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Edited by Frederica Brooksworth
Emmanuel Mogaji · Genevieve Bosah
Fashion Marketing in
Emerging Economies
Volume II
South American, Asian and
African Perspectives
PALGRAVE STUDIES OF
MARKETING IN EMERGING ECONOMIES
Palgrave Studies of Marketing in Emerging
Economies
Series Editors
RobertEHinson
Dept of Marketing and Entrepreneurship
University of Ghana Business School
Accra,Ghana
OgechiAdeola
Pan-Atlantic University
Lagos Business School
Lagos,Nigeria
is book series focuses on contemporary themes in marketing and mar-
keting management research in emerging markets and developing econo-
mies. Books in the series cover the BRICS (Brazil, Russia, India, China
and South Africa), MINT (Mexico, Indonesia, Nigeria and Turkey),
CIVETS (Colombia, Indonesia, Vietnam, Egypt, Turkey, and South
Africa); EAGLE economies (those which are expected to lead growth in
the next ten years, such as Brazil, China, India, Indonesia, South Korea,
Mexico, Russia, Taiwan, and Turkey) and all other African countries
(classied under developing countries), taking into consideration the
demographic, socio-cultural and macro-economic factors inuencing
consumer choices in these markets. e series synthesizes key subject
areas in marketing, discuss marketing issues, processes, procedures and
strategies across communities, regions and continents, and also the way
digital innovation is changing the business landscape in emerging
economies.
Palgrave Studies of Marketing in Emerging Economies presents a unique
opportunity to examine and discuss marketing strategy and its implica-
tions in emerging economies, thereby lling a gap in current marketing
literature.
All chapter submissions to the series will undergo a double blind peer
review and all book proposals will undergo a single blind peer review.
Frederica Brooksworth
Emmanuel Mogaji • Genevieve Bosah
Editors
Fashion Marketing in
Emerging Economies
Volume II
South American, Asian andAfrican
Perspectives
ISSN 2730-5554 ISSN 2730-5562 (electronic)
Palgrave Studies of Marketing in Emerging Economies
ISBN 978-3-031-07077-8 ISBN 978-3-031-07078-5 (eBook)
https://doi.org/10.1007/978-3-031-07078-5
© e Editor(s) (if applicable) and e Author(s), under exclusive licence to Springer Nature
Switzerland AG 2023
is work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether
the whole or part of the material is concerned, specically the rights of translation, reprinting, reuse of
illustrations, recitation, broadcasting, reproduction on microlms or in any other physical way, and
transmission or information storage and retrieval, electronic adaptation, computer software, or by similar
or dissimilar methodology now known or hereafter developed.
e use of general descriptive names, registered names, trademarks, service marks, etc. in this publication
does not imply, even in the absence of a specic statement, that such names are exempt from the relevant
protective laws and regulations and therefore free for general use.
e publisher, the authors, and the editors are safe to assume that the advice and information in this book
are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or
the editors give a warranty, expressed or implied, with respect to the material contained herein or for any
errors or omissions that may have been made. e publisher remains neutral with regard to jurisdictional
claims in published maps and institutional aliations.
is Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG.
e registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Editors
Frederica Brooksworth
Fashion Education Group
London, UK
Genevieve Bosah
University of Hertfordshire
Hateld, UK
Emmanuel Mogaji
Greenwich Business School
University of Greenwich
London, UK
v
Part I An Introduction 1
1 Fashion Marketing in Emerging Economies Volume II:
South American, Asian and African Perspectives 3
Frederica Brooksworth, Emmanuel Mogaji, and
Genevieve Bosah
Part II Fashion Marketing in Emerging Economies: South
American and Asian Perspectives 17
2 Fashioning the Future Generation: Generation Z Indian
Consumers’ Attitudes Towards Western and Indian Fashion 19
Aurore Bardey, Utkarsha Mehdiratta, and Rose Turner
3 A Closer Look at the Menswear Market in Brazil 49
Fábio Shimabukuro Sandes
4 e Power of Neuromarketing: Taking Luxury Fashion
Marketing in Southeast Asia Markets to a Whole New Level 73
Mamun Ala, Sumesh Nair, and Tareq Rasul
Contents
vi Contents
5 Aoat in a Changing COVID-19 World: e Rise of
Artisanal Fashion in India for Brand Story Relevance
in Challenging Times 99
Pandora Kay and Caroline Young
Part III Fashion Marketing in Emerging Economies: African
Perspectives 161
6 Towards Understanding How Nigerian Fashion Brands
Inuence Customer Purchasing Behaviour. A Case
Study of Nigerian Fashion Brands 163
Damilola Joseph
7 South Africa: A Snapshot of Contemporary Fashion Retail 189
Ken Kweku Nimo
8 e Rise of Female Empowerment in Egypt: e Fashion
Psychology Behind eir Attire and Armour 213
Yasmina Nessim and Aurore Bardey
9 Fashion Analytics in Africa and Middle East: Strategies,
Tools, and Insights for Fashion Brands 241
Coy Grin
Part IV Conclusion 269
10 South American, Asian and African Perspectives in
Fashion Marketing: Conclusion and Research Agenda 271
Frederica Brooksworth, Emmanuel Mogaji, and
Genevieve Bosah
Index 287
vii
Mamun Ala is Lecturer in Strategic Management and International
Business at the Australian Institute of Business. He holds a PhD in
Applied Economics from the University of South Australia (UniSA) and
a GradCert in L&T from Swinburne University. He has long experience
in teaching in higher education institutions, including UniSA and
Flinders University. His research interests include teaching and learning,
entrepreneurship, international competitiveness, political economy and
industrial policy.
Aurore Bardey is Associate Professor of Marketing at the Burgundy
School of Business. Having designed the BSc (Hons) Psychology of
Fashion, her expertise sits in applying psychology in fashion. Her research
interests fall into three topics: (1) applying cognitive and experimental
psychology concepts to enhance green consumer behaviour in fashion;
(2) applying social psychology concepts to assess the impact of inclusive
fashion on consumers; and (3) evaluating the impact of fashion on well-
being and cognitive performance.
GenevieveBosah is a Senior Lecturer at the University of Hertfordshire
where she teaches and researches in Public Relations, Corporate
Communications, Media and Branding. She is the Programme Leader
Notes on Contributors
viii Notes on Contributors
for the MA Journalism and Media Communications and the newly
developed MA Public Relations and Digital Communications. She is the
Convenor/Founder of African PhD Scholars Network. She is a chartered
practitioner of the Chartered Institute of Public Relations (CIPR) UK
and board member of Public Relations and Communications Association
(PRCA) UK qualications board.
FredericaBrooksworth is a British-Ghanaian academic, researcher, strate-
gist, editor and author. She is the executive director of the Fashion Education
Group which comprises initiatives such as the Council for International
African Fashion Education (CIAFE), Professional Development and the
Fashion Knowledge Challenge. Brooksworth is also regional editor (Africa)
of Bloomsbury Publishing for Fashion Business Cases.
Brooksworth has taught at numerous universities and is a lecturer at
the London College of Fashion, British School of Fashion, Hult
International Business School and Conde Nast College of Fashion and
Design. She is a board member at BlueCrest University College.
CoyGrin is a TEDx speaker, fashion analyst and fashion-tech enthusi-
ast. Grin is a guest lecturer specialising in fashion analytics, technology
and operations with experience in teaching at Virginia State University and
the London College of Fashion. She has also worked with Nike and Black
Girls Code. Grin works with fashion organisations to integrate the latest
technological innovations with the creative world. She has been featured in
media outlets such as Blavity and NewYork Fashion Week and often par-
ticipates in educational and interactive events in Accra, Ghana.
Damilola Joseph holds a PhD in Strategy, Enterprise and Innovations
from Portsmouth Business School. She is a lecturer at Teesside University
Business School and teaches across a range of modules like research meth-
ods, enterprise and practice, and the relationship between buying and sell-
ing. She also supervises undergraduate, postgraduate and doctoral students.
PandoraKay has a life-long passion for fashion and creative industries
and, as a marketing academic, is excited by recent research on intersec-
tions between them. She has rst-hand experience in the arts, cultural
ix Notes on Contributors
and creative industries as a practitioner, as an administrator and recently
as a collector, patron, philanthropist and fundraiser.
Utkarsha Mehdiratta is a rst-class honours graduate from London
College of Fashion, where she studied BSc (Hons) Psychology of Fashion.
She was born and brought up in India and is now pursuing her post-
graduate studies and research at Goldsmiths, University of London. She
was a recipient of the BPS Undergraduate Research Assistantship Scheme
Award in 2019. Her area of research includes understanding consumers’
attitudes and behaviour towards sustainability and inclusive fashion; the
psychological principles of eect and persuasion involved in consumer
decision-making; and the evolving relationship between technology,
data, and consumer behaviour.
Emmanuel Mogaji is Senior Lecturer in Advertising and Marketing
Communications at the University of Greenwich. His primary area of
interest is ABCDE of marketing communications—advertising, brand-
ing, communications, digital and ethics. He has authored and edited over
ten books on branding, fashion marketing and higher education.
SumeshNair works at the Australian Institute of Business as a senior
lecturer, and he previously worked with Monash and Murdoch
Universities for 11 years. His research appeared in the Journal of
Macromarketing, Journal of International Consumer Marketing, Business
Strategy and the Environment and Ergonomics, to name a few.
YasminaNessim is the founder and CEO of pstyled—the world’s rst-
ever styling service that uses fashion psychology to optimise mood and
productivity. Her initial academic background is in business manage-
ment from King’s College London and an MSc in Strategic Marketing
from Imperial College in London. She holds a second MSc degree in
Applied Psychology of Fashion from the London College of Fashion. She
conducts her scientic research proving the signicant correlation
between outt curation and the human psyche, focusing on emotive uc-
tuations, productivity levels and self-expression. Consequently, pstyled
x Notes on Contributors
was born. She is running the business from Cairo, Egypt, but continues
to collaborate and cater to both men and women across the globe.
KenKwekuNimo is pursuing an MA in fashion design at the University
of Johannesburg. His research focuses on luxury in Africa, with a specic
interest in South Africa’s emerging luxury fashion industry. He believes in
the fashion industry’s potential as a vehicle for job and wealth creation.
He seeks to contribute to the development of local luxury fashion brands
through research and practice. He is keen on charting the history of lux-
ury across diverse cultures in Africa and developing and managing local
and international luxury brands on the continent.
