ZARA, FAST FASHION, AND THE NEW GLOBAL PARADIGM FOR

MARKETING COMMUNICATION

by
Ting Hsuan (Vivian) Lee

A Thesis
Submitted to the Faculty of Purdue University
In Partial Fulfillment of the Requirements for the degree of

Master of Arts

Department of Communication
Fort Wayne, Indiana
December 2023
THE PURDUE UNIVERSITY GRADUATE SCHOOL
STATEMENT OF COMMITTEE APPROVAL

Dr. Steve A. Carr, Chair

Department of Communications

Dr. Wei Luo

Department of Communications

Dr. Michelle Kelsey

Department of Communication

Approved by:
Dr. Steve A. Carr

2
 DEDICATION

To my dearest Mom, Jasmine, Dad, Sam, Grandpa Almon, and my incredible brother

Matthew, As I stand on the threshold of this significant accomplishment, I find myself reflecting

on the unwavering support each of you has provided throughout my journey toward completing

my master's degree. Your dedication has been my guiding light, and I am immensely grateful for

the love and encouragement that has fueled my determination.

Mom, your nurturing spirit has been my constant source of strength. Dad, your wisdom

and encouragement have been invaluable on this challenging academic path. Grandpa Almon, your

legacy of perseverance has inspired me to reach new heights. Matthew, your unwavering belief in

me has been a driving force.

Together, you form the pillars of my success, and this achievement is as much yours as it

is mine. Your sacrifices, encouragement, and love have shaped my academic journey into a

profound and meaningful experience.

As I dedicate my master's degree to each of you, I want you to know that this

accomplishment is a testament to the profound impact your support has had on my life. Thank you

for being my rock, my motivation, and my unwavering cheerleader

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 TABLE OF CONTENTS

LIST OF FIGURES ........................................................................................................................ 6

ABSTRACT.................................................................................................................................... 8
MARKETING COMMUNICATION POINT OF VIEW .................................... 9
1.1 Fashion: Defining Its Essence ........................................................................................... 11
1.2 Fashion and Popular Culture............................................................................................. 13
1.2.1 Product ...................................................................................................................... 15
1.2.2 Pricing ....................................................................................................................... 19
1.2.3 Place ........................................................................................................................... 22
1.2.4 Promotion .................................................................................................................. 23
1.3 Local Marketing Thinking of Global Brands.................................................................... 28
1.3.1 Globalization and Localization .................................................................................. 28
1.3.2 The Evolution of Marketing Concepts ...................................................................... 30
1.3.3 Consumer Needs and Motivations ............................................................................. 32
1.4 Marketing in Social Media................................................................................................ 33
1.5 Conclusion From Lit Review ............................................................................................ 34
UNPACKING ZARA'S DISTINCTIVE BUSINESS MODEL AND
MARKETING STRATEGIES...................................................................................................... 36
2.1 Applying 4 Ps and 4 Cs to ZARA ..................................................................................... 40
2.2 ZARA's 4 Ps Strategy ....................................................................................................... 40
2.2.1 Product Strategy......................................................................................................... 40
2.2.2 Price Strategy ............................................................................................................. 41
2.2.3 Place Strategy ............................................................................................................ 43
2.2.4 Promotion Strategy .................................................................................................... 45
2.3 ZARA's 4 Cs Strategy ....................................................................................................... 48
2.3.1 Customer Solution Strategy ....................................................................................... 48
2.3.2 Customer Cost Strategy ............................................................................................. 49
2.3.3 Convenience Strategy ................................................................................................ 50
2.3.4 Communication Strategy ........................................................................................... 50
2.4 Chapter Summary ............................................................................................................. 51

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 ZARA'S PRODUCT MESSAGING AND VISUAL STORYTELLING ON
FACEBOOK ........................................................................................................................... 54
3.1 Analysis............................................................................................................................. 63
3.1.1 Setting and Color (Background) ................................................................................ 64
3.1.2 Contents ..................................................................................................................... 68
3.1.3 Models ....................................................................................................................... 70
3.1.4 Pose ............................................................................................................................ 71
3.2 Professionalism - theme one ............................................................................................. 77
3.3 Femininity - theme two ..................................................................................................... 79
3.4 Brand Ambassador - theme three ...................................................................................... 81
3.5 Fashionable and Stylish - theme four................................................................................ 83
3.6 Discussion ......................................................................................................................... 84
3.7 Limitations ........................................................................................................................ 85
3.8 Implication ........................................................................................................................ 85
CONCLUSION ................................................................................................... 86
REFERENCES ............................................................................................................................. 88

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 LIST OF FIGURES

Figure 1. Timeless and Classic Fashion Products ...................................................................... 16

Figure 2. Fast Fashion ................................................................................................................ 19
Figure 3. Celebrity Collaboration Example ................................................................................. 26
Figure 4. Hierarchy of Needs ....................................................................................................... 32
Figure 5. ZARA’s History Timeline (Zara, 2020) ....................................................................... 39
Figure 6. Price Comparison ......................................................................................................... 42
Figure 7. Number of ZARA Retail Stores ................................................................................... 44
Figure 8. ZARA’s Collection with Kaia Gerber Post Example ................................................... 46
Figure 9. Price Comparison .......................................................................................................... 49
Figure 10. ZARA 2022 Fall and Winter Post Example ............................................................... 55
Figure 11. Spreadsheet for Analysis Example ............................................................................. 57
Figure 12. Phase of Thematic Analysis ....................................................................................... 59
Figure 13. ZARA Post Example ................................................................................................... 63
Figure 14. ZARA Background Color Post Examples .................................................................. 65
Figure 15. ZARA Lighter Color Post Example ........................................................................... 66
Figure 16. ZARA Lighter Color Post Example ........................................................................... 67
Figure 17. ZARA Warm Tone Post Example .............................................................................. 68
Figure 18. ZARA Content Posts Example ................................................................................... 69
Figure 19. Narciso Rodriguez's Collection with ZARA .............................................................. 70
Figure 20. Kaia Gerber’s Collection with ZARA ........................................................................ 71
Figure 21. ZARA Sexiness Pose Post Example........................................................................... 72
Figure 22. ZARA Confidence Pose Post Example ...................................................................... 73
Figure 23. ZARA Determination Pose Post Example ................................................................. 74
Figure 24. ZARA Professionalism Pose Post Example ............................................................... 78
Figure 25. ZARA Confidence Pose Post Example ...................................................................... 80
Figure 26. ZARA Femininity Pose Post Example ....................................................................... 81
Figure 27. ZARA Brand Ambassador Post Example .................................................................. 82

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Figure 28. ZARA Fashionable and Stylish Post Example ........................................................... 83

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 ABSTRACT

Studying ZARA provides valuable insights into the marketing communication strategies
employed by a highly successful fashion brand. ZARA's innovative business model, which
prioritizes speed, affordability, and fast fashion line turnaround, has disrupted the traditional
fashion industry and created a new paradigm for fast fashion. The company's ability to rapidly
create and distribute affordable, trendy clothing has made it one of the most popular fashion brands
globally.
Analyzing ZARA's success in marketing and communicating with customers, as well as its
ability to stay ahead of fashion trends, can inform and inspire other fashion brands seeking to
improve their market position. I collect and analyze data from a variety of sources, including
applying the marketing mix 4Ps and 4Cs and using ZARA's FB posts as a sample to understand
its social media communication strategies. The study aims to identify how these key factors
contribute to ZARA's success in marketing and customer communication.
ZARA's marketing communication strategies emphasize customer-centricity and
responsiveness to changing fashion trends, and the effective use of social media marketing. By
staying closely connected to its customers' needs and desires, ZARA can rapidly create new
products and styles that resonate with its target market. Furthermore, the company's effective use
of social media platforms, such as Facebook, has helped to create a strong brand identity and a
loyal customer base.
Overall, the study of ZARA's marketing communication strategies provides useful insights
into marketing performance and what works in the fast-paced world of fast fashion. By
emphasizing customer-centricity, responsiveness to changing fashion trends, and the effective use
of social media marketing, fashion brands can create strong brand identities and connect with
customers in meaningful ways.

8
 MARKETING COMMUNICATION POINT OF VIEW

The advent of the social media era has brought about significant changes in society. Social
media represents a new communication tool form. Social media has revolutionized the way people
connect online. Additionally, this new technology has provided innovative tools that have
fundamentally changed how companies approach marketing. Furthermore, the communicative
power of social media has provided marketers with unprecedented opportunities to engage with
customers and shape their perceptions and behaviors. As a result, social media has become a
critical component of any successful marketing strategy, providing innovative tools for influencing
how marketing is done.
The fast fashion company Zara uses social media to establish brand recognition and to
predict customer preferences in the era of big data. Successful marketing establishes brand
recognition, helps to discover and meet customer needs, creates unique value, and seizes market
share. Zara ranks first in Spain and is one of the world's four major fashion chain
organizations. Therefore, studying Zara allows us to explore the successful experience of Zara
marketing by applying the marketing mix 4Ps (Product, Price, Place, and Promotion) and 4Cs
(Customer-Solution, Customer Cost, Convenience, and Communication) as a framework to
analyze its brand marketing communication strategy, to find out how Zara uses the brand
advantage of affordable fashion to market to the world. I first applied the marketing mix 4Ps and
4Cs as the framework, then used all the posts of Zara’s FB posts as a sample to find out what their
social media strategy is. The second method allows us to get an in-depth analysis of the marketing
communication of Zara as an affordable fashion accessory brand to understand Zara's persuasive
messages.
The fashion industry's shift in consumer behavior involves clothing evolving from
conforming to societal norms and displaying social status through luxury items, to now being a
means of individualistic self-expression, incorporating diverse styles and values, and highlighting
personal identity and inclusivity over traditional norms. In the past, consumers were willing to
invest in higher-priced, durable clothing; however, conspicuous consumption has been around long
before social media. The rise of social media has further accentuated this trend, where the latest
fashion trends are quickly shared and consumed. Fast fashion has revolutionized the industry by
shortening the product development cycle to just two weeks, allowing brands to offer the latest

9
styles at affordable prices. ZARA, a popular fast fashion brand, has adopted an innovative business
model that quickly reflects the needs and preferences of its customers. This thesis aims to analyze
Zara’s success by examining its marketing strategies, particularly its use of social media to
promote its brand image and spirit. What is the message Zara is sending to consumers? How Zara
has crafted a communication campaign around it. Studying Zara's unique approach to fashion,
along with its social media strategies, has changed not just the standard marketing of fashion but
consumer behavior itself.
A comprehensive analysis of Zara’s communication strategies must examine three areas:
fast fashion, marketing principles working within social media, and the company itself. Therefore,
the first chapter will look at the ways scholarship on fashion marketing strategies cannot account
for recent trends in globalization and fast fashion. By looking at existing models for how product,
price, place, and promotion all figure within its marketing strategies, the chapter will? The chapter
then will consider what we already know about fashion as a symbolic and cultural process; fashion
as an expression of identity, and fashion as a social interaction between groups and individuals.
Moreover, this chapter will investigate how Zara heavily relies on brand recognition to effectively
engage consumers, avoiding convoluted mass media tactics as a marketing tool for conveying
brand messages. Chapter 2 then will provide a comprehensive overview of Zara as a company,
applying the 4 Ps and 4 Cs framework to better understand its strategies for product development,
pricing, distribution, and communication. In Chapter 3, a content analysis methodology will
evaluate Zara’s communication via Facebook posts. Chapter 4 concludes the study by presenting
research findings that identify the distinctive communication strategies of Zara contributing to its
success in the fast-fashion industry.
The forthcoming section will underscore the critical significance of prior scholarship in the
realm of fashion and its direct applicability to the analysis of Zara’s approach to fashion design
and production. This chapter particularly highlights the scholarly contributions of figures such as
Roland Barthes (1983), Dick Hebdige (1991), and Susan Kaiser (1997), whose extensive
publications have significantly advanced the field of fashion studies. Their work has prompted a
more profound understanding of fashion by examining its intricate connection with culture and
adopting an approach that views fashion as a symbolic exchange over the years of their research
and publications.

