/

University of Southern California Dissertations and Theses

/

Fast fashion meets luxe: a case study of the brand strategy and consumer perceptions of Forever 21

(USC Thesis Other)

Fast fashion meets luxe: a case study of the brand strategy and consumer perceptions of Forever 21

PDF

Transcript (if available)

Content

i

FAST
FASHION
MEETS
LUXE:

A
CASE
STUDY
OF
THE
BRAND
STRATEGY
AND

CONSUMER
PERCEPTIONS
OF
FOREVER
21

by

Tiffanie
Karen
Shantel
Petett

________________________________________________________________________________________________

A
Thesis
Presented
to
the

FACULTY
OF
THE
USC
GRADUATE
SCHOOL

UNIVERSITY
OF
SOUTHERN
CALIFORNIA

In
Partial
Fulfillment
of
the
Requirements
for
the
Degree

MASTER
OF
ARTS

(STRATEGIC
PUBLIC
RELATIONS)

August
2013

Copyright
2013

Tiffanie
Karen
Shantel
Petett

ii

"From
the
time
I
traded
in
my
J
C
Penney’s
bootcut
jeans
for
a
bohemian
printed

skirt,
I
knew
Forever
21
was
a
place
where
trends
had
no
limits
and
personal
style

could
continuously
evolve.
The
fact
that
the
Forever
21
brand
was
centered
on
a

concept
that
fashion
can
be
affordable
fostered
an
attraction
that
could
only
be

understood
for
those
living
fashionably
creative
yet
economical
lifestyles.

Even

though
wearing
designer
brands
automatically
shifted
public
perception
of
one’s

style
as
modern
or
financially
valuable,
I
was
more
interested
in
exhibiting
a

personal
style
that
implicitly
did
the
same
thing.
To
me,
labels
were
unimportant,

and
Forever
21
was
the
means
to
sustaining
my
chic
and
stylish
desires.”

-‐
Tiffanie
Karen
Shantel
Petett

iii

Dedication

I'd
like
to
dedicate
this
thesis
paper
to
my
family
who
truly
believed
I
could

be
the
first
to
make
it
this
far.

Thanks
to
my
mom
for
raising
me
in
such
a
way
that

pursuing
a
master's
degree
was
an
inevitable
consideration.

Thanks
for
being
on

my
side
and
never
second-‐guessing
my
intentions
to
continue
school
after

graduation.

Thanks
to
my
coworkers
for
offering
any
contacts
or
advice
they
came
across

–
and
understanding
my
need
to
take
a
weekly
"mandatory
thesis
leave
of
absence."

Also,
thanks
to
those
affected
by
my
unanswered
phone
calls
and
last-‐minute

cancellations.
Your
understanding
and
willingness
to
continue
our
friendship
is

appreciated.

Finally
to
all
the
other
SPR
candidates
who
I
was
privileged
to
have
shared

classrooms
with
-‐-‐
your
motivation
and
self-‐determination
is
an
invaluable

inspiration.

Thank
you
kindly.

iv

Acknowledgements

I'd
like
to
express
the
deepest
appreciation
to
my
committee
chair,
Jenn

Floto,
for
her
understanding
and
complete
support
throughout
this
process.

With

her,
this
has
not
only
been
an
adventure
in
exploring
my
thesis
concept,
but
in

realizing
my
potential
as
an
individual.

For
that,
I
am
tremendously
grateful.

Thanks
to
Kjerstin
Thorston
for
taking
on
my
project
as
a
committee
member

without
an
inkling
of
apprehension.
Her
experience
and
command
for
all
things

research-‐driven
is
inspiring.

I
also
give
special
thanks
to
Diane
Winston
for
agreeing
to
serve
as
a
valuable

and
readily
available
member
of
my
committee.
Her
passion
for
knowledge
and

willingness
to
help
me
further
my
educational
experiences
has
been
incredibly

insightful.

Finally,
I'd
like
to
give
thanks
to
all
the
professors
of
the
Strategic
Public

Relations
Graduate
Program
at
Annenberg.
Through
them
I've
learned
to
appreciate

my
creative
process
and
confidently
express
my
opinions
-‐-‐
and
most
importantly
to

know
that
it's
not
only
about
the
light
at
the
end
of
the
tunnel,
but
the
journey
to

find
it.

v

Table
of
Contents

Epigraph

ii

Dedication

iii

Acknowledgements

iv

List
of
Figures

vi

Abstract

vii

Preface

viii

Research
Methodology

ix

Defining
Terms

x

Chapter
One:

Forever
21
Overview

13

Chapter
Two:
There's
Big
Business
in
Fashion

18

Chapter
Three:
Strategic
"PR":
Positioning
and
Retailing

21

Chapter
Four:
Consumers:
Identifying
Luxury
Beyond
Price
Point

24

Chapter
Five:

Criticism

35

Chapter
Six:
Competitive
Analysis

41

Chapter
Seven:
Digital
Media
Strategy

47

Chapter
Eight:
Future
Implications

53

Chapter
Nine:
Conclusion

55

Bibliography

58

Appendices

61

vi

List
of
Figures

Figure
1:
Forever
21
Store
Count

15

Figure
2:
Value
Chain
Control
Cycle

25

Figure
3:
The
Conceptual
Model

31

Figure
4:
Forever
21
Facebook
page

47

Figure
5:
Forever
21
Twitter
page

49

Figure
6:
Forever
21
Instagram
page

50

Figure
7:
Forever
21
Pinterest
page

51

vii

Abstract

When
it
comes
to
commercial
retail
giant
Forever
21,
a
successful
strategy

goes
beyond
determining
an
appropriate
purchasing
price-‐point
within
a
constantly

changing
market.
This
paper
examines
the
overall
branding
strategy
of
the

affordable
fashion
label
as
a
competitor
within
the
fast
fashion
industry.
It
also

highlights
external
brand
perceptions
among
its
target
audiences
and
analyzes
their

likeness
to
luxury-‐oriented
consumers.
Lastly
it
uses
research
findings
to
generate
a

position
about
the
future
implications
of
the
company
from
a
global
standpoint.

viii

Preface

This
thesis
examines
the
newest
trend
in
fashion
merchandising:

the
notion

of
fast
fashion,
where
runway
looks
are
made
available
to
the
average
consumer
in

real-‐time,
not
a
season
later.

To
illustrate
this
concept,
the
author
has
conducted

interviews
with
key
fashionistas
and
selected
an
organization
that
epitomizes
this

successful
new
trend:

Forever
21.

The
Forever
21
brand
has
prevailed
in
the
fast
fashion
realm
as
a
way
for

young
people
to
express
their
individuality
and
fondness
of
runway-‐inspired
style.

Still
the
success
of
the
company
begs
the
question
of
whether
adapting
to
consumer

behaviors
and
desires
is
essential.
Forever
21
may
thrive
as
one
of
the
leading
fast

fashion
retailers,
but
consumer
behaviors
suggest
a
relationship
to
the
brand
that
is

analogous
to
that
of
luxury
brands.
Additionally,
internal
corporate
behaviors
imply

a
branding
strategy
that,
although
fosters
success,
negates
ethical
public
relations

tactics.

The
question
is
whether
it
is
strategic
for
an
affordable
fashion
retailer
to

remain
a
current
and
profitable
brand
by
externally
responding
to
a
constantly

changing
market
or
by
initiating
tactical
and
viable
changes
in
its
overall
brand

marketing.

This
paper
will
examine
the
brand
strategy
of
Forever
21
and
how
its
market

positioning
and
brand
messaging
have
revolutionized
the
affordable
retail
industry.

Target
audience
perceptions
and
behavior
are
also
analyzed
as
methods
of

understanding
the
business
value
of
the
brand
from
a
financial
perspective
in
a

changing
market.

Through
it
all,
insight
will
be
gained
as
to
how
a
fast
fashion

ix

retailer
can
foster
success
by
understanding
consumer
demands
with
regard
to

fashion
and
by
continuously
scanning
the
environment
of
social
trends
that
affect

consumer
purchasing
behaviors.

Research
Methodology

The
research
methodologies
included
a
combination
of
both
qualitative
and

quantitative
strategies
to
interpret
primary
research
findings.

A
series
of
in-‐depth

interviews
were
conducted
with
Forever
21
employees
-‐-‐
Tookie,
a
web
designer

and
Marie,
a
store
manager
-‐-‐
in
order
to
form
a
credible
understanding
of
the
topic.

Only
first
names
were
used
in
order
to
ensure
the
privacy
of
those
individuals
used

as
key
sources.
Interviewees
provided
insight
on
the
company's
digital
brand

strategy
as
well
as
how
in-‐store
operations
are
conducted
on
a
daily
basis.

A
survey
identifying
consumer
perceptions
of
the
Forever
21
brand
was

conducted.
Respondents
answered
a
variety
of
questions
that
examined
overall

consumer
attitudes
toward
brand
messaging,
shopping
experiences,
product

purchases
and
status
among
competitors.
All
responses
help
to
gauge
the
level
of

appeal
and
satisfaction
of
the
brand's
target
audience.

In
addition,
the
author
conducted
observational
research,
including
store

layout,
traffic
flow
at
certain
hours
and
customer
behavior.

Secondary
research
included
a
variety
of
articles
and
scholarly
journals,
such

as
"Fashion
Theory:
The
Journal
of
Dress,
Body
&
Culture."

Books
included
To
Die

for:
Is
Fashion
Wearing
Out
the
World?
by
Lucy
Siegle
and
Overdressed:
The

Shockingly
High
Cost
of
Cheap
Fashion
by
Elizabeth
L.
Cline
along
with
relevant

x

blogs,
studies
and
social
media
networks.
Both
forms
of
research
aided
in

understanding
the
impact,
timing
and
influence
of
Forever
21.

Defining
Terms

Fast
fashion

Defined
as
"runway-‐inspired
merchandise,
produced
inexpensively
and

quickly
for
mall
chain
stores,"
1

fast
fashion
retailers
have
emerged
as
the
driving

force
behind
most
consumer
purchases.
What
once
took
months
to
transition
from

catwalk
to
consumer
can
now
be
done
in
a
matter
of
two
weeks
for
big
retailers.
2

Consumers
can't
get
enough
of
high
fashion
designs
turned
into
inexpensive

products
in
the
shortest
time
possible,
3

and
fast
fashion
brands
manage
to
do
just

that
and
make
a
profit,
too.

The
evolution
of
fashion
trends
depends
on
fast
cycles:

rapid
prototyping,
small
batches
combined
with
large
variety,
more
efficient

transportation
and
delivery,
and
merchandise
that
is
presented
"floor
ready"
on

hangers
with
price
tags
already
attached.
4

Luxury-‐oriented
Consumer

1

Mannes,
Tanya.
(2012,
August
20).
Forever
21
to
Zara:
'Fast
Fashion'
explodes
in

San
Diego

2

Greenberg,
Debi.
(2012).
The
Real
Cost
of
Fast
Fashion

3

Crossan,
Andrea.
(2012,
November
26).
Tough
Working
Conditions
Cause
by
Fast

Fashion

4

Joy,
Annamma.
(2012)
Fashion
Theory:
The
Journal
of
Dress,
Body
&
Culture,

Volume
16,
Number
3,
pp.
273-‐296(24)

xi

Abstractly,
the
word
luxury
defines
beauty;
it
is
art
applied
to
functional

items.
5

In
this
case,
luxuries
are
defined
as
objects
of
desire
that
provide
pleasure,

nonessential
items
that
offer
indulgence
and
convenience
beyond
the
indispensable

minimum.
6

Luxury-‐oriented
consumers
are
defined
as
those
purchasing
products

that
represent
value
to
both
the
individual
and
their
reference
group.
7

When
it

comes
to
consumer
behavior
about
fast
fashion,
the
element
of
luxury
has
more
to

do
with
the
behavior
than
the
actual
product
purchase
itself.

In
this
changing

economy,
fast
fashion
retailers
have
had
the
advantage
of
appealing
to
a
wide

variety
of
audiences
that
desire
seemingly
high-‐end
products
at
affordable
prices.

Although
quality
is
the
main
factor
that
these
retailers
sacrifice,
a
sense
of
beauty
for

these
nonessential
items
is
maintained
–
therefore
encouraging
repeat
purchases.

