's most innovative to date, the 4,000 square-foot space will house their European flagship store, a virtual footwear experience, a mini-museum with rare pieces from music legends, and a live music lounge.

Here's four things you need to know:

It's a celebration of the brand's history. Dr. Martens have so much cultural heritage they've written a book about it called A History of Rebellious Self Expression. The new store will tell the story with images and artefacts from the 60s through to the present day.

You'll be able to attend live gigs in-store. Dr. Martens have partnered with speaker maestros Marshalls on a custom-designed space for a constantly-changing series of gigs and events.

You'll be able to walk around their Cobb's Lane factory. A groundbreaking VR experience will transport you to their Northampton factory where their Made in England products are crafted.

You'll be able to make your own boot. Dr. Martens have always been about individuality, and in the Camden Market store, you'll be able to make your own mark on your new pair, tattooing the leather with your own designs.

The Dr. Marten's flagship store, by The Stables entrance of Camden Market, opens in April 2017.

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Since it first stomped onto the scene in 1960, the durable Dr. Martens boot has always stood for empowerment and rebellious self-expression. From punk to rock to Britpop, the shoe with the trademark yellow stitch has always been beloved by Camden's music scene - and now the brand is coming home, with a new concept store in Camden Market.

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The interior of the store is exposed brick. This re - enforces to values qualities that the brand bring to the customer. The qualities being durable, hard wearing and sturdy.

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Tuesday 11th April sees us open our brand new store in the heart of Camden Market (right after our birthday which was on 1st April). Camden is the spiritual home of Dr. Martens - the popular cultural destination has so many connections to music and fashion and that's what our brand is all about.

Trust us when we say, you're gonna want to visit this store, a lot of thought has gone into making it more than just a shop. It's pretty mind-blowing (if we do say so ourselves). If you need more convincing, then read on to find out more about Dr. Martens Camden.

1. IT'S REALLY, REALLY OLD
Our new store is located in one of the oldest parts of the Camden Market. The building was once used as a tack room for re-shoeing horses. We've taken great care to protect the integrity of the building and its heritage, while putting our Doc's foot print on it.

2. THERE'S A GIG VENUE INSIDE
The DM's Boot Room is a gig space with a souped-up sound-system, amplified by our friends at Marshall, where we'll be hosting one-off gigs and performances. Expect rock, rap, reggae... and the rest. Keep checking back for listings as we'll be putting on live shows and DJ sets regularly throughout the year.

3. THERE'LL BE DJ'S, MUSICIANS AND MORE EVERY WEEK
Our online radio partners Mixcloud know a thing or two about music. We'll be collaborating with them on a calendar of the best bands, hottest DJs and under-the-radar singers and performers. Plus, if you miss an event, you can catch up with what went down online on our blog.

4. AND A FULLY STOCKED BAR
Thanks to the guys from Jack Daniels whiskey and Brew Dog beer, gig-goers will be kept well-lubricated at events.

5. YOU CAN SEE MEMORABILIA FROM YOUR FAVOURITE BANDS
Dr. Martens musical legacy is vast, we've been seen on the feet of everyone from Pete Townsend and Joe Strummer to Beyoncé, Miley and beyond. In our Camden store you can take a trip through counter-cultural history and see one-of-a-kind items donated by Pauline Black, Twin Atlantic and Slaves to name but a few.

6. TAKE A VIRTUAL REALITY TOUR AROUND OUR ORIGINAL FACTORY
Dr. Martens still makes a range of footwear in our original Cobbs Lane Factory, the Made in England range is crafted using the same techniques the first pair of DM's were made with. Powered by Oculus, you can put on a VR headset and enjoy a 360 tour around the factory floor. Seeing just how Doc's are made like no other shoe on earth.

7. WE'VE GOT A FREE GIF MACHINE
Photo booths are so last century - capture your time in our store with our GIF booth. It's completely free and and a lot of fun. You can then save your GIF to your smartphone or share on social media with #drmartensstyle.

8. THERE'S VERY EXCLUSIVE MADE FOR CAMDEN BOOTS AND SHOES
We had to mark the occasion of DM's coming home to Camden by creating some very special products inspired by the customised DM's often seen around the area. These shoes, boots and accessories will only be available in the Camden store, and we think you'll agree they look great.

9. YOU CAN DESIGN YOUR OWN PAIR OF DOC'S THERE
Yes, yes, you can now play designer and personalise your very own pair of bespoke Dr. Martens. Head to the personalisation bar in-store, think like Vivienne Westwood, or your preferred fashion figure, and get creative. You can select the leather, colour, laces and trimmings. Mix and match, go wild, make your Doc's your own.

10. YOU CAN MAKE YOUR OWN KEYRING HERE
Using a machine from our original Cobbs Lane factory in Northamptonshire, you can get your craftsman on and emboss your very own leather key-ring. Souvenirs don't come better than this.
Head to our new Flagship Camden Store now and stay tuned for full listings of the events we've got coming up. The Dr. Martens Store
Unit 26 -27
Camden Market
Chalk Farm Road
Camden
London
NW1 8AH

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10 THINGS YOU DIDN'T KNOW ABOUT OUR NEW CAMDEN FLAGSHIP STORE - Dr. Martens Blog

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Tuesday 11th April sees us open our brand new store in the heart of Camden Market (right after our birthday which was on 1st April). Camden is the spiritual home of Dr. Martens - the popular cultural destination has so many connections to music and fashion and that's what our brand is all about.

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This generation believe authenticity is the most important part to a brand. They want a reliable product that have a strong reputation and keep up to that expectation of what the customer has. This was a massive point, as I wanted the collection to truly reflect what the brand is about and for it to be an asset to the brand.

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Did you know that millennials now make more than 54% of their purchases online? Also, did you know that millennial spending in the US is estimated to account for 30% of total retail sales by 2020? Check out our infographic "Millennial Online Shopping Habits" for latest millennial online spending habits and trends.
Infographic by- Invesp Conversion Rate and Landing Page Optimization Services To Publish this Image on your Blog or Website. Copy this code
67% of Millennials prefer to shop online rather than in-store

81.3% of millennials said they shop online at least once a month

45% of millennials admitted they prefer buying online because they can run comparisons on products and prices

Eight out of 10 millennials never buy anything without first reading a review

95.1% of millennials admit to impulse shopping

83% of Millennials are not concerned about security while online shopping

40% of millennials have used voice search before making a purchase online

More than 53% of millennials prefer to seek out details online rather than talk to store staff when they are in a shop

79% of millennials said they had purchased something from Amazon.com within the past month

61% of the millennial find it easier to chat to a retailer via digital communication channels such as text, online chat or messaging applications as opposed to visiting a physical location
The estimated frequency with which US millennial users use coupons when shopping online

Frequency

%age

Always

12%

Very Often

21%

Often

19%

Sometimes

32%

Never

16%

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Millennial Online Shopping Habits - Statistics and Trends...

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Did you know that millennials now make more than 54% of their purchases online? Also, did you know that millennial spending in the US is estimated to account for 30% of total retail sales by 2020? Check out our infographic "Millennial Online Shopping Habits" for latest millennial online spending...

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This generation want to make a difference, sustainability being a main passion of theirs. they like transparency and exact details on what goes into a garment/packaging and everything in between.
Within the packaging, a note will be added to keep recycling, as the packaging is already recycled, this shows the Gen Z customer that we believe in no waste.

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The information provided on this website does not, and is not intended to, act as legal, financial or credit advice. See Lexington Law's editorial disclosure for more information.
Generation Z-the 18 to 24 year old digital natives born who can't recall a world without smartphones and rapid technology-now make up 20 percent of the U.S. population. Born after 1997, this cohort is making their mark in the economy as they spend an estimated $143 billion per year. The eldest members are in their early 20s, graduating college and entering the workforce for the first time.

