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Industry Case Studies

"These analytical case studies explore sustainability aspects, methods, and business models across various industries. By examining sectors such as luxury fashion, automotive, and travel, I analyze how businesses integrate sustainable practices into their core operations. The case studies also highlight innovative solutions and compare best practices to inform future business strategies. This section showcases my skills in academic writing, with a focus on providing in-depth analysis and actionable insights across industries."

Published January 30, 2024

Norlha: “The king of the yak wool” – scaling up sustainable luxury on the Tibetan Plateau

 

Introduction

This case study analyses are about luxury yak wool company called Norlha on the Tibetan Plateau. The uniqueness of the Plateau is discussed along the Tibetan nomad’s lifestyle, their heritage, and problems they are facing in the modern world. Next, the founders of Norlha company are presented as well as Norhla’s business model including SWOT-analyses regarding Norhla’s current business model and its distinctive values towards diverse sustainability. Eventually, opportunities with Bureau of Commerce are discussed as well as possibilities to evolve Norlha’s business in the future.

1) The Tibetan Plateau, the Tibetan nomads and introduc4on to the founder of the Norlha project

The Tibetan Plateau is in 4500 m in altitude with about 2,5 million square kilometers of land. Local nomads have been growing and caring for their yaks and sheep over 3000 years in the area facing long arctic winters and short warm summers. The way the nomads have been moving naturally along the seasons together with strict local rules regarding herding have enabled to sustain natural ecosystems. (Yu & Arjalies, 2019: 1-2)

Nomad lifestyle has progressively become unpopular as young nomads aspire to go to schools in cities and dream of modern way of life in cities with technologies etc. However, due to their poor language skills the young nomads have difficulty to find jobs in cities. The nomad families staying in the Plateau increased their herd size and broke established rules, which have started to cause environmental problems i.e. grassland degradation. A big difference between the two ways of living – modern and traditional – have caused disruption amongst local youths. (Yu & Arjalies, 2019: 2)

Dechen Yeshi (later Dechen) is Tibetan-American woman, whose mother, Kimberly Yeshi, had dreamed of doing something good for the Tibetan plateau using yak wool and promoting local tradition. Dechen had studied photography and Asian studies in the USA. After her studies she went to the Tibetan Plateau because her mother sent her there to learn about the local culture. Dechen’s interest in the local Tibetan culture started to grow as she spend some time with the locals getting to know them and photographing them. Through her discussion with young local nomads who aspired the modern world Dechen developed an idea to unite the nomad tradition, yak wool and creating employment to locals. This project was called Norlha. (Norlha, 2012)

2) Norlha’s Business Model


In this chapter Norlha’s business model and its value proposition is presented. In addition, SWOT analyses is evaluated.

2.1. Business Model, Value proposition and SWOT

Norlha has a community-based business model where local tradition of herding yaks and sheep combined with high quality textile production made by people from the community. It uses vertically integrated model where the company is responsible for all business activities including designing, producing, and selling textile products. Norlha emphasizes the deep connection of the “terroir”, which considers land use from different aspects including environment, water, climate, and social aspects. (Yu & Arjalies, 2019: 2-3)

Norlha uses yak’s fine undercoat (khullu) which falls off once a year. Khullu has technical constrains due to its short fibers. Norlha uses only best quality khullu produced by two years old yaks. Design inspiration for Norlha textiles comes from the Tibetian Plateau landscapes. All the production and manufacturing stages are handled by the locally hired people creating a community based business, which creates value to local people as well as to nomads who sell their yak wool. (Yu & Arjalies, 2019: 3)

The best quality khullu, which is transformed to the finest yarn and then locally inspired textiles have such unique aspects combined with local tradition and community empowerment aspects that are hard to copy by others.

2.2. Diverse Strengths

 

Employment and well-being:

  • Employing people who come from families which have small herds.

  • Especially employing women who are divorced or have other difficulties to earn their livelihood.

  • Employing people who have no formal education or never left their home of their parents.

  • Positive impact on women: workshop is almost easy work compared to traditional nomad life where women are milking the animals from early morning until midnight. An opportunity earning their own money.

  • One salary/per family at Norlha enables to pay for basic needs, education etc. for the whole family.