Fashion
Public
Relations

Defined
as
a
fashion
company's
ability
to
establish
mutually
beneficial

relationships
with
its
stakeholders,
fashion
public
relations,
utilized
effectively,
is
an

increasing
valuable
element
to
gaining
success
–
as
a
business
and
as
a
retailer.

Particularly
for
Forever
21,
these
public
relations
strategies
include
its
effectiveness

at
attracting
audiences
through
online
media,
community
relations,
traditional

media
relations
and
competitive
marketing.

To
continue
to
thrive
as
a
company
and

maintain
mutually
beneficial
relationships
between
the
brand
and
its
audiences,
it
is

5

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

6

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

7

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

xii

important
for
Forever
21
to
recognize
the
strategy
behind
brand
messaging
and

perceived
comprehension
of
that
messaging
by
consumers.

13

Chapter
One

Forever
21
Overview

In
a
growing
social
environment,
knowledge
of
the
economy
and
its
fate
has

affected
consumers'
purchasing
behavior,
especially
in
regard
to
fashion.
For
young

desirous
of
newness
and
the
latest
styles
in
fashion,
fast
fashion
brands
have

designed
a
fail-‐proof
alternative
to
high-‐end
spending,
offering
trendy
apparel
and

accessories
at
affordable
prices.

"A
phenomenon
in
the
fashion
world,
Forever
21
provides
shoppers
with
an

unprecedented
selection
of
today's
fashions,
always
changing
and
always
in
style."
8

Forever
21
(F21)
is
an
American-‐owned
chain
of
retail
clothing
stores
with

nearly
30,000
employees
and
locations
in
the
United
States,
Puerto
Rico,
Canada,

Europe,
Asia,
Latin
America
and
the
Middle
East.
9

Originally
named
Fashion
21
in

Los
Angeles
by
founders
Do
Won
and
Jin
Sook
Chang,
Forever
21
first
opened
as
an

affordable
retail
boutique
inside
of
a
mall
in
1989.
Since
its
founding,
Forever
21
has

had
tremendous
success
as
a
fashion
retailer
primarily
catering
to
young
women
in

the
United
States.
Its
transition
into
lifestyle
brand
has
not
only
helped
the
company

to
surpass
its
business
goals,
but
it
has
brought
to
light
the
underlying
motivations

behind
luxury-‐oriented
consumer
behavior.

Now
offering
apparel,
jewelry,

8

See
Forever21
company
information

9

See
Forever21
company
information

14

accessories,
shoes
and
beauty
and
skincare
products,
the
brand
has
transitioned

into
the
realm
of
department
stores
in
many
locations.
To
put
the
brand's
growth

over
time
into
perspective,
the
then-‐
900-‐square-‐foot
retail
environment
has

exploded
to
over
40,000
square
feet
with
flagship
stores
in
Texas,
Miami,
Los

Angeles,
Chicago
and
Edmonton,
Canada.
10

Since
2002,
F21
has
been
named
one
of
the
top
50
largest
privately
held

companies
in
Los
Angeles.

11

Its
revenue
topped
$1
billion
in
2006,
placing
Forever

21
in
the
ranks
of
the
top
500
privately
held
companies
in
the
U.S.
12

In
2011,
its

annual
revenue
totaled
$2.6
billion,
with
$1.4
billion
in
total
assets.
13

Forever
21
leaders
have
budgeted
expenses
in
advertising,
as
they
choose

not
to
spend
much
on
premium
real
estate
that
attracts
heavy
commercial
traffic.

Instead,
when
it
comes
to
real
estate,
their
strategy
is
to
find
a
large
urban
venue

within
an
entertainment-‐oriented
complex.
14

Figure
1
15

illustrates
the
rapidly

growing
retail
chain
over
nearly
a
decade.

10

See
Forever21
company
information

11

Eguchi,
Aya.
(2011).
Curtailing
Copycat
Couture:
The
Merits
of
the
Innovative

Design
Protection
and
Piracy
Prevention
Act
and
a
Licensing
Scheme
for
the
Fashion

Industry.
Cornell
Law
Review

12

Eguchi,
Aya.
(2011).
Curtailing
Copycat
Couture:
The
Merits
of
the
Innovative

Design
Protection
and
Piracy
Prevention
Act
and
a
Licensing
Scheme
for
the
Fashion

Industry.
Cornell
Law
Review

13

"#162
Forever
21."
(2011,
November
16).
Forbes

14

Perry,
Natasha.
(2012).
Apparel
Companies
to
Watch:
A
Follow-‐Up
Report

15

Perry,
Natasha.
(2012).
Apparel
Companies
to
Watch:
A
Follow-‐Up
Report

15

Figure
1:
Forever
21
Store
Count

A
large
part
of
the
company’s
growth
has
to
do
with
how
successfully
it
has

managed
to
take
advantage
of
the
misfortunes
of
other
retailers,
moving
into

buildings
abandoned
by
Saks,
Sears,
Mervyn's,
Dillards,
Circuit
City,
Virgin

Megastore
and
HMV.
16

In

sum
,
in
seven
years,
Forever
21
has
grown
from
1
million

square
feet
of
space
to
10
million,
from
one
brand
of
its
own
to
six,
including

Forever
21
Plus,
Love
21
Contemporary,
F21
Men
and
Girls.

17

There
is
no
doubt
that
these
sub-‐brands
have
been
fundamental
in
helping

F21
expand
its
range
of
audiences.
This
expanded
reach
is
assumed
to
also
be
a
way

for
the
company
to
portray
a
more
relatable
and
transparent
brand
image.

16

Berfield,
Susan.
(2011,
January
20).
"Forever
21's
Fast
(And
Loose)
Fashion

Empire"

17

Berfield,
Susan.
(2011,
January
20).
"Forever
21's
Fast
(And
Loose)
Fashion

Empire"

16

However,
aside
from
applying
disclosure
agreements
and
non-‐compete
clauses
to
its

internal
operations,
there
is
an
obvious
difference
in
the
way
business
is
handled

between
Forever
21
and
its
competitors.

There
is
an
element
of
suspicion
toward

the
brand's
unwarranted
secretiveness
along
with
its
very
private
merchandising

operations.
Business
Week
reports
that
F21’s
offices
are
no-‐go
zones
for
outsiders,

with
high
security
guarding
the
buildings.
18
An
employee
also
mentioned
that
the

company
is
very
strict
and
confidential
of
any
inside
information.
19

"Their
design
is
swathed
in
mystery,"
says
Susan
Scafidi,
a
professor
of

copyright
law
at
Fordham
University
Law
School
and
director
of
the
Fashion
Law

Institute.
"But
it
probably
looks
a
bit
like
a
crime
scene,
with
the
chalk
outline
of
the

garments
they're
copying."
The
Changs,
for
the
record,
have
never
been
found
liable

for
copyright
infringement.
20

Forever
21's
headquarters
is
housed
in
a
1.8-‐million
square
foot
facility
that

was
previously
a
Macy's
showroom.
Containing
the
company's
distribution,
logistics,

e-‐commerce,
merchandising
and
warehouse
operations,
the
office
space
is
all
but
a

basic
corporate
environment.
Through
first-‐hand
experience,
the
work
environment

seems
semi-‐casual
and
fun,
filled
with
eager
fresh-‐out-‐of-‐college
employees.
Still,

visitor
policies
are
strict
and
walk-‐ins
are
rarely
welcomed.

18

Dumas,
Daisy.
(2011,
August
11)
"Fashion
chain
Forever
21
accused
of
pushing

religious
agenda
with
Christian-‐themed
T-‐shirts"

19

See
Appendix
A

20

Berfield,
Susan.
(2011,
January
20).
"Forever
21's
Fast
(And
Loose)
Fashion

Empire"

17

A
former
visual
merchandising
manager
said,
"The
company
was
very

fashion
forward,
and
always
with
the
trends.
Store
locations
were
clearly
much

more
dynamic
than
the
corporate
offices,
but
the
level
enthusiasm
for
trends
and

fashion
remained
a
constant."
21

Though
the
corporate
culture
varies
drastically
from
individual
store

locations,
overall
a
shared
Forever
21
atmosphere
is
present
within
both

environments.

21

See
Appendix
B

18

Chapter
Two

There's
Big
Business
in
Fashion

In
2010,
according
to
The
Bureau
of
Labor
Statistics,
U.S.
consumers
spent

3.5%
percent
of
their
monthly
income
on
clothing.
22

Although
this
is
down
from

4.3%
in
2007,
the
reason
is
not
because
Americans
are
saving
more
and
purchasing

less:
It's
that
individual
items
themselves
are
getting
less
expensive.
As
columnist

Debi
Greenberg
puts
it,
"There
are
a
few
opportunities
to
get
real
bargains,
but
for

the
most
part,
big
retailers
are
banking
on
the
fact
that
consumers
will
purchase

more
frequently
if
the
items
are,
well,
cheap."
23

Not
unlike
most
retailers,
the
business
strategy
for
Forever
21
is
clear:
To

optimize
substantive
financial
return
on
investment
through
advertising
and

offering
the
latest
styles
and
fashion
trends
to
a
targeted
consumer
set.

As
a
fast

fashion
brand,
the
company's
mission
is
to
deliver
runway-‐inspired
merchandise,

produced
inexpensively
and
quickly
for
mall
chain
stores.
24

As
quickly
as
items
are

stocked
on
shelves
and
taken
off
by
customers,
they
are
restocked.

Erica,
a
fast

fashion
brand
devotee,
explains
her
shopping
experience
at
a
Los
Angeles
location:

22

Consumer
Expenditures
in
2010
(annual
report).
Bureau
of
Labor
Statistics

23

Greenberg,
Debi.
(2012).
The
Real
Cost
of
Fast
Fashion

24

Mannes,
Tanya.
(2012,
August
20).
Forever
21
to
Zara:
'Fast
Fashion'
explodes
in

San
Diego

19

"I'm
typically
overwhelmed
by
how
many
clothing
options
they
have

available,"
says
Erica.
"Just
trying
to
grab
one
item
off
the
rack
turns
into
a
huge

mess
of
hangers
being
yanked
off
with
it.
I
love
the
options,
but
not
the
hassle."
25

Forever
21
generates
revenue
by
way
of
its
online
commission-‐earning

affiliate
program,
an
extension
of
the
brand's
marketing
and
promotions,
where
it

pays
only
on
a
Cost-‐Per
Performance
Basis.
26

That
is,
Forever
21's
affiliate
partners

are
only
paid
when
someone
purchases
a
product
after
having
had
first
contact
with

the
brand
through
the
affiliate's
website.
Currently
the
affiliate
program
includes
a

4%
CPS
(cost
per
sale)
payout,
with
average
individual
sales
of
about
$45.
27

There

are
26
campaigns
for
affiliates
to
choose
from
with
two
deliverable
options.
28

There

are
no
other
incentives
offered
currently
and
each
program
has
policy
guidelines,

such
as
the
use
of
promo-‐codes,
search
tools,
emails
and
unrestricted
content.
29

The

more
affiliate
partners
Forever
21
generates,
the
more
exposure
and
opportunity
it

has
for
consumer
purchases.

Lastly,
as
a
way
to
sustain
growth
and
productivity,
DLF
brands,
a
subsidiary

of
the
New
Delhi-‐based
commercial
real
estate
developer,
is
expected
to
form
a

51:49
joint
venture
with
Forever
21.
30

Though
it
is
a
strategy
still
in
the
works,
the

25

See
Appendix
B

26

Lattin,
Pace.

(2011).
What
is
an
Affilitate?

27

See
Forever
21
affiliate
program
information

28

See
Forever
21
affiliate
program
information

29

See
Forever
21
affiliate
program
information

20

joint
venture
is
expected
to
increase
revenues
by
opening
30
to
40
stores
in
the
next

five
years
to
help
the
company
compete
against
Zara,
a
Spanish
fast
fashion
brand

rival.
31

30

Sharma,
Samidha.
(2012,
October
26).
DLF
to
revive
fashion
business
with
three

international
brands

31

Sharma,
Samidha.
(2012,
October
26).
DLF
to
revive
fashion
business
with
three

international
brands

21

Chapter
Three

Strategic
"PR":
Positioning
and
Retailing

As
a
privately
held
company,
Forever
21
has
had
the
luxury
of
defining
its

own
concept
of
style
and
appeal
without
the
limitations
that
face
most
other

publicly
traded
companies.
Although
creative
innovation
is
not
entirely
the
primary

motivation
of
its
"unique"
design
aesthetic,
Forever
21
has
managed
to
deliver
to
its

customers
low-‐price
products
with
a
high-‐end
sensibility.