10
 1.1 Fashion: Defining Its Essence

Previous scholarship on fashion has explored how clothing and dress can retain social and
cultural significance through symbolic meanings, and consumption patterns. Roland Barthes'
work on the language and the semiotics of fashion can assist scholars in comprehending how Zara's
designs create meanings for consumers to interpret. Barthes argues that clothing is a semiotic
system that communicates meaning through signs and symbols. Zara's distinctive fast fashion
approach goes beyond mere trend-following, imbuing its clothing with a heightened sense of
immediacy and cultural relevance, enabling scholars to apply Barthes' insights to explore how
these designs convey and consumers perceive such meanings. Similarly, Dick Hebdige's work on
subcultures can help us understand the fashion industry's manufacturing, sales, and promotion
strategies. This work has given scholars a model for how to comprehend how diverse groups,
known as subcultures, use fashion as a means of self-expression. Subcultures are distinct social
groups within a larger culture, characterized by unique styles, values, and behaviors that often
challenge mainstream norms. Hebdige argues that subcultures use fashion as a way to resist
dominant cultural norms and assert their identity. Zara's fast fashion model challenges traditional
ideas about fashion by blurring the line between subcultures and mainstream culture. We can use
Hebdige's work on subcultures to understand the relationship between Zara's fast fashion model
and the cultural significance of subcultures in contemporary society. Analyzing Zara's approach to
fashion design and production in relation to these previous works could contribute to our
understanding of the role of fashion in contemporary society. For example, Zara's fast fashion
model challenges traditional ideas about the timelessness of fashion and the notion of seasonal
trends. Because it produces trendy clothing items in small quantities and rapidly restocks them
based on consumer demand. This approach enables Zara to quickly respond to changing consumer
preferences and offer new styles more frequently than traditional fashion brands. Zara's production
and distribution practices have significant social and environmental impacts, which can be
analyzed with the work of scholars such as Barthes and Hebdige, who have explored the meanings
and significance of fashion and dress.
Additionally, Zara's marketing strategies and use of social media can be analyzed through
Susan Kaiser's (1997) work. Kaiser's research explores how clothing and dress are used to
communicate identity and status, and how these meanings are constructed and conveyed through
social interactions. By analyzing ZARA's marketing strategies and social media presence, scholars

11
can better understand how the company uses fashion to create and communicate social identities,
and how these identities are received and interpreted by consumers.
Fashion is a psychological demand, consumer behavior, and lifestyle expressed in
contemporary clothing (Hebdige, 1991). It represents a desire for recognition and societal
acceptance within society, enabling individuals to define themselves in accordance with the
cultural values and innovations of their generation. Fashion is also a recognizable clothing display
that can express style and taste, a belief, concept, and symbol of form that adds value by expressing
social status. By examining Zara's practices, scholars can better understand the relationship
between fashion, identity formation, and social status.
In conclusion, previous scholarship on fashion provides a valuable framework for
understanding various aspects of fashion, including its social and cultural significance and
symbolic meanings. This allows for a more comprehensive and nuanced understanding of the role
of fashion in society and its impact on consumers. Previous scholarship on fashion has explored
how clothing and dress can retain social and cultural significance through symbolic meanings, and
consumption patterns. Roland Barthes' work on the language and the semiotics of fashion can
assist scholars in comprehending how Zara's designs create meanings for consumers to interpret.
Barthes argues that clothing is a semiotic system that communicates meaning through signs and
symbols. Zara's distinctive fast fashion approach goes beyond mere trend-following, imbuing its
clothing with a heightened sense of immediacy and cultural relevance, enabling scholars to apply
Barthes' insights to explore how these designs convey and consumers perceive such meanings.
Similarly, Dick Hebdige's work on subcultures can help us understand the fashion industry's
manufacturing, sales, and promotion strategies. This work has given scholars a model for how to
comprehend how diverse groups, known as subcultures, use fashion as a means of self-expression.
Subcultures are distinct social groups within a larger culture, characterized by unique styles, values,
and behaviors that often challenge mainstream norms. Hebdige argues that subcultures use fashion
as a way to resist dominant cultural norms and assert their identity. Zara's fast fashion model
challenges traditional ideas about fashion by blurring the line between subcultures and mainstream
culture. We can use Hebdige's work on subcultures to understand the relationship between Zara's
fast fashion model and the cultural significance of subcultures in contemporary society. Analyzing
Zara's approach to fashion design and production in relation to these previous works could
contribute to our understanding of the role of fashion in contemporary society. For example, Zara's

12
fast fashion model challenges traditional ideas about the timelessness of fashion and the notion of
seasonal trends. Because it produces trendy clothing items in small quantities and rapidly restocks
them based on consumer demand. This approach enables Zara to quickly respond to changing
consumer preferences and offer new styles more frequently than traditional fashion brands. Zara's
production and distribution practices have significant social and environmental impacts, which can
be analyzed with the work of scholars such as Barthes and Hebdige, who have explored the
meanings and significance of fashion and dress.
Additionally, Zara's marketing strategies and use of social media can be analyzed through
Susan Kaiser's (1997) work. Kaiser's research explores how clothing and dress are used to
communicate identity and status, and how these meanings are constructed and conveyed through
social interactions. By analyzing ZARA's marketing strategies and social media presence, scholars
can better understand how the company uses fashion to create and communicate social identities,
and how these identities are received and interpreted by consumers.
Fashion is a psychological demand, consumer behavior, and lifestyle expressed in
contemporary clothing (Hebdige, 1991). It represents a desire for recognition and societal
acceptance within society, enabling individuals to define themselves in accordance with the
cultural values and innovations of their generation. Fashion is also a recognizable clothing display
that can express style and taste, a belief, concept, and symbol of form that adds value by expressing
social status. By examining Zara's practices, scholars can better understand the relationship
between fashion, identity formation, and social status.
In conclusion, previous scholarship on fashion provides a valuable framework for
understanding various aspects of fashion, including its social and cultural significance and
symbolic meanings. This allows for a more comprehensive and nuanced understanding of the role
of fashion in society and its impact on consumers.

1.2 Fashion and Popular Culture

When examining the world of fashion, the influence of popular culture cannot be
overlooked. Popular culture constitutes a crucial aspect of contemporary human life, representing
a diverse range of social and cultural phenomena. Examples of popular culture phenomena include
films, viral social media trends, popular music genres, and fashion trends. The pursuit of fashion
and popular culture remains an enduring fascination for individuals seeking to enhance their

13
personal aesthetics. Popular culture encompasses a wide range of expressions and influences,
including mass culture (cultural products and activities that are widely consumed by a large and
diverse audience, such as popular music, movies, and television shows), consumer culture (a
society in which the consumption of goods and services is an important cultural and economic
activity, and where people's identities are often defined by their consumption choices), symbolic
culture (the shared meanings, beliefs, and values that shape the way people interpret and
understand the world around them. It includes language, customs, rituals, and other cultural
practices, and material culture (the physical objects, artifacts, and spaces that embody cultural
meanings and values, such as fashion, architecture, and art), among others (Storey, 2006). It
represents a culture periodically disseminated among various social classes and groups within a
particular region or around the world (Storey, 2006) and is closely intertwined with fashion,
consumption, leisure, luxury, lifestyle, and taste, among other factors.
Fashion plays an essential role in modern society, serving as a means for individuals of
varying social classes to express their status or financial power. It represents a pervasive influence
throughout society, with its ubiquity reinforced by shifts in consumer habits and the rise of fast
fashion. Fast fashion is a business model that prioritizes the quick turnover of inexpensive clothing
to meet the demands of consumers for current fashion trends. This burgeoning trend has
increasingly captured the attention of contemporary consumers, with the retail sales value of fast
fashion products experiencing a steady 20% increase since 1980 (Sull & Turconi, 2008). Central
to this trend is the production of quick throwaway versions of popular fashion items, with the goal
of fostering a cycle of continual consumption of the latest trends. The swift and efficient delivery
of these so-called "throwaway chic" products is made possible by the convergence of several
factors, including coordination logistics, external delivery services, and strong market demand.
These conditions serve as fertile ground for the rapid expansion of the fast fashion industry (Sull
& Turconi, 2008).
Now that we have explored the impact of fashion on popular culture and the rise of fast
fashion, it is important to examine how businesses utilize marketing strategies to promote their
products. The marketing mix 4Ps is a well-known framework that businesses use to develop their
marketing strategies, and it comprises four key elements: Product, Price, Place, and Promotion.
The next section will commence with an in-depth understanding of the first P of the marketing
mix, namely Product, which refers to the goods or services that a company offers to its customers.

14
In the fashion industry, the product is the clothing itself, and it plays a critical role in shaping a
brand's image and reputation. It is also noteworthy that fashion is not a static concept, but rather a
dynamic and ever-evolving trend in clothing choices (Breward, 2013).

1.2.1 Product

The product aspect of the marketing mix can be applied to clothing as a means of fulfilling
both practical and expressive needs. Clothing serves a practical purpose by protecting us from the
elements, while also providing a means to fit in with the wider social world. Moreover, clothing
serves as a medium through which we can express our personal style and engage with others
nonverbally. Clothing choices often reflect our individual preferences and are a pivotal factor in
shaping our image. In fact, clothing is often the first aspect of our appearance noticed by others,
thus influencing our initial impression of one another. The practice of adorning the body with
clothing has been evident throughout history, serving as a means of expressing social status or
participating in ritualistic activities. The evolution of fashion and the rise of fast fashion has
allowed for a wider range of product options, with trends changing more rapidly to meet consumer
demands.
Fashion goes through many procedures from idea to production, influenced by several
crucial factors, including trends, designers, fashion magazines, and fashion shows. Fashion shows
are events where designers unveil new collections, and they typically occur twice a year, usually
in the spring/summer and fall/winter seasons. The four major fashion weeks, held in Paris, London,
Milan, and New York, are highly anticipated events in the fashion industry that showcase the latest
collections from top designers. Models on the stand wear custom-fitted high-end fashion designs
and the latest fashion creations from boutique designers. The fashion show is the source of the idea
for the product. As the saying goes, "Imitation is the mother of innovation." The fashion industry
constantly draws inspiration from past styles and trends, reimagining and reinterpreting them to
create new and exciting designs. Fashion shows influence the public's perception and acceptance
of the brand. For example, fashion magazines not only provide fashion photos of the latest fashion
boutique brands, but also contain current consumer trends, and the layout of fashion magazines
may also provide designers with ideas (Moeran, 2006). The layout presents different combinations
of clothing and accessories, as well as the way they are styled together. Designers and fashion
industry professionals can draw inspiration from the layout, colors, and overall aesthetic of

15
magazine pages to create their own unique collections or marketing campaigns. Additionally, the
placement and pairing of certain items in a magazine layout can suggest new ways of wearing or
styling clothing that may not have been considered before.
Fashion products can be divided into two categories in terms of design, one is timeless and
classic (see Figure 1); the other is fast fashion. Timeless clothing usually has several
characteristics, including classic style, exquisite quality, high quality, and ease to wear. Exquisite
implies perfection in workmanship or design; high-quality clothes are often made with natural
fibers which means long-lasting. It is of great beauty and artistic value, etc. According to Coco
Chanel, "Fashion fades, only style remains the same." Consumers of such products do not aim to
pursue short-term seasonal popular experiences. The design will be slightly changed in styles and
colors every year, but designers and consumers pay attention to whether the style conforms to the
brand's identity and consistent tone. Each season's new styles will keep the brand's style and never
fade out of fashion. It can extract classic elements and combine them with other clothing to become
a unique contemporary style and culture (Schreier, Fuchs & Dahl, 2012).

Figure 1. Timeless and Classic Fashion Products

Note. Retrieved from Elizabeth L. Cline, (2020). Fast Fashion is a Bad Deal for the Planet.
https://www.scarce.org/fast-fashion-bad-deal-for-the-planet/

16
 In contrast, fast fashion is completely different from the timeless classic style. It focuses
on the pursuit of instant style. Since it is fast fashion, the popularity and diversity of products are
at the forefront of the times, but once they are favored by consumers, products often fade out of
fashion at a fast speed. To meet the immediate needs of consumers shortly, fast fashion has unified
these needs to the designer's goal, so the design of the finished product will be based on the
consumer's recent views and the factory for mass production. In the past, manufacturers would
typically divide their product launches into four seasons, holidays, and brand-specific time points.
However, with the rapid changes in consumer habits, many brands have abandoned this traditional
thinking. Speeding up the production process to meet immediate consumer demand can lead to
unstable and unpredictable outcomes, making it difficult to assess the risks associated with the
production of goods. This often results in a short lifespan for these products. To cater to the current
preferences of the masses, the sale of products may be discontinued or removed from sale due to
the loss of public interest, which is why fashion products often fade out so quickly (Christopher,
Lowson & Peck, 2004). This better reflects the reality that the decision to discontinue a product is
usually a deliberate and planned one, rather than a sudden action.
When a product is revised and updated in the next season to attract consumers, it essentially
becomes a new product with new features and designs. This new product may then start a new
cycle of consumer interest and influence other brands to follow suit in terms of design and
marketing strategies. Fast fashion brands produce clothes that are fashionable and trendy at a low
cost, making them accessible to a wide range of consumers. By creating similar styles and designs,
such as the same design with different colors or different cuts, fast fashion brands tap into the trend
of mass consumption, where people are more likely to buy products that are similar to what others
are wearing. This trend has become even more apparent with the rise of social media, where people
often showcase their outfits and fashion choices to a large audience. Therefore, fast fashion brands
are able to create a sense of "sameness" among consumers, leading to the popularity of fast fashion.
For instance, affordable fashion brands ZARA, H&M, and UNIQLO are producing similar styles
of products. The life cycle of fast fashion products is noticeably short, meaning that they are only
in the store for a brief period of time before they are replaced by new products. his is because fast
fashion brands prioritize speed and efficiency in their production processes, aiming to quickly get
their products to the store to maximize profits. This rapid turnover of products ensures that
consumers are always presented with new options and are encouraged to continue shopping,

17
contributing to the cycle of mass consumption and frequent purchasing that characterizes fast
fashion s (Bohdanowicz, 1994).
The fast fashion market demand and consumer preferences is changing rapidly, and the
competition in the fashion industry is fierce. Fast fashion brands continuously update their
products and add new clothing styles in response to the ever-changing market demands.
Christopher et al., (2004) indicated four characteristics of fast fashion as follows: short life cycles,
high volatility, low predictability, and high impulse purchasing.
1. Short Life Cycles: Products are designed to attract consumers to impulse shopping on a
whim in the fast fashion industry. The life cycle of apparel products will be affected by
seasonal factors, resulting in the problem of out-of-season goods, so the products in this
industry need to shorten the time from design, and manufacturing to shelf sales. The real
display time of goods on the shelves is only a few weeks to a month.
2. High Volatility: Products are susceptible to unpredictable external factors, such as weather,
current events, pop singers or movie booms, etc. Due to these uncontrollable factors,
consumer demand for fast fashion products will show unstable changes.
3. Low Predictability: Consumer demand for a product is difficult to predict. In addition, with
the life cycle of fast fashion industry products being only a few weeks, it is harder to
accurately estimate the demand for various products.
4. High Impulse Purchasing: Most consumers are easily affected by the stimulus of the
moment, such as the atmosphere of the store, to suddenly realize that they may need this
product, and buy it impulsively.

