Social media influencers helped fuel the rise of disposable fashion. Now they're making a turn toward sustainability, but is it too late to crush the monster they created? 

If you search “haul” on YouTube, you’ll find an endless library of shoppers displaying enormous armfuls of brand-new clothing.

Social media personalities started developing distinct “personal brands” to differentiate themselves from other content creators in the late 00s, making haul-style videos to showcase their individual styles. While the format remains the same as it was a decade ago—bundles of clothing are held up to camera, tried on, and split into keep and return piles—the motivation to post has shifted. 

While haul videos were originally used to show off cute outfits and share great deals, they have evolved to become an advanced digital marketing channel. Now, brands are fully behind it: they compensate creators (not to mention gift them with product) if they’ll feature glowing reviews of the brand’s items, advertise discount codes, and share affiliate links so customers can shop them without getting up from the sofa.

In the early days of paid promotions, it was difficult to discern this type of advertising from unpaid, editorial content. But the scale of social media marketing, and the power of influencers, was revealed in 2017 when the FTC condemned undisclosed endorsements and mandated that paid promotions be called out as such (leading to “#ad” and “#spon” hashtags suddenly dominating timelines).

Despite the regulations, influencers kept going even faster than before. The constant churn of new items became the norm, and followers sought to emulate their favorite influencers by buying outfits to fuel new content. Some even bought clothes, photographed them to post online, and promptly sent them back.

Social media companies only promoted the promoters. With 87% of people saying influencers have inspired them to make a purchase, Instagram capitalized on their cachet by integrating shopping features with their platform, such as external links, product tags, product launch countdowns, and live shopping.

TikTok, the latest influencer-approved social site, is also testing social commerce strategies after being inspired by the success of its Chinese sister brand Douyin. The implementation of shoppable ads and livestreams suggests a further shift toward commercialized social media that will break down the barriers between liking a product and making a purchase.

All of the above is no small contributor to a massive sustainability problem: namely, the 92 million tons of textile waste created globally every year. Especially when it comes to fast fashion, which is particularly destructive to the planet. 

But the tides have begun to turn. As TikTok continues to invest in social commerce features and influencers migrate to the new app, it has also become a hotspot for creativity, upcycling, and reuse.

The prime example of this is the now-infamous SS20 menswear JW Anderson cardigan. Harry Styles wore the brand’s signature patchwork knit on The Today Show in February 2020 and inspired a slew of handmade recreations made for a fraction of the $1890 price tag. User @lilbittylivvie’s making-of video garnered over one million likes, while the “Harry Styles cardigan” tag has over 70 million views on the app.

While TikTok has become a home for do-it-yourself tutorials, Y2K upcycling montages, and craft how-tos, the kickback against fast fashion and overconsumption shows up differently across platforms.

On Instagram, where the influencer as we know it came to be, a new breed of sustainability is blooming. Creators post their “#oootd” (old outfit of the day—a riff on the now-ubiquitous #ootd: outfit of the day), take pride in being an “outfit repeater,” and style what they already have in multiple ways to show their followers that everything they need is already in their closet.

Instagram has also been pivotal in exposing greenwashing. Sustainability influencers question brands’ lofty claims and unearth misinformation causing fewer businesses to make vague, sweeping claims in fear of being canceled. Instead, they’re compelled to take concrete, verifiable action or even admit that they’re not truly sustainable and focus on tangible goals over PR-friendly headlines.

Sustainability influencers and activists also offer shareable quotes and digestible infographics that introduce alternative approaches to fashion. Shocking statistics, reuse inspiration, and “haulternatives” quickly find an audience of millions, sparking action and shifting perspectives.  

Cross-posting on Instagram and TikTok is popular among young generations, but Facebook’s older crowd champions conscious consumerism in private community groups. Members of sustainable fashion communities share upcycling tips, suggest places to buy quality second-hand clothing, and facilitate garment swapping. Creative communities flourish, sharing upcycling tutorials, beginners' guides, and virtual styling workshops. Facebook is less personality-based than Instagram or TikTok and has become a platform for the generous exchange of information, resources, and in some cases, outfits.