This generation differs greatly from their predecessors in saving, spending and overall money management habits, as well as what they value most in the brands they interact with, the type of jobs they're after, and their goals for the future.

Here are a few key characteristics of this generation:

Their ability to find answers quickly by accessing information online enables them to make informed decisions and become smart shoppers.

Many have called this generation the most financially savvy because of their keenness for saving paired with their thrifty, entrepreneurial spirits.

Their sense of independence and self-reliance is partially because of the digital world they grew up in-many received their first mobile device by the age of 10.

Read on to learn more about Generation Z's spending habits and their other financial patterns as we enter 2021.

How Generation Z Shops Online and Offline

Generation Z is known as the first digitally native generation and does not differentiate between online and offline channels. Having grown up in a hyperconnected world, they expect the same quality and speed of an online channel to translate to the physical stores they visit. They're also much savvier with online shopping channels than their predecessors and aren't easily swayed by gimmicks or celebrity influencers. Take a look at how Gen Z shops.

Online Shopping Habits

Since this generation never knew a world without the internet, they have high expectations for online channels and a low tolerance for any slowdowns or glitches. Members of this cohort place a high value on technology and having the information they need at their fingertips.

They're also skeptical about giving away their information since they've grown up in an age of high-profile data breaches for major brands. Read through our stats below to learn how Gen Z behaves online:

Brick-and-Mortar Shopping Habits

Contrary to what you might think, the majority of Gen Z prefers to make purchases in store. One reason could be that they lack access to credit cards to make online purchases (although they do use debit cards.) We may see this preference change over time.

However, it's important to note that members of Generation Z are not blinded by technological "bells and whistles" with any shopping channel. Their priorities lie in the basic retail experience: product availability, quality products and efficient service. While they may be swayed as long as any addition enhances the shopping experience, they have a low tolerance for negative or inefficient experiences while they shop. Read on to see what expectations Gen Z has for their brick-and-mortar shopping trips:

66 percent of Gen Z said they'd be inclined to shop at physical stores offering technology that enhanced their shopping experience. [Source: Kearney]

72 percent of Gen Z want retail technology that can lessen the time they spend standing in line. [Source: Kearney]

61 percent of Gen Z would like retail technology that streamlines the process of finding the products they're looking for in stores. [Source: Kearney]

58 percent of Gen Z said they use shopping in-store as a way to disconnect from social media in 2019. [Source: Kearney]

How Gen Z Views Brands

Members of Generation Z expect brands to be transparent, ethical and responsible in all aspects of their business. Neglecting to do so can result in a lost opportunity to collect information or lost business altogether from this generation.

Generation Z cares far more about the value and quality of their purchases than their loyalty to the brand that makes them, so brands need to work extra hard to keep Gen Z's business around. Take a look at the different brand preferences Gen Z has and what they expect from today's brands:

Financial Habits

Despite their young age, Generation Z holds $34 billion in buying power alone in 2020, and influenced household spending to the tune of $600 billion. In addition to their own dollars, they also exercise a lot of influence over their households. Their digital savviness comes into play once again in this area. Their expertise enables them to guide their families through different purchase phases, from initial product evaluation to the final purchase itself.

Members of Gen Z are also financially savvy and keen on earning money, even at their young age. Freedom and flexibility at work are key values of this generation, and the job opportunities they flock to will be those that offer work-life balance and some level of autonomy over their schedule.

Gen Z vs. Millennials

Millennials have been center stage for many years, and understandably so-they recently became America's largest generation, reaching 72.1 million, surpassing the 70 million Baby Boomers living in the U.S. As Millennials begin to age out, however, Generation Z is beginning to capture the world's attention with their different spending, saving and earning habits.

Millennial spending habits differ quite a bit from their Gen Z counterparts. This is partially because Gen Z is very price conscious and focuses on overall value when making buying decisions. We can see these differences when comparing preferences and priorities with different products and services.

While 55 percent of Gen Z said they planned to do their holiday shopping at brick-and-mortar stores, 32 percent of Millennials said they planned to do their holiday shopping through their mobile phones. [Source: Shopkick via Retail Dive]

75 percent of millennials are willing to pay more for great customer experiences compared to 69 percent of Gen Z. [Source: Salesforce]

While 76 percent of Millennials cited natural or organic ingredients as important in the products they purchase, only 71 percent of Gen Z said the same. [Source: IBM]

While 79 percent of Millennials cited sustainability as important in the products they purchase, only 75 percent of Gen Z said the same. [Source: IBM]

While 81 percent of Millennials cited purchasing "clean" products as important to them, only 75 percent of Gen Z said the same. [Source: IBM]

While 78 percent of Millennials cited purchasing products that support recycling as important to them, only 72 percent of Gen Z said the same. [Source: IBM]

Millennials and Gen Z share similar habits when it comes to data privacy: 31 percent of Millennials and 33 percent of Gen Z said they used a VPN or Proxy Server in the last month at the time of being surveyed in 2020. [Source: Global Web Index]

Similarly, 45 of Millennials and 46 percent of Gen Z said they used an ad-blocker in the last month at the time of being surveyed in 2020. [Source: Global Web Index]

The 67.7 billion members of this generation are a group to watch as they grow up and enter the workforce. Their financial management looks to be off to a strong start thanks to their frugal mindsets and entrepreneurial attitudes. They've proven so far that they're ready to responsibly make and manage their money, and that they have high expectations when it comes to what they spend it on.

Teens and young adults who are after a financially successful future should not only make plans to keep down debt, but also learn how to build and manage their credit. This includes applying for credit cards, keeping payments down and checking your credit report often to make sure everything is accurate. If you do find any inaccuracies on your credit report like an account you don't recognize, you can call to learn about how Lexington Law's credit repair services can help clean up your credit report.

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The information provided on this website does not, and is not intended to, act as legal, financial or credit advice. See Lexington Law's editorial disclosure for more information. Generation Z-the 18 to 24 year old digital natives born who can't recall a world without smartphones and rapid technology-now make up 20 percent of the U.S.

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Authenticity was ranked highly as the most important this with a brand when it comes to Millennials purchasing and being loyal to a brand. This made it imperative to keep the clothing collection true to Dr Martens style as possible.

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Updated 3 years ago by Roger Dudler

In an era where consumer trust has plummeted across all industries, honesty and authenticity have emerged as the attributes that matter most. Consumers, more than ever before, are holding brands to a higher standard. They are looking for more than price, quality and convenience. Sure, they want value for their money. But they also want values.

The consumer landscape is undergoing a seismic shift and, for brands, things are about to get real.

Very real.

An international survey by Cohn & Wolfe found that 87% of global consumers felt that it was important for brands to "act with integrity at all times," ranking authenticity above innovation (72%) and product uniqueness (71%) when asked what they valued most in a brand.

So how do we explain this shift in the consumer psyche? In a word: Millennials.

In Pursuit of Reality: The Millennial Mandate

With $200 billion in annual spending power, and representing nearly a quarter of the American population, Millennials are fast-becoming the most powerful and influential consumer sector. They set buying trends across all industries, and have great influence over older generation consumers. Brands who are either unable, or uninterested in connecting with Millennials should just take a seat on the bench now. If you're not reaching Millennials, you're not in the game.

And the first thing that brand managers need to understand is that traditional advertising does not impact Millennials. At all.

Let that sink in for a minute.

To reiterate: Consumer studies show that less than 1% of Millennials respond to or are influenced by traditional advertising.