Changes in consumption habits have impacted the original market sales ecology, and fast
fashion is currently the mainstream force in the minds of global consumers. The direction of the
fashion market is constantly shifting, and young people are at the forefront of fashion, due to the
current low wages in society and the rise and fluctuation of prices year by year. While low wages
and fluctuating prices affect everyone, they may have a greater impact on young people who have
limited financial resources and are more likely to be sensitive to price changes. As a result, young
people are more likely to seek out affordable fashion options, such as fast fashion (see Figure 2),
and be more willing to try new and trendy styles. Changes in consumption habits have further
promoted fast fashion brands to grow rapidly in such an environment. Consumers expect to use

18
below-market prices to buy more products with quality that are not inferior. The ZARA brand
focuses on parity, rapid change, and diversification, which is exactly in line with the urgent needs
of global consumers.

Figure 2. Fast Fashion

Note. Retrieved from Elizabeth L. Cline, (2020). Fast Fashion is a Bad Deal for the Planet.
https://www.scarce.org/fast-fashion-bad-deal-for-the-planet/

When a brand launches a new product on the market, it will inevitably face the problem of
product pricing. How should the price be reasonable? How can price entice consumers to buy? In
addition to conducting a complete competitive product survey and consumer survey in advance,
the brand must also be noticeably clear about its own brand positioning and advantages to forming
an effective? pricing strategy.

1.2.2 Pricing

When consumers find out that the price of the product has fallen within their acceptable
price range, they will be more willing to buy or accept the product and/or service (Kannan &
Kopalle, 2001). Cost is a key factor in the pricing of fashion products. The price needs to reflect
the positioning and marketing of the products. Varied brands, such as the boutique brand Louis

19
Vuitton and the affordable fashion brand Zara, both set up exclusive counters in shopping malls
and sell products with similar styles, but because of different brand positioning and marketing
combinations, the pricing will be different. Louis Vuitton has a history of 165 years. The strongest
impression of Louis Vuitton is that it is particularly durable, due to the use of high-quality materials
in its products. Louis Vuitton uses a rare and expensive canvas material and has a layer of strong
and waterproof PVC added on the outside of its products. Therefore, Louis Vuitton bags will not
show age but last for a long time. Moreover, people buy luxury goods not only for their functional
qualities but also for their symbolic value as status symbols, and Louis Vuitton has enough appeal
to encourage consumers to empty their wallets. Ries and Trout (1981) asserted that positioning is
determined by how consumers perceive the market. This perception can be influenced by
marketing campaigns. The essence of positioning is to make the product meet the needs and
expectations of consumers and then adjust the brand image to meet the expectations of consumer
segmentation in the target market. Brand positioning refers to the consumer's overall perception
of a brand. As Upshaw (1995) notes, it is not simply about how consumers feel about the specific
products they own within a brand, but rather how the brand as a whole is positioned in the
marketplace. For example, a consumer may perceive Nike as a brand that offers high-quality
athletic footwear and apparel with a focus on innovation and performance, while also having a
strong association with professional athletes and sports sponsorships. The way consumers perceive
a brand can significantly impact their decision-making process when purchasing a product or
service. Understanding brand positioning is crucial for companies looking to differentiate
themselves in the highly competitive marketplace. However, the apparel industry is not immune
to price fluctuations, and prices can increase due to seasonal and timing factors, creating volatility
in the market. The general apparel industry will increase prices due to seasons and time. There is
a lot of instability and unpredictability in the pricing in the general apparel industry, which can
fluctuate frequently due to factors such as seasonality, trends, and market demand. The fluctuations
in pricing can make it difficult for businesses in the apparel industry to set stable and consistent
prices for their products. Often in the first two months of the product's listing the original price can
be maintained. The price after that, however, enters the season of price reduction and discount
period. As it moves closer to the end of the season, the discount increases. For example, the new
spring and summer clothing will be listed in mid-February every year. At this time, the products
displayed on the shelves are spring clothes. When the weather arrives in April, summer clothes,

20
which have started gaining popularity, will be gradually introduced and displayed. In mid-April,
the industry will start to promote warm clothes with price cuts. At this time, the prices of the
products are not subject to change and are set at a certain amount. In this case, even though the
industry will start to promote warm-weather garments with price cuts, most products are still sold
at the same fixed price as before the promotion. However, if the consumer has a brand VIP discount
card, department store co-branded cards or discount coupons, etc., they could have a 10% off
discount on some products, while the traditional discount period will be officially launched in July.
If the sales situation is not good, sometimes it will be advanced to the end of June, and the
promotion price will be reduced. The period will last until the end of August or the beginning of
September. Usually, the discount amount will be adjusted from 20% off up to about 70% off
(Bohdanowicz & Clamp, 1994).
There are two kinds of price setting in the fashion industry, one is cost-based pricing
methods, and the other is market-based pricing methods. The method depends on the needs of the
industry. Cost-based pricing methods are affected by the following factors, standard markup
pricing, target pricing, and demand-oriented pricing (Bohdanowicz & Clamp, 1994).
2. Standard Markup Pricing: The brand manufactures the product and its price is
determined by adding a predetermined markup to the product's cost of production and
selling it at the purchase price. This method is one of the methods commonly used by
the general fashion industry. Usually, this method does not consider the advertising
sales budget, competitor prices, and marginal costs.
3. Target Pricing: The price is determined from the estimated sales volume. The sales
volume is determined by price as the only factor. This method is most suitable for
products such as hosiery, focusing on quantity pricing.
4. Demand-oriented Pricing: Apparel companies will adjust the prices of their products in
response to changes in market demand, which means the price of a given good or
service fluctuates to reflect changes in the market. These changes, in turn, mirror
consumers' interests or preferences, seeking to sell quickly, attracting consumers at low
prices to buy other products. Meanwhile, other slow-selling products set higher prices
to make up for the cost of being on display for too long.

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 Marketing-based pricing methods refers to the fashion industry’s reliance on pricing
strategies to set the price for selling its products and maximize profits. There are two basic factors
of marketing-based pricing which are prestige pricing and value pricing.
5. Prestige Pricing: It refers to the fact that the product itself has excellent characteristics
and the industry deliberately raises the price to sell. At this point, consumers not only
buy products but also the value of brands. Consumers are expecting to get higher
quality in addition to buying high-priced commodities service, which is also a common
pricing strategy for boutique brands.
6. Value Pricing: It is about giving consumers the feeling of value for money and is often
used in the pricing of single products like a bag or a top, which should be the pricing
rule commonly used by affordable fashion brands. With the demand of customers for
different versions of a product, most stores sell a sole product with multiple choices
with the same design but different colors. Therefore, the pricing of variable products is
usually lower than that of single products, due to the lack of uniqueness.

1.2.3 Place

Now that we have discussed the pricing strategies used in the fashion industry, let's move
on to the next element of the marketing mix, which is Place. It refers to the process of making a
product available to the customer at the right time and place. The right place strategy can greatly
impact the success of a product or service, as it can help to increase brand visibillity, improve
customer convenience, and ultimately boost sales (Armstrong & Kotler, 2019).
One of the key decisions in the place strategy is the choice of distribution channels.
Distribution channels can be direct or indirect. Direct distribution involves selling a product
directly to customers, while indirect distribution involves using intermediaries, such as wholesalers,
retailers, or distributors, to sell the product (Kotler & Keller, 2016). The choice of distribution
channels can depend on a number of factors, including the nature of the product, the target market,
and the company’s overall marketing strategy.
In recent years, the growth of e-commerce has had a significant imapct on the place strategy.
Online sales channels have provided new opportunities for companies to reach customers and
expand their markets. However, the shift to e-commerce has also created new challenges, such as
the need to manage online inventory and optimize delivery logistics (Armstrong & Kotler, 2019).

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 Overall, the place strategy of the marketing mix is a critical element of successful
marketing strategy. The choice of distribution channels, physical distribution, and growing impact
of e-commerce all play a role in determining the success of a product or service.
After understanding the product and price, and place, we are going to discuss the last, but
not least, P (Promotion) of the marketing mix. To enable consumers to connect the brand with
products and services, the process of developing exclusive features for brand promotion is brand
image building. In addition to building a brand that keeps consumers remembering the product
(increasing the likelihood that they will buy the product when a brand creates advertisements or
social media marketing for its products), the brand image building also provides precise direction
for the design of these marketing campaigns.

1.2.4 Promotion

Brand image often plays a significant role in business activities and affects consumer
perception of the quality of products and services (Cretu & Brodie, 2007). Anthony and Peck (2011)
suggested once a brand image is established, it helps more people know and remember a product
before they experience the product or service in person. People may get information about a brand
through word-of-mouth (hearing about a brand or product from someone else who has had direct
experiences with it, such as a friend, family member, or colleague), social media, or in person
(experiencing the product or service directly) such as visiting the store or attending an event.
Advertising is also another way that people may get information about the brand. Advertising can
take many forms, including television commercials. Print ads, and online ads. When a distinct
brand image reaches the audience, it will be rejected because it portrays a mediocre performance
and no special memory. Imprinting the brand in consumers' minds is extremely difficult in an era
of the information explosion. The replacement of over-budgeted advertising with experiences has
become imperative. Hence, the brand image includes the consumer's impression of the brand’s
name and logo which serves as a symbol of the product's quality. Easey (2009) proposed several
main reasons for affecting the penetration rate (the percentage or proportion of the target market
that has adopted or is using the product or service), the degree to which the market is popularized
by a product or service, and popularity (the general appeal or acceptance of a product or service
among a certain audience or the public in general) as follows:

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 1. Related benefits: The lower the cost, the longer the clothing-selling life cycle. The
clothing-selling life cycle is the entire process through which a clothing item hits the
store till it is taken off the shelf. The sooner the benefits (such as cost savings or
affordability) are obtained, the higher/quicker the penetration rate will be.
2. Compatibility: Innovation must conform to cultural values, beliefs, and expectations.
3. Possibility of try-on: Provide product try-on or convenient return and exchange
service.
4. Visibility or Conveying Power: The ability of a product or service to effectively
communicate its innovative features or benefits to potential customers. If the product
or service has strong conveying power, it can effectively communicate its innovative
features, resulting in a higher adoption rate and ultimately increasing its popularity in
the market. Therefore, conveying power is considered a key factor in the penetration
rate and popularity of a product or service.
5. The complexity of innovative products: The more complex the process of
understanding and using a product, the slower its popularity.
6. Risk identification rate: The higher the risk of financial, physical, or social factors, the
slower the penetration rate. This means that consumers are more likely to be cautious
and take their time before adopting a new product or service that they perceive as risky,
which can slow down the rate at which the market is popularized by that product or
service.
7. Type of decision: Personal judgment or consultation with others to decide to buy.
8. Marketing promotion: The more publicity the company invests, the faster the process
of reaching popularization.

Advertising is one of the most used promotion methods by the fashion industry to shape
consumers' perceptions of products or brands. Building an image and providing the information
needed to make a purchase decision can enhance repurchase behavior which means a consumer's
behavior results in purchasing the same product or service on more than one occasion. It is defined
as a consumer's behavior, resulting in the purchase of the same product or service on more than
one occasion (Curtis et al., 2011). The fashion industry uses various media to convey the brand

24
message, including television, newspapers and magazines, radio, outdoor billboards, the latest
online media advertising, social media etc.
While advertising is one way the fashion industry shapes consumers’ perceptions, another
crucial method is public relations. Public relations (PR) focus on building and maintaining
relationships with various stakeholders to cultivate a positive reputation for a company or brand.
This is achieved through communication and information sharing with consumers, media, industry
insiders, suppliers, investors, and other relevant groups.
The main purpose of public relations in the fashion industry is to cultivate the prestige and
reputation of companies and brands. That is achieved by working with consumers, insiders, media,
associations, investors, suppliers, etc., to convey information and communication to build and
maintain relationships with each other. Public relations and marketing have different goals,
approaches, and focuses. The primary objective of marketing is to sell products or services by
creating demand, driving sales, and increasing revenue. It employs various tactics such as
advertising, promotions, and market research to attract potential customers.
In contrast, public relations focus on building and maintaining positive relationships with
various stakeholders, including clients, media, influencers, and the public. The primary goal of
public relations is to create a favorable image and reputation for a company or brand, manage its
image during a crisis, and respond to media inquiries. While both public relations and marketing
aim to promote and enhance a company or brand, their goals and approaches differ (Kotler &
Mindak, 1978).
Understanding the difference between public relations and marketing is crucial in
developing effective promotion strategies for companies and brands. While public relations and
marketing share a common goal of promoting and enhancing the reputation of a company or brand,
they have distinct approaches and objectives. This understanding can inform the application of
different tactics, including PR strategies, in promoting fashion boutique brands, as highlighted in
the luxury explosion model by Radha and Paul (2006).
Radha and Paul (2006) argue the luxury explosion model to explain how fashion boutique
brands use the operators of PR strategies, spread the popularity of brands and commodities in the
fashion industry as the following list:

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 1. Tools: There are three tools of fashion PR in the luxury explosion model. The first is
the use of opinion leaders from the upper class, such as social stars and celebrities, who
are hired to endorse brands, and wear the brand to attend events or public occasions
sponsored by the brand, helping to enhance its image and reputation. The second tool
is to cooperate with the media to provide information about the latest products for to
get news coverage. Finally, the marketing of "brand stories", providing moving
narratives with selling points in the media, such as exciting stories, that can attract
public attention in a brief period. For example, an active American media personality
and socialite, Khloé Kardashian’s denim brand, Good American co-branding clothes
with ZARA to get a lot of news coverage (see Figure 3). The surprising co-designed
clothing can be unexpected and delightful. This whimsical co-branding endeavor was
a huge hit with consumers.