  • Offer warm shelter, shower, and physical activities to its employees.

  • Employees’ dedication and believing in the project and doing their best to succeed by former nomads. (Norlha, 2012; Yu & Arjalies, 2019: 5)

 

Animal well-being:

  • The herders can earn their living by using the wool of their animals.

  • Supporting positive ethics: the herders don’t need to kill their animals. (Norlha, 2012)

  • Power of education:

  • Teaching nomads to read, calculate, speak languages, and attain IT- skills.

  • Learning cash flow management; nomads who previously had difficulties to flow their one time per year income over the year which may cause borrowing money and forcing to sell their animals to be able to pay back.

  • Education on land and environmental protection like collecting trash.

  • (Norlha, 2012; Yu & Arjalies, 2019: 5)

  • Cultivating culture:

  • Preservation of the Tibetan culture (language, traditions, believes).

  • Possibility for the employees to stay in their home village and maintain their religious life.

  • Enhancing local people to be proud of their culture. Creating their own future without losing the soul of their tradition. (Yu & Arjalies, 2019: 4-5)

Unique design and know-how:

  • Local nature inspired design.

  • Rare and high-quality products made by local and skilled workforce. High level of savoir-faire (know-how).

  • Sustainable Luxury award in 2012. (Yu & Arjalies, 2019: 3-4)

  • Emerging trend of renewal of craftmanship and culture inspired design – an artisanal way of doing increases the preciousness of products (Socha, 2021).

Brand image:

  • Authentic story illustrated with animals and local people surrounded by the local environment.

  • Uniqueness, high quality products, and its authenticity in storytelling. (Yu & Arjalies, 2019: 3-4)

  • Young generations look for brands that have strong message, strong values, and strong heritage, which guarantee the quality and has a story (Socha, 2021).

2.3. Weaknesses

  • The best quality khullu comes from two-years old yaks only.

  • After washing only 20% of raw material useable before spinning.

  • Long specific training of employees.

  • Isolated location, costly investments for facilities, electricity etc. (Yu & Arjalies, 2019: 3)

2.4. Promising Opportunities

  • Investing in the machinery: increasing local source of the yak wool, pay higher salary and be more competitive in the market.

  • Chinese luxury market shifts from mass luxury products to more sophisticated items.

  • Expansion from mainly Western luxury B2B to B2C in the Chinese market.

  • High salaries: paying 66% higher salaries compared to an average urban wage in the region. Attracting employees to stay.

  • Norlha is promoting sustainable livelihoods for nomads by utilizing their tradition and innovation in their traditional environment. (Norlha, 2012; Yu & Arjalies, 2019: 4)

  • “In recent years especially, Asian consumers have increasingly turned to heritage as a source of style inspiration” (Socha, 2021).

  • “Heritage means that luxury brands do not merely sway with the latest fashion fads, but focus on adapting traditions to create products that will last.” (Bendell & Kleanthous, P.32).

2.5. Potential Threaths

  • High salaries: paying 66% higher salaries compared to an average urban wage in the region.

  • Long and costly training to attain specific skills.

  • Limited formal education inhibits employees advancing in business development and onto management positions. (Yu & Arjalies, 2019: 3, 5, 12)

3) Collaboration opportunity with the Bureau of Commerce in the Gannan Tibetan Autonomous Prefecture

Norlha’s potential future moves, and their possible consequences are discussed in this chapter. I also present the co-creation value model and how Norlha and other stakeholders could benefit from it while promoting their diverse sustainable approach to product creation.

3.1. A way forward by using “Co-creative value modelling”

“Co-creative value model” includes four building blocks which include information access, multi -stakeholder cooperation, supply chain transparency and benefit and cost impacts. (Yang et al. 2017: 7)

The first step is to create an information access by developing a co-creation platform. This platform should include a complete information flow and product specification available not only to Norlha’s customers and partners but also to its stakeholders such as investors, workers, communities, competitors, the media, and public/political institutions. This platform could provide a service which allows the customers to co-create textiles for customized purposes i.e. choosing color, design, structure etc. from a library, and perhaps include owner’s name or other customized elements. Through this platform Norlha’s customers could do pre-orders before production to secure unique and valuable pieces for themselves. By doing so Norlha could use pre-paid resources into their further machinery and facility investments.