A
New
York
Times
article
by
Suzy
Menkes
explained,
"As
a
phenomenon,

speedy
style
has
given
a
shake
up
to
the
industry
and
brought
the
look
of
the

moment
to
Main
Street,
with
the
collaboration
of
leading
designers."
32

That
is,
the

marriage
of
cheap
and
chic
has
proven
to
be
more
appealing
than
the
cost
and

quality
of
high-‐end
designs.
Much
of
this
has
to
do
with
the
brand's
marketing

strategy
to
leverage
wide-‐range
appeal
with
a
competitive
price
point.

In
a
survey
–
both
online
and
in
person
-‐-‐
of
50
people
between
the
ages
of
18

and
35,
most
respondents
likened
the
Forever
21
brand
to
being
trendy
but
also

cheap.
33

Others
used
the
words
"fun,"
"fresh,"
and
"youthful"
as
primary
descriptors

of
the
brand.

34

Upon
first
stepping
into
a
Forever
21
store
environment,
it
is
clear
that
style

is
unending.
Models
and
display
cases
depict
trendy
outfits
layered
with
several

32

Menkes,
Suzy.
(2008,
September
21).
Is
Fast
Fashion
Going
Out
of
Fashion?

33

See
Appendix
C

34

See
Appendix
C

22

pieces
to
give
off
the
impression
that
anything
goes.
A
loud,
ultra
hip,
pop
music

track
makes
walking
and
two-‐stepping
a
shopping
phenomenon
against
the

acoustics
of
glass
walls
and
hardwood
flooring.
Sales
associates
must
wear
at
least

three
pieces
of
Forever
21
apparel,
and
although
their
look
is
seen
as
fun
and
stylish,

their
attitudes
are
not
necessarily
required
to
match.

"I
love
the
vibe
I
get
when
I
shop
around
at
Forever
21,"
said
Tsutae,
23,
at
an

Inland
Empire
location.
"On
a
good
day,
usually
early,
the
store
is
clean
and
items

are
all,
like,
neatly
packed
on
racks
throughout
the
store.
But
even
still,
the
girls

working
there
seem
enslaved
to
their
jobs
and
unapproachable."
35

This
observation
could
be
seen
as
a
strategy
to
uphold
the
brand's
message

to
cater
to
the
trendy,
edgy,
unapologetic
girl
of
the
moment.
Still,
the
private,
super-‐
secretive
nature
of
the
brand
transcends
outside
of
its
stores
and
into
its
public

relations
tactics,
or
lack
thereof.
Rarely
are
insights
into
the
brand
expressed

voluntarily,
and
if
so,
solely
through
social
media
channels.
Even
store
managers

know
nothing
beyond
their
sole
duty
to
open,
manage
and
close
stores
on
a
daily

basis.

"I
make
sure
to
get
here
early
and
keep
an
eye
on
all
operations
happening

during
business
hours,"
says
Marie.
"But
the
planners
come
in
and
take
charge
of

strategic
marketing
and
stuff.
I'm
not
too
sure
what
their
process
is."
36

Of
the
15
store
managers
asked
about
the
overarching
company
principles,

all
of
them
had
a
similar
response.
It's
one
thing
for
a
company
to
establish
a

35

See
Appendix
B

36

See
Appendix
A

23

separation
between
corporate
and
in-‐store
retailers.
But
it's
quite
another
thing
for

that
separation
to
discount
the
founding
mission
of
the
company.
Forever
21
is

nothing
without
it's
franchises,
so
to
not
place
a
greater
effort
in
educating
the

millions
of
employees
that
assist
in
gaining
revenue
for
the
company
is
detrimental

and
poor
management
to
say
the
least.

24

Chapter
Four

Consumers:
Identifying
Luxury
Beyond
Price
Point

In
the
fashion
industry,
brands
are
only
as
good
as
the
purchasing
power
of

the
consumers
they
serve.
Whether
or
not
a
retailer
gains
profitable
success
in
a

market
that
changes
now
more
quickly
than
ever
solely
depends
upon
how

effectively
its
consumers
can
buy
its
products…
and
buy
again.

What
makes
Forever
21
a
fast
fashion
retail
giant
is
how
it
has
managed
to

turn
the
activity
of
buying
affordable
apparel
into
a
lifestyle
choice
among

consumers.

One
thing
the
brand
has
seemed
to
master
as
a
key
strategy
to
gaining

profitable
success
is
how
important
it
is
to
differentiate
the
brand
beyond
creating

new
styles
each
season
or
endorsing
designer
collaborations.

To
truly
lead
the
fast

fashion
industry,
not
only
must
a
brand
have
the
ability
to
produce
and
manufacture

products
quickly,
but
also
do
it
continuously,
maintaining
a
consistent
level
of
value

to
each
item
it
delivers.

Redefining
the
brand's
value
chain,
the
interlinked
value-‐adding
activities

that
convert
inputs
into
outputs,
which
in
turn,
help
to
create
competitive

advantage,
37
is
a
key
aspect
of
thriving
in
the
fast
fashion
industry.
Today's

consumers
want
it
all:
quantity
and
quality,
including
great
new
looks,
faster
and

more
often,
for
the
lowest
possible
price,
where
and
when
they
want
them,
and

served
up
with
an
experience
as
well.
38

37

See
Business
Dictionary

38

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

25

The
value
chain
utilized
for
most
fast
fashion
brands,
whether
intentional
or

not,
operates
as
a
cycle,
starting
with
the
consumer,
pausing
at
the
point
of

consumption
and
then
starting
all
over
again.
39

Figure
2
40

depicts
the
ongoing

process
that
brands
like
Forever
21
have
followed
as
a
means
of
gaining
competitive

advantage.

Figure
2:
Value
Chain
Control
Cycle

Step
1:
Define

The
first
step
is
to
identify
and
define
what
consumers
expect
from,
or
even

desire
beyond
expectation
of,
the
brand.
41

This
continuously
ongoing
process
is

similar
to
a
public
relations
practitioner's
method
of
evaluating
a
program
-‐-‐
using

all
research
methodologies,
including
sales
tracking,
in-‐store
interaction
and
testing

39

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

40

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

41

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

26

to
proactively
analyze
external
perceptions.
42

As
a
means
of
providing
two-‐way

feedback,
this
continues
to
affirm
the
brand's
core
value,
suggest
improvements
and

guides
new
value
creation
and
innovation.
43

This
should
be
a
time
where
a
true

sense
of
competitive
differentiation
occurs.

"Every
time
I
shop
at
[Forever
21],
I
expect
to
find
exactly
what
I
came
for,"

said
Tsutae.
"Whether
I
need
a
new
cami
or
like
a
bracelet,
I
always
expect
to
find

something.
The
problem
is
I
usually
find
more
than
what
I
came
in
for."
44

Step
2:
Develop

Once
the
brand
has
attained
its
perceived
value
among
consumers,
it
can

translate
that
into
an
image
–
whether
it's
through
overall
brand
messaging
or

product
development.
The
first
step
is
then
seamlessly
transitioned
into
this
one,
as

modifications
are
suggested
due
to
research
and
consumer
feedback.
45

This
is
the

point
when
the
demand-‐driven
“back
end”
segment
of
the
chain
will
provide

continually
innovative
productivity
strategies,
while
the
integrated
marketing
or

“front
end”
of
the
chain
will
continually
innovate
or
strengthen
the
marketing

strategies
(see
figures).
46

In
other
words,
as
the
brand
managers
continue
to
analyze

consumer
perceptions
of
the
core
messaging,
products
or
experience,
feedback
or

other
findings
allow
the
brand
to
make
the
changes
necessary
to
meets
its

42

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

43

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

44

See
Appendix
B

45

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

46

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

27

audience's
needs,
therefore
strengthening
its
image.

Still,
the
level
of
integration

and
effective
transparency
will
determine
the
success
of
proposed
marketing

strategies.

Step
3:
Deliver

The
final
cycle
in
the
loop
is
the
preemptive,
precise
and
perpetual

distribution
of
the
value,
along
with
its
experience.
47

What
makes
this
step
most

successful
has
much
to
do
with
the
amount
of
control
the
brand
has
in
deliver
what

was
perceived
and
developed
as
essential
to
its
image.
The
brand
creator
must
have

control
of
line
size,
mix,
frequency,
flow
of
goods
and
as
much
of
the
operations
as

possible
(sales
and
service),
as
well
as
its
presentation
and,
most
importantly,
the

experience
at
the
point
of
sale.
48

The
main
factor
that
enables
this
cycle
to
endure
effectively
is
control.

Basically,
without
control,
a
brand
cannot
have
a
modern-‐day
value
chain,
and
such

a
value
chain
is
not
achievable
without
control.
49

Far
too
often
designers
lose
sight

of
their
vision
due
to
a
lack
of
control
and
increase
need
for
profit.
As
a
private

company,
Forever
21
has
not
only
the
freedom,
but
the
obligation
to
deliver
exactly

what
it
intends
to
in
a
way
that
is
scalable
worldwide.

When
asked
the
question,
"
How
would
you
rate
your
typical
shopping

experience
at
Forever
21?"
69%
of
respondents
rated
it
as
"okay"
an
average
rating

47

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

48

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

49

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

28

on
the
provided
scale.
50

Yet,
when
asked
the
question,
"On
a
scale
from
1-‐5
(5
being

the
highest),
how
would
you
rate
your
average
satisfaction
with
a
purchase
from

Forever
21?"
nearly
54%
of
respondents
rated
it
at
a
4.
51

These
results
show
that

even
if
an
overall
shopping
experience
isn't
up
to
par,
consumers
are
usually
still

satisfied
with
their
purchase.

Eric
Wiseman,
CEO
of
VF
Corporation,
said
of
his
company’s
brands
(The

North
Face,
Vans,
Nautica,
7
For
All
Mankind
and
others),
“We
want
to
continue
to

present
the
brand
in
ways
we
can
control.”
52

This
strategic
approach,
however

challenging
as
it
may
seem,
is
something
Forever
21
has
yet
to
fully
accomplish.

Similarly,
HSN
CEO
Mindy
Grossman
sprinkles
the
word
“control”
throughout

her
numerous
public
presentations
as
in
“knowing
what
our
consumers
want,

where,
when
and
how
they
want
it,
so
we’ve
got
to
create
and
control
the

distribution
and
experience
for
her.”
53

When
retailers
control
their
value
chains,
they
reap
many
benefits.

Costs

associated
with
“middlemen”
vendors
or
retail
customers
are
eliminated
and
those

profit
margins
to
vendors
or
retailers
are
gained.
54

Furthermore,
a
core
element
of

fast
fashion
brands,
new
lines
are
produced
faster,
providing
the
consumer
with

50

See
Appendix
C

51

See
Appendix
C

52

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

53

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

54

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

29

constant
newness,
which
in
turn
gives
the
retailers
a
greater
pricing
power.
55

And,

of
course,
proprietary
brand
differentiation
is
a
major
advantage
in
this

hypercompetitive
market.
After
all,
this
is
an
individualistic
society.

Finally,
these
brands
control
the
most
important
part
of
the
chain
that

connects
with
the
consumer,
the
presentation
and
the
total
experience:
the

packaging,
the
space
and
theatre
it’s
presented
in,
the
audio-‐visual
extravaganza

that
surrounds
it.
56

In
short,
it’s
everything
that
touches,
meets
and
compels
its

consumers
to
buy,
and
then
gets
them
to
come
back
again
…
and
again.

For
Forever
21,
it's
the
music,
the
lights,
the
stylish
poses
of
the
mannequins

and
the
sales
associates
asking
you
if
you
need
a
shopping
bag.
It's
the
hard
wood

floors,
the
never-‐naked
displays
and
the
immediate
greeting
as
you
step
into
the

biggest
closet
you'll
ever
have.