Figure 3. Celebrity Collaboration Example

Note. Retrieved from Good American IG https://graziamagazine.com/us/articles/kaia-gerber-
designs-zara-collaboration/

26
2. Cult catalyst: A "cult catalyst" refers to an event or occasion that serves as a hub for
potential consumers who are interested in a particular fashion brand or style. These
events can be fashion shows, trade shows, celebrity endorsements, or other high-profile
occasions that attract the attention of the target audience. There are three ways to
connect the tools with catalyst occasions, a place that gathers all the potential
consumers. Firstly, the brand organizes various well-planned celebrity banquets such
as fashion shows, product launches, press conferences, and charity events. Secondly,
fashion magazines report in-depth coverage of the brand. Finally, the social media
influencers’ review which is the opinions and comments shared by influential
individuals on social media platforms such as Instagram, TikTok, and YouTube, who
have a large following and are considered experts or trendsetters in the fashion industry.
(Radha & Paul, 2006). Radha and Paul (2006) proposed these three public relations
catalysts have an interactive relationship, the purpose of the brand is to sell products,
the media wants to sell more magazines, and consumers want to get information about
fashion and brands. As a result, the fashion industry will do its best to meet the needs
of editors and provide relations strategies. The objectivity and neutrality of its messages
influence consumers' perceptions to gain trust. A brand is expected to be objective
about itself because consumers expect honest and accurate information about products
or services. If a brand only presents a biased or exaggerated view of its offerings,
consumers may lose trust in the brand and its messaging. Objectivity and neutrality in
communication help to build and maintain trust with consumers, which is crucial for
long-term success.
3. Topic: Radha and Paul (2006) argue that by connecting the tools and the catalyst,
such as organizing product launches and inviting celebrities, fashion boutique brands
can create a "topic" that generates buzz and becomes a subject of public discussion.
This creates news that is reported by the media and discussed among the public. The
topic becomes a symbol and belief in popular culture and fashion, influencing
consumer behavior and shaping fashion trends.

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 1.3 Local Marketing Thinking of Global Brands

The subsequent section of this paper delves into the necessity of adjusting the marketing
strategies of global fashion brands to the local markets. It is imperative to explore the methods of
fashion marketing communication strategy and understand the trends of global marketing towards
de-localization and brand marketing because global fashion brands need to adapt their marketing
strategies to local markets to effectively communicate with their target audience. With the rise of
economic exchanges, network information, and population movement, fashion brands are faced
with the challenge of adapting their marketing strategies to appeal to diverse audiences with
different cultural backgrounds, lifestyles, and preferences. Failure to do so may result in lost
opportunities, decreased brand recognition, and reduced sales. Therefore, understanding the trends
of global marketing and adopting effective communication strategies are critical for fashion brands
to succeed in today's global marketplace. Regional cultural differences, racial taboos, and other
factors may limit localized marketing and affect product acceptance. To overcome these challenges,
global fashion brands have adjusted their marketing strategies to be more localized. The concept
of glocalization is a fusion of the terms globalization and localization, which is a strategy intended
to adapt to the local environment under the structure of a globalized market. This section also
highlights the importance of adapting to regional cultural characteristics and differences between
consumers and cultures in different regions, and the role of glocalization in achieving marketing
success.

1.3.1 Globalization and Localization

Globalization refers to the social, economic, and political activities that extend beyond
national boundaries and influence events, decisions, and activities worldwide. Global movements
can have an impact on individuals and social groups worldwide, reflecting the expansion of
regional networks, connections, social activities, and power (Held et al., 1999).
The fashion industry has benefited from the liberalization of global trade under the World
Trade Organization (WTO), coupled with the convenience of transportation and the development
of communication technology. As a result, the global market has become saturated (a large number
of fashion brands are available in the market, making it challenging for new or existing fashion
companies to stand out), and fashion companies must enter the global market to remain

28
competitive. The key factors identified by Bohdanowicz (1994) provide insights into the
challenges and opportunities of the global market and help fashion companies develop effective
strategies to compete and succeed in it.
Internationalization is essential for fashion companies to:
1. Enhance competitive advantage through a globalized corporate image.
2. Increase sales volume and reduce cost.
3. Export excess production from the domestic market to other markets, even as a seasonal
adjustment.
4. Diversify the risk of the enterprise
5. Remain competitive in the global fashion industry.

The fashion industry is inherently dynamic, creating new styles every season to meet the
changing needs and preferences of consumers. However, the industry and designers are subject to
various environmental factors that they cannot control, including product, price, promotion, place,
and target consumer. These factors significantly influence the marketing strategy and overall
marketing environment. Global fashion companies frequently focus on the same customer groups
and offer comparable products across multiple regions and countries. However, they must tailor
their marketing strategies to align with the localized marketing environment and culture to remain
competitive and effective in the marketplace. Successful global fashion companies must fully
comprehend the marketing environment in each country, including external factors such as the
technological-natural environment, social-cultural environment, political-legal environment,
demographic-economic environment, and economic environment. The success of a fashion brand
in the global market depends not only on its internal factors, such as marketing channels and
suppliers but also on external factors, such as the public and competitors. (Tony & Margaret, 2001).
Given the diverse and dynamic nature of the fashion industry, it is crucial to pay close attention to
the marketing environment in each country and region to ensure the successful implementation of
marketing strategies and to achieve a competitive advantage.
The current consumption patterns have undergone a significant transformation from the
past with the previous impactful brands now replaced by the era of fast fashion. The demand for
clothing among consumers is evolving, necessitating a fresh understanding of consumers'
perceptions of the fashion industry. The next sections of this paper provide an in-depth discussion

29
of the evolving marketing concepts in the global market that influence consumers' purchase
behavior and offer guidelines for fashion brands to shape their brand image while operating in this
industry.

1.3.2 The Evolution of Marketing Concepts

Marketing can be compared to a relationship, as it involves creating value that satisfies the
needs of one party while establishing and maintaining a connection to obtain a return. The
American Marketing Association defines marketing as the process of establishing systems and
managing the creation, communication, delivery, and exchange of products or services to provide
value to consumers, customers, partners, and the public. According to Philip Kotler (2012),
marketing is an art that involves exploring, creating, and delivering value that satisfies the
requirements of a target market. This definition of marketing provides a useful framework for
scholars to study how organizations can meet consumer demands and create value in the
marketplace. The marketing discipline has grown significantly in recent decades, contributing to
the development of various marketing theories, frameworks, and practices that can help
organizations understand and respond to consumer needs effectively.
This research applies the marketing mix concept to define marketing. Introduced in 1964
by Michigan State University professor Jerome McCarthy, the marketing mix comprises four
elements, namely, product, price, place, and promotion, which serve as the basis for marketing
strategies to meet the needs of the public from the industry and product perspectives (McCarthy,
1960). However, with the advent of networks and e-commerce, traditional marketing strategies
have undergone a paradigm shift, leading to an expansion of the original concept of market and
marketing. To explore the determinants of market supply and demand planning, we will also
incorporate Bob Lauterborn's marketing mix concept of 4Cs, which focuses on customer needs
and preferences, namely, Customer-Solution, Customer Cost, Convenience, and Communication
(Lauterborn, 1990). This study intends to contribute to the scholarship by using the framework of
the marketing mix to analyze ZARA and test how well the marketing mix framework works with
fast fashion and social media outlets.
The 4Ps of marketing have been widely used as the foundation for many brand operators
to develop their marketing strategies. However, this approach represents a producer-centric
viewpoint, with an emphasis on product manufacturing, pricing, channel placement, and customer

30
promotion. As consumers have become more conscious and discerning, there has been a shift
toward consumer-oriented brand marketing strategies. In response to this shift, Robert F.
Lauterborn (1990) introduced the 4C theory, which prioritizes customer demand and satisfaction
as the objective. This approach accentuates a more customer-oriented approach to marketing
strategies.
The concept of the 4Ps and 4Cs has been a topic of discussion in marketing for decades.
The debate centers on whether marketing strategies should prioritize the producer's viewpoint or
the consumer's viewpoint. Lauterborn's 4Cs model focused on customer needs and wants, cost to
the customer, convenience, and communication. This new approach aimed to better align
marketing strategies with consumer demands and expectations. In contrast, McCarthy's 4Ps model
emphasized a product-oriented strategy from the producer's viewpoint. Kotler (1999) argued that
the 4Cs model should be the basis for marketing strategy development, followed by the integration
of the 4Ps model to enhance marketing effectiveness.
Furthermore, the trend toward consumer-oriented marketing has led to the development of
relationship marketing, which expands the use of integrated marketing communication as a
marketing tool that integrates corporate communication messages and media resources to improve
brand-added value (Schultz and Lauterborn, 1993). This approach aims to create a long-term
relationship with customers through consistent messaging and brand experiences.
When considering marketing strategies, it is important to establish an appropriate balance
between the goals of the enterprise and brand and the needs of consumers. Combining the 4Ps and
4Cs theories can lead to the creation of new products and services that are compatible with both
customer and production orientations. Effective two-way communication with customers can be
achieved to meet their respective goals in communication between the two parties, leading to
increased profitability, customer satisfaction, and brand recognition.
Ultimately, successful marketing relies on understanding consumer needs and motivations,
as this forms the basis for effective communication and brand positioning. Without a clear
understanding of consumer demands, brands may struggle to establish an advantage in the
marketplace and effectively communicate with their target audience. Thus, the continued evolution
and development of marketing theory remain critical to effective marketing practice.
Therefore, understanding consumer needs and motivations is crucial in the fashion industry.
The ability to identify and anticipate what consumers want and need is key to creating products

31
and services that resonate with them. The following section will delve into the specific consumer
needs and motivations that are relevant to the fashion industry.

1.3.3 Consumer Needs and Motivations

The fashion industry's primary objective is to satisfy consumer needs and desires. Abraham
Maslow's hierarchy of needs assumes that human psychology is based on a hierarchy of needs that
people pursue as lower-level needs are met (Maslow, 1943) (see Figure 4). In the fashion industry,
consumers' economic income and living standards determine their level of needs. After fulfilling
their safety and physiological needs, most consumers focus on fulfilling their social belonging
needs by being accepted by groups and peers. For instance, a teenager who is part of a popular
social group in school may prioritize buying the latest trends to fit in with their peers.

Figure 4. Hierarchy of Needs

Note. Retrieved from McLeod, S. (2022). Maslow's Hierarchy of Needs.
https://www.simplypsychology.org/maslow.html#intro

Consumer needs and motivations, along with demographic age, gender, occupation,
income, social class, reference group, consumer cultural connotation, and personality traits, among
others, affect consumer purchasing decisions. Therefore, understanding consumer needs is helpful
for the fashion industry to develop effective marketing communication strategies.
Consumers purchase or accept a fashion product, and through social interaction with others,
they convey meaning. Clothing not only reflects the consumer's self-feeling but also reflects the

32
consumer's inner expectation of how others perceive them (Johar et al., 2013). Consumer
motivation is to satisfy psychological and physiological needs through product purchase and
consumption (Blackwell et al., 2006). Shopping behavior itself can also be a source of motivation,
as Tauber (1972) noted that consumers' motivation to shop comes from the utility of using products
and from social needs. The combination of internal factors such as individual physiology and
personality traits, as well as external factors such as occupation, income, social status, and culture,
forms complex needs, affects motivation, and then produces different consumption behaviors to
pursue different values. For example, ZARA's model relies on feedback from all stores. Store
managers communicate customer feedback on what customers like, and not like, and what they
want. This data tells it which items are the most popular every day. This provides tangible insights
that brands can plan for the next release based on their strengths now.
To develop effective marketing strategies, the fashion industry is now turning to online
platforms because younger generations prefer digitized information. Traditional marketing
strategies are no longer as effective, as online search has become more accessible, and consumers
are more likely to trust other consumers' opinions rather than what brands say. Therefore, brands
are turning to social media and e-commerce platforms to reach consumers and develop
relationships with them (Kang et al., 2014). If a consumer is looking for information about a
particular product, they are not necessarily going to sit down with a cup of coffee and read their
favorite magazine to find out about that product; they are more likely to turn on their computer
and look for reviews and opinions from other consumers.
In conclusion, understanding consumer needs and motivations is critical to the fashion
industry's success in developing effective marketing communication strategies. The industry needs
to adapt to the digital age and embrace social media and e-commerce platforms to reach consumers
effectively. By doing so, brands can build stronger relationships with consumers and create a
competitive advantage in the fashion industry.

1.4 Marketing in Social Media

The emergence of social media has created a new avenue for consumers to access and share
information about products and brands. Trusov et al. (2010) found that social media platforms like
Facebook, Twitter, and Instagram have become a significant source of purchasing information for
young adults and teenagers, with exposure rates far surpassing traditional media like TV and radio.

33
Lewis and Wimmer (2010) found that approximately 40% of Facebook members follow brand fan
pages for updates and product information, while Berger and Milkman (2012) identified that
consumer-generated reviews and product ratings are the preferred sources of information for social
media users.
The interactive nature of social media also presents unique opportunities for brands to
engage with consumers in new ways. Social media provides a variety of media types such as text,
images, and audio, which can be combined and presented in various ways, allowing brands to
design messages that are attractive and interactive (Oestreicher-Singer & Zalmanson, 2013).
Furthermore, Facebook fan pages have become an emerging platform for brand marketing and
event promotion (Kang et al., 2014), providing brands with opportunities to engage with
consumers and enhance their emotional connection to the brand.
In the context of the fashion industry, social media has become an increasingly important
tool for brands to interact with consumers and promote their concepts and brand content. This shift
from promotional product content to promoting brand concepts has become a significant area of
investment for fashion brands. The use of social media and its impact on consumer behavior is an
important topic in marketing communication scholarship. Simultaneously, the study of social
media usage by brands has contributed significantly to our understanding of how brands can
engage with consumers in this new digital environment.

