Oritsemeyiwa Kpiasi Final Year Project

High Fashion Brands Marketing to Gen Z's on Social
Media: A Study on TikTok
By
Kpiasi, Oritsemeyiwa Anino
17100110766
September 2021
High Fashion Brands Marketing to Gen Z's on Social Media: A
Study on TikTok
By
Kpiasi, Oritsemeyiwa Anino
17100110766
A project submitted to the School of Media and Communication
in partial fulfilment of the requirements for the award of the
degree of Bachelor of Science in Mass Communication at the
Pan-Atlantic University, Lagos.
ii
September 2021
ABSTRACT
This study investigates the role of social media, specifically TikTok, to high fashion brands and
how they appeal to Generation Z. This study aims to find out what Gen Z's lookout for in high
fashion brand's social media. Also, to determine the impact of Gen Z's use of social media on
high fashion brands. To achieve this, the researcher administered a questionnaire amongst 371
Gen Z respondents in Lagos state, Nigeria, on their consumption of high fashion brand's social
media content. Although, the sample size does not include younger Gen Z's between the ages 11
– 14. Additionally, a content analysis on the social media platform TikTok, based on the
questionnaire's answers, was conducted. In doing so, the findings revealed that Gen Z's lookout
for specific characteristics in high fashion brands social media platforms and high fashion brands
had implemented such things into their TikTok accounts, which shows that they have evolved
from traditional ways of marketing. In line with Marshall McLuhan’s medium theory, which
states that the medium is the message, this study was able to show TikTok’s effectiveness in
reaching Gen Z’s. Hence, the researcher concluded that with the rise of social media, high
fashion brands had found ways to appeal to Gen Z's, like using TikTok. This was aided by the
trickle-up theory of fashion, where modernity and popular culture are factors, making high
fashion brands develop social media presence. Recommendations to this study are; more high
fashion brands should utilise TikTok and be consistent with their posts to appeal to Gen Z's.
Also, similar studies should be conducted on a larger scale with larger sample size and more
content to analyse to provoke further discourse.
Keywords: Generation Z, Gen Z, High Fashion, Social Media, TikTok.
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ACKNOWLEDGMENTS
Firstly, I would like to give thanks to God Almighty for giving me the wisdom, strength,
understanding and patience to complete this project.
Also, I would like to appreciate my parents, Dr Omatsola Kpiasi and Mrs Stella Atake Kpiasi,
for providing me with emotional and financial support throughout my studies at Pan Atlantic
University. Additionally, I acknowledge the guidance of my project supervisor Dr Ruth Oji and
also Dr Nelson Okorie.
Lastly, I give thanks to all my friends who contributed to the process of this project and uplifted
me physically and emotionally.
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DEDICATION
This research study is dedicated to my family and friends who have shown me love and support.
Also, to the high fashion industry who have worked tirelessly to adapt to a speedy, rambunctious
and ever-changing world.
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STUDENT'S DECLARATION
I have read and understood the School of Media and Communication Policy on plagiarism. I
declare that this project is my own work and that all sources are fully referenced. I also declare
that I have not submitted this work for any other purpose.
Kpiasi ,Oritsemeyiwa Anino
17 1001 1 0766
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CERTIFICATION
I certify that this work was carried out by Kpiasi, Oritsemeyiwa Anino in the School of Media
and Communication, Pan-Atlantic University, under my supervision.
Supervisor
Dr Ruth Oji
School of Media and Communication
Pan-Atlantic University
Lagos, Nigeria.
TABLE OF CONTENTS
vii
Title Page..............................................................................................................................i
ABSTRACT........................................................................................................................ii
ACKNOWLEDGMENTS..................................................................................................iii
DEDICATION....................................................................................................................iv
STUDENT’S DECLARATION..........................................................................................v
CERTIFICATION..............................................................................................................vi
LIST OF TABLES...............................................................................................................x
LIST OF FIGURES............................................................................................................xi
CHAPTER ONE: INTRODUCTION TO THE STUDY....................................................1
1.0. BACKGROUND OF THE STUDY......................................................................1
1.1. STATEMENT OF PROBLEM.............................................................................3
1.2. OBJECTIVES........................................................................................................4
1.3. RESEARCH QUESTIONS...................................................................................5
1.4. SIGNIFICANCE OF STUDY...............................................................................5
1.5. SCOPE OF THE STUDY.....................................................................................5
1.6. LIMITATIONS TO THE STUDY........................................................................6
1.7. OPERATIONAL DEFINITION OF TERMS.......................................................6
CHAPTER TWO: LITERATURE REVIEW......................................................................8
2.0. INTRODUCTION.................................................................................................8
2.1. CONCEPTUAL FRAMEWORK..........................................................................8
High Fashion.......................................................................................................................8
Social Media......................................................................................................................10
TikTok ............................................................................................................................11
Generation Z.....................................................................................................................12
High Fashion Brands Marketing to Gen Z.......................................................................14
2.2. THEORETICAL FRAMEWORK.......................................................................14
2.3. The Trickle Up Theory of Fashion......................................................................14
2.4. Medium Theory...................................................................................................15
2.5. EMPIRICAL LITERATURE REVIEW.............................................................16
2.6. METHODOLOGICAL LITERATURE REVIEW.............................................18
2.7. SUMMARY OF FINDINGS FROM LITERATURE REVIEW........................20
CHAPTER THREE: METHODOLOGY..........................................................................22
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3.0. INTRODUCTION...............................................................................................22
3.1. RESEARCH DESIGN.........................................................................................22
3.1.1. Method.................................................................................................................22
3.2. RATIONALE FOE METHODS CHOSEN........................................................23
3.3. STUDY POPULATION......................................................................................24
3.4. SAMPLING TECHNIQUE AND SAMPLING SIZE........................................24
3.5. RESEARCH INSTRUMENTS...........................................................................26
3.6. METHODS OF DATA PRESENTATION AND ANALYSIS:.........................26
CHAPTER FOUR: DATA PRESENTATION/ANALYSIS AND DISCUSSION.........28
4.0. INTRODUCTION...............................................................................................28
4.1. DATA INTERPRETATION AND ANALYSIS.................................................28
4.1.1. INTERPRETATION AND ANALYSIS OF DATA OBTAINED FROM
QUESTIONAIRE..............................................................................................................28
Demographic Information.................................................................................................28
Respondents use of Social Media......................................................................................30
4.1.2. INTERPRETATION AND ANALYSIS OF DATA OBTAINED FROM CONTENT
ANALYSIS........................................................................................................................35
Gucci 37
Dior .............................................................................................................................40
Versace ............................................................................................................................44
Balenciaga..........................................................................................................................45
Prada ............................................................................................................................45
Jacquemus..........................................................................................................................47
Fendi ............................................................................................................................47
Louis Vuitton.....................................................................................................................49
4.2. DISCUSSION OF FINDINGS............................................................................50
Research Objective 1.........................................................................................................50
CHAPTER FIVE: SUMMARY, CONCLUSIONS AND RECOMMENDATIONS.......54
5.0. SUMMARY OF FINDINGS...............................................................................54
5.1. CONCLUSION...................................................................................................55
5.2. RECOMMENDATIONS....................................................................................56
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References..........................................................................................................................58
APPENDIX 1....................................................................................................................61
UNCOMPLETED QUESTIONNAIRE............................................................................61
APPENDIX 2.....................................................................................................................65
COMPLETED QUESTIONNAIRE..................................................................................65
APPENDIX 3.....................................................................................................................68
MICROSOFT EXCEL WORKSHEETS USED FOR CONTENT ANALYSIS OF TIKTOK
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a. Louis Vuitton.......................................................................................................68
b. Gucci....................................................................................................................68
c. Versace................................................................................................................68
d. Balenciaga...........................................................................................................68
e. Prada....................................................................................................................69
f. Jacquemus............................................................................................................69
g. Fendi....................................................................................................................70
h. Dior......................................................................................................................71
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LIST OF TABLES
Table 4.1: Age Distribution of Respondents.....................................................................48
Table 4.2: Gender of Respondents.....................................................................................48
Table 4.3: Respondents usage of social media applications..............................................49
Table 4.4: Respondents who follow and who do not
follow high fashion brands on social media......................................................................50
Table 4.5: High fashion brands the respondents follow....................................................51
Table 4.6: Types of social media content from
high fashion brands that appeal to respondents.................................................................52
Table 4.7: How respondents feel high fashion brands have attempted to appeal to them.53
Table 4.8: Data extracted from TikTok.............................................................................56
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LIST OF FIGURES
Figure 4.1: #GucciModelChallenge...............................................................................................52
Figure 4.2: Serena Williams (left) and Billie Eilish (right) on Gucci's TikTok............................53
Figure 4.3: Influencer @yammbsmm94 Using Captions and Hashtags........................................54
Figure 4.4:#DiorNewLook Challenge with Influencer @karenwazen..........................................55
Figure 4.5: Chimamanda Ngozi Adiche on Dior's TikTok............................................................55
Figure 4.6: Leonie Hanne on Dior's TikTok..................................................................................56
Figure 4.7: #VersaceRunwayChallenge........................................................................................58
Figure 4.8: Yara Shahidi on Prada’s TikTok.................................................................................60
Figure 4.9: Wisdom Kaye on Fendi's TikTok...............................................................................62
Figure 4.10: Racial Representation on Louis Vuitton’s TikTok...................................................63
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CHAPTER ONE
INTRODUCTION
1.0. BACKGROUND TO THE STUDY
In less than a decade, social media has developed into a means of sharing electronic content, a
virtual venue, a shopping network and an essential marketing weapon of the 21st century. It has
created a revolution for companies and brands, forcing them to find new ways to appeal to
customers with social media marketing (Godey et al., 2016). Social media marketing involves
the use of social media networks to promote a brand, product or service. Social media
marketing started with brands publishing content on their social media pages to build traffic on
their web pages to generate sales. Additionally, social media marketing evolved to achieve
various other goals: promoting goods and services, growing brand awareness, increasing site
traffic, creating a conversation about your brand, and so on.
Also, social media has created the opportunity for brands to reach different demographics
relevant to their brand. It has provided advertisers with measuring instruments to access
valuable and operational client data (The Evolution of Social Media: How Did It Begin and
Where Could It Go Next, 2021). Due to this, many brands target Generation Z because they
spend over 6 hours on social media (WP Engine, 2019). Generation Z, also known as Gen Z’s,
refers to the younger generation born between 1995 and 2010. Also, Gen Z's are called the
digital natives because they have been the only generation to develop entirely in the digital age.
They also have a radical and ethically motivated point of view by paying attention to the
interests of marginalised people. Gen Z's actions as customers reflect on their ideals and the
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impact of an increasingly digital environment. In addition, Gen Z’s may rely on their
knowledge of technology and vast social networks to make intelligent buying choices. Gen Z’s
use their buying decisions to affirm their standards and values. For instance, they are drawn to
sustainable brands and products and are often prepared to pay more for them. They value
personalised products and are attracted to brands that share their political viewpoints (The
Annie E. Casey Foundation, 2021).
Francis and Hoefel (2020) posit that generational changes can become more critical in defining
behaviour than socioeconomic disparities due to global connectivity. Young people have been a
powerful force on people of all ages and socioeconomic levels and how they use and react to