Tareq Rasul is a senior lecturer at the Australian Institute of Business,
Australia. He holds a doctorate in marketing from the University of South
Australia, Australia, and an MBA from East London, UK.His research has
been published in many international journals such as Australasian Journal
of Information Systems, Tourism Recreation Research, Journal of Strategic
Marketing, International Journal of Web-Based Communities, Journal of
Knowledge Management and Journal of Open Innovation: Technology Market,
and Complexity. He is also a Certied Practising Marketer (CPM) and a
member of Australian Marketing Institute (AMI) and Action Learning
Action Research Association (ALARA).
Fábio Shimabukuro Sandes is Assistant Professor of Marketing at
Universidade Lusófona. Marketing professional with 15+ years of work in
the Fashion Industry, working in multinational companies like Vicunha
Textil and LYCRA® Brand. Sandes holds an MSc and PhD degrees in
Marketing at EAESP Fundação Getulio Vargas, São Paulo, Brazil.
RoseTurner is a cognitive scientist and Lecturer in Psychology at UAL:
London College of Fashion. She studies relationships between engage-
ment with stories and artistic practices, empathy and sustainability.
Having previously worked as a theatre artist taking creative arts interven-
tions into education, criminal justice and social care contexts, she is inter-
xi Notes on Contributors
ested in the real-world impact of arts engagement and research methods,
emphasising quantitative approaches and statistics.
CarolineYoung is a creative diplomat; her innate understanding of cul-
tural and creative sensibilities encompass decades of collaborating with
exceptional creative visionaries, including Vogue, Hermes, Balenciaga,
Shiseido, Peter Saville, Brian Eno, Peter Lindbergh, Joyce Ma and Li
Edelkoort. She studied art history and then lived in London, Paris, Milan,
Tokyo, and India since 2005.
xiii
Table 2.1 Foreign brands launched (by entry year) in India from the
late 1980s to 2007 (from Son, 2011) 22
Table 2.2 e decision-making characteristics of Indian consumers
(adapted from Mishra, 2010) 24
Table 2.3 Superordinate and subordinate themes highlighted by Study
1 IPA analysis. Note that P1 stands for Participant 1, P2 for
Participant 2 and so on 28
Table 2.4 Means (and standard deviations) for awareness, quality,
association, and loyalty across the three fashion categories
(Western fast fashion, traditional Indian fashion) and
branded Indian fashion 35
Table 2.5 Means (with standard deviations) and correlations between
sustainability dimensions 35
Table 3.1 Experts interviewed information 52
Table 5.1 Indian fashion cases: company and brand details 122
Table 5.2 Indian fashion cases: branding summary 148
List of Tables
Part I
An Introduction
3
1
Fashion Marketing inEmerging
Economies Volume II: South American,
Asian andAfrican Perspectives
FredericaBrooksworth, EmmanuelMogaji,
andGenevieveBosah
Introduction
Emerging economies have often been under-researched, and models of
comparison to global markets are ill-suited to conceptualize the contex-
tual factors that are specic to the market. ere is a growing interest and
research in this area which poses challenges for existing models and the
need for adaptation or creation of hybrid models for market integration,
segmentation and consumption. e new models also contribute to
F. Brooksworth (*)
Fashion Education Group, London, UK
e-mail: frederica@internationalfashioneducation.org
E. Mogaji
Greenwich Business School, University of Greenwich, London, UK
e-mail: e.o.mogaji@greenwich.ac.uk
G. Bosah
University of Hertfordshire, Hertfordshire, UK
e-mail: g.bosah@herts.ac.uk
© e Author(s), under exclusive license to Springer Nature Switzerland AG 2023
F. Brooksworth et al. (eds.), Fashion Marketing in Emerging Economies Volume II,
Palgrave Studies of Marketing in Emerging Economies,
https://doi.org/10.1007/978-3-031-07078-5_1
4
economic growth, employment and productivity because of the inte-
grated ecosystems of operation. ese emerging markets have become
co- creation hubs for the societies in which they operate. is book high-
lights the dierent perspectives in such markets by presenting empirical
evidence on strategies and tools employed by the contributors in this
volume to unpack the evolving phenomenon in the Fashion Markets in
markets considered emerging.
e term “emerging markets” is dened as developing countries with
high growth expectations and increasing inuence, which have proven to
become more attractive to investors because of their high return potential
(Wilson 20,026). ese countries considered as emerging markets are
characterized by the level of economic development, economic growth
and market governance by Czinkota and Ronkainen (1997). Emerging
Economies are home to approximately 80% of the world’s population
(Alon and Welsh, 2001), and constitute the primary destinations not
only for exports but also for direct investment, as more and more equity
investors are seeking opportunities in these economies. According to
Cavusgil, Ghauri and Agarwal (2002), emerging markets will be respon-
sible for a high share of the world’s growth in the next two decades as they
are rapidly transforming their economies. Cities within emerging mar-
kets also provide the most dynamic opportunities and varying market
potentials for companies mostly in developed countries to extend their
markets.
According to the Financial Times and Stock Exchange (FTSE), the
countries identied as emerging markets propelling consistent economic
growth and active across all sectors of the economy are Brazil, the Czech
Republic, Hungary, Mexico, Malaysia, Poland, South Africa, Turkey and
Taiwan. e secondary emerging countries are Chile, China, Columbia,
Egypt, India, Indonesia, Malaysia, Morocco, Pakistan, Peru, the
Philippines, Russia, ailand and the UAE (FTSE, 2012), with Brazil,
Russia, India, China and South Africa (BRICS) being the most popular,
and their capacity to provide investors with higher prots and boost the
world economy cannot be underestimated (Goldman Sachs, 2003).
Mexico, Indonesia, South Korea and Turkey (MIST), which followed
years later as the second tier of nations. According to Goldman Sachs’
projections, within the next 20 years, BRICS will add to their
F. Brooksworth et al.
5
populations some 225 million “middle class” consumers who earn at least
US$ 15,000 a year. e economy of BRICS will overtake the U.S., Japan,
Germany, France, the UK, Italy and Canada by 2040 (BusinessWeek,
2006). According to Hanlon Investment Management, the market capi-
talization of emerging markets are as follows: China 38%, India 10.9%,
South Korea 8.7%, Taiwan 6.3%, Brazil 5.0%, Russia 3.2%, South Africa
2.8%., ailand 2.8%, Saudi Arabia 2.5%, Indonesia 2.5%, Malaysia
2.3%, Mexico 1.9%, and all other emerging markets represent 13.0%.
Emerging markets oer several advantages to equity investors. ey
include, but are not limited to, an expanding middle class necessary for
e-commerce and retail to excel, relatively unsaturated markets, urbanized
and highly populated cities, for the most part, a growing youth market,
free trade zones, relatively friendly business laws, liberalized markets and
transitioning economies, and a huge pent-up demand for Western-style
goods and services.
Fashion inEmerging Markets
How is fashion looking like in emerging markets? It is estimated that by
2035, the gross domestic product of emerging markets will permanently
surpass that of all advanced markets (Wilson and Purushothaman 2003).
Emerging markets have enormous raw material advantages ranging from
human capital (China, India), industrial raw materials (Brazil, Central
America), energy (Russia, Nigeria) and other natural resources (Peru,
Africa). Many of these markets also have strong agricultural (Brazil) and
cattle-based natural resources (India). With developing markets becom-
ing saturated, equity investors have turned to emerging markets for
future growth.
e fashion multinational industries in emerging markets have been
widely acknowledged as important global players and have initiated
unique strategies that aid the development of these industries. Since the
term “BRICS” was coined (O’Neill, 2001), much has been learned over
the past decades on mature and developed markets; yet our knowledge is
incomplete on several major issues happening in emerging markets that
oer a variety of opportunities, whether it is sourcing, producing, selling,
1 Fashion Marketing in Emerging Economies Volume II: South…
6
disposal or engaging in other relevant activities and conversations along
the fashion value chain and some of the world’s most important issues
(Cavusgil, Ghauri & Agarwal, 2002). e paucity of historical Literature
on Emerging Economies is part of the reason why researchers interested
in the eld have come together with the ultimate goal of shaping the
agenda for research work on Fashion Marketing in Emerging Economies
through identifying Fashion Multinational Corporations, interesting
research topics, collaborating, exploring and sharing insights and nd-
ings from the eld on fashion marketing strategies in emerging econo-
mies (Agarwal & Malhotra, 2019; Malhotra, Schaller, & Patil, 2017;
Malhotra & Uslay, 2018, Mogaji etal., 2022).
Fashion is one of the most important and competitive industries in the
world, and emerging markets are employing the right tools and strategies
to keep up with the competition. It is one of the most progressing indus-
tries in the world and worth billions (Australian Bureau of Statistics,
2009). e fashion multinational apparel industries in emerging markets
have undergone profound transformation due to various changes in the
business environment; eorts have been made to improve technology,
design, business management and service delivery (Mogaji, 2021), which
have results in an intensied global competition in the emerging market’s
fashion businesses. e industrial sectors in emerging markets have seen
a rapid growth and are playing a vital role in the global economy by con-
tributing to shaping international standards (Allwood, Laursen,
De-Rodriguez and Bocken, 2006, Mukonza etal., 2021).
With the rise of fashion consumption and industrial upgrading, fash-
ion in emerging economies has emerged as a lucrative business model as
they have been successful in attracting global equity investors and oer
arguably the widest array of market opportunities (Gere, 2005). e
fusion of digital technologies, where technologies mean “knowledge,
methods, tools, devices” mediates communication, including internet-
enabled technologies (Varadarajan etal., 2010, Abdulquadri etal., 2021).
e fusion of digital technologies, such as computer-aided design (CAD),
computer-aided manufacturing (CAM) and enterprise resource planning
(ERP) into clothing production and manufacturing, has pushed these
economies into becoming leading fashion manufacturing and produc-
tion hubs and the cornerstone for global fashion exports. ese have seen
F. Brooksworth et al.
7
a signicant internal change in the labour process: impressive employ-
ment growth and expanding and fuelling consumption, raising wages
and income, accumulating wealth and reducing poverty (Cavusgil,
Ghauri and Agarwal, 2002).
e global fashion apparel procurement industry has been dominated
by strong players in emerging markets. With a considerable amount of
expertise in the industry, along with decades of experience, modern infra-
structure, ecient supply chain management, and high productivity,
apparel manufacturers and retailers, primarily from the developed mar-
kets have developed interests in doing business in emerging markets as
they present plentiful business opportunities for them (Cavusgil, Ghauri
& Agarwal, 2002). e Chinese textile and apparel industry has seen a
rapid development within the global apparel and textile supply chain as
it has become the largest producer and supplier of bres, yarns, fabrics
and apparel (Gere & Memedocic 2003). In 2007, the industry
accounted for 20% of China’s manufacturing employment, 7% of China’s
GGDP, 14% of its manufacturing value added and 15% of its total
exports (China Textile Industry Development Report 2006/2007, 2008).
ere is an emergence of a unique and local apparel chain in Brazil
(Pinto, 2011; Pinto & Souza, 2013; Pontual, 2010). Brazil ranks among
the world’s top producers of textiles and the second major supplier of
indigo (Vilasboas 2012). e textile and clothing production chain is
present in all 27 Brazilian States, with more than 32,000 companies,
located mainly in the South and Southeast regions of Brazil, especially in
the State of São Paulo, which concentrates 27% of production units
(Brasil, 2014). ere are approximately 1.585.6 million direct jobs, rep-
resenting 17% of the total of workers engaged in the manufacturing
industry, distributed in all segments of the production chain, from the
natural and synthetic bre production, spinning, weaving, knitting, n-
ishing and sewing (ABIT, 2015). e industry is worth US$ 797 billion
in global value according to the World Trade Organization (WTO, 2015).
e Indian clothing industry is labour-intensive, and it provides
employment to those with simple skills, including women. Some of the
countries, such as Bangladesh, Sri Lanka, Vietnam, and Mauritius, have
experienced high output growth in this sector (Chakrabarty, 2014).