1.5 Conclusion From Lit Review

In conclusion, based on the shift in consumer behavior towards fast fashion, ZARA has
emerged as a leader in the fashion industry. Fashion serves as both a form of self-expression and
a semiotic system that communicates meaning through symbols and signs. Understanding ZARA's
approach to fashion design and production in comparison to previous works can aid in our
comprehension of the role of fashion in society today. In the fashion industry, the 4Ps framework
is widely used, with the product playing a critical role in shaping a brand's image and reputation.
Fashion brands that fail to adapt their marketing strategies to cater to local markets may lose
opportunities, suffer decreased brand recognition, and reduced sales in the global marketplace.
Effective communication strategies that embrace evolving marketing concepts are key for fashion
brands to succeed in today's global marketplace. Social media provides unique opportunities for
brands to engage with consumers and build stronger relationships with them. Thus, understanding

34
consumer needs and motivations is vital for the fashion industry to develop effective marketing
communication strategies and shape brand image.
To help deepen understanding of Zara's business model, chapter 2 will use 4Ps and Cs
marketing framework as a lens to consider the company’s success. This analysis will consider the
question of how Zara established a business model distinct from the traditional fashion industry.
In the third chapter, I will use semiotic analysis to examine Zara's communication strategy and
how it uses Facebook to promote its products. These messages do more than simply promote Zara
as an affordable fashion brand. They convey concepts that go beyond the clothing itself. Looking
at both the company’s marketing and how it uses social media will enable us to gain a deeper
understanding of Zara's approach to fashion, production, and communication.

35
 UNPACKING ZARA'S DISTINCTIVE BUSINESS
MODEL AND MARKETING STRATEGIES

When consumers step into a mall, they often encounter Zara's brand alongside prestigious
fashion labels like LV, Gucci, and Burberry. The intriguing question to explore here isn't merely
how Zara coexists with these luxury brands, given its affordable price points. Rather, an in-depth
study of Zara should explore how consumers have come to associate the company and its brand
with a sense of luxury. This inquiry explores the perceptual dynamics, which encompass the
factors and elements influencing consumer perceptions, that have contributed to Zara's distinctive
position in the retail landscape. Zara stands out prominently among fashion companies due to its
distinctive departure from the conventional operational methods followed by traditional clothing
brands. The following method will provide a detailed explanation of this discussion in the
subsequent chapter.
Notably, Zara has embarked on a path of innovative disruption, characterized by the
creation of novel products, services, or business models that do not necessarily displace existing
market players but rather coexist with them (Christensen, 1997) (Teece, 2016). The company’s
innovative strategy has upended the traditional fashion industry model by significantly shortening
the product development cycle to just two weeks, enabling the brand to consistently offer the latest
styles at affordable prices while coexisting alongside established fashion companies. This nuanced
approach to innovation challenges the conventional notion of destructive innovation and
underscores Zara's unique positioning within the fashion industry. While many retailers typically
invest several months in bringing new products to market, Zara distinguishes itself by achieving
this feat in a mere two weeks. Zara's strategic approach is not centered on setting the fashion trend
itself; rather, it focuses on aligning closely with prevailing fashion trends. In essence, this means
that Zara doesn't aim to be a trendsetter but rather aims to rapidly respond to and mirror the
evolving preferences and styles embraced by contemporary consumers.
Zara effectively keeps pace with the ever-changing fashion landscape, ensuring that its
offerings remain in tune with the tastes and expectations of its target audience. This approach
emphasizes Zara's agility and adaptability, which are instrumental in its success within the fashion
industry. This distinctive approach diverges from that of numerous other fashion companies
through its emphasis on a comprehensive marketing strategy. This strategy places paramount

36
importance on two different approaches: 1) product development, channel and distribution
management, as well as 2) effective communication to a loyal consumer base. It's not that other
companies entirely neglect these aspects, but Zara's unique approach lies in the way it intricately
weaves these elements together, enabling a more agile and responsive model compared to many
of its counterparts in the fashion industry (Christopher & Peck, 2003) (Sull & Turconi, 2008) This
holistic approach to marketing has been a key driver of Zara's success and warrants closer
examination within the broader context of fashion retail strategies. Thus, this chapter will answer
the first research question:
RQ1: In what ways does Zara's business model diverge from the conventional fashion
industry, emphasizing its unique features and strategies?

This chapter commences by delving into the historical background of Zara, providing an
essential context for comprehending the company's evolution. Subsequently, it employs a dual
framework, encompassing the classical 4Ps (Price, Product, Promotion, and Place) and the modern
4Cs (Customer Solutions, Customer Cost, Convenience, and Communication), in order to offer a
comprehensive analysis of Zara's business model and its underlying objectives. This approach is
essential to gain insights into how Zara's distinctive strategies diverge from traditional fashion
industry norms. While this research approach may appear more closely related to the field of
marketing research, attributing this perspective is essential for gaining a comprehensive
understanding of Zara's communication strategies within the broader context of its business
operations. This attribution proves particularly relevant in the context of this communication
research.
The choice to study Zara can shed light on the evolution of the fashion industry and the
adaptive strategies of contemporary global brands. Amancio Ortega founded Zara in 1985. It is the
flagship brand of Inditex in the northern part of Spain and is currently one of the world's largest
fashion retail companies. In 1985, Inditex holding company was officially established, and Zara
was incorporated into its subsidiary. Zara is the only Spanish brand to position itself in the "top
100" of Kantar BrandZ’s ‘Most Valuable Global Brands 2022’ ranking, Zara is maintaining the
83rd position last year. From 2021 to 2022 with a growth of 19% of its value, it reached a net
worth of 25,400 million dollars (Kantar, 2022). To penetrate different market segments, Zara
provides varied brands to meet different consumer needs, including men's and women's formal and

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casual clothing, children's clothing, accessories, and home textiles. At present, Zara owns several
other brands, namely Zara Home, Bershka, Massimo Dutti, Oysho, Pull&Bear, Stradivarius,
Uterqüe, and Lefties. Today, Inditex is the world’s largest fashion group with more than 174,000
employees operating more than 7,400 stores in 202 markets worldwide including 49 online
markets (Kala, 2018). The revenues of Inditex were USD 33.27 billion in 2022.
Zara's historical timeline presents a compelling narrative of a brand that has not only
established a workable formula but has continuously adapted to changing market dynamics (see
Figure 5). By selecting Zara as the focal point of this research, we gain valuable insights into the
fashion retail sector's transformation, ranging from its inception in a small store in Spain to its
global expansion and response to unforeseen challenges such as the COVID-19 pandemic.
Analyzing Zara's trajectory offers a distinctive vantage point into the strategies employed by a
fashion brand to not only survive but also thrive amidst the turbulent tides of a dynamic industry
over several decades. This in-depth case study offers profound insights and practical lessons that
can benefit other businesses striving to excel in the ever-evolving realm of fashion retail. By
delving into Zara's unique approach and success story, this research contributes to the existing
literature by shedding light on effective tactics and adaptable methodologies that can be adopted
by industry players, making it an indispensable addition to the thesis.

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 Figure 5. ZARA’s History Timeline (Zara, 2020)
Note. History of Zara. (2020). Retrieved from History draft beta
:https://historydraft.com/story/zara/timeline/682

39
 Zara positions its brand as fashionable and affordable clothing, targeting young people in
the metropolitan area looking for the latest fashion with a sense of luxury. Indeed, this approach
is not entirely unique; however, it's crucial to highlight that Zara excels in executing this strategy
with exceptional speed and precision. Product design quickly follows or imitates the fashion
designer's work who presents their new collections on the runway during fashion week. Their
prices are set at an acceptable level for trendy fashion. The new collection is launched every two
weeks, with new and varied styles, and small production quantities. As a crucial element of Zara's
commitment to meeting consumer demand rapidly, the company insists that 70-80% of all clothing
sold in its stores is made in Europe (Coughlan & Kumar, 2005). Now, to gain deeper insights into
Zara's remarkable success, let's delve into an analysis of the company's marketing strategy through
the frameworks of the 4 Ps and 4 Cs.

2.1 Applying 4 Ps and 4 Cs to ZARA

Using the classic 4Ps and extended 4Cs, we can better understand Zara’s unique marketing
strategy. In terms of the 4Ps, Zara focuses on accurate market positioning and limited edition
products, affordable pricing with small profits and quick turnover, efficient distribution systems,
and collaborations with celebrities for promotion. As for the 4Cs, Zara’s strategy revolves around
creating a comfortable shopping experience and offering multi-channel sales for convenience,
while also considering customer preferences and opinions for better communication. The detailed
information about Zara’s marketing strategy will be discussed in the sections below.

2.2 ZARA's 4 Ps Strategy

2.2.1 Product Strategy

Zara's product strategy has four key points. First, every year 200 Zara? designers capture
ideas from fashion shows in Milan and Paris. The designers on the team are anonymous or not-
known fashion forecasters. Designers are responsible for creating the actual designs and patterns
for clothing items. On the other hand, fashion forecasters are responsible for predicting the trends
that will dominate the industry in the future. They also have expertise in predicting fashion trends,
in addition to creating designs. This allows Zara to stay on top of the latest trends and offer its
customers fashionable clothing at affordable prices. This design team also acts as street fashion

40
observers, conducting market consumer research by observing what people wear on the street.
Zara tracks trends in urban fashion venues such as New York bars, London's business district, and
Spanish bistros (Tungate, 2012). Zaras’ design team travels through the world's capitals and
gathers the latest fashion news and intelligence in the fashion world.
Second, there are more than 25,000 models designed to fulfill consumer needs. The
strategy of more styles prevents people from wearing the same outfit as others. Zara focuses on
affordable, high-replacement fashion. The products are divided into multiple series to provide
different customers with clothing needs for various occasions and identities. Products are also
divided into basic and fast fashion. The basic decors or cuts are versatile products that are more
acceptable to the public. Fast fashion products, in turn, are equivalent to products launched by
specific seasons or famous fashion experts and artists. They come and go quickly.
Third, Zara gets customer feedback on product preferences from daily sales analysis,
communicates information to headquarters as soon as possible, and improves products to meet
customer needs. As market competition becomes increasingly fierce and consumer awareness
rises, brand marketing strategies gradually shift to consumer orientation (see more in 4C section).
Finally, Zara’s new launches are shipped twice a week (Hansen, 2012). From design and
production to the shelf, the cycle takes two to four weeks. Forty percent of products will be
removed from the store every week making Zara consumers buy an average of 17 times a year,
likely because the consumer is afraid of missing something (Weinswig, 2017). This compares to
four times a year for competing brands (O'Shea, 2012).

2.2.2 Price Strategy

Zara enables products to quickly turnover, to avoid slow sales and reduced profits. Zara’s
pricing strategy is within the acceptable range for consumers of fast fashion. For example, Zara
products have the same design fashion elements as boutique brands, but the price is only one-fifth
to one-tenth of boutique brands. This is the moment when Zara appeals to people’s attention as a
fast-fashion affordable retailer. For example, Zara and the designer brand “Alexander Wang” are
both selling shoulder bags, but Zara’s bags at $49.90 are about one-tenth of Alexander Wang’s
price of $695.00 (see Figure 6).

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 Figure 6. Price Comparison
Note. Retrieved from google research.

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2.2.3 Place Strategy

Zara's efficiency and agility in implementing these strategies are what set it apart. Zara's Place
Strategy encompasses four familiar choices for customers to receive their products (Zara Official
Website):
1. Collection at a Zara store: This option is not only free but also remarkably swift, with a
delivery timeline of just 3-5 business days.
2. Home delivery: While home delivery typically takes just one day after purchase, Zara
offers it at competitive rates, with pricing variations based on the delivery address, thereby
enhancing convenience.
3. Standard delivery: Zara provides standard delivery at a rate of 5.95 USD, but what's
noteworthy is that it becomes entirely free for orders exceeding 50 USD, but this applies
exclusively to non-discounted items, incentivizing larger purchases.
4. Pick-up point: Similarly, Zara offers a pick-up point option at 4.95 USD, which can be
entirely free for orders surpassing 50 USD (non-discounted items only). This further
encourages customer engagement and larger order sizes.

Zara's online delivery strategy serves as a pivotal component of its distinctive approach,
prioritizing both speed and affordability in delivering products to consumers. This strategic
emphasis aligns seamlessly with Zara's overall commitment to adaptability and responsiveness,
setting it apart from many of its fashion retail peers. Additionally, while Zara's online shopping
services are a significant facet of its Place Strategy, it's essential to note that Zara's physical stor
es also play a crucial role in this strategy. As of December 29, 2022, Zara boasted 99 retail
stores in the United States (ScrapeHero, 2022), reinforcing its omnichannel presence. Furthermore,
on a global scale, Zara maintains a strong physical retail presence, particularly in Spain with 547
stores, including Zara Kids and Zara Home, followed by China (229 stores), France (145), Russia
(144), and Italy (134) as of January 2019 (Acar, 2019) (see Figure 7). These statistics underscore
Zara's exceptional ability to balance both online and offline retail channels, contributing to its
distinctive position within the fashion retail industry.
According to available data and insights, Zara has shown a preference for a business model
that encourages customers to visit physical stores to experience its products firsthand.
Additionally, Zara strategically positions its stores in prime locations, typically within upscale

43
business districts and bustling traffic hubs. While the costs associated with establishing stores in
such areas can be substantial, Zara consistently prioritizes providing customers with a spacious
and inviting shopping environment, ensuring a relaxed and enjoyable shopping experience.
In regional cross-border marketing, Zara understands that different regions have different
cultural backgrounds, consumer behaviors, and preferences. Therefore, Zara conducts thorough
marketing research to gain insights into these differences and develops marketing strategies that
cater to the specific needs and preferences of each region. Most importantly, Zara’s success in
breaking through the original reference standards and treating foreign business models differently
means that the company does not simply replicate its domestic business model in foreign markets,
but instead adapts to local cultures and consumer demands. By doing so, Zara is able to offer
products and services that are tailored to the needs of local consumers and gain a competitive
advantage in the markets. (O'Shea, 2012).
According to the different orders in each region, Zara can quickly deliver to each retail
location. This place strategy is the competitive advantage of Zara because the faster the delivery,
the more customers love it. In comparison to the consumption experience of physical stores, online
shoppers’ needs are still not met before they get the products. Hence, Zara is thinking about how
to let customers get the purchased items faster, which normally only takes 3-5 business days.