“Today’s social, environmental and cultural challenges are reminding us that true wealth is the ability to provide not only for one’s own needs, but for those of others” (Bendell & Kleanthous. P. 48)

The second step is to establish multi stakeholder co-operation including other brands and NGOs. (Yang et al. 2017: 7, 9-10).

In this building block Norlha could reinforce its cooperation with its existing customers like Hermes. Norlha could emphasize its animal friendly approach and show the business benefits of such behavior and help well-known brands to move forward with their sustainable initiatives i.e. looking for leather alternatives instead of killing the animals to produce needed materials.

Possibility to replicate its business model corresponds to its long-term strategy (enable people to stay and work in their local villages) but it is also human energy and resource costing (Dechen’s personal input and current managers’ input) (Yu & Arjalies, 2019: 8). Another aspect here is to look for opportunities how to cooperate with Norlha’s direct competition such as Khunu and mYak. Norlha unique approach to employees and animals’ well-being is so remarkable that its practices should be adopted by others within the industry.

By reinforcing its partnership with the local authorities and the Bureau of Commerce can be beneficial to not only to Norlha’s future investments but especially to local communities, their employment opportunities and culture enhancement. Training nomads from two competing villages can be challenging (Yu & Arjalies, 2019: 8). It could also be an opportunity to build unity and willingness to succeed together.

Norlha has had trouble to grow its business due to low formal education of the local people (Yu & Arjalies, 2019: 5). By strong collaboration with the authorities but also with local NGOs can help to build stronger formal and further education system that therefore can help local businesses to succeed. Through education the local communities can be informed about the environmental, social, and economic aspects, which again reinforces the local population and their capabilities to stay in their home villages and cultivate their landscapes and culture.

« There is nothing luxury about sweatshops. ‘Deeper Luxury’ highlights how luxury brands need to excel in how they treat their workers and local communities, just as they excel in design, quality and marketing. Only when they can demonstrate this will they be seen as a potential ally for social development, rather than merely a symptom – or even symbol – of inequalities worldwide. » Barry Coates, Oxfam, New Zealand

The third building block is about the supply chain transparency including the disclosures of production processes and raw material information by assuring green considerations from raw materials to finished products. (Yang et al. 2017: 7, 10-11).

Here essential actions are to calculate footprints of production of raw materials to finished products by using efficient calculation tool. Such report would need to include carbon emissions, water consumption, land use, air & water pollution, and resource waste information regarding the production processes.

Transparency on raw material information, in this case yak, could reveal practical information about yak herding, animal and nature protection possibilities and their impacts on environment but also socially on local communities.

How about creating a museum in Shanghai or in another big city to promote the tradition, heritage, and story about yak herding, presenting life and local culture in the Tibetian Plateau or creating films and (virtual) factory visits to engage with youth and through authentic story telling (Socha, 2021)?

Lastly benefit and cost building block will conclude the co-creative value model. Here the key is to be able to understand the benefit and cost associated with environmental impact by utilizing a calculation tool i.e., Environmental Profit and Loss (E P&L) reporting system, to help making better decision for the future business developments. (Yang et al. 2017: 7, 12). This block makes Norlha’s business decisions measured and helps to navigate especially in the unknown environment with more visibility.

Conclusions

There are sign of consumers’ preferences shifting from mass luxury products to more sophisticated items that represents heritage by adapting traditions to create products especially in Asia. Norlha has developed its business model from the beginning with strong social initiatives serving the local community by creating employment especially for women, providing education and informing about theenvironmental impacts concerning traditional way of living and aspirations of modern life while respecting cultural heritage.

According to this study Norlha’s community-based business model is forward thinking and creates many opportunities to do sustainable business from 1) social (local employment, competitive salary, education, community enhancement, equal opportunity), 2) environmental (respecting natural resources, preventing from pollutions, environmental management), and 3) economic (economic growth, research, and development) points of view, and in intersections of each aspect.

Norlha’s strengths are diverse and presents exciting opportunities moving forward as well as promoting values to its peers in multiple levels. Weaknesses and threats are evident but can be potentially adjusted with collaboration with multiple stakeholders including local authorities and even competition. In addition, Norlha has promising opportunities if it dares to invest and collaborate with its stakeholders as discussed in this paper when utilizing the co-creation value model.