Bangladesh is a growing country in the emerging market (Khan and
1 Fashion Marketing in Emerging Economies Volume II: South…
8
Ullah, 2017), and its most vital export industry is the Fashion Industry.
According to Barua and Ansary (2007), there are more than four million
employees in Bangladesh’s Fashion Industry. It has been identied as
being the second biggest exporter of fashion products after China (Khan
and Ullah, 2017). e country has joint ventures with dierent compa-
nies in developed countries and export clothes all over the world. e
apparel industry in India is one of the leading apparel industries globally
by adopting new production and technological techniques (Cavusgil,
Ghauri & Agarwal, 2002).
e growing markets of Asia, especially in Korea, Japan, India and
China (Morton, 2002; Bryck, 2003), have proven to become an impor-
tant sourcing and control centre for the global garment industry, and a
lot of equity investors have dedicated their attention even more than
before to the market potential beckoning in these markets, with produc-
tion plants mainly in China, Indonesia, ailand and India (Hong Kong
Government Industry Department, 1995). Global value chains in the
fashion industry have been motivated by the emergence of these new
markets (Markusen, Wassall, DeNatale, & Cohen, 2008; Nika, 2010;
Pontual, 2011; Prideaux, 2009). Any discussion on this substantial
growth would not be complete without understanding the positive and
favourable fashion marketing strategies and factors attributing to this
global competitiveness in emerging markets.
e dominant patterns in the fashion industry that the industry gets
called out for are polluting the environment, producing enormous
amounts of waste, and exploiting people but changes are slowly happen-
ing highlighting the many enormous hurdles to overcome in the fashion
networks (Lacy and Hayward, 2011). ere is an increasing pressure for
Fashion Multinational Corporations to take a greater role in addressing
global societal issues such as eradicating poverty and environmental pro-
tection. Emerging economies are beginning to contribute to environ-
mentally sustainable challenges. ere are several allocations and
relocations of resources for production activities to cities within emerging
economies, thereby putting pressure on the world’s resources (Barba-
Navaretti and Falzoni, 2004; Pennings and Sleuwaegen, 2000). Fashion
sustainability has gained considerable attention and has become one of
the crucial conversations in the fashion industry (Niinimaki, 2011,
F. Brooksworth et al.
9
Nguyen & Mogaji, 2021a). An important element identied in emerging
markets is the growing expectations and preferences of customers to shift
towards a more transparent, sustainable, less negative but positive social
impact brands, because they believe fashion brands have the responsibil-
ity of addressing environmental and social issues (Marchand and
Walker, 2008).
Objective oftheBook
ere is little academic and contemporary research about Fashion Markets
in Emerging Economies. e fashion industry is growing rapidly in
emerging markets; in addition to this, marketing strategies, tools and
technologies have also evolved. ere is a growing demand for additional
research, information, recommendations and insight from practitioners,
entrepreneurs, students and academics. e book aims to provide and
shed light on insights, challenges and opportunities to support the devel-
opment and economic growth of the fashion industries within emerging
markets.
Target Audience
is book will aim to satisfy the needs of our audience by providing
timely information on growing areas such as sustainability, luxury, digi-
tal, trends and psychology.
e book could be implemented as a manual to help with organiza-
tional activities and will be relevant to policy makers interested in growth
and development of economies.
e book will also satisfy the needs of scholars by lling in a research
gap for research papers, case studies and journal articles and by pursuing
their own personal projects.
For undergraduate and postgraduate students this will also be very use-
ful to support them with research for their thesis and assignments.
Additionally, it will give them insight into various job roles within the
industry and educate them on opportunities within the emerging market.
1 Fashion Marketing in Emerging Economies Volume II: South…
10
The Book Outline
is volume contains ten chapters, which include introductory and con-
cluding chapters. In the series, there are 17 contributing authors from
dierent emerging markets across the globe including Brazil, Nigeria,
South Africa and India. Authors who have presented their contributions
to theories, knowledge and discussion around Fashion Marketing in
Emerging Economies. Drawing from the contributions, these chapters
provide an understanding of eective marketing strategies employed by
Fashion Multinational Corporations within Emerging Markets.
e authors made important contributions to their host literatures,
and they encompass and should however be noted that the portfolio of
these chapters is a focused selection from a far wider corpus of research
output, conducted over a period of 12months. Presentations, collabora-
tions and other published outputs, while excluded from the core portfo-
lio, provide relevant evidence along the research journey, and are
referenced accordingly. e individual portfolio papers are distinguished
throughout by writing style. is academic research bridges the gap to
not only the relatively neglected area of marketing activities happening in
emerging markets but also the growth of emerging economies entirely.
is volume compliments the rst volume which had a focus on brand,
consumer and sustainability perspectives (Brooksworth et al., 2022a,
2022b). is volume examined fashion marketing from various contexts
and across other emerging economies such as Sect. “Fashion in Emerging
Markets”—South America and Asian perspectives with case studies from
India, Brazil and markets in Southeast Asia and Sect. “Objective of the
Book”, which considers the emerging economies of the fashion market
from the African and Middle East perspective with contributions from
Nigeria, Egypt, South Africa and the Middle East.
While Chap. 1 oers an introduction to the book, Bardey etal. (2022)
in Chap. 2 provided insights into Generation Z Indian consumers’ atti-
tudes towards Western and Indian Fashion. is chapter reports on the
current state of the Indian fashion industry and describes Indian fashion
consumers. It focused on an under-researched demographic: young
Indian fashion consumers. Specically, the authors assessed their
F. Brooksworth et al.
11
attitudes and brand equity towards Western and Indian fashion as well as
their environmental attitudes and behaviours. e study provides insight
into how Western and Indian fashion brands can be successful in their
marketing towards Indian Gen Z fashion consumers.
Chapter 3 by Sandes (2022) discusses the characteristics of fashion’s
menswear market in one of the biggest emerging countries in the world:
Brazil. In-depth interviews were conducted with experts to build a point
of view of the dynamics present in this market. Fashion designers, prod-
uct managers, journalists and brand managers’ perspectives oer the
reader a qualitative perception of relevant characteristics of the men’s
buying behaviour in fashion in Brazil, an emerging country that still faces
gender discrimination in fashion consumption and usage.
Chapter 4 focused on the Southeast Asia markets. Ala et al. (2022)
presented theoretical insight into the power of neuromarketing and high-
lighed the huge possibilities of taking luxury fashion marketing to a
whole new level. is chapter highlights some of the ways neuromarket-
ing can be applied in social media to better understand and inuence the
psychological motivation and decision-making of consumers, and it pro-
vides a summary of scholarly insights into eective strategies for using
neuromarketing in e-commerce and social commerce. is chapter pres-
ents a comprehensive analysis of the application of neuromarketing to
support market research, product development and marketing commu-
nication associated with luxury fashion marketing in SE Asia markets.
In Chap. 5, Kay and Young (2022) recognized the impact of the
COVID-19 pandemic on fashion brands and further presented evidence
of how artisanal fashion in India is building the brand through storytell-
ing, even in challenging times. is is the rst chapter under the fashion
brand positioning theme. Like other markets in the world, the Coronavirus
pandemic has created massive challenges and opportunities (Ding etal.
2020) for fashion industries within emerging markets. ere is the need
to also discuss the impact of the Novel Coronavirus on Fashion Businesses
and Corporate Social Responsibility activities in Emerging Economies.
is chapter highlights the resilience of some fashion brands that emerged
during the pandemic environment in India.
Section “Objective of the Book” with a focus on the African perspec-
tive starts with Chap. 6, where Joseph (2022) presented a study on how
1 Fashion Marketing in Emerging Economies Volume II: South…
12
Nigerian fashion brands inuence customer purchasing behaviour. With
a case study approach on a select number of well-established Nigerian
Brands such as Lisa Folawiyo, Lanre Da Silva and Orange Culture, the
study revealed that Nigerian fashion brands inuence purchase behaviour
through the use of psychological factors like Cultural and ethnic identity,
Inuencer marketing. An important implication is that since consumers’
consumption of fashion has moved beyond materialism, and towards cul-
ture and self-identity, fashion brands need to communicate brand mes-
sages that deeply resonate with the values and ideology of their customers.
In the same manner, in Chap. 7, Appiah-Nimo (2022) presented a
snapshot of contemporary retail in South Africa. is chapter presents a
condensed overview of contemporary fashion retail in South Africa. Its
core objective is to oer valuable insight and a critical point of entry for
brands and retailers prospecting the South African market. is chapter
briey explores the country’s fashion retail history, examining the con-
temporary retail environment, while providing a glimpse into its fashion
retail future. Furthermore, the trajectory of growth in the fashion retail
market, contextualized by the recent COVID-19 global pandemic and
the emergence of frontier technology, is discussed. e study adopted a
qualitative approach, through a combination of document analysis and
case studies to analyse the phenomenon.
Chapter 8 by Pstyled and Bardey (2022) recognizes the rise of female
empowerment in Egypt and the fashion Psychology Behind eir Attire
and Armour. e study assessed the use of clothing practices as a means
of communicating and expressing the woman’s newfound condence in
the MENA region, with a particular focus on Egypt. e evolution
inlocal fashion designers and consumer demands paint a clear and beau-
tiful picture of how women across the region are using fashion to express
their growth, their power and their love——for themselves and for their
cultures. e ndings revealed ways in which neighbouring and interna-
tional brands and fashion houses can appreciate and empathize with the
women of the MENA region: communicate, market and support their
growth and energy.