Each major social media platform has its own discourse and strategy, but all are critical—if not always consistent—partners in the fight against the unsustainable shopping habits they helped establish. It’s an uphill battle, however; there are 2.3 million haul posts on Instagram, and videos tagged “#ad” have racked up over 44 billion views on TikTok. 

So, as outfit repeaters challenge serial shoppers, and mend-and-thrift hauls threaten to dethrone the original haul video, social media has become a key tool in the fight against fast fashion. There's still hope that the quick growth and easy access that helped fast fashion grow is now aiding its downfall. 

Social Media Fueled Fast Fashion. Now It Has to Kill It.

Live branded experiences beat online attendance for the first time in a year; Consumer participation in live experiences up to 68% from 4% in 2020

The numbers: RL and CreateMe customized 2,200 garments, 1,000 water bottles 300 tote bags and 1,000 stickers over a 20 day ”Create Your Own” pop-up customization studio at Wimbledon.

Drawing roughly 500,000 fans over the course of the tournament, live events and experiences are back. The prestigious event was canceled in 2020, and played in 2021 with limited capacity.

And the Ralph Lauren collaboration with CreateMe at The Championships is just one recent example of the big-time being back — big time.

A study conducted by experience relationship management firm AnyRoad reveals that  75% of brand marketers resumed live in-person experiential marketing, and more than two-thirds of consumers have returned to these in-person events. That figure reached as low as 4% during some of the pandemic's darkest days in 2020.

Consumers have a pent-up desire for in-real-life events, and brands that are quick to reopen will build loyalty and get ahead of competition as restrictions reduce

Tim Williams, Chief Customer Officer at apparel industry disruptor CreateMe Technologies, says retail and tech brands are again looking for ways to re-engage with their audiences and brand experiences are a surefire way to do just that.

“Things have changed a bit,” says Williams. “Of course, we follow special safety protocols during installation, the event and after. We want to keep our team and the public healthy. But all in all, it feels like normality is returning.”

 “Consumers have a pent-up desire for in-real-life events, and brands that are quick to reopen will build loyalty and get ahead of competition as restrictions reduce,” AnyRoad co-founder and CEO Jonathan Yaffe says. “We’re already seeing brands that are hosting in-person experiences getting more engagement, data and insights and, in many cases, seeing meaningful revenue growth from add-ons and premium offerings.”

We can help brands re-engage and excite their customers in new ways never before imagined.

First reported by MediaPost, AnyRoad's study, based on nearly 3 million unique experiential records from more than 400 consumers engaging with over 400 brands across 90 countries, primarily in the U.S. and the UK, suggests that event marketing is returning to normal, as in-person branded experiences outpaced virtual for the first time in over a year

While most brands resumed in-person events, 70% continue to offer online experiences as part of their customer engagement strategy. “Virtual experiences are here to stay,” Yaffe says, “and the smartest brands will continue to take a differentiated, hybrid approach to break through the noise.”

Live events? “They are once again key to coaxing consumers out of their homes and back to stores to spend money,” says Williams. “We can help brands re-engage and excite their customers in new ways never before imagined.”

RL and CreateMe collaborate on a 20-day customization pop-up at Wimbledon

Gone are the days of afterthought plus-size collections relegated to a dusty corner. Customers are embracing a new guard of brands that view sizing as it should be seen: an all-encompassing spectrum. 

Fashion is more than what to wear. It holds a lens up to culture, reflecting everything from art and politics to the economy. But there’s one area where fashion is failing to uphold its role as a mirror of society: sizing. By catering primarily to the thin body type that has dominated fashion imagery for decades, apparel brands have sidelined the majority of people. And, in doing so, the industry is missing out on significant revenue: in 2019, the "plus-size" apparel market was worth $9.8 billion. 