My view is that Norlha’s future lays on collaboration, which is its core value from the beginning. It shall not be afraid to offer its hand to competitive brands but rather be a sustainable leader in social, environmental, and economic landscapes and therefore strengthen local economies as well as promote Tibetan tradition – the way of being and doing.

Preferences

  • Bendell, J. & Kleanthous, A., “Deeper Luxury, quality and style when the world matters”. WWF-UK. (Available: https://assets.wwf.org.uk/downloads/ luxury_report.pdf)

  • Norlha, 2012. Siemen’s Stories (A yak wool factory on the Tibetan Plateau). (Available: https://www.youtube.com/watch?v=MWL1HOjZJkY Accessed: 1/8/2022.)

  • Socha, M., 2021. “Why brands are leaning into heritage”. WWD, May, 4th, 2021. Avaialble: https://wwd.com/fashion-news/designer-luxury/luxury-fashion-heritage- chanel-dior1234792018-1234792018/. Accessed : 1/8/2022)

  • Yu, H. & Arjalies, D., 2019. “Norlha : Scaling up sustainable luxury on the Tibetan Plateau”. Ivey Publishing.

  • Yang, Y., Han, H. and Lee, P. 2017. “An Exploratory Study of the Mechanism of Sustainable Value Creation in the Luxury Fashion Industry”. MDPI.

Published June 2nd, 2023

Case Stella McCartney

“Stella McCartney’s integrity and personal values have brough her business success and inspiration for others”

 

Often luxury and sustainability are seen as contradictory to each other, but you may be surprised by what we can learn from the luxury sector in terms of responsibility and inspiration. This case study is presented in three parts due to its length and diverse insights. The following topics are discussed:

  1. What makes Stella McCartney's business successful? 

  2. How has McCartney made fashion more environmentally friendly? 

  3. Communicating sustainability.

The case study is written by Minna Piegay Rundgren.

 

 

Introduction

 

Stella McCartney is a fashion designer and a luxury brand based in the UK. Stella McCartney found her company, The House of Stella McCartney, after being a creative director of Cloe for a few years, as a joint venture with Gucci Group (later Kering Group) in London in 2001. Her personal values concerning animal rights and the environment are also her key values in her company since the beginning. Some of her key principles are not to use leather, skins, fur, or PVC in her creations. Another important aspect and consideration for Stella McCartney is to create fashion that is wearable, effortless, and timeless. Especially wearability is considered to be against traditional fashion norms. (Keinan & Crener, 2016, P.1-3)

“I think my design philosophy is to make clothes that allow women to reflect their inner confidence.” Stella McCartney (Keinan & Crener, 2016: 2)

 

  1. What makes Stella McCartney's business successful? 

 

In this chapter, Stella McCartney’s personal talent for design, and her conviction towards the environment and animal rights are discussed as well as her capacity for understanding business needs and evolving customer values.  Here her expression of vulnerability is showcased i.e., how she uses communication to express her values and human contradictions. A large portion of her business success is probably on her smartly chosen and diverse collaborations with NGOs to mass-market fashion companies. Eventually, in my view, it is necessary to discuss about Stella McCartney’s privileged status that allows her to be a change-maker in such a competitive luxury business.

 

​1.1. Talent and conviction toward the environment and animal rights

 

Stella McCartney has created her own strong style around “sharp tailoring, natural confidence, and sexy femininity” which she has kept in her design philosophy by creating beauty and desirable objects for her customers (Keinan & Crener, 2016: 2) and obviously, her talent for design must be a huge part of her success which is proven by several awards winnings and nominations throughout her career (Keinan & Crener, 2016: 19-22). In addition, Stella McCartney has strong personal values and integrity toward sustainability which she is not communicating through advertisement campaigns (Press, 2019).

 

Although Stella McCartney doesn’t classify herself as an activist i.e. in animal rights she is largely concerned about environmental matters including animals for example by using leather coming from livestock (by-product or not from the meat industry), which has enormous impact on environment including global warming, land degradation, air and water pollution and loss of biodiversity (Keinan & Crener, 2016: 5). Fashion is about the change and according to Stella McCartney “we are supposed to be at the cutting edge!” when she questions and refers to real fur using in the modern fashion (Keinan & Crener, 2016: 5).