Figure 7. Number of ZARA Retail Stores

Note. Retrieved from https://www.scrapehero.com/location-reports/Zara-
USA/#:~:text=How%20many%20Zara%20retail%20stores%20are%20there%20in,of%20all%20
Zara%20retail%20stores%20in%20the%20US

44
2.2.4 Promotion Strategy

Zara’s marketing strategy is using word-of-mouth to create hot issues on social media such
as Facebook instead of advertising. Zara combines co-branding activities with other famous
designers or celebrities to create a win-win situation by sharing resources and creating the latest
trends to increase sales. Zara innovates differently depending on the luxury brand or collaborates
with celebrities who are not technically fashion designers. An example of this was when Zara
launched a collection with the second-generation supermodel Kaia Gerber, who is the daughter of
legendary supermodel Cindy Crawford and businessman Rande Gerber in 2020. They released a
new joint multiplication series, which is based on the concept of collecting basic items in the
wardrobe (see Figure 8). It includes more than 30 items of clothing, shoes, and accessories. The
design inspiration for these images draws upon the iconic style of the 1990s. This design approach
is characterized by an incorporation of key elements and aesthetics from the 1990s fashion culture.
The images reflect a deliberate effort to evoke the mood, fashion sensibilities, and cultural nuances
of that era, aiming to capture a nostalgic ambiance that resonates with contemporary audiences.

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 Figure 8. ZARA’s Collection with Kaia Gerber Post Example
Note. Retrieved from https://www.facebook.com/Zara/ https://www.facebook.com/Zara/

46
 On the other hand, other fashion companies like H&M collaborate with various notable
designers to produce new collections. For example, in 2014, H&M collaborated with a Chinese
American designer, Alexander Wang, to launch a limited edition of pieces. At the same time, H&M
uses many advertising and promotional strategies to help the brand expose itself on a global scale.
With the advantages of social marketing, enterprises not only use channels to release brand
content, regularly launch brand information, and attract customer interaction; but also receive real-
time processing feedback, which may also strengthen customer relations. Social media marketing
is closely related to word-of-mouth marketing, where social media brings like-minded people
together. After the brand's goods or services are purchased, users share information on social
media. The way Zara set up its word-of-mouth includes likes, comments, and sharing. Like is the
public user's approval of the post, and sharing is the user's approval of the post but also forwarded
to their page. Social media comments are the key to word-of-mouth marketing (Chu & Kim,
2011).
Social media appears frequently in users' news feeds, allowing the masses to engage and
know what the brand has and why they want to buy. Social media marketing tools may allow the
brand to emotionally engage with millions of readers and expand its reach. In this sense, the
consumers have no need to worry about getting wrong or useless information and finding exactly
the specific ethnic age group, life stage, and financial situation the customer wants. For long-term
success, social media is the most important current weapon for marketing. If the brand has built a
memorable and recognizable brand, even if its social media site does not have news posts and no
one wants to buy something, the brand will be alive and ubiquitous.
Zara’s use of fast service, affordable prices, and word-of-mouth marketing by consumers
creates topics or big hits that are covered by major media and networks or go viral on the internet.
They use Facebook online community marketing to promote brand image and product exposure.
Google keyword search volume, for example, reached 432 million results for Zara. Zara has a high
marketing communication influence in the operation of public relations media, whether it is brand
marketing communication strategy, news media reports, or consumer information demand.
The 4Ps (Price, Product, Promotion, and Place) are marketing strategies and methods,
while the 4Cs (Customer Solutions, Customer Cost, Convenience, and Communication) are
marketing concepts and standards. The 4Ps (Price, Product, Promotion, and Place) are the elements
of the marketing process that can be controlled. They are the main methods by which companies

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conduct marketing activities. However, in recent years, the current marketing world has shifted to
the 4Cs. Brands should put their products aside and study the needs and wants of consumers. What
this translates to is: stop selling what the company can make but sell what the consumers want to
buy; shift the pricing strategy to find out what it costs the consumer to satisfy their needs and
wants; focus on the convenience of buying. We can tell from Zara’s success that the key is to
communicate with the consumers. Zara listens to consumers' suggestions on products, from colors
and styles to prices, and brings them back to the Spanish headquarters every day. The design
department immediately reviews them and every two weeks, new products based on customers'
suggestions can be found in the stores (Sophie & Nirmalya, 2005). This idea shows that the success
of Zara is based on communication with consumers rather than only focusing on the promotion of
its own products. The next section will apply the 4Cs (Customer Solutions, Customer Cost,
Convenience, and Communication) to analyze how well they pursue customer satisfaction as a
goal. The Customer Solution strategy must meet customer needs and the Cost that consumers are
willing to pay for a product or receive a service. Meanwhile, paying full attention to the
Convenience of the customer purchase process is of the utmost importance. Lastly, effective
marketing Communication should be implemented with the consumer in mind.

2.3 ZARA's 4 Cs Strategy

2.3.1 Customer Solution Strategy

The core of Customer Solution strategy means that the enterprise designs the products
according to the demand of the consumers. The primary consumers of fast fashion clothing are
young people nowadays, who pursue fashionable and changeable clothing. As a result, ZARA pays
attention to the updating speed and fashionability of the products. ZARA adheres to a small amount
and diverse consumption strategy. This means that the quantity of each item is not large, but there
are many clothing styles. ZARA's small quantity and variety of designs can first reduce its
stockpile to prevent many unsold products. Secondly, it can achieve a kind of hunger marketing
effect and make consumers feel “hungry” to purchase products that others want to purchase.

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2.3.2 Customer Cost Strategy

Customer Cost strategy refers to the cost that consumers are willing to pay for a product or
to receive a service, rather than the cost expended by the company in the production process. The
cost strategy includes the product's price, the time and effort of the consumer, and the risk they
bear (Lauterborn, 1990). For instance, consumers might worry about feeling unsatisfied with the
product since its price might drop after purchase. Only if the price of the goods is lower than the
consumer's expectation of the cost (including time, effort and risk), will the consumer make the
purchase t (Yun-sheng, 2001). Zara’s price is in the range that consumers can accept (Lauterborn,
1990). The product has the same design elements as boutique brands, but Zara offers them at a
much lower price point. For instance, both Zara and luxury brand "Celine" sell loafers with similar
design elements, but Zara’s shoes are priced at about one-tenth of Celine's (see Figure 9).

Figure 9. Price Comparison

Note. Retrieved from google research.

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2.3.3 Convenience Strategy

A convenience strategy means that the company considers the consumer's point of view
and provides the consumer with better purchasing channels. The convenience strategy emphasizes
reducing the difficulty of consumers to purchase products, meet their convenience needs, and
minimize the opportunity cost of consumers when shopping. For this, Zara provides an online
shopping channel. As of 2022, consumers in 106 countries can shop online and enjoy affordable
fashion apparel.

2.3.4 Communication Strategy

Communication Strategy means that companies understand the needs of consumers

through effective two-way communication with them. Communication from the company to the
consumer allows the consumer to further understand the product information, features, etc. Most
fashion brands adopt a top-down design strategy, relying on talented and well-known designers to
specify the popular styles of the season. Zara takes a bottom-up approach. They look at trends and
how consumers respond to them, look at what people are wearing, track fashion blogs and fashion
shows, and create designs they feel will appeal to customers.
The shop assistants are a key element of Zara’s communication strategy. These shop
assistants have received professional training to listen to customers and relay the opinions of
customers to the company. The first thing the store manager and shop assistants do every morning
is to have a meeting to discuss which items were the best sellers the day before, which items were
returned, what opinions consumers had, and what trends were noticed at the sales site, etc. (O'Shea,
2012). Zara looks at every detail and takes all the opinions of customers seriously. The data is
entered into a system, and headquarters explores the data to decide what products should be
provided in the future. In addition to paying attention to the behavior of customers in Zara’s
physical stores, they also keep track of social media comments online.
Zara established Facebook to promote its brand image and product exposure through online
social marketing, media reports, and consumer information needs. Zara’s PR media operations
have a strong impact in terms of brand marketing, news media coverage, and consumer
information needs. Zara’s Facebook posts are different from the normal fashion industry's use of
advertising and promotion. Zara is successful in providing two-way communication between the

50
company and consumers, which is an integral part of Zara’s success. Zara has 30 million followers
on Facebook. Through a combination of graphics and text, Zara combines themes and suitable
models to create a story that makes sense. Together with their thoughtful images, Zara usually
does not just show a direct image of the product, but a few images of the same scene, a worded
image with the same background, or an image with the same theme, to create a story. Moreover,
Zara is trying to create the effect of a fashion magazine on its Facebook page. Thus, Zara gives
potential customers the feeling of buying luxury at an affordable price. Because of this unique
approach to social media, it is worthwhile to look at Zara’s Facebook posts to discover what
messages they convey that allow them to be successful. The next part of my research will
specifically use these posted images to analyze how Zara communicates its brand message to its
target customers.
The 4P theory and the 4Cs theories are the correspondence between the production and
consumer perspectives, both are particularly important. The 4Cs theory adds the customer's
perspective to the 4Ps theory. In other words, when the 4P and 4C theories are used in conjunction
with each other, a new product and service can be created that is both customer-oriented and
production-oriented. It will not only increase the profitability of the company in the long run but
also increase customer satisfaction and thus customer recognition of the brand, thus achieving a
win-win situation.

2.4 Chapter Summary

In this chapter, we delve into an in-depth analysis of Zara's marketing strategy, examining
how it diverges from the conventional fashion industry while highlighting its unique features and
strategies. The analysis is guided by the 4 Ps and 4 Cs theories, shedding light on Zara's key drivers
of success. Ultimately, we reveal that Zara's exceptional profitability can be attributed to a select
set of strategies: Product, Price, Customer Solution, and Communication.
In terms of product, Zara provides diversified, fashionable, trendy products. Fashionable
clothes, gorgeous makeup, popular lifestyles—only styles that can be copied in large numbers can
be imitated by the public on a large scale and can also develop into fashion. Zara's many styles but
in “small quantities strategy” allows mass consumers to be at the forefront of fashion trends and
for a reasonable price. This also allows the company to quickly introduce new styles and respond
to changing trends in the market. As for Zara’s product information, the company's unique

51
approach to fashion has played a significant role in its success. This approach enables the company
to release remarkably similar fashion clothing to that of luxury top brands in a short amount of
time, which stimulates fashion followers and attracts new customers to the brand.
In terms of price, Zara is affordable to the people s. Zara's pricing strategy is another key
element of its marketing mix, with the company offering affordable and accessible pricing for its
products. This pricing approach distinguishes Zara from boutique brands that tend to charge much
higher prices for their products.
Concerning customer needs, Zara instantly designs, produces, transports, and sells
products. Zara’s customer solution strategy is centered on meeting customer needs by providing
them with fast and efficient service. The company uses technology to enable customers to browse
and purchase products online, and it offers fast delivery services to ensure that customers receive
their orders quickly. This strategy is in line with the customer element of the 4Cs framework,
which emphasizes the importance of meeting customer needs and expectations. Additionally,
Zara’s customer solution strategy is centered around meeting consumer demand, which helps them
stay ahead of the competition. If customers feel that the brand is responsive to their needs, they
are more likely to become repeat customers and recommend the brand to others.
Zara’s communication strategy includes strategic use of social media to keep up with
fashion trends and engage with customers. By staying current with fashion trends, Zara can create
content that resonates with its audience, which can lead to increased brand awareness and sales.
Therefore, we can tell that Zara’s communication strategy is geared towards creating a strong
online presence that enables it to stay current with fashion trends and engage with its customers.
The company's social media strategy involves the systematic use of various online platforms to
disseminate relevant and engaging content to its target audience. This approach is aimed at creating
a deeper connection between the brand and its customers and ensuring that Zara is perceived as a
relevant and fashionable brand. This also leads to increased brand awareness, loyalty, and sales.
Through its effective use of social media, Zara has been able to create a strong and recognizable
brand image that appeals to a diverse range of customers. The company's online presence allows
it to connect with customers from all over the world, making it a truly global brand.
As we can see, Zara is using its social media, especially “Facebook” as an important
marketing weapon. Zara establishes memorable and recognizable content on their social media to
increase their fame and the selling scale. Zara is selling the concept of the product instead of

52
selling the clothes only. In the next chapter, this research will explore Zara’s Facebook posts to
answer the second research question:
In the following chapters, we will explore how Zara's marketing messages on Facebook
align with and enhance its unique business model, ultimately bolstering its remarkable success
within the fashion retail sector.

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 ZARA'S PRODUCT MESSAGING AND VISUAL
STORYTELLING ON FACEBOOK

To explore the communication strategy of the affordable fashion brand Zara, this research uses a
thematic analysis method to answer RQ 2: How do the marketing messages employed by Zara on
Facebook align with and complement its distinct business model, contributing to its success in the
fashion retail sector? Zara’s Facebook is the main channel of its unique communication strategy.
Through a combination of graphics and text, Zara combines categories and suitable models to
create a theme that explores a range of women’s private and public roles through fashion. Ranfagni
and Faraoni (2017) found posts using models with clothes were more likely to be liked, shared,
and commented on by viewers. Zara's posts do not just show a direct image of the product, but
several images of a similar scene to create a story. For instance, for the 2022 fall and winter
campaign, Zara’s post has many diverse models appearing in its photos. Models don long sleeves
and coats against a white backdrop, evoking a wintry ambiance (see Figure 10). Consumers have
the flexibility to align their purchases with specific weather demands, showcasing the intricate
interplay of customer preferences and style configurations. This dynamic interaction mirrors the
core principles of the 4 Ps and 4 Cs, where consumers actively participate in shaping their choices
based on personal preferences and the contextual demands of weather.