products. Therefore, brands have started to evolve to appeal to this generation.
The advancement in social media marketing also applies to high fashion brands that initially
stuck to traditional advertising methods such as magazine ads to make them appear distant and
aloof to sell the image of exclusivity (Athwal et al., 2019). With younger generations (Gen Z)
growing and making a good percentage of market shares, high fashion brands have evolved
from traditional ways to remain relevant. Failure to adapt to emerging trends would have acted
as a catalyst for the domination of newer tech-savvy brands (Lapuerta, 2019). Hence, high
fashion brands have started adopting methods to appeal to Gen Z, like using TikTok, Instagram
ads, hashtags, celebrity collaborations and influencer marketing.
Social media has led to fashion becoming a mutual concession, where consumers are also
contributors, and new ideas get circulated much quicker, and trends inevitably change faster. At
the highest levels of fashion, customers can have the first look at the most significant fashion
events. For instance, Snapchat gives users a sneak peek of important fashion events worldwide,
such as the MET Gala, red carpets, and other fashion weeks (thefashionnetwork, 2018).
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In addition, high fashion brands started appealing to Gen Z by addressing matters they are
passionate about, like diversity and sustainability. Therefore, brands like Jacquemus and Chanel
began using social media to promote inclusivity by featuring more POC (People of Colour).
The current prevailing trend for high fashion brands to embrace social media is revolutionising
the fashion industry and its operation. Thanks to social media, the fashion industry is now more
accessible to the general public.
This study would focus on the high fashion industry’s use of TikTok, a mobile social platform
for sharing funny short videos and challenges. Brand marketers have decided to pick up this
platform because it has become popular among Gen Z consumers. The social video app has
been downloaded over 110 million times after its August 2018 launch in the United States.
According to consumer analytics company Marketing North, 41% of the demographic are
between the ages of 16 to 24 (Schiffer, 2019).
Hence, many fashion brands have begun to utilise the platform. Prada, who recently
collaborated with number one TikToker Charli D'Amelio to document branded Milan Fashion
Week content for her fans, is among the many premium fashion brands participating in the
application, including Dolce and Gabbana Burberry, Tory Burch, and Missoni. Prada managed
to generate as much hype without getting a TikTok account when D'Amelio's highest-selling
video for the company tallied up to 5.7 million likes, 64.3K tweets, and 36.8 million views
(Barnett, n.d.).
1.1. STATEMENT OF PROBLEM
Generation Z’s use of social media has caused the high fashion and luxury market to evolve
from their traditional ways of branding and marketing, like utilising mediums like TikTok to
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appeal to this demographic. They have also incorporated personalisation elements,
environmental consciousness and influencer marketing to their social media accounts and
brands to appeal to Gen Z.
The research process has revealed that most research articles explore the relationship between
social media’s and high fashion brands without referring to Gen Z. The ones that do fail to
provide well-rounded examples of high fashion brands that use TikTok to do so. Such research
articles with these gaps include; articles by Lapuerta (2019), which focuses on Gen Z’s habits
and one specific brand’s effort to adapt to them. This article also refers to Gen Z’s use of
Instagram and not other dominating social media platforms like TikTok. Also, a study by
Ahmad et al., (2015) has the same gap.
In addition, studies by Kim and Ko (2010), and Pratap (2018) explore social media’s role in the
revolution of high fashion brands but fail to refer to Gen Z or TikTok.
This is a problem because TikTok is currently dominating the social media market, and fashion
brands use this platform to appeal to TikTok’s predominantly Gen Z audience. Therefore, there
needs to be documentation on it for reference.
This study would fill this gap by exploring how high fashion brands have adapted from their
traditional ways and utilised this platform to appeal to Generation Z.
1.2. OBJECTIVES
The following are objectives guiding this study:
1. To find out what Gen Z’s lookout for in high fashion brand’s social media.
2. To determine the impact of Gen Z’s use of social media on specific high fashion
brands.
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3. To investigate how high fashion brands have evolved from traditional marketing
methods and used TikTok to appeal to younger generations.
1.3. RESEARCH QUESTIONS
1. What do Gen Z’s lookout for in high fashion brand’s social media?
2. What is the impact of Gen Z usage of social media on specific high fashion brands?
3. How have high fashion brands evolved from traditional marketing methods to appeal
to Gen Z?
1.4. SIGNIFICANCE OF THE STUDY
This research was vital in determining the importance and influence of Gen Z customers, who
are pushing high-fashion brands to use social media apps. Also, to see how high-end luxury
brands have used smartphone applications like TikTok to appeal to Generation Z. Also, this
study is based in Lagos state, making it applicable to today’s society. This study was relevant
for documentation on the social media application TikTok, Gen Z and high fashion, which
would be critical for other researchers looking to explore this area.
This study provided data on the essence of TikTok and the Gen Z demographic for high fashion
brands with quantitative and qualitative research.
1.5. SCOPE OF THE STUDY
This research explored how high fashion brands appeal to Gen Z consumers with the social
media application TikTok. This study focused on Gen Z values of social media and how high
fashion brands have adopted these characteristics on TikTok.
The research was conducted among youths in Lagos aged 15 - 25 with the use of
questionnaires. The age range 15 - 25 was selected because, according to the African Youth
Charter, youths are aged 15 - 35, making this range more versatile than Nigeria’s definition of
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youths, which begins at 18. Therefore the researcher selected the age range within the African
Youths Charter’s definition of youth’s definition that classifies as Gen Z’s.
The research also utilised a content analysis on high fashion brand’s TikTok.
1.6. LIMITATIONS TO THE STUDY
A limitation of this study is in its generalizability beyond urban societies. The results are likely
to apply to urban communities where social media is prevalent among Gen Z, but not to rural
areas where social media is not.
Also, this research does not include the youngest Gen Z’s aged between 11 -14 years old
because the sample size does not account for them, and it is unlikely for children that young to
have social media or have knowledge of high fashion brands.
In addition, parental consent was not required for this study because it is based on the social
media application TikTok, which has an age limit of 13 years, and those in that age limit do not
require parental consent to join the application.
Also, because Gen Z’s in this study are in the age range of 15 – 25, it is unlikely for them to be
financially independent. So, this study does not include the purchasing power of Gen Z’s.
Further studies can include the entire age range of Gen Z’s and their purchasing power
concerning how they consume the products they engage with on high fashion brand’s social
media.
1.7. OPERATIONAL DEFINITION OF TERMS
Captions: They are text that describes social media posts.
Celebrity collaborations: This refers to when brands use celebrities to promote a product.
Gen Z (Generation Z): The younger generation, born between 1996 -2010.
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Hashtags (#): They are specific keywords that make social media content more discoverable
and aid easy navigation.
Haute couture: It is the process of creating high-end, custom-fitting garments exclusively.
High Fashion: They are expensive and trendy clothes manufactured by major fashion houses.
Influencer Features: This is when brands feature people who have built a reputation for
themselves on social media on their pages.
Racial representation: This refers to the inclusion of diverse races such as white, black and
Asian.
Social Media Marketing: Using social media applications and software to promote a product.
Social media: Social media is a digital medium that enables users to quickly build and share
content with the public (Hudson, 2020).
TikTok: TikTok is a social media platform where users can create short videos. The application
allows users to add filters, text, sounds, and music, which is widespread for making artistic, lip-
synched music videos. Users interact with content by scrolling through a newsfeed, reacting to
it, and navigating through hashtags (Dictionary.com, 2021).
Video Challenges: This refers to specified dares and tasks that are videoed for social media for
sport.
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CHAPTER TWO
LITERATURE REVIEW
2.0. INTRODUCTION
Many studies have focused on the impact of social media and high fashion brands. While there
has been much research on this, researchers have not taken Generation Z’s use of the social
media app ‘TikTok” concerning its role in marketing high fashion brands into consideration.
So, this section would review and scrutinise different studies, theories and articles on TikTok,
Generation Z, high fashion and social media as a whole, and their methods of obtaining data.
2.1. CONCEPTUAL FRAMEWORK
This section contains the explanation and analysis of concepts that are central to the study.
High Fashion
High fashion, also known as “haute couture”, is clothing and accessories from top designers and
made from expensive and luxurious fabric with intricate detail. They are usually assembled by
hand from start to finish, and they are trendy—well-known designers design clothing perceived
to be high fashion. Usually, the identity of the designer is linked to the clothing brands and adds
to their quality. (Reference, 2020).
Legally, the word "haute couture" can only be offered to some brand names that meet specific
criteria. The criteria are; the designer has to make custom-designed clothing for private
customers, garments must have more than one fitting before finishing, the designer shall hire
fifteen or more full-time employees and twenty full-time technical staff at their studio, twice a
year they must showcase their collections at the Paris Couture Fashion Week in January and
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July. Every collection must include at least fifty different daily wear outfits (Sunset Plaza,
2020).
According to DeJean (2007), high fashion is not a new concept; it has existed for centuries.
There have always been people dressed stylishly, although fashion marketing began in Paris,
France, in the 1670s. This has given rise to the creation of the fashion industry: a vast network
of fashion designers, producers, merchants who make fashion changes and determine every part
of a new season's official portrait.
Furthermore, it has contributed to a broader customer base of high-end products, more complex
approaches to supply new demand and ways to spread trends rapidly and efficiently, thereby
ensuring that the fashion-obsessed ranks continue to increase. Notably, the concept of “fashion
seasons” was introduced to fashion enthusiasts, a fundamental tool in fashion marketing.
In the 1670s, fashion first glimpsed into its modern identity: it morphed into an industry that
came into existence to supply the ever-increasing demand for high-fashion garments to the elite,
including royal family members.
However, haute couture is not what it was 150 years ago. It still significantly influences the
fashion industry, but the apparel is not seen to make money anymore. In reality, some houses
are losing money to making one-of-a-kind clothing. Instead, the fashion house's reputation,
prestige, and brand identity are improved by advertising and foreign media attention. For
instance, you can see high fashion on the red carpet as many designers lend clothing for
celebrities for this additional advertisement. To compensate for the loss, most fashion houses
now sell ready-to-wear (clothes sold in finished condition) collections and accessories like
shoes and fragrances as the return rate is higher (Sunset Plaza, 2020). This just shows that the
fashion industry is continuously adapting.
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Social Media
Social media is a computerised technology that enables ideas, thoughts, and knowledge to be
exchanged through virtual networks and communities. Social media, by nature, is web-based
and provides consumers with fast electronic information exchange. Personal records, records,
photographs, and images are considered as content. Users connect through computer,
smartphone or tablet via internet apps or web applications for social media, sometimes using it
for messaging. There are six social media sites: social networking, bookmarking, social news,
media sharing, microblogging, and online forum sites.
The strength of social media is the capacity to communicate and exchange knowledge
concurrently with someone else on earth or several individuals.
Social media came into being a means for communicating with family and friends but later
became embraced by businesses who decided to use a common modern medium of
communication to attract consumers. This is known as social media marketing, where
organisations use social media networks to promote their products (Investopedia, 2020).
Companies are using social media because it can enhance the frequency, performance and
scope of their marketing. It is a fast and convenient way to encourage purchases, discounts,
events, and other business marketing initiatives. Businesses use social media for advertising
their brands, notifying their clients, and keeping in contact with their target audience from any
location. Furthermore, social media facilitates communication between brands and their target
audiences, allowing them to respond personally and quickly. Brands use social media not only
to market but also to interact with their target audience. Hence, it allows brands to learn more
about them, support them, and strengthen their bonds with them. Finally, companies use social
media to sell their products because it is brimming with customers help them market their
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brand. They do so by participating in social media campaigns, liking, posting, and commenting
on posts to inform their followers about the business (McCormick, 2017).
TikTok
TikTok is a social media application used for the creation and sharing of short videos. The
social media platform was released by ByteDance in September 2016 as Duoyin in China and
launched one year later in the foreign industry, as TikTok. This is one of Asia, the United States
and the world's largest short video platforms. In 2018, the app became successful and in
October 2018 was the most downloaded app in the United States. It became present in more
than 150 markets and 75 languages in 2018. Users can make short 15 second videos with the
application, with more than 500 million worldwide users in 150 countries reaching the app in
July 2018 (What Does Tiktok Mean?, n.d.)
The platform's goal is to catch and present the world's imagination, intelligence, and priceless
life experiences, all from the convenience of a smartphone. TikTok thrives on irreverence, with
users making a mockery of themselves in public, pulling silly pranks, and performing skits,
resulting in a meme culture within the TikTok application. TikTok users are also encouraged to
interact with other users through response videos, which boosts overall interaction. Users will
also use trending songs and tags to try new dance steps or make their variations on a theme.
The fact that TikTok is a purely algorithmic observation and inference experience is significant.
When you open the app, the first thing you see is not your friends' content; the first thing you
see is a page named "for you," a feed built on algorithms that you communicate with or viewed.
TikTok can make assumptions the second time you open the software. TikTok truly stands out
among other social media applications: instead of being a lifestyle channel, it is more an
entertainment platform.
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Many architecture and technology influences contribute to the platform's popularity among this
younger generation regarding its layout. For instance, users appreciate how easy it is to navigate
videos on the site by scrolling vertically, like a feed, instead of swiping sideways. Finally,
young people appreciate how simple it is to add text to their content. Overall, TikTok's assistive
responses with their “for you” page are a hit with young video makers as it can answer their
what should I post and watch questions (Bruno, 2020).
Generation Z
Generation Z refers to the generation born after millennials between the years 1996 to 2010.
Gen Z grew up with computers, the internet and social media, often leading them to be
quintessentially tech-addicted, anti-social or "social justice warriors". This is the internet and