Most of us are used to walking into a store and seeing a limited size range offered: 0 to 14, or XS to XL (known as a “straight” size range). Skewed towards smaller bodies, this range has othered many consumers. Making matters worse, when retailers do carry larger sizes, the selection is shockingly limited—and segregated into a designated area called "plus-size," a term that carries serious stigma for many consumers. Others don’t give up any floor space for these sizes at all,  only offering them online and excluding an entire demographic of in-store shoppers. 

The push for better size representation (and better visual representation in editorials and campaigns) is the result of decades of work by activists. The National Association to Advance Fat Acceptance (NAAFA) was founded in 1969 to protect rights and improve the lives of those who are discriminated against based on size. Numerous other groups followed. They put in the groundwork, writing manifestos and picketing the White House. With the birth of social media, racially diverse set of fat-acceptance and body-positivity influencers could suddenly build platforms without traditional gatekeepers standing in the way. 

As bigger bodies began to share in the fashion spotlight, brands began to wake up to the fact that there was an audience waiting for stylish clothes in larger sizes. For those who made the investment, it was worth it. The "plus-size" fashion category in the US is growing at nearly twice the rate of the overall apparel market, according to an NPD report. In 2016 alone, US sales of "plus-size" women’s apparel rose by 6%, while the total clothing market grew by just 1.6% that year, according to the US Bureau of Economic Analysis.

In the scramble to produce a broader size range, some brands are skipping the necessary fitting, sampling and redrafting process needed to ensure a well-fitting garment. The result? A skeptical consumer base faced with inconsistent sizing and poor fits, unable to hit the buy button with confidence. 

Inaccurate sizing is more than just a consumer letdown—it's also an environmental issue, particularly with online shopping. Between 2014 and 2019, ecommerce returns grew by 95%. Given that 5 billion pounds of returned goods are landfilled each year in the US, and that size is cited as the number-one reason for returns, getting sizing right is imperative. In the UK, 37% of consumers say incorrect fit is the key reason for making a return, while 91% are confused by inconsistent brand sizes. Globally, over half of shoppers purposely purchase items in multiple sizes and return duplicates to mitigate the hassle of navigating poorly fitted garments. 

Given that 5 billion pounds of returned goods are landfilled each year in the US, and that size is cited as the number-one reason for returns, getting sizing right is imperative.

Some brands are determined to walk the talk and get the sizing issue right. Universal Standard, a brand that produces in sizes 00-40, grades between every size. “We started using fit models across our entire size range whenever developing a new garment,” the founders told Vogue Business. The brand also has an updated sizing system, placing a size 18-20 as a medium, in line with US averages. Ethical activewear brand Girlfriend Collective offers sizes XXS to 6XL and shows its products on an array of different bodies, and Loud Bodies runs from XXS to 10XL.

Not all brands are quite so proactive or thorough. In order to produce more sizes, many simply follow the standard procedure of grading. In most cases, a sample size (usually a 2, 4, or 6) is graded using a formula or specification sheet to make a pattern bigger. The issue with this approach, however, is that it doesn’t adjust the cut of the garment to account for different body shapes. Imagine enlarging something on a photocopier—that’s the effect you get when grading apparel. By the time you’ve graded something from a size 6 to a size 18, the original design can be completely distorted. 

For manufacturers, there are further obstacles to cross when it comes to introducing size-inclusive garments, one being the issue of fabric usage. Larger sizes use more fabric, and many brands that are willing to make the investment factor this into their pricing. However, some have passed the cost onto the consumer in the form of a so-called "fat tax." In fact, in 2018, UK retailer New Look was called out for charging up to 15% more for its Curve range. There are other points to account for: in some cases, looms are not designed to make larger knits, and in others technicians aren’t trained to take "non-standard" measurements into account.