54
 Figure 10. ZARA 2022 Fall and Winter Post Example
Zara's posts don't merely display product images but also present multiple scenes to create a
narrative. For the 2022 fall and winter campaign, various models are featured wearing long
sleeves and coats against a white backdrop, evoking a wintry ambiance.
Note. Retrieved from https://www.facebook.com/Zara/

55
 Furthermore, Zara endeavors to replicate the essence of a fashion magazine within its
Facebook pages, which resonates with Roland Barthes' insights into the multifaceted nature of
fashion. Just as Barthes delved into the semiotic complexities of fashion in 'The Fashion System'
(1983), Zara employs a strategic approach to content curation, design aesthetics, and storytelling
techniques. These strategies collectively aim to capture the essence of a fashion magazine's impact
and appeal, an endeavor reminiscent of Barthes ‘exploration of fashion's cultural significance
(1983).
Hebdige's (1991) work on subcultures adds another layer of context. Zara's emulation of
a fashion magazine involves not only the presentation of clothing but also the construction of a
particular style and image. Hebdige's examination of how subcultures use style to convey
alternative meanings provides a lens to understand how Zara cultivates an atmosphere that conveys
a sense of luxury intertwined with affordability in its social media posts.
Roland Barthes (1983) and Dick Hebdige (1991) provide valuable insights that aid in
understanding how Zara creates an atmosphere that combines luxury and affordability in its social
media posts. Barthes (1983) delves into the semiotics of fashion, highlighting how clothing and
visuals can convey meanings and values. Hebdige (1991) , on the other hand, explores how style
and aesthetics are used to subvert established norms and communicate identity.
In the context of Zara's social media strategy, Barthes' ideas (1983) can be applied to
understand how the brand uses visual elements to convey messages about its products and the
values associated with them. Zara pays meticulous attention to design, presentation, and product
quality, reflecting Barthes' concept (1983) that fashion communicates through the language of
visual signs and symbols.
Similarly, Hebdige's insights (1991) can be applied to analyze how Zara's posts create a
sense of luxury intertwined with affordability. Hebdige's work emphasizes how subcultures and
styles challenge conventional norms and can be used to construct identity. In Zara's case, its ability
to provide affordable yet stylish clothing challenges the conventional luxury fashion paradigm. By
analyzing the posted images, this research aims to uncover the specific visual and stylistic
strategies employed by Zara to communicate its brand message effectively, taking into account the
principles outlined by Barthes (1983) and Hebdige (1991).

56
 Figure 11. Spreadsheet for Analysis Example
The data collection process involved compiling each of Zara's posts into a spreadsheet. This
spreadsheet included essential information such as the post date and whether the post context or
image contained references to price, product, or promotional content.

The data collection process (see Figure 11) for this study involved the selection of Zara's
Facebook posts from September 7 to November 25, 2022. This time frame spanned a total of three
months, encompassing 54 posts that specifically related to product collaborations. These "product
collaboration posts" were those in which Zara highlighted collaborative ventures with other brands
or designers.
The rationale for selecting this specific date range is grounded in both strategic
considerations and alignment with recommendations from Braun and Clarke's work (2006). The
choice of a three-month sampling period was influenced by the dynamics of the fall clothing season,
traditionally a peak period for clothing sales in the retail industry.
During these three months, several factors contributed to heightened consumer activity
within the fashion retail industry. In September, as the weather begins to cool down, clothing stores
typically introduce their autumn collections, which sparks consumer interest. In October, the
celebration of Halloween adds to the shopping enthusiasm among consumers. Finally, November
represents the peak of autumn sales, driven by events like Black Friday and the introduction of
winter clothing into the market.
By focusing on this concentrated period of heightened consumer engagement and applying
the thematic analysis methodology advocated by Braun and Clarke, this research endeavors to
offer valuable insights into marketing strategies and operations during peak seasons.
In this study, I employed thematic analysis to categorize the themes present in the 54
postings. Thematic analysis is a qualitative research method that involves the systematic
identification and organization of recurring themes within a dataset (Braun, V., & Clarke, V.,

57
2006). The specific timeframe for data collection spans from September 7 to November 25, 2022,
capturing a critical period in the fall clothing season and aligning with Braun and Clarke's
recommendation (2006).
All of Zara's Facebook posts within the specified timeframe were meticulously collected
and organized for analysis. Each post was individually cataloged, creating a comprehensive dataset.
Thematic analysis was employed, following Braun and Clarke's six phases (2006). This involved
systematically identifying recurring themes within the dataset, and providing a structured
framework for in-depth thematic analysis. After identifying themes, I created a list of message text
themes to further analyze broader trends and patterns across these themes. This step aimed to
extract nuanced meanings and experiential aspects embedded in the textual data.
The presentation of clothing items, the models, and the scenes in the pictures have an
important impact on consumers' viewing of posts. The content of Zara's Facebook posts shows that
the selection and highlighting of clothing content are presented in several ways, such as the model,
posing, background, hair length, and tone of models or the entire graphic. The “model” refers to
the person who wears the various clothing items in the post. The background refers to the scene in
which the model is placed in the clothing-matching picture.
Following Braun and Clarke's (2006) six phases, I employed thematic analysis to interpret
Zara's Facebook posts in this study. These phases encompassed data organization, code
identification, theme exploration, and other crucial steps in the analytical process (Braun & Clarke,
2006). This approach sought to uncover the meaning and experiential nature of the phenomenon
under investigation, drawing insights from the textual data (Braun & Clarke, 2006) (see Figure 12).

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 Figure 12. Phase of Thematic Analysis
The study followed Braun and Clarke’s six phases of thematic analysis to interpret Zara’s
Facebook posts. This included organizing my data, identifying codes, searching for themes, etc
Note. Braun, V., & Clarke, V. (2006). Using thematic analysis in psychology. Qualitative
Research in Psychology, 3(2), 77–101. https://doi.org/10.1191/1478088706qp063oa.

In the initial phase, I conducted a comprehensive examination of the collected data, which
entailed capturing and quantifying Zara's Facebook posts spanning from September 7 to November
25, 2022. These posts constitute a wealth of information, serving as a bridge of communication
between the brand and consumers, and providing valuable insights into the brand's messaging and
engagement strategies. This process was systematically documented, involving the organization
of this data into a structured spreadsheet. The subsequent stages of analysis aimed to uncover
significant observations and insights derived from this extensive dataset.
In the initial analysis of the images, recognizable patterns surfaced, aligning with the
thematic analysis methodology proposed by Braun and Clarke (2006). This method, detailed in
their influential work on qualitative research in psychology, provided a structured framework for
uncovering recurring themes within the dataset. These observations were illuminated through the
lens of renowned fashion theorists. Barthes' seminal exploration of the fashion system in 1983,
dissecting the intricate mechanisms of fashion, and Hebdige's (1991) investigation into subcultures
and style, served as influential sources shaping the analytical perspective of this study. Barthes'
scrutiny of how fashion functions within a broader system and Hebdige's insights into subcultural
influences on style played pivotal roles in guiding the interpretation of Zara's social media posts.
These foundational works not only informed but enriched the understanding of Zara's approach,
providing valuable insights into the field of fashion communication.

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 A prominent pattern that surfaced was the prevalent use of plain white backgrounds across
most images, which is integral to Zara's portrayal of its visual elements. This choice underscores
the importance of elements such as poses, models, styles, and overall vibes in Zara's posts.
Additionally, it became evident that Zara favored models portraying a non-smiling demeanor, a
deliberate choice that aligns with Barthes' ideas regarding the construction of meaning within the
fashion system. It conveys a sense of superiority consistently across all posts.
Furthermore, the analysis unveiled a duality in Zara's approach. Some posts exclusively
showcased the face of the model, a strategy consistent with Hebdige's notions of subcultural style,
where certain elements are emphasized to project a specific identity. In contrast, other posts
focused on capturing the overall ambiance and mood of the image, resonating with Barthes'
exploration of how fashion operates as a language, often beyond the individual elements of
clothing or models.
These initial impressions serve as the foundation for a more comprehensive analysis of
Zara's visual communication strategies, offering valuable insights into the interplay of themes and
styles within their posts.
As I progressed with my analysis, inspired by Braun and Clarke's thematic analysis
methodology, I delved deeper into the nuances of each post, closely examining elements such as
setting and colors, models, and poses. The spreadsheet's observation column served as a repository
for my initial impressions, capturing a range of insights related to the posts' backgrounds, tonal
qualities, model presentations, and poses. This analytical approach resonates with Barthes'
exploration of fashion as a complex system of signs and Hebdige's understanding of style as a tool
for subcultural communication.
For example, when evaluating the setting, I discerned distinctions colors, guided by
perceptions driven by color choices. This approach aligns with Barthes' (1983) consideration of
color aesthetics as a vital aspect of fashion meaning. Drawing inspiration from Barthes' (1983)
exploration of how colors in fashion convey specific meanings and emotions, I analyzed Zara's
posts to draw out the unique characteristics of each post, the atmospheres they conveyed, and the
potential seasonal variations evident in their featured clothing items. This approach allowed for a
more comprehensive understanding of the visual and emotional elements within Zara's social
media content.

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 However, it's worth noting that certain posts incorporated location photography, using real-
world environments and settings to convey a distinct visual narrative to consumers. These studio
photos serve a specific purpose within the broader strategy of the posts, contributing to the overall
storytelling and brand messaging by providing a relatable and engaging context for consumers to
connect with, echoing Hebdige's perspective on subcultural style as a medium for social
engagement.
Moreover, regarding the utilization of models, Figure 22 illustrates that Zara's posts
occasionally go beyond mere celebrity endorsements and instead foster collaborations with
celebrities, positioning them at the focal point of the image to establish a deeper connection
between the celebrity's image and the product's unique characteristics, a practice in line with
Barthes' consideration of fashion communication.
In light of these observations and inspired by Barthes and Hebdige, a preliminary theme
emerged for posts: the celebrity category. Furthermore, when considering poses, as demonstrated
in Figure 18, a consistent visual motif was evident, with every female model adopting a direct gaze
into the camera, exuding an aura of sensuality, confidence, and determination. This aligns with
Barthes' notion of fashion as a system of signs in which various elements, such as poses, evoke
meanings. In this context, the direct gaze becomes a signifier of sensuality, confidence, and
determination, communicating these attributes to the viewer and Hebdige's (1991) exploration of
style as a form of cultural expression. This recurring pattern suggests that these posts can
collectively be categorized under the theme of 'sexy woman' or 'feminine,' given the consistent
portrayal of these qualities across the images, resonating with the idea that style serves as a means
of cultural expression and communication.
In the fourth phase of my analysis, building on Braun and Clarke's thematic analysis
framework, I moved beyond data collection to engage in a comprehensive categorization of similar
posts, all while interpreting and reflecting on their underlying themes. Within the broader context
of the messages conveyed by these posts, a fundamental distinction emerged between direct and
indirect modes of communication, mirroring Barthes' exploration of fashion's multifaceted
language and Hebdige's emphasis on subcultural style as a means of expression.
Direct communication was characterized by a focus on the product itself as a sensory
experience, often achieved through the model's embodiment of the product's visual and tactile
qualities. In essence, these posts presented figurative representations and tangible objects closely

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related to the commodities, including items like bookshelves, sofas, or motorcycles. This approach
resonates with Barthes' notion of fashion as a system of signs and signifiers, where the products
become part of a larger language of style.
Conversely, indirect communication centered on the brand's character, de-emphasizing
explicit product descriptions and instead emphasizing the extension of emotions and feelings as
the primary message, aligning with Hebdige's perspective on style as a medium for cultural
expression. Posts adopting this approach often engaged in abstraction and conveyed extended
emotional associations with the goods, exemplified by the inclusion of packaging imagery, for
instance.
Consider, for instance, the post featuring the renowned celebrity Kaia Gerber, who has
established herself as an icon of beauty, success, fashion, and youth on social media. In this post,
the emphasis was on introducing and aligning the existing image of Kaia Gerber with the implied
characteristics of the product. Effectively, the post sought to convey to consumers the idea that
they could embody the same image as Kaia Gerber by donning the same clothing as her. This
category of posts, which often involved celebrities or collaborations and played on consumers'
imaginative capacities, coalesced into the overarching theme of a 'brand ambassador,' echoing
Barthes' exploration of fashion icons and Hebdige's concept of style as a form of cultural
symbolism.
In the fifth step, building upon the principles of Braun and Clarke's thematic analysis, I
progressed from the initial categorization in the spreadsheet to defining and naming meaningful
units within the categorized posts, all while taking into consideration their relevance to the research
topic. In the final phase of the analysis, I revisited the entire dataset, cultivating a comprehensive
understanding and interpretation of the posts. This phase unveiled significant commonalities
shared among different posts, culminating in the identification of four distinct post themes:
Professionalism, Femininity, Brand Ambassador, and Fashionable and Stylish.
For example (see Figure 9), one noteworthy distinction between posts categorized under
the 'Brand Ambassador' theme and those in other categories was the dominant presence of
celebrities. These posts predominantly featured well-known or iconic individuals in the lead role,
with the screen content's symbolic characteristics closely aligning with these prominent figures.
Consequently, within the framework of thematic analysis, I independently designated the 'Brand

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Ambassador' category. The subsequent section will provide individual explanations for each of
these themes.