social media generation, with some oldest Gen Z’s university graduates joining workforces by
2020. Nevertheless, Generation Z varies from older generations because they have grown up
entirely in the modern world as the first users. They are technologically competent and have
high expectations of their time online (Business Insider, n.d.).
According to a study by Sladek and Grabinger (2014), Gen Z’s have different attributes,
perspectives, capabilities, and ideals than previous generations. Therefore, companies will
benefit from the advantages Gen Z has to bring if they take the time to learn about these
characteristics.
One of the characteristics of Gen Z is that they are financially conscious. Before purchasing
products, they go through reviews, find ways to sample products virtually or physically and
search the internet for the best deals. According to research at XYZ University, after surveying
over 100 parents of Gen Z, 59% of respondents confirmed this trend. This means that for
companies, the only way to reach Gen Z’s by using quality products at competitive prices.
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Another characteristic of Gen Z is that they are globally-minded. According to the parent
survey, 34% of Gen Z’s use social media to connect with friends in other states in the United
States and 13% connect with friends across the globe. The networking between various cultures
has proven to be very impactful. They use social media platforms to share videos, pictures and
messages about different occurrences worldwide to bring awareness to salient issues. This
connectivity has led to Gen Z coming together to take on global problems.
Gen Z’s are very individualistic. Society’s progressive shift to become more accepting has led
to this generation’s struggle to find an identity for themselves. Previous generations defined
themselves by their race, religion or gender, but that is now politically incorrect as those factors
do not define an individual. This has made Gen Z’s obsessed with celebrity culture because
they associate celebrities with identity. So, they strive to learn aspects of celebrity’s personal
lives to define their own identities. This means brands should learn how to develop a brand
identity and culture to appeal to this generation.
Another characteristic of Gen Z their tech-savviness; it has made creativity and innovation
quick. Because of the accessibility of information, they can research various issues and provide
solutions quickly. What this means for companies is that customer creativity has been used to
generate user-generated content.
Lastly, Gen Z’s have much online influence and are very demanding. Hence, if a product or a
brand does not meet their satisfaction, they are not afraid to air their thoughts online. Therefore
brands need to build their digital presence and implement the following traits into their brand to
reach this group.
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High Fashion Brands Marketing to Gen Z
98% of Gen Z’s own a smartphone, which they use for much of their purchases. They consult
three outlets before purchasing merchandise: reviews of influencers, social media, and customer
input. Television advertisements have little impact on Gen Z’s because they see them as
outdated. Even internet ads will not move the Gen Z’s since they have mastered the use of ad
blockers. Luxury retailers are therefore required to redesign themselves in order to capture
them. It is essential to bring Gen Z personalised digital experiences to stay attractive and
meaningful.
This generation is looking for a personalised and authentic approach. Generation Z
customers admire the heritage of a company, creative concepts and unusual objects that
represent their values. Therefore, Gucci, Louis Vuitton and Supreme have been the favoured
brands of Gen Z because they have adhered to these standards.
Generation Z will become the luxury brand's most important customers. Understanding who
they are and what motivates them would be vital to the growth of a brand. Therefore, high
fashion brands have started changing their dynamics to appeal to the demographic
(Bytyci,2020).
Generation Z forms 60% of TikTok’s users. Hence, if Generation Z is pivotal to high fashion
brands, they need to use this platform to appeal to them.
2.2. THEORETICAL FRAMEWORK
This section includes theories that are central to the study. The framework of this study includes
the trickle-up theory of fashion and medium theory.
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2.3. The Trickle-Up Theory of Fashion
The trickle-up theory of fashion posits that trends are developed from the lower levels or the
streets and then flows to upper-income groups; therefore, the movement is from the bottom up
(DeLong, n.d.).
According to Massey University retail studies expert Dr Jonathan Elms, the rise of technology
and social media plays into the trickle-up theory. Influencers do not need to get to the top of the
social scale to be regarded as necessary because, with social media, anyone can create value
and gain a following from wherever they are (Pollok, 2018). These fashion social media
influencers can be seen as an example of the trickle-up effect in fashion because they can
develop trends and impact fashion by showcasing their taste in fashion on free mediums like
TikTok.
This theory applies to this study because modernity, popular culture and social change affect
the trickle-up theory. Hence, with the advancement of social media and Gen Z making a good
percentage of social media users, high fashion brands have started maintaining a high social
media presence. Also, with people using social media to document their outfits and trends with
hashtags like #streetwear, it has created a bandwagon culture where high fashion brands like
Gucci incorporate elements of “streetwear” into their collections. Therefore, you could see
trends trickling up from “ordinary people” to high fashion brands through social media, which
has made brands utilise social media applications like TikTok.
2.4. Medium Theory
The medium theory is a construct that posits that the type of medium used to interact with a
user is just as important as the message or content being passed across on the medium.
Scholars developed the theory; Marshall McLuhan and Joshua Meyrowitz (Medium Theory -
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Media Technology and Culture Change, n.d.).
The theory implies that audience reaction would rely on the message and the medium from
which it is sent. McLuhan claims that the media and not the messages it communicates should
be the centrepiece. McLuhan views the media as technological extensions of the human body.
He studied the impact of the media on the lives of individuals. In a very ambiguous way,
McLuhan used the concept of "media," including speech, print, movies, the radio and TV.
Moreover, he reached the same conclusion with each medium that; the medium is the message
(Zell, 2020).
The medium theory focuses on media technology and identifies the societal influence of
technological properties. The framework also confirms the uniqueness of each medium. (Potts,
2008). So, in the wake of the increasing popularity of social media sites, the same general rules
of medium theory apply. Hence, to use social media effectively, it is crucial to tailor your
message to the nature of the platform chosen (Bernardo, 2020). McLuhan also claims that
every platform is unique, and to reach the right audience; you need to choose the right platform
and be literate (Zell, 2020).
This theory is essential to this study because as high fashion brands seek to reach out to
younger audiences, what is considered is the platform TikTok. Brands chose this platform to
market to Gen Z’s because they make 60% of their users. Also, the nature of the platform, with
the use of short funny video challenges, makes it so appealing to Gen Z’s. Hence, the brands
have mastered the dynamics of TikTok by posting such content to reach Gen Z’s.
2.5. EMPIRICAL LITERATURE REVIEW
According to SociallyPowerfulMedia (2018), social media provides brands with immense
opportunities to uplift their bottom line. High fashion brands have used social media to; stay
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culturally relevant, revive the brand experience, incorporate multi-tier influencer strategies into
their social media approach, continuously expand their fan base, and sustain a high degree of
quality interaction with their fans findings of this study.
Kim and Ko (2010) conclude that social media seems ideal for customer retention and attracting
cross-shoppers with the increasing interest of high fashion brands in providing consumers with
luxurious value. Also, high fashion brands have implemented five elements into their use of
social media, namely, entertainment, customisation, interaction, word of mouth, and trend.
This result contrasts with their methods of marketing in the past.
According to Dunlap (2018), social media has become an essential tool in the fashion industry.
Social media offers an incentive for brands and customers to weigh in on what is in style and
what is not. They use tools like Instagram to live stream the runway shows at Fashion Week.
Pratap (2018) concludes that high fashion brands such as Gucci use social media sites for
marketing and customer involvement. They have strategically used various mediums such as
Twitter and Facebook to engage their customers across the globe.
Lapuerta (2019) concludes that with constant scrolling on social media, Gen Z absorbs content
and trends. High-fashion brands must evolve to remain relevant, buzzworthy, and profoundly
fascinating to younger consumers as they become a more prominent and significant part of the
industry.
According to Kengos (n.d.), fashion is essential to Gen Zs, and social networking helps them
remain updated on all the latest trends.
According to an empirical study by Ahmad et al., (2015), Young adults are strong social media
users. They engage with fashion brands and share their opinions on social media. According to
the study "Young Adult Revealed", 12,603 young adults between the ages of 18 and 24, in over
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26 countries, engaged in a global survey on how much they are involved with brands each day
online. The results show that 28% spoke of brands in a discussion forum, and 19% added brand
content to their social media pages.
Also, Gen Z’s are eager about relatable influencers who share the same values as them. This has
made brands seek credible influencers within their communities (Kolatsis, 2019).
According to findings by Kaur (2020), It has been seen that Youths in India spend a majority of
their time on the TikTok application. 23% are those who sign in for “few minutes”, 25% use to
spend a “few hours”, 22% are those who open this app once a day, 5% sign in two or three
times a week and 25% consider themselves to be occasional users.
Muliadi (2020) concludes that TikTok is popular among Gen Z because they are interested in
the content rich in personalisation. The simple, high energy and profoundly engaging nature of
TikTok videos are advanced yet user-friendly tools available for both businesses and users to
relate with their audiences. TikTok’s personalised algorithm contrasts with Instagram’s more
polished feed and has produced more engagement because Gen Z values expressiveness.
2.6. METHODOLOGICAL LITERATURE REVIEW
The methodologies used in the empirical literature review involve the following:
SociallyPowerfulMedia (2018) employed qualitative and quantitative research to establish how
high fashion brands take advantage of social media marketing. This research applies to this
study because it shows social media marketing among high fashion brands, and it shows the
relevance of social media marketing to high fashion brands. Although, this research fails to
mention how brands utilise TikTok to appeal to younger generations.
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Kim and Ko (2010) used both a quantitative approach to measure fashion brands use of social
media on consumer relationship. This research applies to this study because it establishes the
importance of social media marketing for fashion brands to attract consumers. However, this
research fails to refer to Gen Z and TikTok.
Dunlap (2018) employed a qualitative approach in dissecting five various high fashion brands'
(Burberry, Givenchy, Gucci, Dior and Chanel) use of various social media platforms. This
article is relevant to this study because it displays how conversant high fashion brands are with
social media, their brand strategies and how they have used social media to duplicate their
success. However, this article fails to account for how these brands have utilised Tiktok, which
is a problem, as Tiktok is today's dominating social media platform.
Pratap (2018) used a qualitative approach to justify the high fashion brand Gucci’s social media
strategy. This article is relevant to this study because it has been established that Gucci is a Gen
Z staple. Therefore, it is crucial to explore how they keep consumers engaged on social media.
Although, this article fails to document how the brand uses TikTok where the brand has a
significant presence
Lapuerta (2019) utilised a qualitative approach in the case study exploring how high fashion
brand Balenciaga markets to Gen Z. This study applies to this research because it goes in-depth
on how this particular fashion brand has tailored elements of their brands to appeal to Gen Z. It
also uses quantitative research to measure the amount of online traffic the brand attracts online,
based on their attempts to appeal to various Gen Z attributes. Although, this research fails to
delve into social media and only makes a mere mention of Instagram.
Kengos (n.d.) uses a qualitative approach to establish Gen Z’s relationship with the fashion
industry and push for sustainable brands and brands with a high social media presence. This
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article applies to this study because it helps establish the importance of Gen Z to the fashion
industry and how they use social media to interact with brands and keep up with trends.
However, this article fails to mention how Gen Z uses TikTok to interact with high fashion
brands.
Ahmad et al., (2015) uses a qualitative approach in their empirical research to establish the
effect of social media on the fashion industry. This study is relevant to this research because it
examines other studies on the role and impact of social media on the fashion industry.
However, this research does not refer to TikTok, which proves that there is a noticeable gap.
Kaur (2020) uses quantitative research to measure how TikTok influences youth in India. This
research applies to this study because it shows how the youth uses TikTok most of their time
and how it affects them. However, this study fails to mention how brands market to Gen Z or if
Gen Z follows brands on TikTok.
Kolatsis (2019) employed a qualitative approach to establish Gen Z’s role in advancing social
media. This article is relevant to this study because it states how Gen Z’s have utilised social
media and how social media have become the blueprint for brands. However, this article takes a
general approach and is not related to high fashion brands.
Muliadi (2020) used a qualitative approach to establish the relationship between Gen Z and
TikTok. This study is relevant to this study because it displays why TikTok is successful among
Gen Z’s and thrives on its value. Although, the article only refers to how businesses as a whole
have utilised this platform and do not mention fashion businesses specifically.
2.7. SUMMARY OF FINDINGS FROM LITERATURE REVIEW
There is a link between the high fashion industry’s use of social media with younger
generations. Brands are adopting methods that appeal to Gen Z’s, like social media apps,
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influencers, and hashtags. According to the trickle-up theory, brands implement what they see
trending on social media among young people into their collections and promote it on the same
mediums to appeal to them.
In addition, the social media app TikTok has become very popular among Gen Z. They spend a
majority of their time interacting with users and businesses and are influenced by it. According
to the medium theory, the platform chosen is as essential as the message conveyed, meaning the
intended audience to be reached relies on the platform chosen. This is why brands need to
consider TikTok when reaching out to Gen Z’s because they make a good percentage out of the
platform's users.
However, various research on social media, fashion brands, and Gen Z fails to study TikTok
even though it is today's leading social media platform, so there is an evident gap. This is why
this study needs to fill this gap.
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CHAPTER THREE
METHODOLOGY
3.0. INTRODUCTION
This section contains the methodology used in obtaining the research objectives and answering
the research questions.
3.1. RESEARCH DESIGN
The research design is the overarching approach chosen to combine the many components of a
study logically and cohesively, guaranteeing that the research topic would be effectively
addressed and acts as the blueprint for data collecting, measurement, and analysis. The research
design for this study adopted an exploratory research design which is used when there are few