The future of inclusive sizing means no separation, no extra costs, no guesstimated fits, and no manufacturing shortcuts. Just one collection, designed for every body.

However, technology is emerging to address these shortfalls and improve sizing. Euveka, for instance, has created scalable robot mannequins to allow designers to fit every body type imaginable. So far the company has reduced returns by 70% for clients in larger size ranges, a significant improvement on the 40% reduction-rate for "straight" sizes. 3DLook, which uses two photos of a shopper to determine what size fits them best, has reduced returns for 1822 Denim by 48%, and Bodi.Me, which creates a sizing algorithm for each new garment, has reduced returns to less than 3% for size-inclusive startup Curves with Purpose.

For other brands, a low-tech, common-sense approach prevails. Torrid, which reached a $2.5 billion valuation after its IPO, simply eschews grading and instead employs fit models for every size it develops. 

The message is clear: previously excluded consumers are ready and waiting to spend on well-designed, well-fitted clothes. This market will not be won over by a token line or a mini collection. By making the shift from offering plus size to investing in inclusive sizing, some brands are excelling. The future of inclusive sizing means no separation, no extra costs, no guesstimated fits, and no manufacturing shortcuts. Just one collection, designed for every body.

We’ve Seen Fashion’s Future—and It’s Size-Inclusive

The pandemic made instantaneous, widespread changes to how we do business. For the apparel industry, it highlighted just how sorely a record-scratch moment was needed. 

Most big changes happen gradually. Heads go gray strand by strand. Careers are built in fits and starts. Colors and hem lengths fade in and out of fashion. But pandemics tend to change that—including COVID-19, which prompted all-encompassing and almost instantaneous changes in how we live and how we conduct business. For the apparel manufacturing industry, the overhaul was long overdue.

For fashion, the pandemic brought to light an industry that was in dire need of change—and a two-speed system where the winners were getting comfortable with winning and the losers were being choked for oxygen. 

At the top of the food chain, giants were thriving. Consolidation and acquisition sprees created multi-headed conglomerates like LVMH, Kering, and Inditex. From fast fashion to luxury, these champions were leveraging economies of scale to create faster, slicker, shinier experiences that the little guys just couldn’t keep up with. 

For those smaller brands, the status quo meant one step forward and two steps back. Promising young designers like Rodarte, Prabal Gurung, and Proenza Schouler grew fast, but their ambitions were thwarted when it was time to go from critical darlings to serious competitors industry behemoths like Chanel and Dior. How can you compete with the Grand Palais on a shoestring budget? 

The prospects for innovation in the startup space weren’t much better. Every new mass-market brand seemed to have a sustainability angle and consumers grew dubious. Leaders like Everlane and Reformation stumbled through management scandals and delayed IPOs. Silicon Valley startup culture could attract first-round funding, but the jury was out over whether it could build lasting brands. 

Pre-Pandemic: The Stagnating Status Quo 

The total shutdown of spring 2020 was the tipping point. Instead of gradually evolving landscapes, fashion was faced immediately with an empty, endless horizon—and no indication of when it would stop. Once the initial shock wore off and the cheery “See you in two weeks!” signs came down from the shop windows, the real work began. The industry didn’t have a choice. And the response would come to follow a three-step process.

The quiet of COVID-19 gave people at all levels the space to evaluate what was important. When suddenly nobody could buy anything, the entire act of buying was called into question. What does shopping look like in a world where it’s not possible? 

Idle hands made for big plans. Zoom lines lit up. C-suites finally had the long, hard strategy discussions that they had been putting off for years. Some teams found that they worked better at a distance, where the only thing to distract them was the occasional sink full of dishes. 

Suddenly, a whole new dynamic emerged where everyone was on the same playing field. Multi-million dollar fashion shows and event spectacles were no longer possible. Instead, compelling (and viral) videos and social content became table stakes.