Chapter 9 authored by Grin (2022) presented Strategies and Tools
for Fashion Analytics in Africa and Middle East. is chapter analyses the
eectiveness of advanced data-driven marketing practices and fashion
F. Brooksworth et al.
13
consumer analytics in emerging markets in the Middle East and African
regions (MEA). It inspects the analytical tools facilitating decisions within
the arising landscapes and examines data-driven marketing case studies,
literature reviews, and reference frameworks to obtain a current view of
fashion marketing in emerging markets. Additionally, this chapter inves-
tigates digital disadvantages in MEA markets, and the analytical tools
facilitating decisions within the arising landscape. Brooksworth et al.
(2022c) present the conclusion in Chap. 10. Research agenda for Fashion
Marketing in Emerging Economies were also presented.
Conclusion
e main intention of Fashion Marketing in Emerging Economies is to
focus attention on how the fashion apparel industries in emerging mar-
kets have signicantly expanded their boundaries (Djelic and Ainamo
1999). e book develops a classication of the major impacts of emerg-
ing markets around the globe. Fashion Marketing in Emerging Economies
is a timely contribution to highlighting the most signicant economic
growth and rapid transformation happening in emerging markets
(ompson and Reynolds 2018), which are not only undervalued but
also under-researched, yet embody and oer enormous opportunity for
investors and entrepreneurs (Mckinsey, 2014; Kaur etal., 2022).
e book describes the Inuence and Power of Emerging Markets and
some eective Fashion Marketing Growth Strategies adopted by Fashion
Multinational Corporations in these markets, while highlighting things
that have noticeably improved, concurrently, and why it is compelling to
investors and worth investing in (Atsmon, Kertesz & Vittal, 2011). e
book provides a detailed analysis of numerous indisputable strengths and
attractive attributes of Fashion Multinational Corporations within
emerging markets and some interesting challenges.
Highlighting the dierences and unique characteristics between the
various emerging markets, the authors strongly suggest the need for
investors to use dierent approaches to marketing in emerging markets
(Atsmon, Kertesz & Vittal, 2011, Gökerik etal., 2018). By highlighting
the developments of Fashion Multinational Corporations in Emerging
1 Fashion Marketing in Emerging Economies Volume II: South…
14
Markets, these chapters in the book respond to the call that emerging
markets are a distinct cluster rather than a set of discrete regional stories
and must be treated as such (Austin etal., 2017). ese chapters further
identify, prole and evaluate the performance of some emerging markets
in Africa with compelling growth stories that not a lot of investors are
aware of, thereby tilting their resources towards what’s familiar resulting
in them missing out on a world of potential opportunities (Mwenda
2000). e contributions will serve as a roadmap to encourage corpora-
tions and investors looking for investment opportunities in emerging
markets to be strategic and establish localized and more tailor-made
approaches and suitable actions/solutions (Bespoke) and not a generic or
standardized go-to-market models for each market (Aaker and
Shansby 1982).
With the sluggish growth in developed markets, equity investors, fash-
ion marketers and retailers are increasingly becoming aware of the bene-
ts in these markets and are forced to seek their future growth potential
in emerging economies. Although billions of dollars of apparel business
are conducted in emerging markets, relatively little knowledge about the
management of supply chains is reported in published research. In view
of this data limitation, all the authors use multiple methods and theories
to uncover, analyse, demonstrate and present the facts in their chapters
and provide integrated guideposts for future research. is book posited
the strong characteristics of emerging markets. e authors further pro-
vide integrated guideposts for future research.
References
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in Emerging Economies (volume 2)—South American, Asian and African per-
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SBR- 08- 2021- 0132.
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F. Brooksworth et al.
Part II
Fashion Marketing in Emerging
Economies: South American and
Asian Perspectives
19
2
Fashioning theFuture Generation:
Generation Z Indian Consumers’
Attitudes Towards Western and
Indian Fashion
AuroreBardey, UtkarshaMehdiratta, andRoseTurner
Introduction
India’s high-end fashion industry emerged in the 1980s. Since the early
2000s, Indian fashion has become a functioning and well-established
industry, earning revenues of approximately 2 billion Indian rupees
(KPMG India report, 2020; almost £21 million). According to McKinsey’s
Fashion Scope (2019), India’s fashion market will be worth £45.5 billion in
2022 (compared to the United Kingdom’s £49.8 billion), making India the
fth largest apparel market in the world and one of the emerging markets
with the highest growth rates. In addition to this unprecedented growth,
A. Bardey (*)
Burgundy School of Business, Dijon, France
e-mail: aurore.bardey@bsb-education.com
U. Mehdiratta • R. Turner
London College of Fashion, London, UK
© e Author(s), under exclusive license to Springer Nature Switzerland AG 2023
F. Brooksworth et al. (eds.), Fashion Marketing in Emerging Economies Volume II,
Palgrave Studies of Marketing in Emerging Economies,
https://doi.org/10.1007/978-3-031-07078-5_2
20
the Indian apparel industry has evolved greatly over the past three decades.
Western fashion brands’ presence in India (Nagrath, 2003), the rise of
e-commerce (Chanana & Goele, 2012), consumers’ rejuvenation (Sinha,
2003) and their desire to shop sustainably (Kaur etal., 2018; Mukonza
et al., 2021) have transformed Indian consumerism. Even though the
Indian fashion industry is one of the largest and fastest-growing apparel
industries to date, there is still a lack of studies focused on Indian consum-
ers (Ganguly & Ayres, 2006; Kaur et al., 2022). is chapter aims to
address this gap by reporting on the current state of the Indian fashion
industry and describing Indian fashion consumers. We will focus on an
under-researched demographic: young Indian fashion consumers.
Specically, we will assess their attitudes and brand equity towards Western
and Indian fashion as well as their environmental attitudes and behaviours.
We aim to provide insight into how Western and Indian fashion brands can
be successful in their marketing to Indian Gen Z fashion consumers.
Literature Review
Theoretical Background
In the past four decades, the world has seen signicant and unprece-
dented growth of emerging markets (Nguyen & Mogaji, 2022b), and
particularly the Indian economy (Kaur etal., 2022). While Indian GDP
steadily increased from 37.03 billion USD in 1960 to 468.39 billion
USD in 2000, it increased remarkably to 2.65 trillion USD in 2017
(World Bank Data, 2020), making India the 12th largest consumer mar-
ket (McKinsey & Company, 2007). is growth led economists to iden-
tify India as a future major global economic power (Indian Week, 2005).
Indeed, if the country’s growth continues at the same rate, India will
become the fth largest worldwide consumer market by 2022 (Beinhocker
etal., 2007; McKinsey & Company, 2007; McKinsey’s Fashion Scope,
2019). is impressive economic growth is paired with increased con-
sumer demand, which will expand three to four times faster than the
global economy (Nguyen & Mogaji, 2021; Zainulbhai, 2005).
A. Bardey et al.
21
Indian retail appears to be one of the sectors that has beneted most
from worldwide economic growth, with a Compound Annual Growth
Rate (CAGR) of 13% in 2013 (KPMG report, 2014). On the one hand,
the rapid growth of internet penetration in India made the Indian retail
sector the earliest to adapt to retail mobile applications (Bhattacharya &
Anand, 2019; Ming 2017). On the other hand, the fact that India is one
of the main raw material suppliers, and provides cost competitiveness for
several international retail chains, places Indian retail as the most attrac-
tive retail sector worldwide. Although organized retailing is currently only
3% in India, the Indian retail industry is expected to keep expanding in
the next decade, thanks to Indian demographics, increasing urbanization,
increased number of malls, growing preference for branded products and
change in consumer habit towards foreign brands (Kang, 2015).
Apparel retailing is one of the sectors expected to obtain the highest
growth (KPMG report, 2014). With 40–50% of Indian women’s salaries
spent on clothing and footwear (Hasan, 2016), the Indian apparel mar-
ket accounts for $3.5 billion and for almost 39% of the organized retail
sector (being the second-largest organized retail sector after food and gro-
ceries; Fernandes etal., 2000; Pani & Sharma, 2012). According to Pani
and Sharma (2012), the Indian apparel market growth has been insti-
gated by several factors: (1) increase in average household income, (2) rise
in special occasion trends, (3) women empowerment, (4) access to fash-
ion by middle-class women, (5) use of fashion as a tool for self- expression,
(6) increased urbanization, (7) growth of organized retail and shopping
malls, (8) circulation of fashion innovators due to the rise of internet use
and (9) presence of Western brands in India.
is last factor is particularly interesting as Western products were
restrained in India before the 1980s, and they were mainly available to
the higher social classes only (Batra etal., 2000). In the late 1980s, the
Indian government chose to ease these restrictions allowing foreign com-
petitors to bring their branded goods to the local markets (Field, 2005).
With an annual growth of 25%, a rise in consumer demand for fashion
and increasing middle-class salaries, the Indian apparel industry today
oers signicant opportunities for multinational fashion retailers
(Bellman, 2005; Moreau & Mazumdar, 2007; Nicholls etal., 1996).