Tsutae
continues
to
share
her
experience
shopping
in
a
Forever
21
store:

"I
feel
like
I've
entered
the
biggest
closet
I'll
ever
have,"
she
says
about

entering
the
store.
"I
feel
empowered
because
I
can
afford
it,
but
also
like
trendy
and

hip.
If
only
the
people
who
worked
there
were
a
little
more,
like,
nice
and
helpful,
I'd

be
more
happy
about
shopping
there."
57

The
majority
of
other
interviewees
agree
with
this
perception.

How
does
the
concept
of
luxury
play
a
role
in
this
system?
Luxury
is
a
main

factor
that
not
only
differentiates
a
brand
in
a
product
category,
but
also
acts
as
a

55

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

56

Lewis,
Robin.
(2012,
May
3)
Controlling
Creation
to
Consumption:
It's
Time

57

See
Appendix
B

30

central
driver
of
consumer
preference
and
usage.
58

Still,
this
goes
beyond
the
actual

product
being
high-‐priced
or
expensive
itself.

In
fact,
to
explain
consumers'

behavior
in
relation
to
luxury
brands,
or
those
seemingly
so,
personal
aspects
such

as
hedonist
and
perfectionist
motives
as
well
as
situational
conditions
–
economical,

societal,
political
–
are
taken
into
consideration.
59

Wiedmann,
et
al
describe
a
Luxury
Value
Model,
that
includes
a
set
of

dimensions
that
enhance
the
current
understanding
of
consumer
motives
and
value

perception
in
relation
to
luxury
consumption.
These
four
luxury
value
dimensions

are
illustrated
in
Figure
3
60

below.

58

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

59

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

60

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

31

Figure
3:
The
Conceptual
Model

Social
Dimension
of
Luxury
Value
Perception:
The
consumption
of
luxury
goods

appears
to
have
a
strong
social
function.
61

Therefore,
the
social
dimension
refers
to

the
perceived
utility
individuals
acquire
by
consuming
products
or
services

recognized
within
their
own
social
groups,
which
may
significantly
affect
the

evaluation
and
tendency
to
purchase
or
consume
"luxury"
brands.
62

61

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

62

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

32

Today,
the
proliferation
of
brand
sociability
and
its
affect
upon
consumer

perceptions
has
never
been
higher.
Given
the
rise
of
digital
media
and
social

networking
websites,
a
brand's
voice
may
go
beyond
its
store
setting.
Not
only
are

consumers
now
able
to
process
brand
messaging
in
a
more
interpersonal
manner,

but
they
also
can
extend
this
relationship
to
their
own
social
groups.

Individual
Dimension
of
Luxury
Value
Perception:
The
individual
dimension

focuses
a
customer's
personal
orientation
on
luxury
consumption
and
addresses

matters
such
as
materialism,
hedonistic
and
self-‐identity
value.
63

Functional
Dimension
of
Luxury
Value
Perception:
The
functional
dimension
of

luxury
refers
to
the
core
benefit
and
basic
utilities
that
drive
the
consumer
based

luxury
value
such
as
the
quality,
uniqueness,
usability,
reliability,
and
durability
of

the
product.
64

As
a
fast
fashion
brand,
Forever
21
thrives
within
this
dimension.
Though
its

consumers
may
recognize
deficiencies
in
quality
and
durability,
the
factors
of

usability
and
certainly
reliability
(of
availability,
if
not
quality)
outweigh
the

perceived
imbalance.
The
fact
that
a
plethora
of
essential
items
are
always
available

to
consumers
at
a
competitive
price
point
gives
weight
to
the
perceived
value
of

functionality.

63

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

64

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

33

Financial
Dimension
of
Luxury
Value
Perception:
The
financial
dimension

addresses
direct
monetary
aspects
such
as
price,
resale
price,
discount
and

investment.
65

It
refers
to
the
value
of
the
product
expressed
in
dollars
and
cents.
66

Though
this
dimension
is
perhaps
the
least
relative
to
Forever
21's
consumer

set,
this
idea
is
challenged
by
the
company's
sub-‐brands.
For
example,
Love
21
is
the

contemporary
brand
under
the
Forever
21
name
with
individual
items
priced
up
to

$50,
roughly
$30
more
than
the
average
price
of
flagship
store
products.

These
four
dimensions
are
integrated
to
assess
the
variables
associated
with

perceived
luxury
value.

To
effectively
market
a
brand
whose
audience
reflects
a

luxury-‐oriented
viewpoint,
it
is
imperative
that
each
dimension
be
considered
in

some
way.

Because
a
luxury
brand's
primary
motivator
is
to
differentiate
itself

among
competitors,
analyzing
luxury-‐oriented
consumer
behavior
and
perceptions

are
essential.

This
notion
can
be
applied
to
the
realm
of
fast
fashion
as
well,
as

differentiation
is
key
to
prospering
in
the
highly
competitive,
rapidly
changing

market.

Nicole,
24,
described
the
F21
brand
as
"unique,
exclusive
and
always

available,"
during
her
shopping
experience
at
the
Fashion
Valley
location
in
San

65

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

66

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework

34

Diego.
67

She
said
it
gave
her
a
"sense
of
individuality"
and
liked
"how
much
stuff

there
was
to
choose
from
and
make
it
her
own."
68

These
findings
conclude
that
although
consumer
behavior
trends
reflect
a

similarity
to
those
of
luxury-‐oriented
consumers,
overall
brand
success,
financially

and
socially,
is
not
substantially
affected
by
it.

Forever
21
consumers
may

experience
brand
loyalty
or
an
unyielding
motivation
to
purchase
clothing
and
trend

items
that
are
socially
impressive,
but
price
and
availability
are
the
key
factors
that

have
marked
the
brand's
success.
Still
it
is
important
to
recognize
this
type
of

consumer
relationship
to
the
brand
to
clearly
articulate
brand
messaging
and

product
development.

67

See
Appendix
B

68

See
Appendix
B

35

Chapter
Five

Criticism

One
of
the
ways
Forever
21
has
managed
to
distinguish
itself
as
a
brand

while
exercising
its
rights
as
a
private
company
has
been
through
its
affiliation
to

Christianity.

Not
only
are
the
religion's
core
values
instilled
in
all
of
Forever
21's

employees
and
vendors,
but
also
in
its
consumers,
as
the
Bible
verse
John
3:16
that

reads,
"For
God
so
loved
the
world
that
he
gave
his
one
and
only
Son,
that
whoever

believes
in
him
shall
not
perish
but
have
eternal
life,"
is
printed
on
the
underside
of

each
shopping
bag
produced.
Unfortunately,
this
has
driven
more
criticism
toward

the
brand's
underlying
intentions
than
the
good
it
seems
to
unapologetically

portray.

As
Jezebel
editor
Moe
Tkacik
stated
,
"Church
is
to
Forever
21
what
...
taking

sexy
party
photos
and
doing
lines
is
to
American
Apparel.
There
are
Bible
verses
on

all
shopping
bags,
designers
go
on
Christian
missions
around
the
world,
and
the

company
gives
money
to
orphanages
and
churches
and
Christian
educational

institutions,
etc.

"69

Rachel
Kane,
creator
and
writer
of
the
satirical
blog,
WTForever
21,
explains

just
how
explicitly
these
religious
values
are
marketed
and
sold:

"They've
always
had
a
penchant
for
crosses.
A
sizeable
chunk
of
their

accessory
stock
is
crosses.
Bedazzled,
jazzled,
rhinestone
dipped
and
covered
in

colorful
bling,
but
crosses
nonetheless.
Not
a
biggie.
Madonna,
anyone?
But
on
my

69

Tkacik,
Moe.
(2008,
February
12).
The
Secretive
Culty
Christians
Behind
Forever
21

36

most
recent
visit
to
the
Glendale
Galleria's
Forever
21
store
and
then
again
while

browsing
their
online
catalog,
I
noticed
a
disturbing
trend
in
the
graphic
tees.
Some

were
just
hinting
at
a
shadow
of
religion,
which
I've
seen
before
from
them,
but

NOW?
Now
there
are
items
going
Holy
balls
to
the
wall
with
tops
that
have
what

reads
like
scripture
on
them."
70

Survey
results
show
that
61%
respondents
were
not
aware
of
the
Bible
verse

printed
on
the
bags.
71

For
those
who
are
aware,
the
verse
doesn’t
affect
their

decision
to
shop
there
or
alter
their
perceptions
of
the
brand.
72

This
is
interesting

as
the
small
percentage
of
people
who
deliberately
did
not
shop
at
Forever
21
did
so

because
of
its
very
obvious
religious
affiliation.
Alexis,
a
Forever
21
adversary,
said

she
would
not
shop
at
the
store
even
if
she
had
to.

"I'm
not
okay
with
any
company
or
business
pushing
a
religious
agenda
upon

me
…
even
if
it
is
subtle,"
said
Alexis.
Placing
a
Bible
verse
on
my
bag
makes
it
so
I

now
have
that
verse,
and
all
its
interpretations,
inside
my
apartment.
What
about

those
who
believe
in
something
else?
All
I
wanted
to
do
was
buy
clothes,
and
now

you're
messing
with
my
religious
affiliation?
No
thanks."
73

70

Kane,
Rachel.
(2011).
WTForever
21

71

See
Appendix
C

72

See
Appendix
C

73

See
Appendix
B

37

According
to
a
garment
district
insider,
co-‐owner
Mrs.
Chang,
who
attends

pre-‐dawn
services
every
day
and
strongly
encourages
her
vendors
to
do
the
same,

makes
it
her
duty
to
give
Christians
in
the
industry
a
leg
up,
too.
74

Despite
the
apparent
dissonance
toward
combining
proselytizing
with

shopping,
the
main
argument
against
the
company's
religious
affiliation
has
to
do

with
discrimination.
That
is,
the
company
has
been
known
to
take
young
designers

and
send
them
on
Christian
missions
and
if
they
become
“born
again”
they
are

promoted
and
financially
rewarded.

"She
plucks
young
designers
out
of
the
companies
she's
working
with,"
says

the
insider.
"And
if
they're
Christian
and
religious,
she
puts
them
in
business."
75

Aside
from
its
strategy
to
avoid
a
separation
between
church
and
style,
the

Forever
21
design
process
has,
too,
been
highly
frowned
upon
and
deemed
as

unoriginal
by
the
greater
fashion
industry.

To
thrive
competitively,
fast
fashion

brands
must
produce
and
manufacture
merchandise
as
quickly
a
possible.

With

that,
products
must
also
be
seemingly
stylish
and
able
to
be
marketed
as
the
latest,

hottest
trend
of
the
time.

What
influences
these
perceptions
are
high-‐end
fashion

shows,
where
Forever
21
designers
begin
their
ostensibly
unique
and
creative

design
process.

"The
funny
thing
is
that
the
brand
has
no
design
team
of
its
own,
“says
Lisa

Casabona,
author
of
the
article
Retailer
Forever
21
Facing
A
Slew
of
Design
Lawsuits.

74

Tkacik,
Moe.
(2008,
February
12).
The
Secretive
Culty
Christians
Behind
Forever
21

75

Tkacik,
Moe.
(2008,
February
12).
The
Secretive
Culty
Christians
Behind
Forever
21

38

76

“The
truth
is,
'savvy
designer
merchants'
attend
shows
and
take
note
of
the
latest

'runway
hits'
that
they
can
instantly
copy
and
have
on
Forever
21
shelves
in
a

matter
of
weeks."

77

Forever
21
is
not
alone
as
an
offender
of
creating
knockoffs,
be
it
upscale

designers
or
struggling
independent
designers.
But
the
company
has
led
the
fast

fashion
industry
in
terms
of
legal
action.
It
has
been
taken
to
the
US
District
Courts

for
unlawful
violations
and
was
sued
over
50
times
in
the
last
four
years
alone
for

copyright
infringement.
78

Designers
who
have
filed
include
Diane
von
Furstenberg,

Gwen
Stefani,
Anna
Sui
and
independent
designers
like
Trovata.
79

Legal
expert
Susan
Scafidi
explains
how
lawsuits
are
an
expected
part
of
the

business
model:

"I
realize
that
they've
been
caught
so
many
times,
they've
been
publicly

exposed
so
many
times,
they've
even
been
sued
—
although
many
fewer
times,

because
all
they
do
is
settle
—
and
the
light
bulb
went
off:
This
is
just
part
of
their

business
strategy.
They
go
ahead
and
they
take
what
they
want,
and
when
they
get

caught,
they
pay
up.
It's
probably
cheaper
than
licensing
it
in
the
first
place."
80

76

Casabona,
Lisa.
(2007,
July
23).
"Retailer
Forever
21
Facing
A
Slew
of
Design

Lawsuits."