Hyper-connected, socially-informed and knowledge-driven, Millennials are deeply suspicious of being sold to. Gone are the days when image was everything. Now 'image' is suspect: photo-shopped, filtered. Messaging is crafted, scripted and spun into fool's gold.

And Millennials aren't buying.

They're searching.

Like Mulder and his search for truth; like Indy and his search for the Lost Ark, Millennials are relentless and obsessive in their quest for authenticity. They are all about pulling back the curtain, going backstage, hanging out in the green room, viewing the raw footage. They want to hear what's said when the tape stops rolling.

In other words, they want the real story.

And smart brands are giving it to them.

Take for example is Olay's Behind the Beauty campaign which feature behind-the-scenes footage and candid interviews with celebrities before they are 'made-up and camera-ready'-just real people talking about their daily skin care routine.

But it is not enough for brands to be candid. They must also be good citizens.

Millennials may be voracious consumers but they are not shallow. Nor are they selfish. In fact market research indicates that Millennials are 50% more likely to purchase from a company that supports a cause. And they LOVE brands that stand for more than the bottom line.

Just ask Patagonia. The company's public advocacy and support for ecological sustainability earned it LOTS of brand love-to the tune of $600 million in revenue.

On the flip-side, Volkswagen's betrayal of their environmentally-conscious customer base will likely end up costing that company around $30 billion. (Whether they ever regain customer trust and loyalty remains to be seen.)

For brands, it's a "put-up-or-shut-up" moment of reckoning. Millennials are calling everyone's bluff. And they have the social influence, information, and buying power to do it. The message to brands is clear: If you're going to talk the talk, you better walk the walk.

So perhaps we shouldn't be surprised that, in a recent survey by ad agency Moosylvania, Millennials voted Nike--with its 'Just do it' tagline--as their #1 Favourite Brand.

Traits of Authenticity

So what is authenticity? Honesty? Transparency? Integrity?

Yes. Yes. And yes.

But it is more than that. Brand Authenticity is greater than the sum of its parts. It is a package of core values, yes-but it is also the degree to which a company internalizes those values, and integrates them into its mission, vision and daily operations.

Here are some trademark traits of an authentic brand:

Honesty

Integrity

Transparency

Consistency/Reliability

Vision

Individuality/Uniqueness

Expertise

Passion

Empathy/Social Awareness

An authentic brand knows what it stands for, and why it exists. It knows where it came from, and where it is going. It has clarity of vision, and a driving passion. From a brand management standpoint, building an authentic brand may seem like a monumental task, but it can be broken down into manageable tasks and a few key strategies.

Five Strategies for Building an Authentic Brand

#1. Take time to build relationships. Consumer trust doesn't happen overnight. It takes time. Building brand authenticity is about playing the long game. Cultivate relationships. Grow your story. Let people get to know you-and put in the effort to get to know them. Find your place in the community-and become part of it. Get involved. Become culturally relevant. Give back. And demonstrate to your customers that you're in this together, for the long haul--and you're not going to let them down.

#2. Be Consistent. Make sure your brand story, values, and actions are aligned at every level and across every platform. Any significant change or deviation from the 'core story' -especially if it occurs without warning or precedent-can seriously damage your brand's authenticity and shake consumer trust. Identify and consolidate your brand guidelines in a Style Guide, and use it as a road-map for all messaging, strategy, and actions.

#3 Have a conversation. Authentic brands don't just talk about themselves, and they don't just broadcast messages. They listen and engage. They invite input, share interesting and useful information, respond to questions, acknowledge advice, are generous with their time, and personal in their outreach. It is worth noting that 83% of consumers say they like it when a brand responds to them on social media. So keep the conversation going. (And remember: a sales pitch is not a conversation.)

#4. Stay true to your values. When it comes to their moral, social and corporate values, authentic brands hold the bar high. They are very clear about what they stand for and uncompromising in their convictions. They are not swayed by petty insecurities, fickle public opinion or fleeting fads. They are the champions of their cause and the standard in their category. They are the pillar of the influence and integrity that other brands aspire to.

#5. Be honest and transparent. Never before have brands-and people-faced such intense public scrutiny as they do today. There is no hiding from the collective eye. In such times-and as it has always been-honesty is the best policy. Authentic brands are those brave enough to own their mistakes, and make amends when necessary. This sort of transparency is crucial to building brand authenticity, from a customer perspective. Jill Dumain, Patagonia's Director of Environmental Strategy, explains it this way:
"[Consumers think] 'I trust what you tell me about the good, because you're willing to tell me about the bad."
Authenticity and the Bottom Line

To sum up, authenticity is a quality that no brand can afford to ignore. Even apart from its intrinsic moral value, authenticity

Delivers a huge ROI

Drives consumer loyalty

Creates brand ambassadors and fans

Increases profit margins

Generates organic reach, positive buzz and shareable content

Boosts customer spending

All of which is to say, that when it comes to authenticity, brands should follow Nike's advice and just do it.

Does 'brand authenticity' matter to you? Do you have a favourite 'authentic brand'? Share your thoughts with us in the comment section below.

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The Age of Authenticity: Why Brands Need to Get Real

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Updated 3 years ago by Roger Dudler In an era where consumer trust has plummeted across all industries, honesty and authenticity have emerged as the attributes that matter most. Consumers, more than ever before, are holding brands to a higher standard. They are looking for more than price, quality and convenience.

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Taking into consideration that Dr Martens have a big amount of Gen Z customers, this type of consumer want to know whats in it for the planet. By using recycled packaging and swing tags, the collection automatically is more appealing to this crowd.

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Dr Martens have a wide range of customers, from students to a lot older individuals who have followed the brand for decades.
Therefore I decided to included both ends of the their customer spectrum.
The students who seem to be financially stretched , however regularly shop and buy take out coffees.
The comfortable community are the people who truly know their style, have many investment pieces which they wear over again. these people are Dr Martens main customers, have the money to spare and own more then two pairs of Dr Martens.

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Acorn is a powerful consumer classification that segments the UK population. By analysing demographic data, social factors, population and consumer behaviour, it provides precise information and an understanding of different types of people. Acorn provides valuable consumer insight helping you target, acquire and develop profitable customer relationships and improve service delivery.

Try acorn now

Try acorn To try Acorn you will need to register

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Acorn - The smarter consumer classification | CACI

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Acorn is a powerful consumer classification that segments the UK population. By analysing demographic data, social factors, population and consumer behaviour, it provides precise information and an understanding of different types of people. Acorn provides valuable consumer insight helping you target, acquire and develop profitable customer relationships and improve service delivery.

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Young people, living in multicultural hubs. Accessing the latest music, clubs and fashion. They are influenced by what they see and experience in their environment and social media. Wanting to be cool and having the latest trends for the fraction of the price, but happy to pay more for good quality. They are aspiring bosses, who want to dress for the job they want.

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Living for the moment, Aspirant Tribes know the look, music and lifestyle they want - and will spend big in order to get it! Attuned to what's happening in Leading Edge circles, it's about keeping up with what's cool but without all the hard work of creating it themselves. These Tribes will be found in Student Unions across the UK, from UE to Loughborough.

Social butterflies, they are spending summer holidays hitting the festival circuit - from Bestival and Secret Garden Party in the UK to Croatia's Outlook and Serbia's Exit festival. Whether it's the latest pop-up, food truck, concept store, art gallery or nightclub, they want to be the one to have seen it first - and post it on social media. Experience seeking drives the Aspirant segment, and introducing the newest fashion and music to their friendship group motivates Tribe members.

From the ubiquitous gap year alpaca jumper, to the MacBook Pro, Ugg boots and Hershel backpack, Aspirant Tribes are big consumers with strong brand affiliations. Brands trying to crack the Aspirants need to work hard to prove their cool credentials. They need to be in the right place, at the right time, with the right people - although appealing to them may be challenging, those who do are rewarded with surprising brand loyalty.