“Who wants to talk about this season’s color or next’s? Sustainability is the only one I am interested in having”  - Stella McCartney (Press, 2019).

1.2. Understanding the business needs, evolving customer values, and expressing her personal vulnerability

 

Stella McCartney’s business has been improving since 2006. According to Kering Group’s annual report from the year of 2013 Stella McCartney has made an outstanding performance with its about 600 stores in over 70 countries. (Keinan & Crener, 2016: 5-6).

 

For such success, the leader needs to understand how consumer attitudes and behaviors are changing. According to Value Search’s Giovanna Brambilla: “Consumers are changing their tastes and requests, showing increased selectiveness, and McCartney is corresponding to this niche market demand” (Keinan & Crener, 2016: 6).

 

In addition to women’s wear, McCartney has launched for example lingerie, accessories, and kids’ wear ranges to enlarge her offering. Even though Stella McCartney is a luxe brand it does offer affordable price points in certain pieces for a larger consumer base. (Keinan & Crener, 2016: 7)

 

Stella McCartney seems in her communication trying to be transparent and showcase potential problems of the fashion industry but also about her own company. Therefore, she doesn’t claim to be perfect therefore “Something is better than nothing” -philosophy guides her decision making (Keinan & Crener, 2016: 7). This way of communicating can also release her from being caught of doing something bad or non-ecological like flying. With such a human attitude and showing vulnerability can have a positive outlook towards her customers and hopefully towards the competition.

 

1.3. Diverse collaborations

 

Several collaborations i.e. with Madonna, Disney, Adidas, and H&M have increased the visibility of the brand but also contributed to its business success. By doing such collaborations have allowed Stella McCartney to introduce her sustainability values to larger audiences like customers and partners. However, i.e., her long-term collaboration with Adidas was initially motivated by underestimated women’s wear that was not thoughtful enough according to Stella, so she wanted “bring femininity into performance wear” (Keinan & Crener, 2016: 7). Stella McCartney was also appointed by Adidas as a creative director for the London Olympic outfits’ design for Great Britain’s team in 2012, which was the first time to have a leading fashion designer in such position (Keinan & Crener, 2016: 7).

 

Stella McCartney's collab project with H&M was sold out in record time and Financial Times’s Vanessa Friedman noted this as “a smart choice” to gain brand visibility. In addition, Stella McCartney’s creations were affordable for the mass market. (Keinan & Crener, 2016: 8)

 

Notably, Stella McCartney’s collaborations with Adidas and H&M could have been risky strategic decisions as those two companies are operating in the mass market sector of fashion. This kind of collaboration could have potentially harmed Stella’s own image as a sustainable and considered luxury brand. As both collab collections were sold out quickly we can assume that her decision to go for such projects has brought her new consumers but also brought visibility and opportunity to embrace her values regarding environmental matters but also has given opportunities to influence her collab partners on sustainability.

 

There are numerous other collaborations that Stella McCartney has participated in and that have brought visibility to her business and sustainability efforts. One of the initiatives included working together with United Nations International Trade Centre’s Ethical Fashion Initiative to create hand-made bags in Kenya. “Not Charity. Just Work.” -phrase stands for connecting fashion businesses with 7000 artisans in Africa and Haiti to increase female employment, promote gender equity and increase the export capacities in the local economies. (Keinan & Crener, 2016: 10)

 

1.4. Privileged status

 

Last but probably not least important factor in Stella McCartney’s success is her privileged status based on her wealthy childhood family and acknowledging that even if her business endeavors wouldn’t work out, she and her family would be fine without financial constraints (Keinan & Crener, 2016: 10). By having such liberty to test her values and integrity in the highly competitive fashion business cannot be ignored as a business successor. Such status together with her personal traits of curiosity and challenging the status quo has pushed Stella McCartney to attempt and influence to revolutionize the fashion industry rather than just doing sustainable capsule collections (Press, 2019).