Many international apparel brands have launched in India (see Table2.1),
2 Fashioning the Future Generation: Generation Z Indian…
22
Table 2.1 Foreign brands launched (by entry year) in India from the late 1980s to
2007 (from Son, 2011)
Brand
Entry
year Country Brand
Entry
year Country
Adidas 1989 Germany Bossini 2005 Hong
Kong
Pierre Cardin 1994 France Christian Dior 2006 France
Levi’s 1994 USA Promod 2006 France
Nike 1995 USA Giordano 2006 Hong
Kong
Lee 1995 USA Mango 2006 Spain
Reebok 1995 USA Zara 2006 Spain
Benetton 1998 Italy Nautica 2006 USA
Ermenegildo
Zegna
1999 Italy Guess 2006 USA
Van Heusen 2000 USA DKNY 2006 USA
Marks & spencer 2001 UK Seven jeans 2006 USA
Ralph Lauren 2001 USA Versace 2006 Italy
Wrangler 2001 USA Fendi 2007 Italy
Allen Solly 2001 UK Dolce and
Gabanna
2007 Italy
Louis Vuitton 2002 France Armani 2007 Italy
Hugo boss 2003 Germany Gucci 2007 Italy
Daks Simpson 2004 UK Diesel 2007 Italy
Bvulgari 2004 Italy Sisley 2007 Italy
Mexx 2004 Netherlands Banana republic 2007 USA
Calvin Klein 2004 USA Gap 2007 USA
Tommy Hilfiger 2004 USA Kipling 2007 Belgium
La Senza 2004 Canada FCUK 2007 UK
Channel 2005 France Jimmy Choo 2007 UK
Esprit 2005 Hong Kong Canali 2007 Italy
oering new shopping formats to Indian consumers, that is, shopping
malls and department stores similar to the Western type. Table2.1 illus-
trates the wide oer from Western Fashion, from mass-market and fast
fashion brands to mid-market brands as well as luxury brands. Foreign
branded products are now in competition with traditional and mostly
unbranded Indian apparel (Bandyopadhyay 2001; Kinra, 2006). e
branded apparel sector is a growing market (Nguyen & Mogaji, 2022a)
and is considered to be the second-largest retail sales in India (Vaid,
2007). ese multinational apparel brands that entered India have
A. Bardey et al.
23
transformed Indian consumerism over the past decade (Gopal &
Srinivasan, 2006).
e impact of multinational, and also Western, brands on Indian con-
sumerism can be better understood through the lens of cross-cultural
research. Traditionally, cross-cultural studies have depicted Indian society
as an Eastern culture with Eastern cultural preferences such as collectivist
orientation, respect for status and power, primacy of personalized rela-
tionships, desire to be embedded in an in-group and familism (Hofstede,
1991; Panda & Gupta, 2004; Sharma 2015). Foreign brands have ‘cre-
ated a powerful image among the upper-middle-class that foreign goods
were exotic, showy and better than Indian-made products’ (Bullis 1997,
p.64). Western brands have heightened the need for uniqueness in young
Indians (Handa & Khare, 2010) and increased brand consciousness
among Indian consumers (Shashidhar, 2004). Western brands have also
increased the choice of products with emotional benets such as the com-
munication of status, wealth and prestige (Batra et al., 2000; Sinha,
2003) as well as utilitarian benets such as quality and low price (Batra
et al., 2000). Table 2.2 summarizes cross-cultural studies that have
assessed Indian consumer decision-making characteristics since the
1980s. Overall, research depicts Indian consumers as brand loyal, brand
and price-value conscious, new fashion and recreational-shopping con-
scious, perfectionist, time-energy conserving but also confused by over-
choice and impulse (see Table2.2).
Research has underlined that Indian consumers, particularly young
generations such as Generation Z (18–24-year-old), have a more positive
attitude and higher consumer preferences towards foreign brands as com-
pared to local brands (Jin, Chansarkar & Kondap 2006; Kumar etal.,
2009). Indian consumers are more inclined to prefer and purchase
Western rather than Indian fashion brands because of the perception that
Western goods are of higher quality, depict high social class and provide
modernity and nonconformity to traditional values, uniqueness and
emotional values (Batra etal., 2000; Jin, Chansarkar & Kondap 2006;
Kinra, 2006; Kumar etal., 2009).
Despite the Indian growth rate, Indian fashion consumption has been
the subject of relatively little research. Furthermore, 500 million Indians
were under the age of 25in 2011 (KPMG report, 2014) representing
2 Fashioning the Future Generation: Generation Z Indian…
24
Table 2.2 The decision-making characteristics of Indian consumers (adapted from Mishra, 2010)
Decision- making
characteristics
Articles
Sproles &
Kendall
(1986)
Hafstrom
etal. (1992)
Lyonski
etal.
(1996)
Fan &
Xiao
(1998)
Mitchell
& Bates
(1998)
Hiu
etal.
(2001)
Mokhlis
(2009)
Mishra
(2010)
Brand conscious x x x x x x x
Confused by over choice x x x x x x x
Dissatisfied shopping
consciousness
x
Fashion- conscious x
Habitual, brand loyal x x x x x x x
Information- utilization x
Impulsiveness x x x x x x
Novelty- fashion conscious x x x x x
Perfectionist x x x x x x x
Price-value conscious x x x x x x
Quality conscious x x
Recreational- shopping
conscious
x x x x x x x
Store loyal x x
Time-energy conserving x x x x
Variety- seeking x
A. Bardey et al.
25
20% of the world’s population under the age of 24 (Sinha, 2003), and
young female Indian consumers are more involved in fashion than mature
Indian women (Khare et al., 2012). Interestingly, young consumers,
including young Indian consumers, choose to engage with sustainability
(Dabija et al., 2019; Goswami, 2008; Kaur et al., 2018; Singh et al.,
2011). In order to cope with unethical image of fast fashion as well as to
attract young consumers, Western fast fashion brands tend to focus their
image and strategy on sustainability (McNeill & Moore, 2015).
Considering Gen Z Indian consumers’ prevalence and ease of access to
fashion, and understanding the attitudes of these consumers towards
Western fast fashion, Indian traditional fashion and sustainability will
enable brands to enhance their targeted marketing strategies.
Research Objectives andRationale
is research is aimed at evaluating the fashion consumer behaviour of
Gen Z Indian consumers. Our specic research objectives were (1) to
assess the opinion of these consumers towards Western and Indian fash-
ion, (2) to measure Indian Gen Z’s brand equity towards Western and
Indian fashion and (3) to measure Indian Gen Z’s behaviours and atti-
tudes towards sustainability. Two studies were conducted in order to
address these objectives.
Study 1 aimed to evaluate Gen Z’s attitudes and opinions towards
Western and Indian fashion. Given the lack of academic research into
Indian fashion consumers, Interpretative Phenomenological Analysis
(IPA; Smith etal., 2009) was used to explore the qualitative features,
depth and richness of individuals’ experiences of, and perspectives on,
Western and Indian fashion.
Study 2 aimed to quantify the brand equity (brand awareness, per-
ceived quality, brand associations and brand loyalty) of young Indian
consumers towards Western and Indian fashion, as well as to measure
their environmental behaviours and attitudes (fast fashion purchasing,
disposal, value-oriented hoarding and recycling, and environmental atti-
tudes). Specically, Study 2 addressed the following hypotheses:
2 Fashioning the Future Generation: Generation Z Indian…
26
H1. ere will be a dierence in brand equity (brand awareness, perceived
quality, brand associations and brand loyalty) between Western and
Indian fashion.
H2. ere will be associations between fast fashion purchasing, environmen-
tal behaviours (disposal, value-oriented hoarding and recycling) and envi-
ronmental attitudes.
H3. Brand equity will predict environmental behaviours and attitudes.
Study 1
Participants
Participants were recruited using convenience1 and snowball sampling2
methods. As explained in the literature section, only Gen Z consumers were
invited to participate in this study. As women are more involved in fashion
than men (O’Cass, 2000), only women were recruited for this study in
order to obtain a homogeneous sample. e sample included ve Indian
Gen Z (1997–2013) females aged between 18 and 24years. Participants
were recruited from across the country: Hyderabad (P1, participant 1), New
Delhi (P2, participant 2), Chandigarh (P3, participant 3), Lucknow (P4,
participant 4), Noida (P5, participant 5). All participants declared having an
interest in fashion and volunteered to participate in this study.
Methods
Participants were invited for a one-on-one interview.3 Prior to the inter-
view, an information sheet and consent form were signed by all partici-
pants. e interviews were set up on a video call, and the participants were
1 Nonprobability sampling technique where participants are recruited because they are ‘convenient’
source of data for researchers, that is, easy to contact or to reach.
2 Nonprobability sampling technique where participants are recruited from existing participants’
referral.
3 is study has been carried out during the COVID-19 lockdown. As a result, all the 1:1 inter-
views were carried out online.
A. Bardey et al.
27
informed that their interview would be audio-recorded. Participants were
then asked ve to six open-ended questions about their experiences and
opinions on Indian and Western fashion. Topics explored during the inter-
view were their opinions towards both Indian and Western fast fashion
brands, their consumption habits over the last few years as well as their
opinions about sustainability. To explore these topics in-depth and encour-
age elaboration, questions were adapted in response to each participant’s
answers during the interview. At the end of the interview, participants were
debriefed and thanked for their valuable time and input.
Data Analysis
All interviews were transcribed, and IPA (Smith etal., 2009) was used to
explore the qualitative features, depth and richness of individuals’ experi-
ences of, and perspectives on, Western and Indian fashion. e rst stage
of analysis consisted of reading each transcript several times, highlighting
descriptive words and phrases. e second stage was a more systematic
and critical reading of the transcript in order to identify developing
themes in the text. e third stage was grouping together these themes
into clusters. e fourth stage consisted of summarizing each partici-
pant’s themes, keywords, and quotations. e fth and nal step was
consolidating superordinate themes across all transcripts to identify
shared themes about their experience and attitude towards Western and
Indian fashion (Smith etal., 2009).
e second author carried out all the interviews and transcribed all the
interviews. e rst author carried out the data analysis with the help of
the second author. Considering that the second author is Indian, and the
rst author is French, this dual data analysis provided an insider and out-
sider’s point of view in the analysis.
Results
e data analysis highlighted two superordinate themes: (1) fashion as a
communication tool and (2) opinion about fashion in India. As Table2.3
shows, the analysis featured several subordinate themes.
2 Fashioning the Future Generation: Generation Z Indian…
28
Table 2.3 Superordinate and subordinate themes highlighted by Study 1 IPA
analysis. Note that P1 stands for Participant 1, P2 for Participant 2 and so on
Superordinate themes Subordinate themes P1 P2 P3 P4 P5
Fashion as a
communication tool
The social self x x
The authentic self x x x
The cultural self x x
Opinions about fashion in
India
Positive opinion Western brands x x x
Negative opinion Western
brands
x x
Positive opinion about
traditional Indian fashion
xxx
‘They don’t get it’. x x x
Fashion asaCommunication Tool
While all participants perceived fashion as a communication tool used to
express themselves, the analysis highlighted two trends of thought.
Indeed, P1 and P2 communicated the notion of social perception in their
use of fashion while P3, P4 and P5 focused on their authentic selves.
P1 mentioned using fashion to ‘convey a message’ with the way she
dresses; to show people who she is. P2 went beyond this communication
tool idea by stating that fashion is ‘a general statement about a person’,
which reects the personal and social characteristics of a person, that is,
fashion ‘reects how you think, how your life is, and that generally reects
your socio-economic factor, your social status, where you come from’. In addi-
tion to being herself, P3 mentioned using fashion to feel comfortable,
being in her ‘own comfort zone’. P4 and P5 echoed this statement by
describing the use of fashion as a means to ‘be authentic and be comfort-
able’ (P4) and to ‘feel comfortable and attractive’.