Trendies

Trendies are driven by beautiful things and beautiful people, Trendies love fashion and are always looking for the next big trend!

They're the biggest outwardly 'brand-me' Tribe - they're universally aspirational in fashion and music, both offline and online.The rise of Mainstream Brand Me behaviours and fast fashion means the Trendies are still going strong and are one of the biggest Tribes on the map in 2015. Their influence is if anything growing, as more and more Trendies lean towards vlogging and sharing their super-soft-focus, Instagrammable lives online - inspiring younger teens to live a perfect life.

Vloggers
Vloggers and Bloggers are at the heart of today's Tribal map - inspiring a whole generation how to live.
In 2012 Tumblr Kids joined the map - by 2015 Vloggers are one of the most familiar and famous Tribes in the UK. A catch-all Tribe to describe young people that are vlogging, blogging, tweeting and instagramming their lives, attitudes and values online; they aren't creating culture and new social norms (bar those with 1M+ followers!) but are having a huge impact on youth culture today.

New Casuals

New Casuals are football mad lads with a love of underground club music and understated fashion - but will move to the next thing once it becomes predictable...

Hypebeasts

Urban and Skater inspired, US-rooted breed of New Casual - who love Hip-Hop and electronic, niche knowledge, luxury sportswear and limited editions.

Hypebeasts are a new breed of New Casual/Hipster- obsessed with the aspirational Urban lifestyle and the brands that go with it. With a thriving online culture, key icon products and their own language (Bump, OG, Grail, Wavey...) they are thriving - but bitchy too!

New Casuals
The New Casuals are unchanged on the map - think twenty-something, understated lads that consciously maintained low-key style from Norse, APC and Folk.
Their hate of hype and broadcasting their lives makes them polar opposites to the Hypebeasts! While they share a love of music, festivals, fashion and footy - the Hypebeasts are all about niche language, products and 'getting in there first'.

Hipsters
It's been a long time coming - but the Hipsters are firmly out of the Leading Edge, and are getting younger by the year.
Poor Hipsters! Since 2012, they took over being the vilified Tribe from the Chavs - synonymous with being 'try hard' and vacuous at a Tribal level, but receiving derision from wider British culture too (even your dad knows what a Hipster is in 2015!).

As authenticity became a key tenet of youth culture and the Hipster look was disseminated to teens via Primark; the iconic skinny jeans, glasses and obsession with Bergheim made the Hipsters a stereotype and an insult for the original Hipsters (most of whom have now aged out of the Tribes model).

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Living for the moment, Aspirant Tribes know the look, music and lifestyle they want - and will spend big in order to get it! Attuned to what's happening in Leading Edge circles, it's about keeping...

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As Dr Martens is such an iconic British brand, the history behind how they have got tot he top was very important to include within the Brand summary. One of the reasons why the customer keeps coming back is due to the Dr Martens constant success in fulfilling the consumers expectations and keeping true to the DM's values and product standards.

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1960 The birth of an icon

Dr Martens go into production on 1 April 1960 at Bill Griggs's shoe factory in Wollaston, Northamptonshire. The air-cushioned-soles design was licensed to Grigg by German inventor Dr Klaus Maerten. Intended as orthopaedic shoes, they are marketed as industrial wear.

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1966 Height of fashion

Docs make the jump from factory floor to dance floor when the Who's lead guitarist, Pete Townshend, wears them at a gig in London. The band's mod fans follow Townshend's lead.

1975 Rock on, Tommy

Townshend pushes the brand back into fashion, putting Elton John in an outsized pair for rock opera Tommy. Despite having to wear foot-long callipers to move, Elton keeps the boots.

1979 Emblem of violence

The Jam sing "A-bomb in Wardour Street" about a "Dr Martens apocalypse" after football hooligans adopt the boots.

1993 Britpop revival

Dr Martens launches a clothing line with Wayne Hemingway's Red or Dead label. To celebrate the occasion, the company commissions a house tartan called "McMartens Tartan", which is still used 17 years later.

2000 A very happy birthday

The boots' 40th is also the best year for sales, with the company selling £250m of boots in 2000 alone. A commemorative book and a Dr Martens compilation album hit the shelves and prove major earners.

2003 End of an era?

With profits falling by 30 per cent in one year alone, the over-stretched boot maker narrowly avoids bankruptcy proceedings. All but one of the company's UK factories are closed, and only a collaboration with Jimmy Choo and Vivienne Westwood prevent financial collapse.

2005 Turnaround of the year

The company wins the Institute for Turnaround's annual award, after the Griggs restructure the company back to profitability. The firm opens a new store in Soho in 2006.

2010 Golden oldie

To celebrate the boots' half century, the company launches a new range of products that come with a lifetime guarantee. The seven-piece For Life collection is premiered at Dr Martens' pop-up stores in London.

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1960 The birth of an icon Dr Martens go into production on 1 April 1960 at Bill Griggs's shoe factory in Wollaston, Northamptonshire. The air-cushioned-soles design was licensed to Grigg by German inventor Dr Klaus Maerten. Intended as orthopaedic shoes, they are marketed as industrial wear.

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Within their UK facilities they they take out all the legal procedures to work as safe and efficiently as possible. Even though the use of leather is used within the products, other aspects of the business is sustainable e.g. recycled shoe boxes.

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A staple DM influencer of the 1960s were The Mods. This sub culture was renowned for wearing the iconic boots.The style that they went for reflected the brand and gave Dr Martens an instant edge appeal.

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Due to Dr Martens not having a clothing range already out, there was no comparison evidence on edited to compare pricing. Therefore used a competitor to understand what customers are willing to spend on a brand that is reaching the higher end of the market.
the majority of Timberlands pricing sits between £20 - £80. This is reflected in my pricing for Dr Martens unisex collection.

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Gen Z customers are all about being environmentally friendly, they are not brand loyal, but will spend with a brand if representing sustainable options and recycled elements. this was a key finding which I took away to use in my project (Recycled packaging).
Millennials are more brand loyal and have an expectation of brands which they shop at.

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Between them, Generation Z and millennials - broadly, shoppers in their late teens, twenties and thirties - attract endless attention, and represent fashion's consumers of both the present and future.
In this report, Drapers takes an in-depth look at how the two groups are changing, and how they feel about the fashion industry. What are the similarities between them, what are the differences, and where are the opportunities for brands designing and making clothes for these groups?

We also speak to a range of retailers about how they are creating propositions that appeal to these shoppers, and the feedback that they hear from them.

It is all too easy to become fixated on a certain age range, and younger shoppers are often the group of choice for retailers. They are, after all, the shoppers of the future, and brands that do not evolve alongside them are unlikely to survive long term. But while this report is aimed at delving into younger people's likes and dislikes, the aim is not to depict these shoppers as being more important than or even dramatically different to many of their older counterparts.

Many of the trends we observe in their changing behaviour are happening just as strongly for people over 40 as they are for those under. People's interests and tastes are rarely determined solely by their age, and Gen Z is no different.

But even with that in mind, it is interesting to watch a particular generation evolve, and determining what matters to them is still a worthwhile activity. Furthermore, much of the change we observe across all consumer groups is often driven by or more strongly represented among the young, whose strength of feeling about issues of the day can be greater than older generations.

One thing is clear, and that is the emergence of a more values-led, purpose-driven approach to fashion. Younger shoppers may not want to or are not yet able to pay more for ethically made items, but that doesn't mean they don't want them. In addition, the digital and multichannel shifts of the past two decades are not over yet. There is still plenty of work to do to meet those expectations.