or no previous studies to refer to or depend upon to forecast an outcome (USC Libraries, n.d.).
This research design is appropriate for this study because of the lack of studies on the
relationship between high fashion brands, Gen Z‘s and TikTok. Hence, this research explored
the importance and influence of Gen Z customers, who are pushing high-fashion brands to use
social media apps. The aim was to obtain knowledge and familiarity in preparation for further
inquiry on the subject.
3.1.1. Method
The research method for this study uses a quantitative approach with the use of questionnaires
and content analysis. Quantitative research was chosen because it is best for evaluating
behaviours, opinions, attitudes, and other factors to make generalisations about a broad
population. This was necessary for assessing Gen Z’s and their preferences on high fashion
brands social media and how high fashion brands applied them into their TikTok accounts.
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The questionnaire was sent to Gen Z’s in Lagos aged 15 – 25, and the questions were based on
Gen Z’s preference for high fashion brand’s social mediums. This is essential for answering the
first research question:
RQ1: What do Gen Z’s lookout for in high fashion brand’s social media?
The questionnaire would be based on research on Gen Z, TikTok and fashion brands from the
literature review.
The content analysis method was used to assess the various characteristics of TikTok (based on
the questionnaire findings) that Gen Z’s lookout for in high fashion brand’s social media
accounts. This answered the following research questions:
Q2: What is the impact of Gen Z’s usage of social media on high fashion brands?
Q3: How do fashion brands evolve from traditional marketing methods to appeal to Gen Z’s?
This method is essential to understanding how high fashion brands market to Gen Z with
TikTok.
3.2. RATIONALE FOR METHODS CHOSEN
The purpose of adopting a quantitative study, using both questionnaires and content analysis, is
for their appropriateness in assessing behaviours, opinions and attitudes about a specific group.
This is appropriate for this study, especially since it is an exploratory study that revealed how
fashion brands market to Gen Z on TikTok.
The questionnaire will allow the researcher to gather information about the population’s
preferences for following high fashion brands social mediums.
The content analysis would draw a pattern between findings from the questionnaire and high
fashion brand’s use of TikTok.
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3.3. STUDY POPULATION
The study population of this study include youths in Lagos. According to Ivagba (2020)
research on youths in Lagos, youths are estimated to make up over half of the population,
making ten million inhabitants.
For the content analysis, the social media platform chosen is TikTok.
3.4. SAMPLING TECHNIQUE AND SAMPLING SIZE
The sampling technique to conduct the questionnaire is a purposive, non-probability sample
technique. It was used to gather detailed information about Gen Z’s preference in high fashion
brand’s social media content. Hence, the appropriate characteristics for the respondents were
Gen Z’s;
 Following high fashion brands social media accounts and view their content;
 Not following high fashion brands social media accounts but still view their content
and;
 Aged between 15 and 25
As mentioned in the scope of this study, the age range 15-25 was chosen because the African
Youth Charter described youths as people between the ages of 15 and 35, making this range
more flexible than Nigeria's classification of youths, which is defined as being between the ages
of 18 and 35. As a result, the researcher chose an age group within the African Youths Charter's
classification of youths that falls into the Gen Z category.
The questionnaire was created on Google Forms and was disseminated through social media
platforms such as Twitter and Whatsapp to reach the population. This method allowed the
researcher to create generalisations about the population from the data, which was essential to
the study.
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The sample size of this study is 385, and it was obtained using the sample size formula:
i. Formula for infinite population: S= [z² x p x (1 –p)] / 2 =384.16
S = sample size of infinite population
Z= score
P= Population proportion (assumed to be 50% =0.05)
M= Margin of error
ii. For applying sample size to the required population:
Adjusted Sample Size= (S) /1+[(S-1) / population]
According to Ivagba (2020), youths are estimated to make up over half of the population,
making ten million inhabitants. So, after applying this figure to the formula, the sample size of
385 was derived.
For the content analysis, it involved the researcher following these steps:
1. Content: This is the process of choosing the content to analyse. The content for this
study is TikTok. The researcher had to download the TikTok application and make an account
to view the content.
2. Categories: this is the process of selecting categories of the content to analyse. The
categories for this study are high fashion brands with TikTok accounts. This was based on the
fashion brands Gen Z’s claimed to follow in the findings of the questionnaire. Hence the
categories for this study was; Gucci, Versace, Dior, Louis Vuitton, Balenciaga, Prada,
Jacquemus and Fendi.
3. Code: This refers to selecting specific themes or characteristics that will be counted in
each category. According to the findings of the questionnaire, the coding scheme developed for
this study was based on attributes Gen Z’s lookout for in high fashion brand’s social media.
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Therefore, the codes were video challenges, racial representation, celebrity collaborations,
influencer features, captivating captions and hashtags.
4. Count: this involves using a tally to count all the codes in each category.
5. Conclude: This involves making sense out of all the data collected and transforming it
into qualitative data.
3.5. RESEARCH INSTRUMENTS
The research instruments for this study included primary sources, which included an online
questionnaire with both open and closed-ended questions. The questionnaire was created on
Google Forms and was disseminated through social media platforms such as Twitter, Snapchat
and Whatsapp to reach the population.
For the content analysis, a coding scheme was created to derive patterns in high fashion brand’s
use of TikTok concerning marketing to Gen Z’s. This was done by selecting various
characteristics or attributes of social media, adding them to the questionnaire to see which ones
appeal to Gen Z’s and then selecting the ones used on the content to be analysed; TikTok.
Hence the codes were; were video challenges, racial representation, celebrity collaborations,
influencer features, captivating captions and hashtags. Additionally, to count each code
developed on TikTok, a Microsoft Excel worksheet was used to conduct a tally count and store
extracted from each coding category. This can be found in Appendix 3 of the study.
3.6. METHODS OF DATA PRESENTATION AND ANALYSIS:
A quantitative methodology was used to analyse the data collected. This was done by citing
findings from the questionnaire and content analysis to answer the research questions; ‘What do
Gen Z’s lookout for in high fashion brand’s social media?’, ‘What is the impact of Gen Z usage
26
of social media on specific high fashion brands’ and ‘How have high fashion brands evolved
from traditional marketing methods to appeal to Gen Z?’.
In presenting data from the questionnaire, the researcher made use of frequency tables. For the
content analysis of high fashion brand’s TikTok accounts, a Microsoft Excel worksheet was
used to display the tally count, screenshots from TikTok was also utilised, and text was used to
explain the tally and screenshots. Also, the trickle-up theory and the medium theory was used
to show how it aids in reaching my conclusion that brands use social media to market to Gen Z.
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CHAPTER FOUR
DATA PRESENTATION/ANALYSIS AND DISCUSSION
4.0. INTRODUCTION
This chapter contains the data presentation of this study and its interpretations. It expatiates the
data collection process, the number of respondents obtained for the questionnaire, the sample
size and the response rate. Also, it elaborates on the content analysis on the various high fashion
brand’s TikTok accounts.
This chapter aims to provide valid answers to the research questions of this study.
4.1. DATA INTERPRETATION AND ANALYSIS
This section aims to interpret the data obtained from the questionnaire and the content analysis.
4.1.1. INTERPRETATION AND ANALYSIS OF DATA OBTAINED FROM THE
QUESTIONNAIRE
The researcher utilised an online method of questionnaire delivery. The questionnaires
contained seven closed and open-ended questions administered over one week.
Although, the number of responses was not as much as the sample size. Initially, the researcher
was able to get 385 responses but deleted fourteen responses due to the respondent’s lack of
knowledge of high fashion brands. The sample size for this study was 385, and the number of
responses obtained was 371, giving the study a 96% response rate.
a. Demographic Information
This section aims to provide the demographic details of respondents
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Question One: Age
Table 4.1: Age Distribution of Respondents
Frequency Percentage
15 -17 59 15.9%
18 – 20 182 49.1%
21 – 25 130 35%
Table 4.1 displays the age distribution of the respondents. It shows that respondents between
the ages of 15 - 17 made 15.9% of the sample. Those between the ages of 18 - 20 make 49.1%
of the sample. While those aged between 21 - 25 made 35% of the sample.
It can be implied that those aged between 18 - 20 make up a large population of Gen Z’s in
Lagos who follow high fashion brands on social media.
Question 2: Gender
Table 4.2: Gender of Respondents
Female 246 66.3%
Male 123 33.2%
I prefer not to say 2 0.5%
Table 4.2 depicts that female respondents make 66.3% of the sample and male respondents
make 33.2% of the sample, while 0.5% prefers not to state their gender. Hence, there were more
female respondents than male respondents.
29
b. Respondents use of Social Media
Question 3: What social media applications do you use?
Table 4.3: Respondents usage of social media applications
TikTok 211 56.9%
Twitter 260 70.1%
Instagram 326 87.9%
Facebook 34 9.2 %
Snapchat 278 74.9%
A checkbox for this question was provided, where respondents could select multiple options
and provide alternative options with the ‘other’ option. The essence of this question was to find
out what mediums appeal to Gen Z’s. According to Table 4.3, TikTok makes a significant
percentage of the findings with 56.9%. Though, not as much as Twitter (70.1%), Instagram
(87 .9%) and Snapchat (74.9%). Other options provided included in the ‘other’ option:
 Whatsapp
 Reddit
 iMessage
 Pinterest
 YouTube
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Question 4: Do you follow high fashion brands on social media?
Table 4.4: Respondents who follow and who do not follow high fashion brands on social media.
Yes, I do, and I view 165 44.5%
their content
No, I do not, but I still 205 55.3%
view their content
No, I do not, and I do not 0 0%
view their content
This question aimed to distinguish respondents who do not view high fashion brands on social
media from respondents that do. According to Table 4.4, 44.4% of the respondents follow high
fashion brands and view their content, 55.3% of the respondents do not follow high fashion
brands but still view their content, and 0% neither follows nor views their content. The
respondents that do not follow or view their content were not allowed to proceed to the
following questions because they were based on high fashion brand’s use of social media
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Question 5: Which high fashion brands do you follow?
Table 4.5: High fashion brands the respondents follow
Gucci 151 40.7%
Versace 101 27.2%
Balenciaga 108 29.1%
Louis Vuitton 236 63.6%
A checkbox was provided for this question, where respondents could select multiple options
and provide alternative options with the ‘other’ option. Other options included:
 Prada
 Dior
 Jacquemus
 Fendi
 Bottega Veneta
 Chanel
 Maison Margiela
 Mugler
The essence of this question was to establish the high fashion brands that Gen Z’s follow on
social media. Table 4.5 displays that 40.7% follow Gucci, 27.2% follow Versace, 29.1% follow
Balenciaga, and 63.6% follow Louis Vuitton
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Question 6: What sort of social media content from high fashion brands appeal to you the most?
Table 4.6: Types of social media content from high fashion brands that appeal to respondents.
Images only 235 63.3%
Video Challenges 158 42.6%
Racial Representation 176 47.4%
Celebrity Features 209 56.3%
Influencer Collaborations 147 39.6%
Hashtags 30 8.1%
Captivating Captions 77 20.8%
 Fashion movies
 Campaign videos
 Nice ads and feeds
 Background music
 Diversity (race and body type)
This question shows the type of content the Gen Z respondents look for in high fashion brands'
social media accounts. According to table 4.6, 63.3% like the use of images only, 42.6% like
video challenges, 47.4% like to see racial representation, 56.3% like celebrity features, 39.6%
like influencer collaborations, 8.1% like hashtags and 20.8% like captivating captions.
33
Question 7: How do you think high fashion brands have made an effort to appeal to your
generation?
Table 4.7: How respondents feel high fashion brands have attempted to appeal to them.
Images only 245 39.1%
Video Challenges 202 54.4%
Racial Representation 197 53.1%
Celebrity features 240 64.7%
Influencer 258 69.5%
Collaborations
Hashtags 93 25.1%
Captivating Captions 99 26.7%
 They have not made any effort.
 Feigned relatability.
 Edgy pictures.
 Speaking up on race-related issues.
This question shows the sort of content the respondents feel high fashion brands are delivering
to them. Table 4.7 shows that only 39.1% of the respondents feel like they get image only
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content even though most respondents are attracted to it, as depicted in table 6. It is shown that
respondents feel as though the content they are getting from high fashion brands include mainly
video challenges (54.4%), racial representation (53.1%), celebrity features (64.7%) and
influencer collaborations (69.5%).
4.1.2. INTERPRETATION AND ANALYSIS OF DATA OBTAINED FROM CONTENT
ANALYSIS
This section contains the quantitative/qualitative content analysis of all the posts on various
high fashion brands TikTok accounts. This was done by selecting the various high fashion
brands (stated by respondents in the questionnaire) with TikTok accounts; that selection was
how the content analysis categories were developed. The categories were:
 Gucci
 Versace
 Louis Vuitton
 Balenciaga
 Prada
 Dior
 Jacquemus
 Fendi
The coding scheme developed was based on the various characteristics respondents felt
appealed to them on social media and the type of content they felt they received from high
fashion brands. Also, the coding scheme was tailored to the dynamics and features of TikTok,
so the codes were:
 Video challenges
35
 Racial representation
 Celebrity Features
 Influencer collaborations
 Captivating Captions
 Hashtags
A Microsoft Excel spreadsheet was constructed to store the data extracted from the TikTok
videos. All six coding categories are outlined in Table 4.8 below
Table 4.8: Data extracted from TikTok
Gucci Video Chalenges Racial Representation Celebrity Colllaborations Influencer Features Captivating Captions Hashtags
Gucci 3 3 10 17 12 30
Dior 4 3 28 9 155 94
Versace 1 3 9 0 4 9
Balenciaga 0 3 0 0 0 0
Prada 0 3 1 0 5 8
Jacquemus 1 2 1 0 6 3
Fendi 0 3 1 1 5 9
Louis Vuitton 0 3 0 0 5 5
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The researcher was able to analyse all posts on this brand’s account. This brand began using
their TikTok account in February 2020, and their last post was in May 2021.
They were able to make use of three video challenges on their page. The challenges were
Figure 4.1:
#GucciModelChallenge
usually included other codes like hashtags, celebrity features and influencer features.
For instance, the three challenges were the #GucciModelChallenge, #GucciAbsoluteBeginners
and #KAIxGucci. The #GucciModelChallenge featured various influencers like Sean Altman
(@seannaltman) dressing up like Gucci Models, as depicted in Figure 4.1. The
#GucciAbsoluteBeginners included influencers such as @poison.ivyyyy trying new things
while “looking like a Gucci model”. The #KAIxGucci challenged featured Korean celebrity
Kai wearing the clothes from his Gucci collaboration and dancing to background music. The
challenge spiked TikTok users interest and caused them to join in, to be featured on Gucci’s
page. Even, Akiki (@aiki_kr), a popular Korean TikTok influencer, was featured doing the
37
challenge. The researcher noticed that this video challenge was used to kill various birds with
one stone. The challenge was used as a campaign video to promote their product and as a way
to drive traffic to their page using influencers.
Concerning racial representation, the researcher counted three various races that Gucci
represented on their TikTok feed. The races were Black, Asian and White.
Figure 4.2: Serena Williams (left)