77

La
Ferla,
Ruth.
(2007,
May
10)
Faster
Fashion,
Cheaper
Chic

78

Hicken,
Melanie.
(2012,
February
27).
The
Secret
Behind
Forever
21's
Dirt
Cheap

Clothing

79

Hicken,
Melanie.
(2012,
February
27).
The
Secret
Behind
Forever
21's
Dirt
Cheap

Clothing

80

Hicken,
Melanie.
(2012,
February
27).
The
Secret
Behind
Forever
21's
Dirt
Cheap

Clothing

39

As
a
competitive
industry,
fashion
will
likely
always
foster
issues
regarding

copyright
infringement
and
thievery.

Still,
if
because
of
their
vastness
they
are
not

always
illegal
they
are
at
least
unethical.

Furthermore,
Forever
21
has
also
faced
worldwide
scrutiny
as
a
sweatshop

labor
offender.
The
company
has
run
sweatshops
in
California
using
Mexican

immigrant
labor
in
subpar
working
conditions
to
provide
its
consumers
with
cheap

disposable
clothing.
81

One
factory
worker,
Guadalupe
Hernandez,
explained
she
earned,
“$4
per

hour
working
10
hours
a
day,
6
days
a
week
in
a
factory
with
no
running
water
and

no
bathroom.”
82

In
2001,
19
Latino
garment
workers,
with
help
from
the
Asian
Pacific

American
Legal
Center,
sued
the
company
saying
they
had
worked
10-‐
or
12-‐hour

days
without
overtime
in
dirty
and
unsafe
conditions.
83

Forever
21's
labor
infringements
also
extend
beyond
national
borders.

Today,
most
all
retail
garment
workers
overseas
are
only
earning
about
1
percent
of

the
retail
price
of
the
clothing
they
produce.
84

Through
the
manipulation
of
third-‐
party
manufacturers,
private
Forever
21
label
pieces
are
produced
and
made
in

subcontracted
overseas
sweatshops
to
achieve
the
incredibly
low
price-‐point
that

81

Hines,
Alice.
(2012
October
26).
Forever
21
Under
Investigation
For
Using

"Sweatshop-‐Like"
Factories
in
Los
Angeles

82

Hines,
Alice.
(2012
October
26).
Forever
21
Under
Investigation
For
Using

"Sweatshop-‐Like"
Factories
in
Los
Angeles

83

Hines,
Alice.
(2012
October
26).
Forever
21
Under
Investigation
For
Using

"Sweatshop-‐Like"
Factories
in
Los
Angeles

84

Cline,
Elizabeth.
(2012).
Overdressed:
The
Shocking
High
Cost
of
Cheap
Fashion

40

the
brand
demands.

As
with
other
fashion
brands,
including
Nike,
this
isn't
anything

new.

The
usage
of
a
third-‐party
contractor
has
enabled
these
brands
to
avoid

further
scrutiny
and
worldwide
criticism
as
blame
is
then
placed
onto
the

contractor
instead
of
the
brand
itself.

Although
it
may
seem
like
an
inevitable
loss
that
yields
an
abundance
of

gains,
for
Forever
21,
a
brand
that
stubbornly
clings
to
its
moral
compass,
this
kind

of
corporate
activity
is
clearly
immoral
and
problematic.

The
question
is
how
a

seemingly
unethical
brand
can
maintain
the
squeaky
clean
image
upon
which
it
was

created.

41

Chapter
Six

Competitive
Analysis

Fashion
is
the
imitation
of
a
given
example
and
satisfies
the
demand
for
social

adaptation…
The
more
an
article
becomes
subject
to
rapid
changes
of
fashion,
the

greater
the
demand
for
cheap
products
of
its
kind.

-‐
George
Simmel,
"Fashion"
(1904)

Zara
and
H&M
are
the
two
leading
fast
fashion
brands
in
the
United
States.

Like
Forever
21,
the
two
brands
have
managed
to
focus
their
efforts
on
providing

stylish
trend
pieces
as
quickly
as
possible.
Despite
them
both
targeting
young
adult

female
audiences
between
the
ages
of
18
and
30,
these
brands
have
transformed

what
it
means
to
be
cheap
and
still
chic.

ZARA

Founded
in
1975,
Zara
is
one
of
the
largest
international,
fast
fashion
clothing

retailers
with
product
lines
catered
to
women,
men
and
children
in
over
1,700

stores
within
87
countries
around
the
world
85
.
Owned
by
Inditex
(Industria
de

Diseño
Textil),
one
of
the
world's
largest
distribution
groups,
the
brand's
retail

strategy
is
to
offer
fresh
assortments
of
designer-‐style
garments
and
accessories
–

shoes,
bags,
scarves,
jewelry,
toiletries
and
cosmetics
–
for
relatively
low
prices
in

85

Zara
Company
Information

42

sophisticated
stores
in
prime
location.
86

This
is
all
done
to
appeal
to
mass
audiences

who
are
considered
fashion
conscious
and
encourage
them
to
be
repeat
customers.

With
revenues
totaling
$10
million
in
its
2009
fiscal
year
2009,
it's
no
wonder
the

retailer
has
become
an
international
giant.

Luis
Blanc
explains
the
unique
perspective
taken
to
highlight
the
company's

brand
strategy:

"We
invest
in
prime
locations.
We
place
great
care
in
the
presentation
of
our

storefronts.
That
is
how
we
project
our
image.
We
want
our
clients
to
enter
a

beautiful
store,
where
they
are
offered
the
latest
fashions.
But
most
importantly,
we

want
our
customers
to
understand
that
if
they
like
something,
they
must
buy
it
now,

because
it
won't
be
in
the
shops
the
following
week.
It
is
all
about
creating
a
climate

of
scarcity
and
opportunity."
87

This
is
the
epitome
of
fast
fashion,
where
new
styles
are
introduced
just
as

quickly
as
they
are
sold.
Because
devout
consumers
understand
this
concept
and

still
continue
to
shop,
sales
are
not
negatively
affected.
In
fact,
the
company
profits

more.

Placing
a
higher
priority
on
constant
product
availability
and
newness
rather

than
a
high-‐end
price
has
proven
not
only
effective
for
a
fashion
markets
around
the

world
but
also
essential
to
maintain
a
competitive
advantage.

86

Ghemawat,
Pankaj.
Nueno,
José
Luis.
(2006,
December
21).
Zara:
Fast
Fashion.

Harvard
Business
School

87

Ghemawat,
Pankaj.
Nueno,
José
Luis.
(2006,
December
21).
Zara:
Fast
Fashion.

Harvard
Business
School

43

Zara's
creative
team
consists
of
designers,
sourcing
specialists,
and
product

development
personnel.
88

Although
declared
a
fast
fashion
brand
in
that
ideas
are

created
and
produced
almost
instantaneously
instead
of
within
a
matter
of
months,

Zara's
design
strategy
is
to
respond
directly
to
consumer
trends.
89

This
idea
of

implementing
a
highly
responsive
supply
chain
enables
the
brand
to
stay
current

with
emerging
fashion
trends
without
deliberately
copying
other
designers.

This
leads
to
another
factor
that
sets
it
apart
(and
deflects
criticism)
from

other
fast
fashion
retailers.

Until
recently,
the
company
designed,
produced
and

distributed
its
own
products.

90

That
is,
the
entire
process,
from
the
moment
a

sketch
is
made
on
paper
to
the
second
it
hits
the
shop
floor,
was
controlled

internally.

Although
this
changed
external
perception
of
the
brand
as
an
exception

to
globalization,
the
company
was
criticized
in
2011
for
running
sweatshops
for
its

outsourced
production.
91

This
is
not
unheard
of
for
fashion
brands
similar
to
Zara,

and
Inditex
executives
swiftly
responded
to
the
allegations
and
took
immediate

action
to
mend
the
situation.
Considered
a
best
practice,
Zara's
commitment
to
fair

and
equal
labor
practices
along
with
its
environmentally
conscious
production
and

manufacturing
techniques
puts
it
at
the
forefront
of
the
fast
fashion
industry.

88

Ghemawat,
Pankaj.
Nueno,
José
Luis.
(2006,
December
21).
Zara:
Fast
Fashion.

Harvard
Business
School

89

Siegle,
Lucy.
(2011).
To
Die
For:
Is
Fashion
Wearing
Out
the
World?

90

Ghemawat,
Pankaj.
Nueno,
José
Luis.
(2006,
December
21).
Zara:
Fast
Fashion.

Harvard
Business
School

91

Fashion
chain
Zara
acts
on
Brazil
sweatshop
conditions.

BBC
News

44

Another
aspect
that
distinguishes
Zara
as
a
highly
innovative
competitor
is

its
approach
to
advertising.
According
to
CNN,
unlike
most
fashion
retailers
that

spend
on
average
3.5%
of
revenue
on
advertising
their
products,
Zara's
parent

company
Inditex
spends
just
0.3%.
92

Adhering
to
the
belief
that
window

mannequins
and
storefront
displays
are
all
the
advertising
it
needs,
Zara's
strategy

is
proof
that
marketing
is
more
of
an
assumed
need
than
an
actual
one.

H&M

Hennes
and
Mauritz
(H&M),
founded
in
Sweden
in
1947,
is
the
second

leading
affordable
fashion
brand
that
has
made
more
than
$17
billion
in
annual

sales.
93

Like
Forever
21,
it
operates
under
a
single
format,
but
markets
its
clothes

under
numerous
labels
or
concepts
that
attract
different
customer
segments.
94

With

2,600
stores
in
43
countries,
the
publicly
traded
company’s
clothing
collections
are

first
created
in
Sweden
by
approximately
150
designers
and
100
buyers
then

outsourced
to
a
network
of
800
suppliers;
60%
of
the
production
takes
place
in
Asia,

the
rest
in
Europe.
95

Although
the
company
only
produces
two
collections
a
year
–

one
in
the
spring
and
another
in
the
fall
–
several
sub-‐collections
are
made
to
keep

production
moving
and
continuously
provide
new
inventory.
This
strategy
is

comparable
to
most
magazine
publications
where
long-‐lead
issues,
those
containing

92

Zara,
a
Spanish
success
story.
(2001,
June
15).
Channel
News
Network

93

Petro,
Greg.
(2012,
October
25).
The
Future
Of
Fashion
Retailing:
The
Zara

Approach
(Part
2
of
3)

94

Ghemawat,
Pankaj.
Nueno,
José
Luis.
(2006,
December
21).
Zara:
Fast
Fashion.

Harvard
Business
School

95

Petro,
Greg.
(2012,
October
25).
The
Future
Of
Fashion
Retailing:
The
Zara

Approach
(Part
2
of
3)

45

classic,
evergreen
features,
are
published
less
often
than
short-‐lead
issues
which

readily
publish
content
that
is
more
trendy
and
of-‐the-‐moment.