Beyond the shifts in behaviour, it is heartening to see that younger shoppers are not disillusioned with fashion: most still see it as fun and inspiring, as well as a chance to express themselves, and they appreciate any brand attempting to keep up with them ethically. They appreciate even more those who are leading the way.

Having come of age during turbulent economic years and having never known life without the internet, they have little patience for rules and conventions that were designed for a different time. Gen Z and their older millennial brothers and sisters have the potential to make fashion an altogether better place to be: what brands need to do is exhibit a willingness to meet them there.

We hope you find the report useful. Please send any feedback or questions to rebecca.thomson@emap.com to help us continue improving our research into this group.

Rebecca Thomson, head of commercial content, Drapers

For the purposes of this report we define members of Generation Z as anyone born between 1995 and 2015, making the youngest four and the oldest 25. Millennials are those born between 1980 and 1995, and are roughly aged 26 to 38. We surveyed 2,000 consumers aged 18 to 38.

'Gen Z' has become just as much of a buzzword as 'millennial' did a few years ago, and is already synonymous with certain traits. If the headlines are to be believed, they are strident environmental activists, they are progressive, they are careful with money and they have short attention spans. But lumping such a broad, diverse group into one amorphous age bracket is a mistake.

Jonathan Reynolds, a retail and ecommerce expert at the University of Oxford says: "It's right to disaggregate Generation Z. We are wrong to use age definitions and put everyone into one age bracket. People have different contexts, motivations and there are different sub-groups within that demographic."

It is also easy to get swept away by the perceived newness of a fresh group of teenagers. But in many ways, Gen Z and millennials have similar patterns of behaviour to young people of previous generations.

To begin with, there is a larger, more mainstream group who watches what the Kardashians wear and is hooked on Love Island, and makes purchasing decisions that are driven by upcoming holidays and Saturday nights out. And there is also a much smaller, albeit articulate and vocal, more alternative group that is perhaps more progressive, and sometimes more controversial. This is best represented in 2019 by 16-year-old Swedish activist Greta Thunberg. Her emergence as a leader in this space is helped by the fact that anyone aged 25 or under is unlikely to remember the most significant events of the previous decade, such as 9/11 or the Iraq war. Terrorism was the defining issue as millennials entered adulthood ten years ago, but as this fades slightly in the collective memory, climate change is taking its place.

Reynolds says the activist group is the most interesting part of Gen Z, because they're exhibiting new kinds of behaviour. "They're not being influenced by big brands. They're very much a smaller subset of Generation Z but they're articulate and loud, so we hear a lot about them. And they probably have the brands more worried. If it grows, it's dangerous to brands because they often dont have the flexibility to shift."

What is different about Gen Z as a cohort, however, is they are the first group to have grown up with social media and related digital technologies, and this is creating new rules for how things get done. It has given them a new set of communication tools, which they are extremely adept at using, and which enables messages such as Greta's to spread faster and with more intensity than they might have a few years ago. The amplified impact and speed of change this has enabled means that Kylie Jenner is a billionaire by the age of 21, and global leaders are listening to Greta's every word.

In some ways, this is a re-labelling of trends that have gone before. What has changed, however, is access to information and virtual relationships.

Jonathan Reynolds, University of Oxford

Reynolds says any changes that do occur for this generation are tending to proliferate faster than they have in the past: "By and large, we have seen greater transparency for all those subsets than in previous generations because of technology and electronic word of mouth.

"In some ways, this is a re-labelling of trends that have gone before. What has changed, however, is access to information and virtual relationships."

But while Kylie Jenner and Greta Thunberg represent drastically divergent cultural trends, their followers are not necessarily different people. It is possible to be interested in celebrities while also being interested in sustainability; it is also possible to care about sustainability while engaging in unsustainable behaviours, partly because it is often simply not possible to make ethical consumption choices. Plus, younger shoppers do appear to want two very different things. "On the one hand, they're very idealistic," says Pamela Church-Gibson, the author of Fashion and Celebrity Culture. " But that is diametrically opposed to the fact we have got a lot of people who just want to buy cheap clothes online."

The other thing to note about Gen Z and Millennials is that they are growing in confidence. They are natural online communicators and their talent is being applied to topics other than sustainability - they are diverse, inclusive and they question norms. "What also strikes me about this group is its confidence," says Reynolds. "They're realistic, they're pragmatic and they engage in dialogue rather than protesting for the sake of it."

Contradictions

What is difficult, Reynolds says, is that some members of these generations want to shop with fully sustainable brands who are helping to change the status quo, but they also want immediacy and convenience in how they access any product. They want constant newness and immediate gratification, but they acknowledge the system that enables that is not environmentally feasible. "There is a contradiction - certain people are doing both things."

This means that, even as consumers lead this shift towards a more sustainable way of making and selling fashion, there may also need to be a concerted educational effort to ensure these young shoppers realise that this may mean some loss of convenience and increased effort from them; perhaps buying fewer, higher quality items per year may be necessary, and recycling clothes they are finished with is a must.

Reynolds says that for some, this is starting to translate into different ways of consuming. "My son, who is 23, is less concerned about ownership. The stuff he does have is very different and unusual - he places a premium on finding things that aren't very popular. That's a challenge for brands used to dealing with large chunks of the population."

Loyalty

While these trends play out, shoppers continue to interact day-to-day with the fashion industry. Hearteningly, our data shows that broadly, consumers appear to feel fairly positive about fashion. They report finding it fun and inspiring, and they see it as an opportunity for self expression.

Broadly, do you feel the fashion world is:

Despite having a reputation for lacking brand loyalty, this cohort doesn't necessarily think of itself as disloyal. They are, however, always on the lookout for new brands - possibly related to that desire for uniqueness. Over a third said they consider themselves loyal shoppers, and a half said they are 'relatively' loyal. Only 16% of shoppers said they rarely return to a brand.

Would you describe yourself as loyal to brands?

In the rest of this report we explore the shopping behaviours currently exhibited by Gen Z and millennials - as well as what they like and dislike about the propositions on offer.

Convenience scores highly for younger shoppers, who have high expectations surrounding it. More than half say the convenience of online shopping is its biggest appeal, and when asked what they would like to see more of, convenience-focused services are the most popular options.

Their biggest bugbears relating to online shopping are all delivery related: having to wait for a delivery, missing deliveries and paying for delivery or returns are the most annoying factors.

This area is a huge focus for the retailers we spoke to: see chapter 6, on convenience, for their comments on how they are developing their delivery and payment services.

What do you enjoy about online shopping?

What would you like to see more from brands online?

Improving fit technology is also a priority for this group, who seem clear on the benefits of sharing size data with retailers in return for better-fitting items and less returns administration.

But as Mike Branney, managing director of young fashion etailer Oh Polly, says, the technology has further to go: "Improving online fit technology is important but it's still quite gimmicky at the moment. When the systems move more towards virtual avatars with a combination of augmented reality, it will become a much more useful tool that people will actually choose to engage with."

What do you tend to find most annoying about online shopping?

Payment is another significant part of the process for these shoppers: 82% say it is either very or quite important. It has been an area of focus for retailers for years.

Nicola Thompson, global customer development director at Asos, says convenience and removing friction from the shopping experience is a priority: "That's why we offer 'buy now, pay later' through Klarna to give customers a chance to try product on without having to pay for it, and our premier delivery service that offers unlimited next-day delivery for just £9.99 a year.

"We're constantly following customer demand, bringing in new payment or delivery options as they become available, such as our same-day delivery proposition, Asos Instant in London, Leeds, Manchester and Birmingham."

How important is a quick checkout process to you when deciding if you will make a purchase or return to a retailer?