Fashion's top creative minds were not content with lookbooks shot in masks. As it became clear that lockdown would last, brands got creative and upped their digital marketing game, especially through video. Smaller brands like Warp + Weft engaged directly with homebound audiences by reaching out to them on social media—notably, Instagram Live sessions that were part panel discussions and part heart-to-hearts. The pandemic urged brands to connect with consumers through empathy, kindness, and much-needed distraction.

Fendi and Valentino made waves online with lavishly produced set pieces that were more than just fashion shows sans audiences. Jeremy Scott at Moschino bested the field with a puppet show fashion film that brought spectacle into the realm of the surreal.

The crisis also set off a new wave of social awareness. Some established brands missed an opportunity to get creative, but others got innovative and put their money where their mouth is. For example, Allbirds gave away their wool sneakers for free to healthcare workers and Tiffany & Co. donated $1 million to COVID-19 relief efforts as well as started an employee donation-matching program. 

Finally, Covid-19 exposed the vulnerabilities in the global supply chain like nothing has before. As over-ordered merchandise stood stagnant in shuttered stores, the urgency of adopting flexible sourcing methods became clearer than ever. 

It’s clear that the fashion industry is never going back to its pre-pandemic stasis, so the brands that embrace change and create their own culture are those that will thrive. 

Customers are ready to spend, but how can brands capitalize on it? First, remember the lessons of the pandemic. Customers won’t forget lockdown anytime soon and neither should retailers. Two new values rule the day: sustainability and accountability. 

It’s clear that the fashion industry is never going back to its pre-pandemic stasis. The brands that embrace change and create their own culture are those that will thrive. 

The pandemic exposed how deeply connected we are to the planet. Consumers want to see real action on sustainability not as a nice-to-have, but as a matter of survival. A responsible, lower-waste apparel industry is one of the best places to start. 

As for accountability, lip service doesn’t cut it anymore. It’s important to show corporate commitment not just through foundations and charity programs, but in the very structure of a brand’s business. One way of doing that is by embracing innovative supply chain models that cut down on waste and have traceable, vertically integrated structures. 

Looking back, it’s clear that smaller, more nimble companies were best-positioned to adapt to the ever-shifting conditions. Now, bigger organizations are learning from these setbacks and doing what they can to exploit new technology, move quickly, and get creative.  

The Fashion Industry Needed to Change—COVID Gave It No Choice

From mass market to ultra-luxury, brands are getting into video games — quite literally — to engage their existing audience and attract a new one. But how did these seemingly disparate genres become unlikely friends?

Wired published a report on what it coined the “virtual fashion revolution," an outreach program luxury fashion brands are implementing to reach Gen Z and millennial consumers and remain culturally relevant through online gaming. Even before the COVID-19 pandemic, about 214 million U.S. consumers played video games for an hour or more every week, and reports indicate a 45% spike in time since stay-at-home orders originally took effect. What’s more, women now account for nearly 50% of gamers. 

As consumers invest more time, energy, and, yes, cash in their digital lives, it makes sense that brands would mirror this shift. For companies targeting younger consumers in particular, gaming presents an opportunity to connect with and engage potential buyers. Just as brands are drawn to social media for its capacity to showcase products and help build relationships with customers, they’re now investing in gaming. The result? Cutting-edge business and marketing partnerships aimed at deepening the relationship between apparel brands and their fans. 

There has always been a strong link between fashion and identity. Consumers leverage clothing, style trends, and labels to help them visually express their personalities and unique aesthetics. In many ways, the same can be said of gaming. Some psychologists describe the phenomenon of using games, and the avatars within them, to explore their identities as “the me I want you to see.” From how they look to how they dress, avatars become a stand-in for the players themselves. 

Consider the multiplayer shooter game Fortnite, where avatars and the “skins” they choose to play with can display both the player’s personal style and how long they’ve played the game. Like clothing, most skins must be purchased, and some have a limited shelf life. And just like apparel in the physical world, avatars and skins can signal a knowledge of culture and trends — something young consumers are excited to put on display. When you pare these cultures down, the cachet of wearing a designer label isn’t so different from playing a game using a coveted skin. 