Indian culture seemed to impact two of the participants in their fash-
ion choice. P1 explained that her Indian culture, which she denes as
‘strong and rigid’, aects the way she dresses. Even though she described
using fashion to express her true self, this expression seems constrained
within a social and cultural context. Among all the dierent models she
has access to, P3 focuses her dress style on her Indian peers, that is, her
mother and her law school peers.
A. Bardey et al.
29
‘I dress according to the place I’m going, and not the way I want to dress. I dress
according to what people would perceive of me and how I should maintain
myself in that place- but it’s not like I can dress in whatever because somewhere
a thought would come, about what people will think of me if I wear something
like this?’ (P1)
‘Since I am in my fourth year of law school and I belong to such a place where
people around me are wearing mostly Indian ethnic wear suits, and I feel that,
over the past 3-4 years, I have changed my consumption patterns from the
mainstream patters of jeans and shirts to mostly wearing ethnic suits in college;
and I have also seen all my friends do that.’ (P3)
Before going further into the consumers’ opinion about Western and
Indian fashion, it is interesting to notice the importance of fashion to the
consumer’s self, identity and culture.
Western Versus Indian Fashion
All of the participants dened Indian fashion in two dierent categories.
On the one hand, they described traditional Indian fashion, dening this
concept as unbranded fashion, sold on local markets or homemade and
tailored. On the other hand, participants talked about branded Indian
fashion, dening this concept as branded fashion using Indian style,
which could be bought online or in stores.
e data analysis did not reveal opinions about branded Indian fash-
ion, however it did highlight an apparent dichotomy between partici-
pants’ perceptions of Western fast fashion and traditional Indian fashion.
P1, P4 and P5 mentioned being attracted to Western fast fashion brands
due to the wide range of products, their style and their aordable price-
points. While P1 underlined the lack of sustainability of Western fast
fashion brands, she described being amazed by the wide product range
that these brands oer. She also highlighted the innovative visual mer-
chandising of these products and it appeared that the vast oer of prod-
ucts was more attractive to her than the lack of sustainability. P4 also
mentioned being attracted to Western fast fashion brands as these brands
oer aordable products with better style. She conrmed that the
2 Fashioning the Future Generation: Generation Z Indian…
30
presence of Western fast fashion had changed the way Indian consumers
dress. In line with P1 and P4, P5 underlined the success of her favourite
brand H&M, pointing out that the wide range of products they oer can
suit any consumer.
‘e kind of products Western brands have and the way they market it or the
way they show how people are wearing them. I think that convinces me to go
and get it.’ (P1)
‘H&M is my favourite brand. Anytime I need to buy something I just need to
open the website, and I KNOW I will nd something for sure.’ (P5)
On the contrary, P3 was put o by the wide range of Western fast fashion
products. She mentioned not being particularly brand conscious and
described Western fast fashion as ‘versatile’. Although she said that she
sometimes purchased Western fast fashion brands such as H&M, Zara
and Forever 21, P2 had been trying to move away from these brands due
to their lack of sustainability; how these brands treat their workers and
the lack of sustainable materials. She also perceived Western fast fashion
brands as too pricey for the products they oer. She explained the success
of Western fast fashion brands as due to their aordability, but also
underlined the possibility of nding aordable Indian fashion, either
fashion brands (she referred to W or Biba) or traditional fashion clothing
that can be homemade or found in a market.
With this idea of being more sustainable while being stylish, P2 talked
about wearing ethnic clothes, bought from local markets or having it
made by local artisans. Having an increased fashion or style awareness,
coupled with a desire to be environmentally friendly, made P2 naturally
turn towards local ethnic fashion. As mentioned earlier, P3 also described
herself as having turned towards ethnic clothing, which she explained in
terms of the inuence of her social groups.
I live in Delhi, which is I think, quite a very convenient thing for college
students to just go to Sarojini (local market), which is just like a thrift store
but Indian version. Like you can get a lot of clothes there for very cheap
prices. (P2)
A. Bardey et al.
31
P1 also discussed the inuence of social groups on her traditional Indian
fashion choices, which are inuenced by Indian culture. It is thus not
surprising that she, like her friends, still wears traditional Indian clothes.
She described traditional Indian fashion as ‘expensive’ and thus ‘aspiring’.
‘Indian factories have started having their own brands and people have started
encouraging them and I naturally turned to them.’ (P1)
‘So many girls think that “this (traditional Indian fashion) is what I’m gonna
wear at some point in my life”.’ (P1)
Interestingly, while P3 underlined the success of Western fast fashion
brands in India, she also highlighted that many Indian consumers still
buy and wear Indian fashion. While the rise of social media has helped
the entrance of Western brands into the Indian apparel market, P3 sug-
gested that the rise of social media would also help Indian Fashion to
reach global consumers.
‘What I feel is, people from India locally, they are sticking to Indian fashion;
but on the other hand, the people from outside India (from US, UK, whatever
countries), they are also slowly and steadily coming and recognizing Indian
fashion brands, and they are using it.’ (P3)
P1 emphasized that, even though traditional Indian fashion has been
successful for a long time, there has been a lack of progression. While
Western fast fashion is a fast-paced and changing industry, she viewed
traditional Indian fashion as stagnant with a need for progress. P2 echoed
this statement by commenting that the Indian fashion industry needs to
understand the consumers’ demands better and increase the aordability
of sustainable fashion. P5 described being put o by the price and the
lack of style of traditional Indian fashion. Young Indian consumers seem
to wear Indian fashion but feel that it needs to progress in terms of the
range of style and quality of products that it oers.
‘ey (traditional Indian fashion people) just still don’t get it.’ (P1)
‘I mean that’s what I think India needs at this point; sustainability, but at an
aordable price.’ (P2)
2 Fashioning the Future Generation: Generation Z Indian…
32
‘Indian traditional fashion brands are either too gaudy or too simple. I feel these
brands have not managed to nd that common ground.’ (P5)
While there is no distinct denition of Indian fashion in the literature,
our participants have provided us with a denition of Indian fashion as
compared to Western fashion.
Study 2
Participants
Convenience 1 and snowball 2 sampling were used for participants’
recruitment. As with Study 1, only women aged between 18 and 24-year-
old were invited for Study 2, and 44 female participants aged between 18
and 24-year-old completed the online survey.
Materials andProcedure
Having read an information sheet, all participants were required to sign a
consent form before proceeding to the online questionnaire. Participants
were required to anonymously complete two questionnaires—the brand
equity questionnaire (CBBE) and the consumers’ post-purchase behav-
iour questionnaire.
e brand equity questionnaire (CBBE) was based on the four brand
equity dimensions dened by Aaker and Equity (1991) and Christodoulides,
Cadogan & Veloutsou (2015): (1) brand awareness, (2) brand association,
(3) brand quality and (4) brand loyalty. Each dimension was measured using
three items scored on a seven-point Likert scale from 1 (strongly disagree) to
7 (strongly agree).
Brand awareness was measured via the following items: (1) I have
heard of this brand, (2) I am quite familiar with this brand and (3) I can
recognize this brand among other brands.
A. Bardey et al.
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Brand association was tested using the following items: (1) is brand
has strong associations, (2) is brand has favourable associations and (3)
It is clear what this brand stands for.
Brand perceived quality was measured with the following items: (1)
is brand is good quality, (2) is brand has excellent features and (3)
Compared to other brands in its category, this brand is of very high
quality.
Brand Loyalty was tested using the following items: (1) I feel loyal to
this brand, (2) is brand is my rst choice and (3) I am committed to
this brand.
Participants were required to complete a CBBE questionnaire for
Indian traditional fashion, Western fast fashion brands and branded
Indian fashion. e decision to examine Indian traditional fashion and
branded Indian fashion separately was based on the qualitative ndings
from Study 1. In order to assess traditional Indian fashion brand equity,
the terminology ‘this brand’ was replaced by ‘traditional Indian fashion’
and the terminology ‘other brands’ was replaced by ‘other type of fashion’.
e consumers’ post-purchase behaviour questionnaire, designed by
Joung (2014), measures fast fashion purchasing, disposing, hoarding,
recycling eorts and environmental attitudes. In order to assess fast fash-
ion purchasing, participants were invited to answer two questions: (1) I
purchase apparel products in stores that carry fast fashion brands (e.g.,
H&M, Forever21, ZARA, Topshop, Gap) using a yes/no answer; and (2)
approximately how many items of apparel products do you purchase in a
year, using a ten-point scale with ve-apparel item intervals (1= fewer
than 5 items, 2= 5–9 items, …, 10 = 45 or more items). Participants were
then invited to answer the question, ‘how many items of apparel prod-
ucts do you dispose of in a year?’ in order to measure the apparel dispos-
ing. Value-oriented hoarding, participation in recycling and environmental
attitudes were measured using ve-point Likert scales from 1 (strongly
disagree) to 5 (strongly agree). In line with Joung (2014), seven items
reecting time for organizing apparel, investment value, usability and t
were used to assess value-oriented hoarding; seven items probing dona-
tion, reuse, pass-on, resale, swap and throw-away were used to measure
participation in recycling, and ve items assessing concerns and attitudes
towards environment were used to quantify environmental attitudes.
2 Fashioning the Future Generation: Generation Z Indian…
34
Data Analysis
e data were analysed using SPSS v.25. Average scores for each dimen-
sion were computed to enable interpretation of scores in relation to scale
labels (e.g., ‘somewhat agree’). Kolmogorov-Smirnov analysis showed
that the CBBE dimensions (brand awareness, perceived quality, brand
associations and brand loyalty) and consumers’ post-purchase behaviour
dimensions (disposing, hoarding, recycling eorts and environmental
attitudes) followed a normal curve (p > 0.05) and so parametric tests were
conducted.
Repeated measured analyses of variance (ANOVAs) were used to assess
the eects of fashion type (traditional Indian fashion, branded Indian
fashion and Western fast fashion) on each of the CBBE dimensions
(hypothesis 1), and post-hoc Bonferroni pairwise comparisons were used
to examine signicant eects. A Pearson bivariate correlation analysis was
conducted to examine relationships between the sustainability dimen-
sions and apparel purchasing (hypothesis 2). Linear regression analyses
were used to examine how far the CBBE dimensions for each brand type
predicted attitudes and behaviours related to sustainability (hypothesis
3). For all tests, statistical signicance was accepted at p < 0.05.
Results
H1. ere will be a dierence in brand equity (brand awareness, perceived
quality, brand associations and brand loyalty) between Western and
Indian fashion.