Comprehensive and descriptive product information is also important: 95% of people read product descriptions either every time or sometimes.

Do you read product descriptions when shopping online?

Most people read them for information on how an item fits - perhaps mining them for as much information as possible in the absence of advanced fit tech - but shoppers also look for information on the materials and methods used in manufacture.

Do you read the descriptions for:

Buying from overseas brands is also popular, despite the taxes and fees that can sometimes apply. Nearly 60% purchase from overseas brands either sometimes or often.

Do you ever get clothing, shoes or accessories shipped from overseas?

Simon Kinsey, commercial director at TranslateMedia, which helps retailers translate and adapt their brands for new markets, says this is the first generation of global online shoppers. "Gen Zs and millennials are happy to order from overseas brands and they expect the experience to be authentic, personal yet consistent. It is a tricky proposition for retailers to balance an online experience which takes different local cultures into account alongside the need for consistency relating to fit and delivery."

He adds that global content platforms are starting to become more flexible, which is helping to serve this global demand. "It's now possible for product descriptions to 'write themselves' using content asset data derived from product photography, fabric and washing instructions which means that copywriters can spend more time crafting their brand message to appeal to local trends for online shoppers."

For our shoppers, the main reasons behind the desire to buy overseas include cheaper product, and finding those unique items.

Why do you often shop for clothing, shoes or accessories internationally?

When it comes to store shopping, Generation Z and millennials like having the ability to try things on, the social aspect, and the ability to browse and get inspiration. This is consistent with other age groups.

Just as predictable are the elements of store shopping they do not like: crowds and sizes being out of stock.

What do you enjoy about shopping in store?

Retailers' store strategies are changing in response to this to focus more on the social and inspirational elements of store shopping.

Giorgina Waltier, sustainability manager at H&M UK and IE, says the retailer is "continually experimenting with new services" that go beyond the remit of traditional retail: "In many instances these new services tap into the development of our sustainability work and our ambition to become a circular business. For example, we recently launched a garment repair and embroidery service within selected H&M stores globally, to enable customers to increase the longevity of their clothes.

"We are also trialling the sale of eco-friendly washing detergents and microfibre-filter laundry bags - both of which are not products that we have traditionally sold but we see as important additions that meet changing customer needs."

She says H&M group is experimenting with the sale of vintage items at & Other Stories, and is also starting to work with advanced analytics to tackle over-production by creating more alignment between supply and demand. "This in turn will enable us to provide a more targeted, streamlined customer offer in our stores, freeing up more space to further test and experiment with new services."

Paul Forkan co-founded lifestyle brand Gandys with his brother Rob in 2012, and the brand has three stores in London. He says the brand's approach to store retailing has changed.

"In recent years the way we see our stores as part of our brand has definitely changed. Instead of being a main hub for sales they have become places where our community come to connect with our brand and the individuals that work in our shops."

He adds that people come in to not only get a feel for the product and fit, but to also get updates on the brand's charitable foundation, as well as advice and stories about travelling.

"With the current generation of young people spending less time on the high street, the challenge lies in creating this experience online," he says. "Technology will make this possible through chat rooms and live "digital try-ons" powered by web cams and artificial intelligence, but that is still a few years away from being opened up to the masses. For now, stores are still an essential part of the shopping experience, especially for those who care more for brands as a whole as opposed to just a single product."

What things do you not enjoy about shopping in store?

Potentially more concerning for some retailers is that 27% of respondents say they would stop going to stores altogether if the final issues with the online customer experience could be ironed out. A further 42% say they would be "quite likely" to abandon store shopping if all delivery was free and fast, and if they could envisage how an item would fit.

If all issues with online shopping could be erased, do you think you would cut out store shopping altogether?

However, this utopian ideal of online shopping is a way off yet - for now at least, stores provide a crucial way for consumers to meet their favourite brands in the physical world.

Environmental sustainability is important to these shoppers. More than three-quarters (76.7%) say it is either very or quite important. This is pretty consistent for every age range, although slightly more men rate it as very important (39.6%) than women (32.8%).

How important for you is it that a brand shows it is environmentally sustainable?

Equality in all its forms is just as important: 77.1% rate it as very or quite important. Only 9% say it is not important at all. All age groups are in agreement, but the 18-to-24-year-olds are particuarly focused on it: 82.7% say it is important to them and just under half say it is very important.

We wanted to know about all forms of equality, rather than only gender equality, because racism, and discrimination against LGBTQI and disabled people are just as important to many in this group. The efficacy of being vocal on these topics can be seen in the success of brands such as Levi's - a long-term supporter of LGBTQI equality - which has been driven by its ability to remain relevant to younger shoppers via its principles and its storytelling.

For you, how important is it that a brand shows it is pro-equality (across ethnicity, gender, sexuality or disability lines)

Nearly half of our respondents say they have at some point decided against a purchase because of a brand's lack of sustainability efforts. Retailers often report that customers do not appear to be willing to pay more for more ethically produced items, which makes it challenging to build a business case internally for investment in sustainable practices.

However, this suggests brands are losing sales to other, more sustainably driven retailers, which is a trend that will not be immediately visible in sales figures. The evidence was strongest among the 18-to-24-year-olds, of whom 55% say they had abandoned purchases. Men are also more likely to fail to complete purchases than women (54% versus 44%). There are also regional variations in how shoppers are approaching sustainability, with shoppers in the South East and London more likely to rate it as important. In London, 63% of shoppers reported having abandoned a purchase.

Have you ever abandoned a purchase because you felt that the brand didn't reflect your values on either sustainability or equality?

Nearly half of our respondents say they actively hunt out brands that are sustainable or vocal about equality. This supports the theory that demand for sustainable products and support for equality-focused brands may be invisible to some retailers at the moment, because rather than buying sustainable ranges from otherwise non-sustainable brands, shoppers are using their time and money to look for brands that align more comprehensively with their values.

While there may well be a gap between what people say they are doing, and what they are actually doing, this is nonetheless a trend to take seriously. The fact it is not always showing in sales figures yet could relate partly to the fact that shopping ethically and sustainably takes a significant amount of work and research on the part of the consumer. With comparatively few sustainable options available, it is also still hard for a customer to make sure their purchasing behaviour reflects their values - they may still be shopping unsustainably because choice is limited. Plus, retailers have an uphill battle when it comes to communicating their efforts. Few customers will know, for instance, that Primark's jeans are among the most sustainable available on the high street, and H&M is often accused of greenwashing, despite a 20 year effort to improve its sustainability credentials that significantly pre-dates the topic's current fashionable status. In addition, sustainability is not easy for retailers - it is a labyrinthine project that takes years to build expertise in, and is expensive to develop properly.

Simon Kinsey, commercial director at TranslateMedia, says customers' interest in equality can be seen in a current trend for product descriptions to be written in gender neutral language. "Demand for language neutrality is coming from international brands, often those in Benelux and Scandinavia specialising kids toys and accessories, adult sneakers and outdoor brands and, more recently, the skincare and beauty market. The trend for language neutrality is being closely tracked by brands in the UK and the US," he says.

Do you actively hunt for brands that are sustainable or vocal about furthering equality?

Shoppers' interest in sustainability is a trend that is backed up by search data. Over the last five years Google searches for the term "sustainable fashion" have been on a steady upward trend worldwide, with the biggest rises occuring in Australia, the UK, Hong Kong, Denmark and Singapore. Searches for the term "sustainable fashion brands" in the UK have rocketed by 450% since January 2016. Retailers such as US brands Everlane and Reformation are popular related terms, and both have experienced large rises in search volumes over a similar period.

However, while consumer interest in sustainable fashion is increasing, the retailers leading the way are not necessarily being driven by consumer demand.