So
how
does
H&M
continue
to
gain
a
competitive
edge?
Besides
leveraging

designer
collaborations
and
accurately
responding
to
societal
trends
and
meeting

consumer
needs,
the
company
has
managed
to
become
one
of
the
most
ethically

sound
fast
fashion
brands
to
date.
According
to
The
Guardian,
in
an
April
2012

report,
figures
showed
that
"nearly
2.5
million
pairs
of
shoes
were
made
in
2011

using
lower-‐impact
water-‐based
solvents,
all
building
contractors
had
signed
a
code

of
conduct
to
ensure
"good"
working
conditions,
recycled
polyester
equivalent
to
9.2

million
plastic
bottles
had
been
used,
and
H&M
used
more
organic
cotton
in

production
than
any
other
group."
96

By
2020,
the
company
predicts
100%
of
its

cotton
used
will
be
sustainably
sourced.
97

Unlike
Forever
21,
H&M
has
been
public
about
its
intentions
to
become
more

environmentally
friendly.
But
the
fact
of
the
matter
is
that
it's
nearly
impossible
to

do
so
consistently
as
a
fast
fashion
label.
So
the
fact
that
the
company
has
succeeded

for
this
long
without
fully
integrating
an
ethical
manufacturing
strategy
shows
a
lack

of
concern
for
consumers'
moral
decisions
to
purchase
sustainable
clothing.
As

consumers
grow
more
knowledgeable
about
the
ethical
issues
that
surround
the

brand,
internal
changes
will
need
to
be
made.
This
is
a
unique
strategy
that
has
the

potential
to
not
only
increase
favorable
perceptions
of
H&M,
but
also
brand
it
as
a

modern,
sophisticated,
smart,
and
still
fashionable
retailer.

96

Siegle,
Lucy.
(2012,
April
7).
Is
H&M
the
new
home
of
ethical
fashion?

97

Siegle,
Lucy.
(2012,
April
7).
Is
H&M
the
new
home
of
ethical
fashion?

46

Given
the
similarities
of
these
retail
competitors,
it
is
clear
that
Forever
21
is

indeed
doing
something
right.
Both
of
its
chief
competitors
have
a
deep

understanding
of
their
customers’
wants
and
needs.
Knowing
how
consumers
will

respond
to
products
before
they
are
launched
is
key
to
developing
a
strategy
with
a

competitive
advantage
instilled
in
its
core.
Forever
21,
though
not
quite
at
the

success
level
of
either
of
these
brands,
has
made
efforts
to
instill
a
method
of

listening
and
responding
to
consumer
trends.
One
of
the
newest
and
most
valuable

ways
has
been
through
their
efforts
among
a
variety
of
social
media
channels.

47

Chapter
Seven

Digital
Media
Strategy

Now
more
than
ever,
brands
are
evolving
into
the
realm
of
all
things
digital,

and
with
that
move
comes
new
opportunities
for
growth,
development
and
a

greater
awareness
of
target
audiences
and
consumer
satisfaction.

Though
much
of

the
growth
Forever
21
has
enjoyed
has
to
do
with
positioning
the
company
as
more

of
a
household
name,
there
is
no
doubt
that
much
of
its
prominence
is
maintained

through
a
wide
variety
of
social
media
outlets.
A
synopsis
of
each
major
platform

and
its
purpose
are
as
follows:

Facebook

Figure
4:
Forever
21
Facebook
page

48

The
brand's
Facebook
page
(see
Figure
4)
is
one
of
the
most
updated
outlets

among
all
its
social
media
platforms.
Content
is
changed
on
a
regular
basis
and

usually
made
relevant
given
current
hot
topics
within
entertainment,
fashion
and

beauty
industries.
With
nearly
8
million
likes,
78
thousand
mentions
and
93

thousand
visits,
the
page
is
primarily
used
as
a
place
to
engage
fans
in
conversation,

publish
news
and
questions
related
to
fashion,
and
curate
picks
from
fashion
and

beauty
collections.
Daily
shares
range
from
posts
that
offer
words
of
wisdom
to

questions
that
ask
fans
about
accessorizing.

Contests
and
challenges
are
also

announced
on
this
media
platform.
Some
posts
are
featured
in
other
languages
and

linked
back
to
that
specific
country's
Forever
21
website.
This
gives
the
company
a

chance
to
highlight
its
international
presence
and
keep
the
conversation
going
in
a

global
manner.

"We
try
our
best
to
keep
content
conversational
and
fun.
All
of
our
online

forums
are
reflective
of
that
as
well,"
98

says
Tookie,
a
web
designer
for
the
company.

98

See
Appendix
A

49

Twitter

Figure
5:
Forever
21
Twitter
page

Because
of
the
very
nature
of
Twitter
and
its
usage
as
a
site
that
publishes

information
instantaneously,
the
Forever
21
page
(as
seen
above
in
Figure
5)
is
the

company's
best
usage
of
social
media.
The
company
has
managed
to
gain
942,679

followers,
publish
nearly
7,000
tweets
and
average
between
three
to
five
tweets
per

day.
Conversational
questions
to
followers
are
posted
regularly
and
updates
about

new
contests
or
new
business
endeavors
like
the
F21Pop
app
launched
recently.

Most
posts
are
also
linked
back
the
Forever
21
shopping
website
–
a
strategy

balancing
the
adherence
to
transparency
and
a
profitable
business
model.
The

company
also
does
a
great
job
at
utilizing
the
freedom
it
has
to
stimulate

conversation,
such
as
posting
tweets
like
"Just
keep
pinning,
just
keep
pinning"
that

links
back
to
its
Pinterest
page.
Through

50

it
all,
the
company's
Twitter
page
manages
to
remain
creative
and
definitely

reflective
of
the
brand's
voice
and
overall
persona.

Instagram

Figure
6:
Forever
21
Instagram
page

Most
recently
establishing
the
company's
fast
growing
social
media
following,

Forever
21's
Instagram
page

(Figure
6
above)
has
over
687,000
followers
and
a

little
over
350
photos
shared.
It's
primarily
used
for
engaging
with
its
audience,

local
and
global,
and

publishing
content
like
new

51

apparel
and
accessory
items,
behind-‐the-‐scenes
photos
and
other
events.

Among
its

most
recent
campaigns,
21
Days
of
Style
was
launched
in
December
2012
as
an

Instagram
challenge
where
followers
can
post
and
tag
pictures
of
each
day's
style

theme.
With
themes
including
Reds,
Scarves
and
Braids,
users
were
able
to

creatively
integrate
their
own
personal
style
into
each
day's
post.

Pinterest

Figure
7:
Forever
21
Pinterest
page

Perhaps
the
least-‐evolved
social
media
channel
of
the
brand
is
Forever
21's

Pinterest
page
(Figure
7),
which
has
nearly
52,000
followers
and
about
1,900
pins

on
48
boards.
Because
this
site
is
inherently
used
to
curate
pictures
and
videos,
the

company
does
just
that.

Although
a
majority
of
the
posts
only
include
items
sold
on

its
website,
it
does
have
a
behind-‐the-‐scenes
and
street
style
board
with
pins
of

different
girls
showcasing
their
stylish
fashion
sense.

52

"Our
Pinterest
is
mainly
for
fans
to
re-‐pin
and
keep
our
brand
trending,"
says

Tookie.
"As
pinners
and
other
users
re-‐pin
posts
from
our
page,
we
gain
a
greater

fan
base
and
shares."
99

The
advantages
of
a
targeted
digital
media
strategy
are
endless:
content

based
on
brand
messages
can
be
published
instantly,
word
of
store
openings
can
be

spread
rapidly
and
publicity
on
new
collaborations
and
sales
can
be
made
globally.

Specifically
for
a
brand
like
Forever
21,
which
thrives
on
certain
high
levels
of

secrecy,
these
platforms
are
particularly
helpful.
Additionally,
the
majority
of
people

who
use
social
media
platforms
are
Forever
21's
key
audiences.

Therefore
to
devise

a
strategy
to
reach
them
in
locations
where
they
already
are
makes
targeted

messaging
easier
to
be
consumed
and
tactics
more
readily
applied.

99

See
Appendix
A

53

Chapter
Eight

Future
Implications

So
long
as
consumers
take
charge
of
their
economic
endeavors,
fast
fashion

will
continue
to
thrive
as
an
outlet
geared
to
meet
their
superficial
desires
and

genuine
needs.

The
Forever
21
company
has
established
itself
as
a
brand
with
a

compelling
competitive
advantage,
and
overall
consumer
sentiment
supports
this

notion.
Although
a
majority
of
the
company's
shortcomings
have
to
do
with
criticism

and
the
quality
of
it
products,
its
continued
growth
and
expansion
worldwide

trumps
these
consumer
inhibitions'
to
purchase.

"I
think
Forever
21
has
a
prosperous
future
ahead,"
said
Marie.
"It's
hard
to

say
whether
we
will
lead
as
a
retailer
with
high
competition,
but
I
don't
see
us

getting
any
worse
in
our
lifetime."
100

The
main
component
for
succeeding
as
a
fast
fashion
brand
within
such
a

competitive
market
is
differentiation
–
making
your
products
as
unique,
special
and

exceptional
as
possible.

Along
with
the
brand's
marketing,
Forever
21's
digital

media
strategy
has
enabled
them
to
do
just
that,
as
it
appeals
to
a
large
set
of

targeted
consumers
by
remaining
on-‐trend,
conversational
and
personable
its

messaging.
The
company
has
instilled
a
unique
strategy
to
foster
future
growth

brilliantly,
leveraging
its
staple
products
with
items
complementary
to
an
entire

lifestyle
brand.

This
technique
of
branching
out
beyond
the
company's
fundamental

mission
is
smart,
as
a
wider
range
of
audiences
can
aid
in
gaining
profits.

100

See
Appendix
A

54

Competitors
like
H&M
and
Zara
have
yet
to
adopt
this
fully
integrated
idea.

Ensuring
an
exclusive
shopping
experience
–
no
matter
how
unconventional
–
along

with
initiating
a
targeted
digital
strategy
are
also
key
methods
that
have
facilitated

the
company's
financial
success.

With
regard
to
public
relations
as
a
key
managerial
component
to
overall

brand
success,
Forever
21
could
benefit
tremendously.
To
say
responding
to
an

ever-‐changing
external
environment
is
not
necessary
to
prosper
is
false.
Though
the

company
practices
two-‐way
forms
of
communications
via
social
media
platforms

and
other
digital
outlets,
no
real
change
is
made
if
product
development
remains

stagnant
and
unresponsive
to
these
consumer
sentiments.
The
majority
of

consumers
place
Forever
21
under
the
umbrella
of
retailers
who
produce
goods
that

are
of
poor
quality.
Though
altering
the
entire
manufacturing
process
is
a
bit

extreme,
finding
a
means
to
bridge
the
gap
of
these
consumer
perceptions
is

imperative.
The
company
has
taken
steps
toward
this,
still,
surpassing
consumer

expectations,
if
not
maintaining
them
at
a
sustainable
level,
is
important
for
future

growth.

55

Chapter
Nine

Conclusion

As
a
company,
Forever
21
has
transformed
into
a
brand
worthy
of
competing

within
the
fast
fashion
market.
Not
only
has
it
managed
to
provide
products
with

high
demand
to
its
consumers,
but
also
it
has
done
so
in
a
way
that
is
affordable
and

reasonable.
From
once
standing
alone
as
a
fashion
boutique
to
now
encompassing

entire
department
stores,
Forever
21
has
succeeded
in
providing
a
wide
variety
of

options
to
a
widely
diverse
consumer
demographic.

One
way
the
company
has
maintained
a
competitive
advantage
as
a
fast

fashion
label
is
by
continuing
its
production
and
manufacturing
processes
while

disregarding
criticism.
Although
this
seems
highly
counterproductive,
implementing

a
sort
of
"don’t
say
anything"
strategy
has
been
proven
to
be
effective,
especially

when
fault
has
undoubtedly
been
made.

Still,
not
saying
anything
can
only
last
so

long.

Making
efforts
toward
changing
those
ideals
worthy
of
criticism
is
essential

for
long-‐term
growth
and
success
as
a
business.
As
consumer
become
smarter
and

more
conscious
of
their
purchases,
brands
have
an
increased
obligation
to
meet

their
needs.

Moreover,
the
fact
that
Forever
21
is
a
Christian
company
makes
its

intentions
to
keep
business
as
usual
despite
any
pitfalls
or
hardships
it
faces
appear

hypocritical.
Its
unwavering
attitude
has
sustained
the
internal
corporate

environment
and
keeps
feelings
of
remorse
at
a
minimum.
Marie
accounts
on
her

personal
interactions
with
employees:

56

"I
get
that
we
have
our
ways
when
it
comes
to
how
we
handle
business,"
says

Marie,
"But
I
think
we
have
good
intentions.
Everyone
is
happy
about
how
we

portray
ourselves
as
a
company."