Average brand awareness, perceived quality, brand association and
brand loyalty scores are presented in Table 2.4. Repeated measures
ANOVAs identied signicant eects of the type of fashion on brand
awareness (F(2, 84) = 11.35, p < 0.001), perceived quality (F(2, 84) =
7.93, p = 0.001), brand association (F(2, 84) = 32.66, p < 0.001) and
brand loyalty (F(2, 84) = 6.97, p < 0.001). Bonferroni pairwise compari-
sons revealed that brand awareness and brand loyalty were signicantly
lower for branded Indian fashion compared to both traditional Indian
and Western fast fashion (all ps < 0.01). Traditional Indian fashion was
A. Bardey et al.
35
Table 2.4 Means (and standard deviations) for awareness, quality, association,
and loyalty across the three fashion categories (Western fast fashion, traditional
Indian fashion) and branded Indian fashion
CBBE
Western fast
fashion
Traditional Indian
fashion
Branded
Indian fashion
Brand awareness 5.88 (0.93) 5.91 (0.88) 5.08 (1.22)
Perceived quality 4.26 (1.25) 5.14 (0.97) 4.46 (1.09)
Brand association 4.72 (1.22) 5.12 (0.90) 4.38 (0.90)
Brand loyalty 4.05 (1.37) 4.35 (1.62) 3.28 (1.48)
Note. Ratings from 1 (strongly disagree) to 7 (strongly agree) were averaged
across three items within each category
Table 2.5 Means (with standard deviations) and correlations between sustain-
ability dimensions
Sustainability dimension Mean (SD) 1 2 3 4
1. Apparel purchase 3.68 (2.13) –
2. Apparel disposal 8.30 (6.12) 0.47** –
3. Value-oriented hoarding 3.89 (0.78) 0.55** 0.30 –
4. Participation in recycling 3.36 (0.77) −0.01 0.04 0.02 –
5. Environmental attitudes 3.25 (0.44) 0.32* 0.004 0.22 0.32*
Note. Mean scores were averaged across 5-point Likert scales. *p < 0.05; **
p < 0.005
perceived as higher quality compared to branded Indian and Western fast
fashion (both ps < 0.05), and had more positive associations compared to
Western fast fashion (p < 0.001).
H2. ere will be associations between fast fashion purchasing, disposal,
environmental behaviours and attitudes.
Means, standard deviations and correlations between sustainability
dimensions are presented in Table 2.5. On average, respondents pur-
chased three to four apparel products each year (M = 3.68, SD = 2.13),
but they disposed of around eight per year (M = 8.30, SD = 6.12).
Average scores were 3.89 (SD = 0.78) for value-oriented hoarding, 3.36
(SD = 0.77) for participation in recycling, and 3.25 (SD = 0.44) for envi-
ronmental attitudes, where higher scores indicated more sustainable atti-
tudes on ve-point Likert scales. A Pearson correlation analysis revealed
that apparel purchasing was positively associated with disposal (r = 0.47,
p = 0.001), value-oriented hoarding (r = 0.55, p < 0.001) and
2 Fashioning the Future Generation: Generation Z Indian…
36
environmental attitudes (r =0.32, p =0.03), and that participation in
recycling was positively associated with environmental attitudes (r = 0.32,
p = 0.05). Disposal was not associated with recycling or environmental
attitudes (both rs < 0.04, both ps > 0.05), and the relationship with
hoarding approached, but did not reach, signicance (r = 0.30, p = 0.058).
H3. Brand equity will predict environmental behaviours and attitudes.
Regression analyses were conducted to predict sustainability attitudes
(value hoarding, participation recycling and environmental attitudes)
using each CBBE dimension (brand awareness, perceived quality, brand
association and brand loyalty). Separate models were computed for each
CBBE dimension with all three brand types included in each model.
ese relationships are depicted in Table2.1.
Perceived quality of brands predicted participation in recycling (F(3,
39) = 6.40, p = 0.001); while perceived quality of traditional Indian fash-
ion was a signicant positive predictor (B = 0.33, p = 0.003), perceived
quality of branded Indian fashion was a signicant negative predictor (B
= −0.26, p = 0.007). Brand associations also predicted participation in
recycling (F(3, 39) = 6.33, p = 0.001); again, traditional Indian fashion
was a positive predictor (B = 0.41, p = 0.005), whereas branded Indian
fashion was a negative predictor (B = −0.35, p = 0.01). Brand associations
positively predicted environmental attitudes (F(3, 39) = 3.76, p = 0.02),
with traditional Indian fashion (B = 0.26, p = 0.003) as the only positive
predictor. Brand loyalty also positively predicted environmental attitudes
(F(3, 39) = 3.01, p = 0.041); again, loyalty to traditional Indian fashion
was the only signicant predictor (B = 0.12 p = 0.006). No other predic-
tions were statistically signicant (Fig.2.1).
Discussion
General Discussion
In this chapter, we aimed to assess the fashion consumer behaviour of
Gen Z Indian consumers. Our objectives were (1) to assess the opinion
of these consumers towards Western and Indian fashion, (2) to measure
Indian Gen Z’s brand equity towards Western and Indian fashion and (3)
A. Bardey et al.
37
Fig. 2.1 Relationships between brands and sustainability dimensions presented for each CBBE dimension. TI: traditional
Indian fashion (black line). BI: branded Indian fashion (grey line). WFF: Western fast fashion (dotted line)
2 Fashioning the Future Generation: Generation Z Indian…
38
to measure Indian Gen Z’s behaviours and attitudes towards sustainabil-
ity. Two studies were implemented in order to address the research objec-
tives. Using Interpretative Phenomenological Analysis (IPA), Study 1
assessed the attitudes of these consumers towards Western and Indian
fashion. Using a quantitative approach, Study 2 measured Indian Gen Z’s
brand equity towards Western and Indian fashion as well as their envi-
ronmental behaviours and attitudes (fast fashion purchasing, disposal,
hoarding and recycling and environmental attitudes).
Indian Consumers: eAuthentic Self andtheCultural Self
It is well established that fashion is used a tool for self-expression (Moody
etal., 2010; Entwistle & Wilson 2001). Specically, Heeron and col-
leagues (Heeron & Boniwell, 2011; Masuch & Heeron, 2014) have
highlighted the use of clothing in negotiating selfhood, allowing self-
expression and creating sameness. Our rst study outcomes align with
this, as the participants described using fashion to nd and communicate
their sartorial self. is outcome also reects Pani and Sharma’s (2012)
evaluation of the Indian apparel growth, which suggested women’s
empowerment to be one factor of this growth. Specically, our partici-
pants described using clothing practice as a way of expressing their
authentic self (i.e., who they really are), their social self (i.e., their authen-
tic self, expressed within a social context such as a family or friendship
group) and their cultural self (i.e., their authentic self, expressed within
Indian culture and codes). Most of the Study 1 participants referred to
the impact of social groups and Indian culture on their sartorial self.
While some research suggests that the presence of Western brands in
India has changed the behaviour of Indian consumers (Batra etal., 2000;
Bullis, 1997; Handa & Khare, 2010; Shashidhar, 2004; Sinha, 2003), sug-
gesting that they have developed an attraction towards foreign products,
our Study 1 results suggest that Gen Z Indian consumers still integrate the
traditional cross-cultural dimensions in their sartorial self. Indeed, cross-
cultural studies (Hofstede, 1991; Panda & Gupta, 2004; Sharma 2015)
have portrayed Indian society as a culture with a collectivist orientation,
respect for status and power, desire to be embedded in an in-group and
A. Bardey et al.
39
familism. Study 1 indicates that some young Indian consumers are still
very much anchored in their traditional culture. As further explained in the
next section, this cultural anchor has an impact on Indian consumers’
opinion and brand equity towards Western and Indian fashion.
Indian Consumers’ Opinion andBrand Equity: Western Fast
Fashion Versus Traditional Indian Fashion
Study 1 highlighted two trends in participants’ opinions about Western
and Indian fashion. Some participants had positive opinions of Western
fashion brands, praising their style, aordability and the wide range of
products available. Other participants had a positive opinion of tradi-
tional Indian fashion, particularly praising the quality, social inuence
and sustainability of traditional Indian fashion, while underlining the
versatility of Western fast fashion brands. Interestingly, the participants
who mentioned expressing their social and cultural selves (as described
above) showed positive opinions about traditional Indian fashion.
While the outcomes from Study 1 identied Indian fashion as either
traditional or branded, the participants did not particularly discuss
branded Indian fashion. Overall, participants viewed branded Indian
fashion as an unsuccessful mix of Western fast fashion brands and tradi-
tional Indian fashion. Participants explained that branded Indian fashion
oers a wider range of apparel compared to traditional Indian fashion,
but they did not consider this wider range of products as less stylish and
lower quality as compared to traditional Indian fashion. Moreover, par-
ticipants described branded Indian fashion as having a smaller range of
products when compared to Western fast fashion brands, while not being
as novel as Western brands.
In line with Study 1, Study 2 indicated that there was a lower brand
awareness and brand loyalty for branded Indian fashion in comparison to
both traditional Indian fashion and Western fast fashion. Interestingly,
brand awareness and brand loyalty between Indian and Western fast fash-
ion did not dier signicantly, which could reect the two trends men-
tioned above; an equal number of participants being more aware and
loyal to traditional Indian fashion or to Western fast fashion could
2 Fashioning the Future Generation: Generation Z Indian…
40
attenuate any eect. As suggested by the results of the rst study, Study 2
highlighted that branded Indian fashion was perceived as lower quality
when compared to traditional Indian fashion. Although there was no
signicant dierence between brand awareness and brand loyalty, results
showed that traditional Indian fashion was perceived as higher quality
and had more positive associations compared to Western fast fashion.
is outcome, along with Aaker’s (1991) assertion that the main role of
brand associations is to create meanings for consumers, mirrors the nd-
ings from Study 1.
While Shashidhar (2004) argued that the presence and growth of
Western fashion brands had increased brand consciousness among Indian
consumers, the present study failed to show a dierence in brand aware-
ness or brand loyalty between Indian and Western fashion. Concerning
branded Indian fashion, the presence of Western fast fashion brands and
traditional Indian fashion seems to have led to a neutral, if not negative,
opinion towards branded Indian fashion.
Contrary to Handa and Khare (2010) who found that Western brands
had enhanced the need for uniqueness in young Indian consumers, our
research highlighted the importance of novelty, breadth of product choice
and aordability for participants inclined to appreciate Western fast fash-
ion brands. is outcome is in line with studies describing Indian con-
sumers as novelty-fashion and price-value conscious (Sproles & Kendall
1986; Hafstrom et al. 1992; Lyonski etal. 1996; Fan & Xiao 1998;
Mitchell & Bates 1998; Hiu etal. 2001; Mokhlis 2009; Mishra 2010).