Identity Expression in Fashion and Game Culture

No wonder some apparel brands have started partnering with gaming companies to create customized skins. In 2019, Moschino partnered with Electronic Arts’s life simulation game The Sims to create a “pack” of clothing and furniture items that could be used by Sims characters within the game. Some could even be purchased in real life at Moschino boutiques. “I love the idea of being able to imagine, design and bring to life a world of individual personas with The Sims universe,” Jeremy Scott, Creative Director of Moschino, has said. 

Gamers experienced something similar with Animal Crossing: New Horizons, of which manufacturer Nintendo has sold more than 32 million units. Marc Jacobs created a digital-only clothing collection expressly for the characters in the game, while designer Sandy Liang held an exclusive pop-up sale of her digital clothing items. Even Valentino designed 20 custom looks for use within Animal Crossing, and Net-a-Porter worked with designer Isabel Marant to create styles that can be worn within the game or purchased for use in the real world. 

We’re seeing a similar trend in esports, a form of gaming that pits teams of players against each other while audiences look on. In 2019 and 2020, Gen.G Esports partnered with Puma to clothe an online squad of League of Legends players. Together, esports and gaming generate an estimated $159.3 billion in revenue annually. 

With some well-known luxury labels paving the way, we can expect to see more companies team up with game developers to increase their exposure among younger consumers and build brand loyalty. 

Both limited-edition digital fashion collections and gamified shopping experiences can generate interest among prospective buyers and existing fans. For example, Balenciaga chose to launch its Fall 2021 collection via an online game called Afterworld: The Age of Tomorrow, which is set in a dystopian Balenciaga store and comes complete with a Lookbook of avatar fashions. Of the strategy, GQ writes, “...a video game, it turns out, is a far more immersive way to bring your shopper into your world than by selling them a baseball cap with a logo on it.”

What’s Next for Brands in the Gaming World?

Until now, new products and custom-designed fashion items have primarily been featured within games themselves — but video games can help apparel companies boost product sales in the physical world as well.

Mobile gaming is another frontier we’re likely to see apparel brands continue to explore. For example, Kenneth Cole teamed up with social game developer Zynga to launch its first mobile game, which allows players to dress avatars in LGBTQIA+ Pride–themed fashions. According to reports, High Heels! was downloaded more than 60 million times in its first five months. Aside from providing access to a large audience of potential customers, customized games like this one enable brands to showcase their products in a fun, interactive way. 

Until now, new products and custom-designed fashion items have primarily been featured within games themselves — but video games can help apparel companies boost product sales in the physical world as well. Uniqlo recently introduced a line of League of Legends-inspired clothing that the company describes as “a must-have for League fans, highlighting some of the game's most iconic champions and elements.” League of Legends is played by upwards of 115 million users every month. 

Another area to watch? Influencer marketing. Back in 2019, fashion industry trade journal WWD reported on collaborations between fashion brands, gaming influencers, and esports organizations. Since then, brands including Louis Vuitton, Adidas, Nike, and K-Swiss have clothed esports gamers and influencers (or their avatars) in an effort to keep their merchandise top-of-mind for the millions of gamers glued to their screens. 

What’s next for fashion and gaming? Considering how much closer the relationships are getting between the two genres, the new revenue generation models they create may move well past the collaboration stage — and spawn a whole new industry. 

How Fashion and Gaming Became a Match Made in Heaven

Retail

Social Media Fueled Fast Fashion. Now It Has to Kill It.

RL and CreateMe collaborate on a 20-day customization pop-up at Wimbledon

We’ve Seen Fashion’s Future—and It’s Size-Inclusive

The Fashion Industry Needed to Change—COVID Gave It No Choice

How Fashion and Gaming Became a Match Made in Heaven