Having
evolved
into
a
brand
that
upholds
a
digital
strategy
that
is
active
on
a

regular
basis
has
also
helped
Forever
21
stay
relevant.

Although
the
company

insists
on
remaining
a
private,
impenetrable
business,
its
digital
presence
has

enabled
effective
two-‐way
communication.
These
outlets
have
created
a
window
for

Forever
21
fans
to
get
a
glimpse
at
the
brand
beyond
a
mall
setting.
The
ability
to
be

so
familiar
with
stakeholders
is
essential
for
brands
whose
success
is
dependent

solely
upon
customer
appeal.

As
consumers
continue
to
place
a
greater
authority

upon
those
brands
who
can
be
as
relevant
in-‐store
as
they
can
online,
this
sort
of

constant
curating
and
sharing
of
ideas
will
be
even
more
vital
for
success.

Finally,
the
concept
of
luxury
is
reflected
in
the
brand
strategy.
Though

Forever
21
consumers
can't
qualify
their
actual
purchases
as
luxury-‐oriented,
their

intentions
and
behaviors
do
reference
the
luxury
concept.
The
idea
of
luxury-‐
oriented
behaviors
is
illustrated
in
that
consumers
perceive
value
beyond
a
high-‐
end
price
tag
–
in
availability,
diversity
of
options
and
overall
social
appeal.
There's

a
perceived
luxury
in
shopping
in
an
environment
where
hangers
are
never
empty

and
display
racks
are
always
concealed
by
layers
of
new
items.
There's
also
a
luxury

in
identifying
a
need
and
walking
into
a
store
where
that
need
is
then
fulfilled.

Then,
there
is
a
luxury
in
having
consumer
desires
met
in
a
one-‐stop
shop

manner.
Purchases
are
not
limited
to
only
shoes,
but
rather
unlimited
to
all
items

that
complete
a
head-‐to-‐toe
look:
accessories,
makeup,
nail
polish
and
hair
flair

57

included.

The
Forever
21
brand
has
managed
to
provide
a
luxury
in
having
all
items

readily
available
at
any
consumer's
disposal.
Just
as
luxury-‐oriented
as
valet
parking

is,
so
is
a
shopping
trip
to
Forever
21.

For
a
brand
that
has
managed
to
stay
relevant
and
competitive
within
a

market
where
the
eyes
of
most
individuals
immediately
roll
back
as
soon
as
its

name
is
mentioned,
Forever
21
has
done
surprisingly
well.
Given
the
internal

conflict
it
will
likely
continue
to
battle,
the
brand
has
done
a
great
job
at
sticking
to

its
mission.

Still,
research
proves
there
is
a
need
for
Forever
21
to
remain
a
current

and
profitable
brand
by
externally
responding
to
a
constantly
changing
market.

It
is

equally
necessary
for
the
brand
to
initiate
internal
changes
in
its
brand
image
and

perception.

Through
the
implementation
of
these
concepts,
Forever
21
has
a
chance

to
not
only
compete
with
the
fast
fashion
market,
but
to
lead
it.
As
the
late
Coco

Chanel
said,
"Fashion
is
in
the
sky,
in
the
street,
fashion
has
to
do
with
ideas,
the
way

we
live,
what
is
happening."
To
not
respond
to
all
of
this
–
to
not
take
advantage
of

what
makes
fashion
applicable
to
the
world
–
would
be
a
crime.

58

Bibliography

#162
Forever
21.

(2011,
November
16).
Retrieved
from

http://www.forbes.com/lists/2011/21/private-‐companies-‐11_Forever-‐
21_SI70.html

Berfield,
Susan.
(2011,
January
20).
"Forever
21's
Fast
(And
Loose)
Fashion

Empire."
Retrieved
from

http://www.businessweek.com/magazine/content/11_05/b4213090559511.htm

Business
Dictionary.
Retrieved
from

http://www.businessdictionary.com/definition/value-‐chain.html

Casabona,
Lisa.
(2007,
July
23).
"Retailer
Forever
21
Facing
A
Slew
of
Design

Lawsuits."
Retrieved
from
http://www.wwd.com/fashion-‐news/fashion-‐
features/retailer-‐forever-‐21-‐facing-‐a-‐slew-‐of-‐design-‐lawsuits-‐489335?full=true

Cline,
Elizabeth.
(2012).
"Overdressed:
The
Shocking
High
Cost
of
Cheap
Fashion."

Retrieved
from
http://www.npr.org/books/titles/180557103/overdressed-‐the-‐
shockingly-‐high-‐cost-‐of-‐cheap-‐fashion

Consumer
Expenditures
in
2010
(annual
report).
Bureau
of
Labor
Statistics.

http://www.bls.gov/cex/csxann10.pdf

Crossan,
Andrea.
(2012,
November
26).
"Tough
Working
Conditions
Cause
by
Fast

Fashion.
Retrieved
from
http://www.theworld.org/2012/11/fashion-‐victims/

Dumas,
Daisy.
(2011,
August
11).
"Fashion
chain
Forever
21
accused
of
pushing

religious
agenda
with
Christian-‐themed
T-‐shirts."
Retrieved
from

http://www.dailymail.co.uk/femail/article-‐2025046/Fashion-‐chain-‐Forever-‐21-‐
accused-‐pushing-‐religious-‐agenda-‐Christian-‐themed-‐T-‐shirts.html

Eguchi,
Aya.
(2011).
Curtailing
Copycat
Couture:
The
Merits
of
the
Innovative
Design

Protection
and
Piracy
Prevention
Act
and
a
Licensing
Scheme
for
the
Fashion
Industry.

Cornell
Law
Review.
Retrieved
from

http://www.lawschool.cornell.edu/research/cornell-‐law-‐review/upload/Eguchi-‐
final.pdf

Fashion
chain
Zara
acts
on
Brazil
sweatshop
conditions.

BBC
News.
Retrieved
from

http://www.bbc.co.uk/news/world-‐latin-‐america-‐14570564

Forever
21
Affiliate
Program
Information.
Retrieved
from

https://forever21.affiliatetechnology.com/

Forever
21
Company
Information.
Retrieved
from

http://www.forever21.com/Company/About.aspx?br=f21

59

Ghemawat,
Pankaj.
Nueno,
José
Luis.
(2006,
December
21).
Zara:
Fast
Fashion.

Harvard
Business
School.
Retrieved
from

http://researchingsustainability.files.wordpress.com/2012/01/zara-‐harvard-‐
case.pdf

Greenberg,
Debi.
(2012).
The
Real
Cost
of
Fast
Fashion.
Retrieved
from

http://cognoscenti.wbur.org/2012/10/10/fast-‐fashion-‐debi-‐greenberg

Hicken,
Melanie.
(2012,
February
27).
The
Secret
Behind
Forever
21's
Dirt
Cheap

Clothing.
Retrieved
from
http://articles.businessinsider.com/2012-‐02-‐
27/strategy/31103150_1_cheap-‐labor-‐child-‐labor-‐factories

Hines,
Alice.
(2012
October
26).
Forever
21
Under
Investigation
For
Using

"Sweatshop-‐Like"
Factories
in
Los
Angeles.
Retrieved
from

http://www.huffingtonpost.com/2012/10/26/forever-‐21-‐sweatshop-‐
investigation_n_2025390.html

Joy,
Annamma.
(2012).
Fashion
Theory:
The
Journal
of
Dress,
Body
&
Culture,

Volume
16,
Number
3,
pp.
273-‐296(24)
Retrieved
from

http://www.ingentaconnect.com.libproxy.usc.edu/content/berg/jdbc

Kane,
Rachel.
(2011).
WTForever
21.

Retrieved
from
http://wtforever21.com/

La
Ferla,
Ruth.
(2007,
May
10).
Faster
Fashion,
Cheaper
Chic.
Retrieved
from

http://www.nytimes.com/2007/05/10/fashion/10FOREVER.html?pagewanted=all
&_r=0

Lattin,
Pace.

(2011).
What
is
an
Affilitate?
Retrieved
from

http://performinsider.com/2011/09/what-‐is-‐an-‐affiliate/

Lewis,
Robin.
(2012,
May
3).
Controlling
Creation
to
Consumption:
It's
Time.

Retrieved
from
http://therobinreport.com/controlling-‐creation-‐to-‐consumption-‐
its-‐time/

Mannes,
Tanya.
(2012,
August
20).
Forever
21
to
Zara:
'Fast
Fashion'
explodes
in
San

Diego.
Retrieved
from
http://www.utsandiego.com/news/2012/aug/20/forever-‐
21-‐zara-‐fast-‐fashion-‐explodes-‐san-‐diego/

Menkes,
Suzy.
(2008,
September
21).
Is
Fast
Fashion
Going
Out
of
Fashion?
Retrieved

from
http://www.nytimes.com/2008/09/21/style/21iht-‐
rbasta.1.16332117.html?pagewanted=all&_r=0

60

Perry,
Natasha.
(2012).
Apparel
Companies
to
Watch:
A
Follow-‐Up
Report.
Retrieved

from
http://www.chainstoreguide.com/static_content/pdf/apparel_wp.pdf

Petro,
Greg.
(2012,
October
25).
The
Future
Of
Fashion
Retailing:
The
Zara
Approach

(Part
2
of
3).
Retrieved
from

http://www.forbes.com/sites/gregpetro/2012/10/25/the-‐future-‐of-‐fashion-‐
retailing-‐the-‐zara-‐approach-‐part-‐2-‐of-‐3/

Sharma,
Samidha.
(2012,
October
26).
DLF
to
revive
fashion
business
with
three

international
brands.
Retrieved
from

http://timesofindia.indiatimes.com/business/india-‐business/DLF-‐to-‐revive-‐
fashion-‐business-‐with-‐three-‐international-‐brands/articleshow/16962318.cms

Siegle,
Lucy.
(2012,
April
7).
Is
H&M
the
new
home
of
ethical
fashion?
Retrieved
from

http://www.guardian.co.uk/business/2012/apr/07/hennes-‐mauritz-‐h-‐and-‐m

Siegle,
Lucy.
(2011).
To
Die
For:
Is
Fashion
Wearing
Out
the
World?
Retrieved
from

http://www.ecouterre.com/eco-‐fashion-‐books-‐that-‐are-‐essential-‐reading/eco-‐
fashion-‐book-‐style-‐to-‐die-‐for/

Tkacik,
Moe.
(2008,
February
12).
The
Secretive
Culty
Christians
Behind
Forever
21.

Retrieved
from
http://jezebel.com/355697/the-‐secretive-‐culty-‐christians-‐behind-‐
forever-‐21

Wiedmann,
Klaus-‐Peter;
Hennigs,
Nadine;
Astrid
Siebels.
(2007).
Measuring

Consumers'
Luxury
Value
Perception:
A
Cross-‐Cultural
Framework.
Retrieved
from

http://www.amsreview.org/articles/wiedmann07-‐2007.pdf

Zara,
a
Spanish
success
story.
(2001,
June
15).
Channel
News
Network.
Retrieved

from

http://edition.cnn.com/BUSINESS/programs/yourbusiness/stories2001/zara/

Zara
Company
Information.
Retrieved
from

http://www.inditex.com/en/who_we_are/concepts/zara

61

Appendices

Appendix
A:
Interviews

Tookie,
Forever
21
Web
Designer

Q:
How
long
have
you
been
with
the
company?

A:
It'll
be
three
years
in
June.

Q:
Tell
me
about
your
role
with
Forever
21

A:
I'm
not
sure
I'm
the
best
person
to
answer
questions,
but
I'll
try.
I'm
a
web

designer
and
I
mostly
do
stuff
on
the
social
media
accounts

Q:
So
you
provide
the
content
or
just
the
design?

A:
A
little
of
both
actually.
We
work
closely
with
the
editorial
team
to
balance
ideas

and
make
sure
what's
written
matches
the
visuals
created.
It's
kind
of
fun
because

visuals
do
a
lot
of
the
talking
themselves.

Q:
And
you
guys
are
present
on
all
SM
platforms,
correct?

A:
Yes,
we
have
Facebook,
Instagram
and
Twitter.
Sometimes
we
branch
into
the

YouTube
page,
but
out
development
team
tries
to
handle
that
more.