and Billie Eilish (right) on Gucci's
TikTok
Gucci collaborated with ten celebrities on their pages to promote various products in campaign
videos and ads regarding celebrity collaborations. Some include; Serena Williams, Harry
Styles, and Bilie Eilish, as shown in Figure 4.2. The researcher also noticed that instead of
using celebrities in all their TikTok videos, they used background music by famous musicians
with the word “Gucci” in it.
38
Figure 4.3: Influencer @yammbamm94
Using Captions and Hashtags
Moreover, Gucci was also able to have seventeen influencer features on their TikTok page.
One of those influencers includes @yammbamm94, a famous beauty TikToker, who gave a
makeup tutorial on Gucci’s page using their products, as shown in Figure 4.3.
Also, Gucci was able to utilise twelve captions on TikTok the researcher considered to be
captivating. Some were “On an adventure”, “Your guide to living a Gucci life”, “strike a pose
#GucciAria” or “Show us how you play with #GucciBeauty”. The captions were used to
accompany the type of video it was; whether a video challenge, celebrity collaboration or the
likes and hashtags were also utilised with them.
Lastly, the researcher was able to identify thirty different hashtags on Gucci’s TikTok.
Hashtags were usually associated with a particular product, campaign, video challenge or
39
celebrity. Such hashtags include #Gucci #GucciBeauty, #HarryStyles, #GucciModelchallenge,
#GucciJackie1961 and #GucciBeloved.
Dior
their TikTok account in July 2020, and their last post was in May 2021.
Figure 4.4:#DiorNewLook
Challenge with Influencer
@karenwazen
They were able to make use of four video challenges on their page. The challenges were
usually included other codes like hashtags, captivating captions, and influencer features. The
40
four challenges were the #DontRushChallenge, #OhnananaChallenge, #DiorMoves and
#DiorNewLook.
The #DontRushChallenge featured Dior models trying on Dior sunglasses to some background
music. The challenge also used captivating captions like “look at life through a new lens” and
“make every moment magnetic”.
The #OhnananaChallenge and #DiorMoves were dance challenges to particular background
music that featured Dior clothing models.
The #DiorNewLook challenge featured various influencers such as @karenwazen showing
what they would wear to a Dior fashion show, as shown in Figure 4.4.
Concerning racial representation, the researcher counted three races that were represented on
Dior’s TikTok account. The races were Black, Asian and White.
Figure 4.5: Chimamanda