 

Stella McCartney’s interest is “in the art of fashion rather than in fashion itself”. (Keinan & Crener, 2016: 3)

2. How McCartney made fashion more environmentally friendly? 

 

In this chapter, several topics are discussed to showcase how Stella McCartney is making her fashion more environmentally friendly. First, her collaborations with different NGOs and positive outcomes are introduced along with the other commitments to reduce her carbon footprint. Second, her innovative and animal-free material choices and why she promotes organic materials in her collections are presented. Also, how Stella McCartney uses traceability and smart systems to enhance circularity and inform her business decisions is discussed. Then, what kind of services she is providing or collaborating with to serve her customers and enhance circularity in her business as well as how she believes in the power of sharing the best practices with the competition is discussed. Lastly, any other initiatives or practices that are enhancing environmental impact are discussed at the end of this chapter.

 

2.1. Collaboration with NGOs

 

A partnership with Canadian-based and women-led NGO Canopy made Stella McCartney commit to zero deforestation as a company, meaning that its viscose and rayon material comes from certified forests. Canopy is working to protect forests and increase awareness about the fact that about 1/3 of rayon/viscose fibers come from endangered forests globally. 100 million trees are cut yearly to produce man-made cellulose fibers. (Keinan & Crener, 2016: 11, Press, 2019)

 

Stella McCartney has signed COP21 Commitment which includes decarbonization by 2050 and committing to science-based targets and methodologies (Press, 2019). With such commitment, Stella McCartney is part of a larger and more impactful initiative that is directly measurable and visible to the public.

 

2.2. Innovative and healthy raw material sources

 

Stella McCartney uses only vegetarian materials, no leather, skin, or fur. For example, leather goods take about 40-50 years to biodegrade due to the heavy processes that are used in the manufacturing phases. McCartney instead looks for lab-grown alternatives and eagerly works across industries to find effective processes i.e., in PE-recycling or how to capture greenhouse gas emissions. McCartney also values working together with innovative startups to find sustainable solutions like new sustainable materials. Using leather alternatives made of PE with locally sourced vegan oil coating is not a perfect solution in terms of ecology but corresponds to not harming animals. (Keinan & Crener, 2016: 13, Press, 2019)

 

For Stella McCartney like for other fashion brands cotton is one of the main materials used in the fashion industry. Therefore, ensuring the raw material origin of cotton is key. Cotton growing starts from farming practices including the use of governed crops that improve productivity and the use of compost that maintains the soil health and locks carbon back into the soil. Although it takes about three years to transform a traditional cotton field into an organic one, the organic cotton field can produce three times more cotton than traditional cotton fields. (Press, 2019)

 

2.3. Traceability and utilizing smart systems

 

Stella McCartney is working with a company called Ion which is producing digital identity tags for each product to increase the traceability and circularity of the products. It is important to note that traceability alone doesn’t necessarily mean sustainability. I.e., publishing a factory list doesn’t provide enough clarity on the whole supply chain and it is too complex for consumers to understand. (Press, 2019)

 

Being able to trace her products can help build an effective circular system and provides future opportunities to manage products but also involve customers in the circular system. In the luxury sector product desirability and preciousness are often highlighted as part of luxury values. Proving “identity” for fashion items (just like in Rolex watches) can create a completely new emotional dimension in terms of ownership and exclusivity.

 

The Environmental Profit&Loss reporting system helps Stella McCartney to monitor the business, calculate environmental footprints from the production of raw materials to finished products, and therefore helps to take measured business decisions having ecological aspects in mind. (Yang et al. 2017, P. 12).

 

2.4. Offering services, collaborating with service providers, and sharing best practices

 

Stella McCartney offers preparation services to make products last longer (Press, 2019). According to Stella McCartney, she is not afraid of losing her business even if people wore their clothes for 20 years (BBC Newsnight). The impact extending nine months of active use of clothing could reduce carbon, water, and waste footprints by about 20-30% each and cut resource costs by 20% (slides week 3: 41).

 

Stella McCartney is using a re-sell service platform called “Real Real” which sells used luxury products for a lower price and therefore keeps products longer in the lifecycle. Stella McCartney also collects its factory waste which is sent to the recyclers and collaborates with “Ever New” -a company to process cotton waste. (Press, 2019)

 

Stella McCartney Foundation shares the best practices with others to increase awareness and success of sustainability within the fashion industry (Press, 2019).