Q:
And
Pinterest,
too?

A:
Our
Pinterest
is
mainly
for
fans
to
re-‐pin
and
keep
our
brand
trending.
As
pinners

and
other
users
re-‐pin
posts
from
our
page,
we
get
more
fans
and
more
shares.

Q:
How
do
you
decide
what's
a
good
way
to
talk
on
your
accounts
or
what
the
voice

is?

62

A:
We
try
our
best
to
keep
content
conversational
and
fun.
All
of
our
online
forums

are
reflective
of
that
as
well.
Like
on
our
website,
you
kinda
want
to
be
a
part
of
that

group.
Like,
you
want
to
be
friends
with
whoever
is
featured
on
the
page.
We
try
to

be
appealing
in
that
way.

Q:
Do
you
take
into
consideration
the
brand
messaging
when
do
your
daily
tasks?
In

other
words,
are
you
liable
for
the
things
that
are
put
out
into
cyber
space?

A:
I'm
not
sure
I
can
answer
that.
What
I
do
is
cleared
by
my
managers.

Q:
Do
you
like
working
at
Forever
21?

A:
Yes,
it's
fun
and
creative.
I
like
to
be
artistic.

Q:
Do
you
see
the
company
growing?

A:
I
know
we
have
grown
a
lot
since
we've
started.
It's
tough
to
say
how
fast
or
soon,

but
I
know
we've
opened
new
stores
and
stuff.
It’s
all
fun.

Q:
Is
your
management
team,
including
the
owners,
accessible
on
a
regular
basis.

A:
Everyone
responds
to
emails.
We're
digital.

Q:
Do
you
think
people,
other
than
those
that
work
here,
think
Forever
21
is
a
good

company?

A:
What
do
you
mean?

Q:
Do
you
think
people
look
at
Forever
21
in
a
positive
light?

A:
I
think
so.
People
shop
here
I
guess.
I
don't
know
too
much
about
what
people

think.

Q:
What
three
words
would
you
use
to
describe
Forever
21?

A:
I
think
it's
fun,
edgy
and
fashionable.
You
want
to
look
like
the
girls
that
wear
the

clothes.
It's
like
you
want
to
be
friends
with
them.

63

Marie,
Forever
21
Store
Manager

Q:
Are
you
open
to
answering
a
few
questions
about
the
company?

A:
The
company
is
very
strict
and
confidential
of
any
inside
information.
What
kind

of
information
do
you
need?
I
can
see
what
I
can
do.

Q:
What's
a
typical
day
like
for
you?

A:
Well
it
changes
day
by
day.
But
I
make
sure
to
get
here
early
and
keep
an
eye
on

all
operations
happening
during
business
hours.
But
the
planners
come
in
and
take

charge
of
strategic
marketing
and
stuff.
I'm
not
too
sure
what
their
process
is.

Q:
Do
you
know
what
the
target
customer
is
for
Forever
21?

A:
I
think
trendy,
cool
girls
who
don't
have
a
lot
of
money.
They
want
to
be
cute
but

don't
want
to
have
to
pay
that
much.

Q:
Do
your
employees
know
that?

A:
I
think
so,
yeah.
I
think
a
lot
of
the
girls
who
work
here
are
the
target.
They
want

to
be
cute
and
this
is
like
their
biggest
closet
they've
ever
had.
I
think
they
look
like

the
target.

Q:
How
do
you
help
make
sure
you
make
the
day's
sales
goal?
You
do
have
sales

goals
daily,
right?

A:
Yes,
we
look
at
it
every
hour
to
see
how
we're
doing.
We
have
methods
like

helping
customers
on
the
floor
and
suggesting
ideas
and
when
they
get
to
the

register
we
do
add
ons.
We
just
try
to
make
it
fun
so
they
want
to
buy,
not
that
they

have
to.

Q:
What
do
you
see
as
being
the
future
of
Forever
21?

64

A:
I
think
Forever
21
has
a
prosperous
future
ahead.
It's
hard
to
say
whether
we
will

lead
as
a
retailer
with
high
competition,
but
I
don't
see
us
getting
any
worse
in
our

lifetime.

65

Appendix
B:
Employee
Testimonies

Nicole,
24,
Fashion
Valley
Mall,
San
Diego:

Q:
How
would
you
describe
the
Forever
21
brand?

A:
It's
unique,
exclusive
and
always
available

Q:
What
do
you
like
or
dislike
about
Forever
21?

A:
I
like
how
it
gives
me
a
sense
of
individuality
and
how
much
stuff
there
is
to

choose
from.
I
can
make
it
my
own
and,
like,
pick
and
choose.

Tsutae,
23,
Inland
Empire:

Q:
Describe
your
experience
at
Forever
21.

A:
Every
time
I
shop
here,
I
expect
to
find
exactly
what
I
came
for.
Whether
I
need
a

new
cami
or
like
a
bracelet,
I
always
expect
to
find
something.
The
problem
is
I

usually
find
more
than
what
I
came
in
for
so
I
end
up
with
too
much.

Q:
But
do
you
like
it?

A:
I
love
the
vibe
I
get
when
I
shop
around
at
Forever
21.
On
a
good
day,
usually

early,
the
store
is
clean
and
items
are
all,
like,
neatly
packed
on
racks
throughout
the

store.
But
even
still,
the
girls
working
there
seem
enslaved
to
their
jobs
and

unapproachable

Q:
Do
you
usually
like
what
you
end
up
buying?
Like
long-‐term?

A:
Yea
I
mean
I
get
whatever
I
need
usually
and
if
you
take
care
of
it,
it
lasts.

Q:
So
it's
like
a
giant
closet
for
you?

66

A:
I
do
feel
like
I've
entered
the
biggest
closet
I'll
ever
have.
I
feel
empowered

because
I
can
afford
it,
but
also
like
trendy
and
hip.
If
only
the
people
who
worked

there
were
a
little
more,
like,
nice
and
helpful,
I'd
be
more
happy
about
shopping

there

Erica,
Los
Angeles:

Q:
Do
you
shop
at
Forever
21?

A:
Sometimes.

Q:
Can
you
describe
the
experience?

A:
I'm
typically
overwhelmed
by
how
many
clothing
options
they
have
available.

Just
trying
to
grab
one
item
off
the
rack
turns
into
a
huge
mess
of
hangers
being

yanked
off
with
it.
I
love
the
options,
but
not
the
hassle.
It
can
get
crazy.

A
former
visual
merchandising
manager:

Q:
How
was
your
experience
with
the
company?

A:
The
company
was
very
fashion
forward,
and
always
with
the
trends.
Store

locations
were
clearly
much
more
dynamic
than
the
corporate
offices,
but
the
level

enthusiasm
for
trends
and
fashion
remained
a
constant.

Q:
So
you
liked
it?

A:
I
did,
I
just
needed
a
change.

Alexis,
a
Forever
21
shopper:

Q:
Do
the
bible
verses
on
the
bags
affect
your
decision
to
shop
here?

67

A:
Let's
just
say
I'm
not
okay
with
any
company
or
business
pushing
a
religious

agenda
upon
me
…
even
if
it
is
subtle.
Placing
a
Bible
verse
on
my
bag
makes
it
so
I

now
have
that
verse,
and
all
its
interpretations,
inside
my
apartment.
What
about

those
who
believe
in
something
else?
All
I
wanted
to
do
was
buy
clothes,
and
now

you're
messing
with
my
religious
affiliation?
No
thanks.

67

Appendix
C:
Surveys
Results

50
Californian
respondents,
ages
18-‐35,
online
and
in-‐person

Most
popular
words
that
best
describe
the
Forever
21
brand:

"Trendy,"
"cheap,"
"fun,"
"fresh,"
"youthful,"
"inexpensive,"
"stylish"

Frequency
of
shopping:
(On
a
scale
from
Rarely,
Sometimes,
Often,
Very
Often)

43%
of
respondents
shop
"Sometimes,"
37%
of
respondents
shop
"Often,"

5%
shop
"Rarely,"
10%
shop
"Very
Often,"
5%
declined
to
answer

Rate
of
shopping
experience:
(On
a
scale
from
Poor,
Not
Great,
Okay,
Great,

Amazing)

69%
of
respondents
rated
it
as
"Okay,"
27%
rated
it
as
"Great,"
4%
rated
it
as

"Amazing"

Rate
of
satisfaction
with
purchase:
(On
a
scale
from
1-‐5,
5
being
the
highest)

54%
of
respondents
rated
it
at
a
4,
24%
rated
it
at
a
5,
11%
rated
it
at
a
3,

10%
rated
it
at
a
2

Three
most
popular
things
liked
of
the
Forever
21
brand:

It's
"cheap,"
"young,"
"trendy"

Three
most
popular
things
disliked
of
the
Forever
21
brand:

It's
"unorganized,"
"cluttered,"
and
"cheap"

Knowledge
of
bible
verses?
(Yes,
No)

61%
respondents
were
not
aware
of
the
Bible
verse
printed
on
the
bags

(If
aware,
70%
say
it
doesn’t
affect
their
decision
to
shop
there
or
alter
their

perceptions
of
the
brand)

68

Alternative
shopping
destinations:

Nordstrom's,
H&M,
Zara,
Old
Navy,
Macy's,
Urban
Outfitters,
American

Apparel,
Express,
Bloomingdale's,
Sears

69

Appendix
D:
Sample
Survey

FOREVER
21:
CONSUMER
PERCEPTIONS

Name:_________________________________________________________________________________________

Age:___________________________________________________________________________________________

Occupation:__________________________________________________________________________________

Name
3
words
that
you
feel
best
describe
the
Forever
21
brand:

How
often
would
you
say
you
shop
at
Forever
21?

Rarely

Sometimes

Often

Very
Often

How
often
would
you
say
your
shopping
experience
was
at
Forever
21?

Poor

Not
Great

Okay

Great

Amazing

Rate
your
typical
satisfaction
with
purchase

1

2

3

4

5

Name
3
things
you
like
about
the
Forever
21
brand:

Name
3
things
you
don't
like
about
the
Forever
21
brand:

70

_________________________________________________________________________________________________

Are
you
aware
of
the
bible
verse
on
the
bags?

Yes

No

If
yes,
does
that
matter
to
you?
Explain.

What
other
fashion
stores
do
you
shop
at?

Abstract (if available)

Abstract When it comes to commercial retail giant Forever 21, a successful strategy goes beyond determining an appropriate purchasing price-point within a constantly changing market. This paper examines the overall branding strategy of the affordable fashion label as a competitor within the fast fashion industry. It also highlights external brand perceptions among its target audiences and analyzes their likeness to luxury-oriented consumers. Lastly it uses research findings to generate a position about the future implications of the company from a global standpoint.

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

Branding luxury: finding a balance between exclusivity and the inclusivity of a digital world

PDF

Luxury branding in today’s China: case studies of global consistency and local adaptation strategies of luxury fashion brands

PDF

The luxury appeal: analyzing affordable luxury brands through the Great Recession

PDF

Conglomerate branding within the luxury goods sector

PDF

Capturing and maintaining the essence of luxury in the dynamic global marketplace

PDF

Once a Lakers town, always a Lakers town? An in-depth comparison of the branding and communications strategies of the LA Clippers and the LA Lakers

PDF

Principles of transmedia branding

PDF

Consumer awareness of Chinese brands in the United States

PDF

Luring lovers: how brands make consumers fall head over heels

PDF

Municipal place branding for economic development

PDF

The missing link: the role of organizational culture in technology change management communication

PDF

Social media best practices for Hollywood films and their applications in China

PDF

Tailoring pharmaceutical public relations strategies to different markets: a case study of the launching strategies of Gardasil in the U.S. and China

PDF

Musicians utilizing social media to increase brand awareness, further promote their brand and establish brand equity

PDF

For the love of the game and community: evaluating professional athletes' charitable giving

PDF

Black in fashion: how PR is the thread of lasting racial diversity in the fashion industry

PDF

Return of the MAC: a strategic communication plan to resonate with Gen Z consumers

PDF

Goodbye, disposable fashion. Hello, circular solutions

PDF

Utilizing networks and digital distribution strategies to create spreadable video content for change

PDF

Crisis communication for tourism destinations in the new media environment