Ngozi Adiche on Dior's
TikTok
41
Moving on to celebrity collaborations, twenty-eight celebrities were featured on their account
promoting various products in campaign videos. Some of these celebrities include; Bella Hadid,
Cara Delevingne, Chimamanda Ngozi Adiche, and Travis Scott, as depicted in Figure 4.5.
Figure 4.6: Leonie

Hanne on Dior's TikTok
Also, Dior was able to feature nine influencers on their account. One of those influencers is
Leonie Hanne (@leoniehanne) in Figure 4.6, featured on Dior’s TikTok, showing how to style
Dior’s Caro handbag.
The researcher was able to count 155 captivating captions from Dior’s TikTok account.
Captions were linked to the video form; whether a video challenge, celebrity collaboration or
42
the likes and hashtags were also utilised with them. For instance, the caption “Follow our muse
Cara Delevinge and join the Dior Addict” was used in celebrity collaboration videos.
Lastly, the researcher noted ninety-four different hashtags used by Dior on TikTok. Some
hashtags could explain what is going on in the video, like #DiorSavoirFaire or #DiorASMR.
Some could introduce a product to the page like #Dior30Montaigne or #DiorBookTote. Some
hashtags were for new collections such as #DiorSummer21 or #DiorWinter2. Some were for
celebrities like #ChimamandaNgoziAdiche. Some were for video challenges as stated, and
some were random keywords associated with the video like #lipstick, #move and
#makeuproutine. The page was also able to utilise the #foryoupage hashtag. As mentioned in
the literature review, the “for you page” enables personalised navigation on the TikTok app,
and Dior has taken advantage of this feature by utilising the hashtag.
43
Versace
Figure 4.7:
#VersaceRunwayChallenge
their TikTok account in March 2021, and their last post was in May 2021. The brand has used
one video challenge depicted in Figure 4.7 with the #VersaceRunwayChallenge, which
featured supermodels on the Versace runway and challenged viewers to join in.
Although, the researcher noted that the brand utilised racial representation and features
models of three different races; black, white and Asian. Also, the brand’s TikTok page featured
44
nine supermodels, which are considered celebrities. Some celebrities included were; Bella
Hadid, Gigi Hadid and Kendall Jenner.
The researcher also noted that the brand made no use of influencer features.
The account used four captivating captions on their TikTok to explain the content of the
videos and make them seem more interesting. Such captions include “shine bright” and
“@babybella777 (Bella Hadid) and @gigihadid (Gigi Hadid) embody Versace’s Values of
empowerment, female friendships and a sense of family”.
The account also used nine various hashtags. Hashtags were used to tag the brand’s creative
director, celebrities, keywords, products and collections. Some hashtags used were
#DonatellaVersace, #Versace, #BellaHadid, #DiorFragrances and #VersaceFW21.
Balenciaga
their TikTok account in July 2020, and their last post was in May 2021. They made use of no
video challenges, celebrity collaborations, influencer features, hashtags or captivating
captions.
Although, racial representation was present on their page. The researcher counted three races
that were represented on Balenciaga’s TikTok account. The races were Black, Asian and White.
Prada
their TikTok account in September 2020, and their last post was in March 2021.
Prada’s TikTok account made no use of video challenges or influencer challenges.
45
However, racial representation was present on the brand's page. The brand featured three races
which were; black, white and Asian.
Figure 4.8: Yara