 

2.5. Other aspects considering the environmental impact

 

Other points of ecological considerations are to use green energy in the stores and offices as well as make ecological choices for store design and furniture as well as consider recycled packaging content (Keinan & Crener, 2016: 13).

 

Stella McCartney is using the “Cradle to Cradle” framework which helps to maintain nutrition in a circular system without losing its value and to develop innovative materials, which is part of the Fashion Positive Initiative (Keinan & Crener, 2016: 14).

 

Support of the Wildlife-friendly Entreprise Network which supports threatened wildlife and contributes to economic vitality in rural areas is another example of Stella McCartney’s endeavors towards the environment (Keinan & Crener, 2016: 15).

 

As a part of Kering Group Stella McCartney is committed to Group’s shared goals regarding the society and environment i.e., by reducing carbon emissions by 25%, using a minimum of 50% of recycled material in packaging, and eliminating the use of hazardous chemicals by 100% (Keinan & Crener, 2016: 15).

 

Stella McCartney, although not identifying herself as an activist, launched “meat-free Mondays” already in 2009 to encourage people to reduce meat consumption (Keinan & Crener, 2016: 19).

3. Communicating sustainability

 

Sustainability has been a central element of Stella McCartney's brand's DNA from the start. However, this dimension had never been a fundamental aspect of Stella McCartney's advertising and communication campaigns. In this chapter the following topics are discussed: luxury and fashion in a socio-cultural context, sustainability as a business opportunity, accuracy of some trends forecasted ten years ago, and how these aspects could influence luxury brands to take decisions regarding communication and advertisement.

 

First, it is useful to look at the role of luxury and fashion in a social context. Fashion is a cultural indicator of what is going on in our society where our clothing is a “language by which we are judged: a shorthand that allows us to communicate with others, and an expression of our feelings of self-worth or status” (Keinan & Crener, 2016: 27). According to Jordan Phillips the luxury industry is responsible for leading sustainable agenda and transparency as the luxury brands are often copied by the mass market (Keinan & Crener, 2016: 28). Moreover, according to Jonathan Kendall luxury is an aspirational industry-leading how people live, consume, and look (Keinan & Crener, 2016: 29).

 

Secondly, according to Ellen McArthur and Stella McCartney sustainability is about 500 billion US dollars in the opportunity to reuse waste and they suggest that the waste problem could be seen as a business opportunity when using creativity to reduce and reuse waste by working together and by creating new businesses (BBC Newsnight). According to McKinsey report (2017) Circular economy has an enormous business potential of up to 600 billion Euros annually and could even present 1,2 trillion Euros in economic benefits by 2030 in the EU alone (slides week 3: 9).

 

According to Bendell (2012: 7-10) there are five trends forecasted in 2012 that were to impact the luxury market. These forecasted trends were:

1) Evolving tastes where conspicuous consumption and luxury brands are more often questioned, luxury has lost its mystique in the West due to the financial crisis, and therefore behavior and motivations are to be reassessed. New small-volume companies might address new tastes and aspirations more easily than big brands.

2) Critical transparency where consumers are noticing decreasing craftsmanship and quality on luxury products, environmental and ethical actions are expected as well as social conscience increasing including child labor. This trend also includes consumer awareness of production processes which become equally important to the product itself.

3) Hyperconnectivity refers to people’s participation rating what is in or out through social media platforms. Consumers are expecting true stories not fictional ones from brands. Clear and meaningful identity showcased together with its operations and ownership important to customers. Social media is connecting both consumers with each other as well as people working in the industry to share their experiences.

4) Geographical shift from the West to the rest makes Western culture look less attractive and proposes that there can be multiple ideas about what is “progress” and the “good life” depending on time and place.

5) Transmodernism era of thought, design, art, and fashion embracing spirituality, diversity, ecology, and interconnectedness.

 

So, by combining the cultural aspects and the role of luxury and fashion discussed at the beginning of this chapter we can conclude that they both are instant communication vehicles as such for the consumers as well as for the brands. According to Dilys Williams (Press, 2018) we wear our values whether consciously or unconsciously.