While, in line with previous research (Batra etal., 2000; Sinha, 2003),
our participants did mention the importance of increased choice and low
price, they did not raise the importance of emotional benets such as the
communication of status, wealth and prestige (Batra etal., 2000; Sinha,
2003). Instead, participants described the importance of their authentic
self, their traditional cultures and ethnic fashion, and the novelty of
Western brands. Moreover, Study 2 results contradict Batra etal. (2000)
who found that Western brands increased utilitarian benets such as
quality; our participants rated traditional Indian fashion as higher quality
than Western Indian fashion. However, Study 1 results suggest that price
is an important utilitarian factor which contributed to a preference for
Western fast fashion in young Indian consumers.
A. Bardey et al.
41
Indian Gen Z’s Behaviours andAttitudes
Towards Sustainability
e Study 1 results suggest that sustainability is an important factor in
brand preference. Participants with a positive opinion about traditional
Indian fashion described being put o by the versatility of Western fast
fashion, referring to the increased sustainability of traditional Indian
fashion. Participants with positive opinions about Western fast fashion
initially described its brands as sustainable but ended up softening this
perspective when asked to elaborate. us, it appears that novelty was
perceived as more important than sustainability for these participants.
e ndings of the second study were interesting, particularly in com-
parison to those of Joung (2014), who recruited Gen Z American con-
sumers. Our participants reported having purchased 3 to 4 fashion items
each year, which is much lower than the 20–24 fashion apparel items
bought by Joung’s young American participants. Moreover, the partici-
pants in Study 2 reported disposing of fewer items per year (around 8 per
year) compared to Joung’s (2014) participants who disposed of 14 or
fewer items per year. While both groups, that is, Americans (Joung,
2014) and Indians (our participants), seem to have similar scores in
value-oriented hoarding (3.89 ± 0.78in our study and 3.18 ± 0.98in
Joung’s study) and environmental attitudes (3.25 ± 0.44in our study and
3.59 ± 0.64in Joung’s study), our participants reported participation in
recycling to a greater extent than Joung’s participants (3.36 ± 0.77in our
study compared to 2.39 ± 0.78in Joung’s study). Our correlation analysis
showed similar results to Joung’s; that is, positive correlations between
apparel purchase and disposal (r = 0.47 and r = 0.36 for our study and
Joung’s, respectively, ps <0.001) and value-oriented hoarding (r = 0.55
and r = 0.18, for our study and Joung’s, respectively, ps < 0.001). However,
while Joung (2014) failed to show a correlation between apparel purchas-
ing and environmental attitudes (p > 0.05), our results showed a positive
correlation between environmental attitudes (r = 0.32, p = 0.03) and
apparel purchasing. Both our study and Joung’s showed that disposal was
not associated with either participation in recycling or environmental
attitudes. Contrary to Joung (2014), our results showed a positive
2 Fashioning the Future Generation: Generation Z Indian…
42
correlation (r = 0.32, p = 0.05) between participation in recycling and
environmental attitudes. Moreover, we found that the perceived quality
and positive associations with traditional Indian fashion positively pre-
dicted consumers’ participation in recycling, and brand loyalty and asso-
ciation for traditional Indian fashion positively predicted consumers’
environmental attitudes. In line with Joung, we found that although fast
fashion consumers were interested in the environment, they did not par-
ticipate in recycling. ese results are in agreement with previous research
showing that recycling behaviours positively relate to environmental atti-
tudes (Joung & Park-Poaps, 2013; Shim, 1995).
e current study indicated that (1) positive brand associations towards
traditional Indian fashion positively predict participation in recycling
and environmental attitudes; (2) perceived quality of traditional Indian
fashion positively predicts participation in recycling and (3) brand loyalty
towards traditional Indian fashion positively predicts environmental atti-
tudes. is is in agreement with previous research (Koch & Domina,
1997; Niinimäki & Armstrong, 2013) that suggested that consumers are
more likely to recycle than to throw away valued fashion items due to
personal attachment and investment. In line with the outcomes of Kumar
(2019), the present study indicates cultural dierences in environmental
behaviours, particularly between Americans and Indians.
Implication oftheResearch
By understanding the attitudes of these consumers towards Western fash-
ion, Indian fashion and sustainability, the present research aimed to
enable brands to enhance their marketing strategies in order to better
streamline their brands’ marketing. While Western fast fashion brands
appear successful and well-liked by some young Indian consumers, our
study revealed positive attitude towards traditional Indian fashion due to
its anchoring in tradition as well as its sustainability practices.
While Study 1 showed that some young Indian participants hold posi-
tive attitudes towards Western fast fashion brands, we also found that
traditional Indian fashion is perceived as better quality and with more
positive associations than Western fast fashion brands. Furthermore, the
A. Bardey et al.
43
results indicated that (1) perceived quality and brand associations for tra-
ditional Indian fashion positively predicted Indian consumers’ participa-
tion in recycling; and (2) brand associations and brand loyalty for
traditional Indian fashion positively predicted Indian consumers’ envi-
ronmental attitudes. Since the 1980s the growing presence of Western
brands in India has changed the landscape of the Indian apparel industry.
However, the present ndings suggest that Western brands could benet
from understanding traditional Indian fashion’s emphasis on brand qual-
ity, brand meanings and associations, brand loyalty and, most impor-
tantly, sustainable practices. Instead of targeting young Indian consumers
to purchase Western fast fashion brands, it would be wiser and more
benecial to enhance traditional Indian fashion to meet the needs of
young Indian consumers.
Study Evaluation andFuture Work
Despite the growth of the Indian fashion industry, there has been a lack
of studies focused on India (Ganguly & Ayres, 2006). e present study
addressed this gap by assessing the current state of the fashion industry
and the attitudes and behaviours of young consumers in India. e nd-
ings highlight the need for further understanding of consumer behaviour
in the growing fashion industry in India. Using the mixed-method
approach facilitated in-depth study of the attitudes and behaviours of
young fashion consumers in India, as well as a detailed analysis of the
Indian fashion industry. However, there were some limitations in regard
to the quantitative approach (Study 2). Studying Indian consumer behav-
iour is complex due to India being a vast country that is multicultural,
multilingual and multi-religious (Panda & Gupta, 2004), as reected by
the heterogeneity of Indian consumers. A larger sample size would have
supported the generalizability of the results to the broader population;
however, despite the relatively small sample size, participants were selected
from across the country, which accounts for some cultural dierences
across India. Future research should aim to focus on young Indian con-
sumers of fashion, while accounting for the complex and diverse cultural
make-up of India.
2 Fashioning the Future Generation: Generation Z Indian…
44
Conclusion
e present study partially contradicted previous research indicating that
Indian consumers have a more positive attitude towards foreign brands
when compared to local brands (Jin, Chansarkar & Kondap 2006;
Kumar, Lee & Kim 2008) due to their perception of Western goods pro-
viding modernity and nonconformity to traditional values (Jin,
Chansarkar & Kondap 2006; Kinra, 2006; Kumar, Lee & Kim 2008).
e present research suggested a need for improvement in traditional
Indian fashion, particularly concerning its lack of pace, its perceived stag-
nancy and the need to broaden its product oerings and specically from
an emerging economy perspective (Brooksworth etal., 2022a, 2022b).
Considering the positive attitudes of Indian young consumers towards
traditional Indian fashion, which may soon overtake positive attitudes
towards Western fast fashion, the latter could collaborate with traditional
Indian fashion in order to help this local apparel sector develop.
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3
A Closer Look attheMenswear Market
inBrazil
FábioShimabukuroSandes
Introduction
If we look at any industry statistics in fashion, we can see clearly that the
womenswear market is larger and more complex than menswear: men’’s
apparel market is estimated to have been worth $414 billion in 2019,
roughly a quarter of the global apparel market (Euromonitor, 2020b),
although the division of society per gender is almost 50/50. is can be
explained by the fact that a man’s wardrobe is composed of fewer kinds of
shapes and ts and a more limited colour pallet where tradition over-
comes fashion trends (Lorber, 1991; Otnes & Zayer, 2012) as men are
expected to perform in a more restricted manner when expressing them-
selves in the way they dress (Barry & Martin, 2015). As a result of this
restricted demand, the menswear market oers consumers fewer ts and
shapes to choose from and products with less fashion trend information.
F. S. Sandes (*)
CICANT Research Centre, Universidade Lusófona, Lisbon, Portugal
© e Author(s), under exclusive license to Springer Nature Switzerland AG 2023
F. Brooksworth etal. (eds.), Fashion Marketing in Emerging Economies Volume II,
Palgrave Studies of Marketing in Emerging Economies,
https://doi.org/10.1007/978-3-031-07078-5_3
50
is scenario started to change at the end of the twentieth century
when the image of a more fashion-oriented man coming from celebrities
like Brad Pitt and footballers like David Beckham inspired a movement
called metrosexuals (Kang etal., 2011; Shephard etal., 2016). is move-
ment portrayed men who cared about what they wore and wanted to
include the latest fashion trends in dressing and presenting themselves to
the world. is movement has expanded the menswear market options
and inspired consumers to explore and include fashion-forward refer-
ences in their routine.
is change was connected to a change of perspectives in gender roles
and expected performances of gender in marketplaces (Barry & Martin,
2015; Lorber, 1991; ompson & Üstüner, 2015; WGSN, 2020), espe-
cially when considering consumers from generations Y and Z who use
fashion as a way to express their individualism and social activism prin-
ciples (Euromonitor, 2020a; Gazzola etal., 2020; WGSN, 2020). Most
studies that support this change of behaviour in the fashion menswear
market, however, come from WEIRD (Western, educated, industrial-
ized, rich, and democratic) populations, a criticized known bias in social
sciences (Nielsen etal., 2017; Soetan etal., 2021) that questions general-
izations made using the perspective of these consumers, which reinforces
the need to include dierent perspectives of these changes.
Even though the impact of gender on fashion consumption behaviour
has been widely studied in the literature (Cova etal., 2011; Kang etal.,
2011; Rocha etal., 2005; Schoeld & Schmidt, 2005; Workman & Lee,
2012), little attention has been devoted to considering this impact on
emerging countries (Brooksworth et al., 2022a, 2022b). is chapter
aims to ll this gap by oering a dierent and supplementary perception
of these changes in the menswear market by discussing how men behave
as fashion consumers in Brazil—one of the BRICS countries. is group
represents the most relevant emerging economies in the world. is dis-
cussion aims to present a critical perspective of men’’s behaviour in this
market by including 12 experts interviewed to discuss the main charac-
teristics and details of Brazil’’s menswear market.
F. S. Sandes