Shahidi on Prada’s
TikTok
The researcher noted one celebrity collaboration with the actress Yara Shahidi as shown
above in Figure 4.8.
Concerning captivating captions, the researcher took note of five such as “an explosion of
colours and patterns” or “Prada fashion week turns materials and customs inside out, translating
their essential languages”.
Prada also used eight different hashtags. Hashtags were used to tag the creative directors,
promote the fashion show, new collection, products or other necessary keywords. Some
hashtags were #MiucciaPrada, #PradaSS21 and #PradaFW21.
46
Jacquemus
their TikTok account in January 2020, and their last post was in November 2020.
The brand made use of one video challenge: the ‘bob challenge’, which involved wearing as
many Jacquemus hats as possible.
The account represented two races which were black and white.
The researcher took note of one celebrity collaboration, and that was with the supermodel
Gigi Hadid.
The account used six captivating captions. Some examples include “summer forever”,
“someone needs a jacquemus hat?” and “size does not matter”. These captions were used to
describe the content of the TikTok videos.
Lastly, the account used three hashtags, namely, #jacquemus, #jacquemusbag and #gigihadid.
Fendi
their TikTok account in July 2020, and their last post was in May 2021.
The account made no use of video challenges.
However, racial representation featured on their page with three races; black, white, and
Asian.
47
The account featured only one celebrity collaboration with actress Sabrina Carpenter, who took
over the Fendi TikTok account.
Figure 4.9: Wisdom Kaye on

Fendi's TikTok
The account featured only one influencer, a fashion influencer, Wisdom Kaye (@wisdm8), as
seen in Figure 4.9. He took over Fendi’s TikTok account for fashion week. The account made
use of five captivating captions. Some included “Take notes from @wisdm8 and dress to
impress” and “embrace the freedom to express yourself through fashion”. These captions were
used to make the videos seem more exciting.
Lastly, the account used nine different hashtags for either a campaign, product, collection or
event. Such hashtags include #fisforfendi, #FendiSS21 and #Fendipeekaboo.
48
Louis Vuitton
their TikTok account in September 2020, and their last post was in May 2021.
The brand made no use of video challenges, influencer features, or celebrity features on
TikTok.
Figure 4.10: Racial Representation on Louis

Vuitton’s TikTok
However, they utilised racial representation with three races: black, white and Asian, as
shown in Figure 4.10 above.
Also, five captivating captions were used. Some included were; “making an entrance” and
“stepping into a territory that is stylistically vague”. These captions were used to describe the
Louis Vuitton fashion show displayed on TikTok.
49
Lastly, the account made use of five different hashtags. Some include #LouisVuitton #LVSS21
and LVMenFW21. These were used to describe the collection and the fashion show.
4.2. DISCUSSION OF FINDINGS
This section seeks to answer the research objectives based on findings from the questionnaire
and content analysis.
Research Objective 1
To find out what Gen Z’s lookout for in high fashion brand’s social media.
As depicted in the results from the questionnaire in Table 4.6, 63.3% of the respondents prefer
the use of images only, 42.6% prefer video challenges, 47.4% prefer to see racial
representation, 56.3% enjoy celebrity features, 39.6% enjoy influencer collaborations, 8.1% like
the use of hashtags and 20.8% like the use of captivating captions.
These findings point to Kengos (n.d) study, which states that fashion brands are important to
Gen Z’s. So, absorbing different types of content from high fashion brands helps them stay
updated on trends. Also, most respondents being appealed by racial representation, celebrity
features, and influencer collaborations point to; The Annie E. Casey Foundation (2021) study
that states that Gen Z’s are ethically motivated, Sladek and Grabinger, (2014) study that states
that Gen Z’s are obsessed with celebrity culture, and Kolatsis (2019) study that states that Gen
Z’s are eager about relatable influencers.
Other respondents mentioned other characteristics they look for, such as fashion movies,
campaign videos, nice ads and feeds, background music, and diversity (race and body type).
The findings of this research have provided answers to the first research question: What do Gen
Z’s lookout for in high fashion brand’s social media?
50
To determine the impact of Gen Z’s use of social media on specific high fashion brands.
As described in the literature review, the medium theory is a framework in which the type of
medium for interacting with a consumer is as relevant as the message or information
transmitted on the medium, and you have to be literate on the medium and use it the right way
in order to meet the appropriate audience. This theory is vital to meet the research objective
since the TikTok platform is perceived as high-end brand’s way of targeting younger audiences
since they make 60 per cent of their users. Hence, the researcher noted in the content analysis
that high fashion brands had implemented various features that appeal to Gen Z’s (stated in the
questionnaire) into their TikTok accounts. For instance, Gucci, Dior, Versace and Jacquemus
were able to implement video challenges into their TikTok accounts, which appeals to 42.6% of
the respondents.
Concerning racial representation, all brands were able to feature at least two races for diversity
on their TikTok accounts, which appeals to 47.4% of the respondents of this study. This points
to the radical and ethically motivated point of view characteristic of Gen Z’s stated in the
background of this study and how fashion brands have attempted to appeal to this.
Regarding celebrity features which appeal to 56.3% of respondents, all the brands except
Balenciaga and Louis Vuitton could use this feature.
Concerning influencer features, Dior, Gucci and Fendi were able to feature influencers on their
page which appeals to 39.6% of the respondents.
51
Concerning captivating captions, all brands except Balenciaga could implement this into their
TikTok accounts, which appeals to 20.8% of the respondents.
Moreover, all brands except Balenciaga could implement hashtags to their use of TikTok,
which appeals to 8.1% of respondents.
In the content analysis, the researcher noted that in the ‘other’ options Gen Z’s lookout for in
high fashion brands such as; as fashion movies, campaign videos, nice ads and feeds,
background music, and diversity (race and body type) were implemented into the codes
developed. For instance, campaign videos were associated with celebrity collaborations for
most brands. Also, when Gucci used background music by famous musicians, it was tied to
celebrity collaborations by the researcher. Furthermore, the background music was tied to some
video challenges, and diversity is similar to racial representation.
Lastly, one thing that all the brands content analysed have in common is racial representation.
The Annie E. Casey Foundation (2021) study states that Gen Z’s are ethically motivated;
therefore, it can be insinuated that high fashion brands prioritise taking an ethical approach to
appeal to Gen Z’s.
These results have provided answers to the second research question: what is the impact of Gen
Z’s use of social media on specific high fashion brands?
To investigate how high fashion brands have evolved from traditional marketing methods and
used TikTok to appeal to younger generations.
52
According to the trickle-up theory of fashion stated in the literature review, trends have a
bottom-up flow and move from everyday people to higher-income groups.
This theory applies to this research objective because, as stated in the background of this study,
high fashion brands initially stuck to traditional advertising methods such as magazine ads.
However, modernity, popular culture, and social change are forces that influence the trickle-up
theory. As a result, with the advancement of TikTok and Gen Z constituting a sizable
proportion of TikTok users, high fashion companies have begun to sustain a presence on the
platform.
The researcher noted in the content analysis that high fashion brands had implemented things
that appeal to Gen Z’s (stated in the questionnaire), such as video challenges, racial
representation, celebrity collaborations, influencer features, captivating captions and hashtags.
Such features are considered to contrast from traditional advertising methods like magazine ads.
So it can be said that such social media trends trickled up from Gen Z’s to high fashion brands.
The findings of this research have provided answers to the third research question: How have
high fashion brands evolved from traditional methods of marketing to appeal to Gen Z
53
CHAPTER FIVE
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
5.0. SUMMARY
It has been established that the advancement of social media has made high fashion brands
advance and find ways to appeal to Gen Z customers in new ways, like using TikTok,
especially since they make a good percentage of TikTok’s users.
The significance of this study was to determine the role and impact of Gen Z consumers, who
were driving high-fashion brands to use social media apps like TikTok. Even to see how high-
end luxury designers have used those apps to cater to Generation Z.
Other research articles on high fashion brand’s use of social media fail to mention Gen Z’s role.
The ones that do fail to mention TikTok, which is a problem as TikTok is one of the most
dominating social media platforms. Hence, this study fills this gap.
The findings of this study show that Gen Z’s look for celebrity features, racial representation,
video challenges, influencer collaborations, captivating captions and hashtags on social media
and high fashion brands have implemented those characteristics into their TikTok pages
because of that. Also, this has caused a shift and made them evolve from traditional methods of
advertising.
54
5.1. CONCLUSION
This study aimed to establish the role and impact of Gen Z consumers, making high fashion
brands adopt specific social media applications, such as TikTok. Also, to establish how high
fashion brands have used such applications to appeal to Gen Z’s.
Based on data from the content analysis and questionnaire, the results that are relevant to the
research questions are mentioned below:
1. Most Gen Z’s prefer using images only in social media, followed by celebrity features,
racial representation, video challenges, influencer collaborations, captivating captions, and
hashtags, respectively. Other respondents mentioned other characteristics they look for, such as
fashion movies, campaign videos, nice ads and feeds, background music, and diversity (race
and body type).
2. Since Gen Z’s lookout for the following things on social media, high fashion brands
have implemented them into their TikTok accounts. Racial representation was a reoccurring
attribute in all the brands analysed, meaning diversity and ethics is prioritised. Also, the other
characteristics Gen Z’s mentioned in high fashion brand’s social media, such as; as fashion
movies, campaign videos, nice ads and feeds, background music, and diversity (race and body
type), were implemented into racial representation, video challenges, influencer collaborations,
captivating captions and hashtags. This points to the medium theory aspect that states that to
reach the right audience with a medium, it must be used in the right way.
3. High fashion brands have evolved from traditional marketing methods by utilising
TikTok and implementing video challenges, racial representation, celebrity collaborations,
influencer features, captivating captions, and hashtags into their accounts. This points to the
trickle-up theory of fashion because modernity, popular culture, and social change influence the
55
theory, so high fashion brands use the TikTok application in a way that is not considered
traditional.
5.2. RECOMMENDATIONS
Based on the findings of the study, the following recommendations are made:
1. High fashion brands should employ Gen Z’s to their social media marketing teams
because Gen Z’s understand themselves and how to appeal to one another. This is key if brands
want to appeal to Gen Z’s because they know the dynamics of TikTok and other social media
platforms.
2. More high fashion brands should open a TikTok account if they want to appeal to Gen
Z’s. According to the findings from the questionnaire, Gen Z’s follow brands like Chanel on
other social media platforms. However, the researcher observed that they do not own a TikTok
account and various other high fashion brands the respondents mentioned. This can be a
problem as the world is evolving and market practices change.
3. High fashion brands on TikTok should be more consistent with their posts and should
implement all of the characteristics Gen Z’s enjoy into their profiles. The researcher noticed
that brands like Versace, Balenciaga, Fendi, Prada, Louis Vuitton and Jacquemus did not
implement all the characteristics. It was also observed that Jacquemus had not made a post
since November 2020 and Prada has not since March 2021, which points to inconsistency. This
can give other brands an edge over them. Furthermore, they should utilise the tools TikTok has
made available, like the “for you” page, which aids user navigation for personalised content.
Based on findings, only one brand was able to utilise this, and that was Dior.
56
5.2.1. AREA FOR FURTHER STUDIES
1. Similar studies need to be conducted on a much larger scale. This can be done by
considering the whole fashion industry and using a larger population than Lagos and content
analysing more social media platforms to explore current and future discourse.
2. Further studies should consider Gen Z's income and purchasing power concerning how
they consume products displayed on high fashion brands' social media.
57
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APPENDIX 1
UNCOMPLETED QUESTIONNAIRE
61
APPENDIX 2
COMPLETED QUESTIONNAIRE
62
63
64
APPENDIX 3
MICROSOFT EXCEL WORKSHEETS USED FOR CONTENT ANALYSIS OF TIKTOK
a. Louis Vuitton
Louis Vuitton Tally Mark Count