Giorgina Waltier, sustainability manager at H&M UK and IE, says: "While it is truly brilliant that sustainability awareness has increased so significantly with consumers over the last couple of years, our commitment to and communication around sustainability is not consumer led.

"We started talking to our customers about sustainable materials back in 2011 when we launched our H&M Conscious line, about the importance of recycling clothes in 2013, when we launched our global in-store garment-recycling scheme, and about supply-chain transparency in 2013 when we were one of the first brands to publicly share our supplier list.

"So, communicating to customers about the importance of sustainability is not new for us. What is new is the increase in appetite for this information, and what we are still yet to master is a balance in the level and detail of information that we share with the consumer."

Generation Z and millennial shoppers are predictably high users of mobile and social channels, but it is interesting to see the extent of these habits. Just over 70% of respondents report shopping via mobile apps, and users return regularly to their favourite retail apps to check for new product and content.

Do you shop using mobile apps?

This tallies with the findings of our Connected Consumer report, published in late 2018. That found these shoppers are avid mobile users: 77% use their phones to browse fashion, and 68% use them to buy fashion. It also found that they like apps: nearly 80% have downloaded at least one retailer or brand app, while 23% have downloaded four or more.

Over 70% of our shoppers said that they have purchased via social - some of the brands we spoke to say they have seen this reflected in their sales figures.

James Gold, co-founder of accessories brand Skinnydip London, says: "We have noticed our social transactions increasing." He adds that it is something the brand is looking at in careful detail, using focus groups to determine the images, products and captions that are most effective.

"Skinnydip was born on social and it is where we engage with our customers on the most authentic level. We believe that Gen Z and millennial customers identify most with brands that share their values and are honest, so that's our main focus in providing genuine, engaging content."

He adds getting the mix right is important for different groups. Those in their thirties respond well to different posts from those in their twenties. However, some trends are more universal.

"We notice an increase in new customers on social especially around new collaboration launches, or when we produce IGTV [Instagram video] content."

Have you ever purchased from a brand by clicking through from a social post?

Asos has 23 million followers across its various social platforms, and is focusing on having engaging two-way conversations with them.

Global customer development director Nicola Thompson says: "We know that our twentysomething customers spend a lot of their time on their mobile phones and using social media, so that is where we need to be to having engaging, two-way conversations with them." The focus is on inspiring them on the channel, she adds.

The networks used by these shoppers are shifting quickly, but in late 2018, those aged 18 to 24 reported in our Connected Consumer report that 74% of them use Facebook and 70% use Instagram.

With missed deliveries or inconvenient services causing annoyance for younger online fashion shoppers (see chapter 1), focusing on convenience has become a significant priority for retailers.

James Gold, co-founder of accessories brand Skinnydip London, says it is an area the brand is constantly working on improving: "Within the last six months, we have launched Doodle returns options, collection point delivery and free collection from an selection our Skinnydip stores. For us, the delivery process is critical. When there are companies like Amazon as competitors, we know that we have to try to meet customers' expectations as best as we can."

He adds it also already offers a pay-later service with Klarna, and is looking at being able to "slice" payments, so shoppers can pay in instalments, in the coming months.

Jo Tutchener-Sharp, founder of Scamp & Dude, says the childrenswear brand is working on introducing free shipping: "We have been looking at how we can incorporate the fulfilment and shipping costs into the overheads so we can get rid of shipping costs for the customer, as I know this is an issue for some customers when large operators such as Amazon offer free shipping. But at the moment it's not viable to pay for the packing, fulfilment costs and shipping ourselves."

Other brands are looking even further into the future.

Mike Branney, managing director of Oh Polly says the young women's clothing brand is looking beyond buy now, pay later: "We offer 'buy now, pay later' on our site for UK customers, and plan to roll out the same service in the US and Australia in the next few months. We are also investigating accepting payments in electronic wallets and cryptocurrencies, although the latter is still not particularly mainstream."

Andrew Cooper, head of direct to consumer trading and operations at Pentland Brands, says: "We constantly review these two areas and have recently added more delivery options so consumers can order later in the day for next-day delivery. We have bespoke payment options for different regions, and we are actively looking at how we provide more payment choices."

In our survey, consumers report being keen on convenience-boosting services. Almost two-thirds say they add items to their baskets for pay day purchases, and 69% of respondents say they would be likely to bring purchases forward if they were able to defer payment.

How often do you add items to basket and then wait for payday to make the purchase?

How likely are you to bring a purchase forward if you could pause payment until payday?

How do you feel about making purchases using a deferred payment method?

However, reaction to the idea of another convenience-focused service, renting clothes, was more mixed. While nearly a third said they would like to rent clothes from their favourite brands, nearly half said they would not. One-fifth were undecided.

Oh Polly's Branney says the complexity of large-scale rental is off-putting: "Moving from a model that already sees return rates of 30% to 40% to a return rate of 100% would require a step change in process. The rental market is also better suited to outerwear and hard-wearing fabrics, as most materials lose their lustre and structure after a few washes."

While renting is a newer idea for some, a third of our shoppers still said it appeals. It is likely that for many brands, a rental service could be a part of their future. This is especially true for longer-wearing items, one-wear purchases such as wedding outfits, or items whose wearers grow out of them quickly, such as children's clothes. Rental also plays into consumers' desires for both convenience and sustainability.

Would you rent clothes if your favourite brands offered that service?

This is also an area of the market where innovation will continue to have an impact. The sharing and rental economy is evolving quickly - both in the UK, but also in markets including China, where some rental platforms include the option of peer-to-peer rental. In the UK, it is an area where further development is likely to take place and where consumer attitudes could evolve quickly.

The behaviour of millennials and GenZs has already had a huge influence on the retail market.

They are proficient in navigating multiple channels, comfortable engaging with brands on social media and accustomed to broadcasting opinions about their shopping experiences online.

Both groups share an appetite for cross-border shopping if it means that they can buy distinctive products that are not available locally, but are also concerned with the methods of manufacture and that they are ethically sourced and sustainable. Product fit is also of huge importance and they spend time reading product descriptions to check measurements and materials. They also tend to lack the brand loyalty displayed by previous generations which means that retailers are faced with increased competition both locally and from abroad and have to work harder than ever before to produce the high-quality product descriptions and editorial content they need to stand out from their competitors.

At TranslateMedia, we specialise in translation and the cultural adaptation of content for brands and retailers to ensure quality and brand tone-of-voice consistency.

TranslateMedia develops technology to seamlessly integrate with all of the major CMSs and eCommerce platforms - drastically reducing localisation turnaround times, increasing speed to market and boosting ROI from global marketing campaigns.
Simon Kinsey, Commercial Director, TranslateMedia

It's no secret that the younger generations hold the key to the future of retail.

In an era of instant gratification, same day delivery, and the ability to shop through social channels, younger consumers expect a completely different and totally tailored shopping experience, that brands need to fulfill.

Klarna's research into the future of fashion technology has shown over half (53%) of fashion shoppers aged 16-24 would be happy for a retailer to use their online data to offer tailored discounts or recommendations. While more than one in five (22%) would like to be able to leave a store and pay for items later once they've decided what to keep. It's a different world now to what retailers have been catering to over the last 20 years.

But while retailers need to ensure they truly understand the demands of younger tech-driven shoppers, this approach can't be limited to those in a certain age bracket. We know that experience is the lifeblood of the retail economy, so offering the best experience whether through flexible payments, or a smooth returns process, solely to those in a certain age bracket would be an error.