 

Secondly, when resuming the business opportunities presented regarding circularity and reuse of waste, we can assume that sustainability is good business by its own means. Therefore, by investing in advertising and communication about sustainability looks like an unnecessary cost.

 

Moreover, according to Bendell (2012: 15) already ten years ago within 24 hours about 80 000 acres of tropical forest are cut, a million tons of wastewater were released into nature, 98 000 people died of starvation including a large percentage of children, 137 species extinct and about two million people taking a day off due to stress or depression. Therefore, communicating or advertising about companies’ environmental efforts seems somehow strange in modern times where the news is exploded by environmental crises including climate change, burning forests, social inequalities, etc.

 

Eventually, when reviewing Bendell’s trend forecasting ten years ago starting with evolving tastes combined with another interesting aspect regarding status obtained by luxurious products versus moral questions towards the planet etc. according to Chris Sanderson “ instead of conspicuous consumption, a conspicuous abstention is emerging” (Keinan & Crener, 2016: 31). Based on those observations luxury brands shall be cautious about their communication and advertising campaigns and about the message they want to impose concerning the risks that may look like “greenwashing”. Especially this may be a concern for big and well-known companies. Small and new companies may benefit by communicating their ambitions on sustainability and by doing so they may be advocators and educators towards their customers.

 

Regarding critical transparency, if a brand can assure its quality for example by local manufacturing practices and by doing so telling a story of an artisanal way of creating products and therefore could inspire its customers as well as support the local economy for real then communicating about it could be relevant. Additionally, being able to reveal the brand’s production processes could be useful for both customers and brands to increase trust and embrace good practices within the industry.

 

Obviously, the hyper-connectivity trend is largely showcased in the modern world. By showing true faces and actual professionals creating the products is a very actual practice from the luxury brands to the mass market companies. Social media is filled with company employees including the leadership team promoting the brand. Certainly, professional connectivity and sharing through I.e. LinkedIn and Glassdoor empowers professionals to rapidly know other companies’ values and therefore enables talented people to change jobs according to their personal values for example in sustainability. Concerning the hyper-connectivity and its abilities the brands shall be careful what they present in public because if they are not being authentic, it can quickly backfire through social media.

 

Also, the geographical shift from West to East is a reality. A number of stores opened in Asian cities and investments going towards Asia is evident. The majority of new customers are based in rising countries like China where middle glass and their shopping power are emerging in a phase that has never been seen before. Brands communication has changed from a traditional Western, white woman presenting luxury to Asian origin models.

 

Eventually, trans modernism as a trend looks interesting and thought-provoking and is connected to issues that the world is facing today through ecological and social crises. If the luxury brands can visualize and tell meaningful stories that could open new venues to communicate about sustainability for the sake of education.

 

To conclude my analyses about recommendations regarding communication and advertisement referring to sustainability there are pros and cons as discussed above.  I like to finish my analyses with the words of Stella McCartney: “Circularity and reusing waste can be sexy, fun and exciting while bringing newness” into fashion (BBC Newsnight). This ethos can inspire designers as well as all stakeholders involved in the luxury industry.

References

 

BBC Newsnight, “Stella McCartney and Ellen MacArthur on fashion sustainability”. Accessed 25/7/2022, Available on https://www.youtube.com/watch?v=gSErk0NfDlk&t=3s)

 

Bendell, J., 2012. “Elegant Disruption: How luxury and society can change each other for good “, AP WIPPs Asia Pacific Work In Progress research Papers series. Issue 9, August 2012.

Keinan, A. & Crener, S., 2016. “Stella McCartney”. Harvard Business School, 22/11/2016.

 

Press, C. , 2018. Wardrobe Crisis with Claire Press - podcast. 31/10/2018. “60. Fashion Education - Dilys Williams & The Centre for Sustainable Fashion - London”. Avaialable on iTunes.

 

Press, C. , 2019. Wardrobe Crisis with Claire Press - podcast. 12/3/2019. “Stella McCartney’s Secret Weapon” interview with Claire Bergkamp. Avaialable on iTunes.

 

Yang, Y., Han, H. and Lee, P.  2017. “An Exploratory Study of the Mechanism of Sustainable Value Creation in the Luxury Fashion Industry”. MDPI.

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