Video Challenges 0
Racial Representation ||| 3
Celebrity Features 0
Influencer Marketing 0
Captivating Captions ||||| 5
Hashtags ||||| 5
b. Gucci
Gucci Tally Mark Count

Video Challenges ||| 3
Celebrity Features ||||| ||||| 10
Influencer Marketing ||||| ||||| ||||| || 17
Captivating Captions ||||| ||||| || 12
Hashtags ||||| ||||| ||||| ||||| |||| ||||| 30
65
c. Versace
Versace Tally Mark Count

Video Challenges 0
Influencer Collaborations 0
Hashtags ||||| 5
d. Balenciaga
Balenciaga Balenciaga Count

Video Challenges 0
Captivating Captions | 1
Hashtags | 1
66
e. Prada
Prada Tally mark Count

Video Challenges 0
Hashtags ||||| ||| 8
f. Jacquemus
Jacquemus Tally mark Count

Video Challenges | 1
Racial Representation || 2
Celebrity Features | 1
Captivating Captions ||||| | 6
Hashtags ||| 3
67
g. Fendi
Fendi Tally mark Count

Video Challenges 0
Celebrity Features | 1
Influencer Collaborations | 1
Hashtags ||||| |||| 9
h. Dior
Dior Tally Mark Count

Video Challenges |||| 4
Celebrity Collaborations ||||| ||||| ||||| ||||| |||| ||| 28
Influencer Features ||||| |||| 9
||||| ||||| ||||| ||||| |||| ||||| ||||| ||||| ||||| ||||| ||||| ||||| ||||| ||||| ||||
||||| ||||| ||||| ||||| ||||| ||||| ||||| ||||| ||||| |||| ||||| ||||| ||||| |||||
Captivating Captions ||||| ||||| 155
Hashtags ||| 94
68

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High Fashion Brands Marketing to Gen Z's on Social

Media: A Study on TikTok

Kpiasi, Oritsemeyiwa Anino

Kpiasi, Oritsemeyiwa Anino

A project submitted to the School of Media and Communication

in partial fulfilment of the requirements for the award of the

degree of Bachelor of Science in Mass Communication at the

Pan-Atlantic University, Lagos.

understanding and patience to complete this project.

also Dr Nelson Okorie.

me physically and emotionally.

and ever-changing world.

Kpiasi ,Oritsemeyiwa Anino

and Communication, Pan-Atlantic University, under my supervision.

School of Media and Communication

Table 4.2: Gender of Respondents.....................................................................................48

Table 4.3: Respondents usage of social media applications..............................................49

Table 4.4: Respondents who follow and who do not

follow high fashion brands on social media......................................................................50

Table 4.5: High fashion brands the respondents follow....................................................51

Table 4.6: Types of social media content from

high fashion brands that appeal to respondents.................................................................52

Table 4.8: Data extracted from TikTok.............................................................................56

Figure 4.3: Influencer @yammbsmm94 Using Captions and Hashtags........................................54

Figure 4.4:#DiorNewLook Challenge with Influencer @karenwazen..........................................55

Figure 4.5: Chimamanda Ngozi Adiche on Dior's TikTok............................................................55

Figure 4.6: Leonie Hanne on Dior's TikTok..................................................................................56

Figure 4.7: #VersaceRunwayChallenge........................................................................................58

Figure 4.8: Yara Shahidi on Prada’s TikTok.................................................................................60

Figure 4.9: Wisdom Kaye on Fendi's TikTok...............................................................................62

Figure 4.10: Racial Representation on Louis Vuitton’s TikTok...................................................63

1.0. BACKGROUND TO THE STUDY

traffic, creating a conversation about your brand, and so on.

Annie E. Casey Foundation, 2021).

products. Therefore, brands have started to evolve to appeal to this generation.

ads, hashtags, celebrity collaborations and influencer marketing.

accessible to the general public.

between the ages of 16 to 24 (Schiffer, 2019).

1.1. STATEMENT OF PROBLEM

brands to appeal to Gen Z.

Ahmad et al., (2015) has the same gap.

revolution of high fashion brands but fail to refer to Gen Z or TikTok.

needs to be documentation on it for reference.

traditional ways and utilised this platform to appeal to Generation Z.

The following are objectives guiding this study:

methods and used TikTok to appeal to younger generations.

1.3. RESEARCH QUESTIONS

1.4. SIGNIFICANCE OF THE STUDY

would be critical for other researchers looking to explore this area.

brands with quantitative and qualitative research.

1.5. SCOPE OF THE STUDY

fashion brands have adopted these characteristics on TikTok.

Youths Charter’s definition of youth’s definition that classifies as Gen Z’s.

1.6. LIMITATIONS TO THE STUDY

areas where social media is not.

have social media or have knowledge of high fashion brands.

require parental consent to join the application.

1.7. OPERATIONAL DEFINITION OF TERMS

Captions: They are text that describes social media posts.

and aid easy navigation.

Haute couture: It is the process of creating high-end, custom-fitting garments exclusively.

themselves on social media on their pages.

content with the public (Hudson, 2020).