Experience really is the new loyalty, and a truly tailored experience from perusal to payment needs to be embedded into a retailer's shopping cycle, for all consumers young and old.
Luke Griffiths, General Manager of Klarna UK

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Between them, Generation Z and millennials - broadly, shoppers in their late teens, twenties and thirties - attract endless attention, and represent fashion's consumers of both the present and future. In this report, Drapers takes an in-depth look at how the two groups are changing, and how they feel about the fashion industry.

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The Millennial buy investment pieces, which may be more money. they expect quality and happy to buy regularly if they think its worth the money.

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They are poised to be the nation's biggest spenders, as they move into their prime earning and spending years, so millennials dominate conversations around product strategy, marketing, and the economy at large. This generation is different, and so brands must see and interact with them as a unique consumer in order to draw their attention and business. Let's take a look at Millennial spending habits and why they buy.

Who are they?

Millennials defined:

They were roughly born between 1982 and 1996, so they're around 22 - 36 years old.

There are 83.1 million millennials in the United States, making them the largest generation in the country's history.

The majority of these young people have less than $1,000 in their savings accounts, and a significant number have no savings at all. They have less credit card debt and car purchases than previous generations, most likely because lenders have tightened the requirements for granting credit and loans. More than 65% of millennials don't have a credit card at all.

How do they make purchase decisions?

Millennials consider social responsibility and environmental friendliness when considering their purchases, so brands face Millennials' significant expectations in terms of shopping and investment dollars. They typically choose to either follow their own instincts or go along with their peers but have become rather wary of financial advice given by parents and professionals in the field. They also prefer personal connections with those who manage their money, who reflect their highly held values of trust, authenticity, and choice.

When shopping, Millennials focus on discounts. They value price over recommendations, the brand's reputation, and even product quality. They follow brands online just for discount opportunities. 66% of millennials would switch brands if offered at least a 30% discount, and only a third see a brand to consider trends or product updates.

Ironically, 60% of millennials state loyalty to brands they currently purchase from if treated well through customer-centric experience. To ensure allegiance, companies include loyalty programs with custom discounts as well as active courtship.

Other values that brands should center upon are authenticity, local sourcing, ethical production, a great shopping experience, and giving back to society. 75% of Millennials consider it fairly or very important that brands give back to society instead of just making a profit.

Where do they spend?

Millennials spend more on comforts and conveniences:

60% of millennials spend more than $4 on a single coffee

70% of millennials will spend a little extra to eat at the hip restaurants in town

69% of millennials buy clothes for reasons beyond basic necessity

Over 50% of millennials spend money on taxis and Ubers while only 29% of Gen X and 15% of Boomers do the same

Millennials spend more per year on:

Groceries

Gas

Restaurants

Their cellphone as nearly all own a smartphone and comprise the highest usage as well

Hobbies, electronics, and clothing

At the same time, millennials spend less than older generations on:

Television-as streaming services have come online, cable is becoming a service of the past

Travel, because they're unable to afford regular vacations and struggle to save for them

Pharmacies

Furniture/building materials

Conclusion

With this being the new financial powerhouse generation, it's important to learn what motivates the purchases and investing of Millennials and to change up marketing to meet their expectations.

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Millennial Spending Habits and Why They Buy

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They are poised to be the nation's biggest spenders, as they move into their prime earning and spending years, so millennials dominate conversations around product strategy, marketing, and the economy at large. This generation is different, and so brands must see and interact with them as a unique consumer in order to draw their attention and business.

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T-shirts have kept an appearance on the catwalk, last year t-shirts were up by +32% YOY. This shows how commercial they are.

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On WGSN, the forecast for A/W 20/21 reflects many of my details used in the collection.
'Punk Principles' is one of the trends predicted for 2020/2021.

"Subculture nostalgia looks back to the punk era, with an anarchic aesthetic reworked through a contemporary lens

Plaid gets a punk update, referencing the early works of Vivienne Westwood.

The kilt re-emerges as a key item. Look to design duo Chopova Lowena, who juxtapose kitsch heritage materials with punk-style hardware.

Graffiti-style scrawls and patched denim will return, along with reclaimed hardware for accessories."

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UNIQUE SELLING POINTS:
- UNISEX
- RECYCLED PACKING AND LABELS
- PARTLY MADE IN THE UK
- ICONIC BRITISH BRAND

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Within this saturated market, discounts are being used as bait to gain customers. Now customers expect discounts and if they don't get it they will look somewhere else for a better price. Dr Martens hardly ever do massive discounts. They rely on the customer to buy the products off the back of the quality and the consumers desire for the good. However with so many replica DM boots, this could be a threat to sales.

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What Is Discount Pricing Strategy?

Lowering the price of a product to stimulate sales is a conventional strategy employed in every area of sales, but simply announcing the price drop may not be enough and can even have a negative effect if buyers perceive the price drop as a reflection of the product's true value. Appropriate discount pricing strategies dispel this idea and introduce the idea of a limited price drop for buyers who respond quickly. A related strategy is to pitch the product as something that will only be available for a short time.

Tip

With a discount pricing strategy, the company will temporarily reduce the price of a product or service to introduce a product to the market or to stimulate sluggish sales.

Discount Pricing for Product Introductions

No single discount pricing strategy works best in every situation. The strategy you employ rises from the particular product - especially its relevance to the market and its sales history.

One reason for offering a discount is to make a new product introduction into an event. The underlying strategy here is to announce a new product along with a special discount offer good for either a limited time or for a limited number of customers. This strategy calls attention to a new product by offering a lower price to those who respond fastest.

Ad Messaging for New Products

Ad copy for this kind of new-product promotion needs to demonstrate that you or your company is excited about the product. You can even make a virtue out of the difficulty of getting something new into a crowded marketplace by acknowledging the difficulty and offering the discount because you feel strongly that this is a product that deserves particular recognition.
"When my lead product developer brought X to me, I felt the kind of excitement you feel only a few times in your life as a marketer. Wow!"
Then, you explain why it's so great and, optionally, acknowledge how difficult it is to call attention to a product that is superior and innovative in a marketplace where these claims are common. The pitch concludes:
"That's when I decided that for our first 500 sales I was going to lower the price almost to our breaking point. For these first sales, the last thing I'm interested in is a profit. What I want to do is get it in your hands as fast as possible because when you understand what you've got, you're going to start talking about it to your friends. When they start buying, they'll tell their friends - and at that point, I'll raise the price to a point where we're not going to go broke!"
Pricing Strategies for a Product With Declining Sales

When you have a product with a long sales history that's suffering from declining sales, there are at least two good strategies to revive sales. The first works when the decline has to do with increased competition over price with competing products. Drop the price, of course, but the drop will either stimulate sales or have no great effect, depending on how you pitch it. One way is to call attention to your problem:
"Frankly, we're dropping our price to compete with competitors who've seen our success and entered the market with a cheaper product. I'd like to get X into the hands of new buyers who can then see the difference between X and our imitators. This price won't last forever, but for a limited time I'm going to not only meet but beat the low prices of our imitators."
The other approach is appropriate when a product is approaching the end of its sales cycle. That's when your approach is "Buy now before it's gone forever." You could, perhaps, pitch the product's illustrious history and pedigree and make it clear that this is the last chance to buy this unique product. You can use the same strategy to get rid of old stock.

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With a discount pricing strategy, the company will temporarily reduce the price of a product or service to introduce a product to the market or to stimulate sluggish sales. Take care, as a price drop can have a negative effect if buyers perceive it as a reflection on the product's true value.

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"...ASOS Places Inclusivity At The Front Of Their Agenda"

ASOS set the bar for inclusivity. They welcome every kind of human and embrace all shapes and sizes.

ASOS include wide fit shoes, curve clothes and many more. With is a weakness with Dr Martens, as they don't offer wide fit shoes, therefore losing out on that market who need a bigger fit.