Figure 13. ZARA Post Example

Note. Retrieved from https://www.facebook.com/Zara/

3.1 Analysis

Zara's compilation of 54 Facebook posts spans a diverse spectrum of styles and themes.
Within this collection, a fusion of professional attire, natural outdoor settings, and a prevalent
warm and cozy aesthetic is discernible. Upon delving deeper into the entire dataset within the
spreadsheet, an intriguing observation emerges – almost half of these posts feature black-and-white
photography. To delve into a more comprehensive exploration of content themes and presentation
styles, I embarked on a thematic categorization journey. This journey entailed an exhaustive
examination of critical elements, including color tonality, content themes, and Zara's strategic
communication methods with its audience. By adopting a thematic analysis approach, this study
connects with the thematic analysis methodology of Braun and Clarke, while concurrently drawing
insights from Barthes' seminal work in 'The Fashion System' and Hebdige's exploration in
'Subculture: The Meaning of Style'.

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3.1.1 Setting and Color (Background)

When analyzing the colors in the posts, I employed a systematic categorization approach
by considering both objective and semiotic elements. The posts were initially classified into two
distinct groups based on objective criteria, specifically focusing on specific color palettes. These
classifications were based on visual attributes rather than subjective interpretations. The first group
included posts featuring lighter colors, such as blue, green, black, white, and gray. The second
group encompassed posts with warmer colors, including red, orange, yellow, and brown. These
objective elements refer to the visible, concrete characteristics of color in the posts, while the
semiotic elements pertain to the underlying meanings and associations that these colors convey
within the context of fashion and brand communication.
To provide a more detailed breakdown, Zara consistently used a white background as its
main color in 18 out of the 54 posts. Following closely was the gray background with 21 posts,
while gray itself was featured in 19 posts. Additionally, black was used in 5 posts, blue in 2 posts,
brown in 4 posts, green in 1 post, red in 1 post, and golden yellow in 1 post. This objective approach
aims to eliminate subjectivity and provide a more precise analysis of the color choices employed
in Zara's Facebook posts.
Zara opts for a lighter color palette in approximately half of its Facebook posts. This choice
is driven by the need to maintain a clean and uncluttered visual environment that prevents
excessive distractions for viewers. Furthermore, Zara's brand image is strategically aligned with
representations of sophistication, composure, and professionalism, making the use of lighter colors
in the setting more effective in conveying this meaning.

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 Figure 14. ZARA Background Color Post Examples
The decision to use a pure white background or a black background in the posts serves specific
visual and thematic purposes, reflecting the semiotic elements of fashion as a system of signs.
Note. Retrieved from https://www.facebook.com/Zara/

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 The choice of a pure white background or a black background in the posts serves specific
visual and thematic purposes. The pure white background, associated with the lighter color, offers
the highest brightness, effectively highlighting the clothing items and showcasing intricate details.
Simultaneously, it conveys a sense of professionalism and stability. In contrast, the black
background is employed to create an air of mystery and simplicity within the post's composition,
resulting in an elegant and uncluttered presentation. Additionally, further analysis could consider
details such as character positioning within the frame, shot scale (e.g., medium shots vs. close-
ups), and the direction the model is facing in relation to the camera, among other factors, to provide
a more comprehensive semiotic analysis.

Figure 15. ZARA Lighter Color Post Example

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 .

Figure 16. ZARA Lighter Color Post Example

Note. Retrieved from https://www.facebook.com/Zara/

The warm tone post is mostly red, orange, yellow, brown, and other colors of water, and
has been warm, peaceful, and relaxing. In the example below, the golden yellow background color
is reminiscent of brilliant sunlight and is most often used to express the beauty and joy of life.

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 Figure 17. ZARA Warm Tone Post Example
Note. Retrieved from https://www.facebook.com/Zara/

3.1.2 Contents

Studio photos, which depict settings for events, statements, or ideas, are employed in Zara's
Facebook posts to offer consumers varying visual experiences, whether indoors or outdoors,
during the day or at night (see Figure 18). While a photo with a pure white background may solely
focus on the product, it often lacks the context that can engage customers more deeply. For instance,
when Zara promotes its winter clothing line, it utilizes outdoor photography to place the product
within a specific context. These outdoor scenes convey stories, such as the readiness for outdoor
activities in winter clothing amidst the snow. Simultaneously, the brand maintains its high-class
and fashionable positioning by portraying children in these scenes without smiles, challenging
conventional expectations of children's playfulness. This approach implies that individuals of all
ages can exude a cool and high-class style, transcending traditional age-related stereotypes.
Moreover, these ads seem to blur the boundaries between childhood and adulthood, promoting a
particular vision of consumerism and lifestyle often aspired to by those in the middle and upper
class.

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 Figure 18. ZARA Content Posts Example
This is a neutral white, contributing to a clean and professional aesthetic. This choice aligns with
Zara's communication strategy, emphasizing professionalism and attention to detail. The
semiotic elements, such as the pristine background and the clarity of product details, work
together to communicate a sense of reliability and quality.
Note. Retrieved from https://www.facebook.com/Zara/

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3.1.3 Models

The gender distribution in Zara's Facebook posts is primarily skewed towards women, comprising
a total of 38 posts. This is followed by posts featuring men (6 posts), kids (6 posts), groups (3
posts), and one post with no models. The visual presentation of Zara's clothing often carries a more
feminine aesthetic, aligning with the higher representation of female models in Facebook posts.
Zara's collaboration with celebrities extends beyond merely serving as models in the posts;
it aims to leverage its appeal to captivate consumers. The glamorous and successful image
projected by these celebrities resonates with Zara's core objective of promoting a lifestyle
characterized by chic consumption. Furthermore, Zara's Facebook posts play a significant role in
providing fans with insights into their favorite celebrities' fashion choices. These posts serve as a
platform for showcasing the trendy elements of the celebrities' outfits, effectively bridging the gap
between fans and their idols (see Figure 19). Therefore, famous celebrities serve as a central
component of Zara's social marketing strategy, connecting customers with a broader world that
transcends fashion and encompasses the allure of celebrity culture.

Figure 19. Narciso Rodriguez's Collection with ZARA

Narciso Rodriguez is one of the foremost American designers during the last two decades,
Narciso Rodriguez plays a singular role in fashion.

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 Figure 20. Kaia Gerber’s Collection with ZARA
Kaia Gerber is a famous second-generation supermodel who is the daughter of legendary
supermodel Cindy Crawford and businessman Rande Gerber
Note, Retrieved from https://www.facebook.com/Zara/

Through all the collaboration that Zara has with celebrities creates a sense that every
ordinary person can wear the same clothes as their idol without over their budget. People use
fashion clothing post editors, celebrities, or opinion leaders to receive ideas and desires of beauty.
Fans will want to get closer to their idol by buying their products.

3.1.4 Pose

The poses adopted by female models in these posts exude an air of confidence,
determination, and sensuality (see Figure 21). These poses are strategically designed to convey
specific messages about the ideals of self-improvement and empowerment, primarily aimed at
women. By maintaining direct eye contact with the camera, the models create an intimate
connection with viewers, encouraging them to embrace the notion that self-enhancement is a
worthwhile endeavor. In essence, Zara's posts subtly advocate the idea that women can embark on
a journey to restore both their physical and mental well-being, enhance their appearance, and
ultimately, evolve into a more refined version of themselves through the consumption of Zara

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products. The way the models are positioned within the frame and their interactions with the
camera play a pivotal role in communicating these empowering ideals.

Figure 21. ZARA Sexiness Pose Post Example

The post to convey confidence is to show the model’s most confident parts, whether she/he
is 115 pounds or 180 pounds. For example, the white female model in the following post is staring
right to the camera evidencing she is confident. Zara uses photos to illustrate that consumers should
be brave to challenge, be true to themselves, and pursue the confidence, enthusiasm, and courage
to succeed. This kind of female awakening not only makes Zara a leader on social media but also
has a positive impact on the younger generation. At the same time, it echoes the spirit that the Zara
brand has always emphasized: female power.

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 Figure 22. ZARA Confidence Pose Post Example
Zara strategically employs a confidence pose, where the model exudes a strong and assertive
demeanor. This resonates with Barthes' (1983) exploration of fashion as a system of signs, where
poses become crucial elements conveying specific meanings. The direct gaze into the camera and
the assertive posture suggest a deliberate effort to communicate not just style but a sense of
empowerment and self-assurance.

In terms of sending the determination message in the post, the collaboration Zara with
celebrity, Narciso Rodriguez's dresses are giving off a sense of instantly recognizable utterly
feminine, curve-enhancing, complementary yet never overpowering, and strong. Simultaneously,
the effortless facial expression and the elbow lean-up demonstrate the determination vibe like
nothing can stop her from whatever she is determined to pursue. Zara uses its posts to convey that
when consumers wear a piece of clothing, the most important thing is to feel good about
themselves. This mindset of dressing also faithfully reflects the attitude of contemporary women
to be loyal to themselves.
The concept of a 'theme' within the context of Zara's Facebook posts serves as a
foundational idea expressed by each post, representing the core message that Zara aims to convey
to its audience. This study has identified a range of themes in Zara's Facebook posts, including
themes of 'Professionalism,' 'Sensuality,' 'Brand Ambassador,' and 'Fashionable and Stylish.' These
themes are instrumental in conveying everyday experiences and emotions, guiding consumers in

73
shaping their fashion identities. As a result, the communication of these themes constitutes a
central focus of this research.

Figure 23. ZARA Determination Pose Post Example

Note, Retrieved from https://www.facebook.com/Zara/

After knowing the content of Zara’s attempted voice from the lighter/warmer colors,
contents, models, and poses of the post, the following section will analyze the theme of Zara’s
Facebook posts and consists of two sections. In the first section, I classified and summarized the
themes. The second section discusses how the theme is communicated and presented.
In this study, I adopted a systematic method to collect and analyze the data. The data
collection process involved the following steps: first, I obtained the dataset for analysis by
downloading all of Zara’s Facebook posts published between September 7 and November 25, 2022.
This specific timeframe was strategically chosen to align with Braun and Clarke's recommendation
(2006) and the dynamics of the fall clothing season, a peak period for clothing sales in the retail
industry. Second for data organization, each Zara post was individually collected and organized
for analysis. This process involved systematically compiling the posts into a dataset and creating
a spreadsheet to manage and categorize the posts. As part of the initial data sorting, similar posts

74
or posts conveying akin messages were categorized into thematic groups. This categorization
process allowed for the identification of commonalities between different posts.
The commonalities identified in the previous step led to the establishment of four distinct
themes in the dataset. These themes were categorized as follows: Professionalism, Femininity,
Brand Ambassador, and Fashionable and Stylish. Following the thematic grouping, the study
followed Braun and Clarke's six phases of thematic analysis (2006) to interpret Zara's Facebook
posts. These phases encompassed data organization, code identification, theme exploration, and
other critical steps in the analytical process. The thematic analysis method was employed to
uncover the meaning and experiential nature of the phenomenon under investigation, drawing
insights from the textual data. The analysis sequence specifically focused on post backgrounds,
models, poses, color aesthetics, and visual compositions to extract meaningful insights and
messages conveyed by Zara in its social media communications. In adopting this systematic
method, I aimed to provide a comprehensive understanding of how Zara utilizes its Facebook posts
to communicate with its audience and shape its brand image. The thematic analysis was
instrumental in extracting underlying themes and meanings from the dataset, contributing to a
deeper comprehension of Zara's marketing and communication strategies.
As I delved into the thematic analysis process, I meticulously examined the spreadsheet
data numerous times. What emerged from this in-depth exploration were certain consistent patterns
and characteristics. Notably, the prevalence of lighter color background settings and models
adopting non-smiling expressions converged to project a poised, authoritative image for women.
These observations laid the foundation for the first thematic category: 'Professionalism.' In a
contemporary landscape marked by evolving notions of gender equality, the concept of power
dressing has undergone a transformative shift. No longer confined to attire that asserts authority
or forsakes femininity, it now encompasses a broader spectrum of styles and tailoring.
'Professionalism' in women's clothing extends beyond mere aesthetics; it embraces any attire that
instills the wearer with confidence, strength, and a sense of empowerment.
In the context of the next thematic category, I meticulously examined aspects such as
background color, model poses, and their overall demeanor. Whether it's the use of lighter colors
like blue, specific poses involving leaning or chin-lifting, or even subtle skin exposure, these
elements collectively contribute to the construction of a sensually mysterious and confident image.
The models convey an unapologetically sexy atmosphere while maintaining an aura of frankness.

75
This observation laid the groundwork for the second theme: 'Femininity.' The thematic
representation of 'Femininity' within ZARA's posts extends beyond conventional notions of 'sexy'
and explores the construction of a nuanced concept of femininity. This theme emphasizes women's
pursuit of embodying and showcasing qualities such as care, nurturing, allure, and charm.
'Femininity' serves as a thematic representation of these specific characteristics, collectively
forming an idealized vision of femininity within the posts. The messaging subtly conveys that
consumers have the opportunity to express their unique charm by adopting a more feminine style.
This portrayal highlights the versatility of femininity expressed through fashion, adapting to
different settings, be it private or public, domestic or professional.
Upon reevaluating all the posts within the spreadsheet, a distinct type of post came into
focus, characterized by its emphasis on the relationship between renowned celebrities and the
unique attributes of the featured products. This association is typically presented in a noble and
elegant manner. In these posts, the primary colors employed are lighter colors, the prominent
presence of celebrities, and an indirect mode of communication, with the celebrity figure
dominating a significant portion of the post's composition. Additionally, context slogans
accompanying these posts often feature phrases such as 'distinctive celebrity collaboration.' These
observations collectively culminated in the identification of the third thematic category: 'Brand
Ambassador.'
Following the delineation of the previous three themes, it became apparent that a
considerable number of posts exhibited common characteristics, making them challenging to
categorize distinctly. These posts collectively exude a strong sense of chic and high fashion
aesthetics. They share a common message that encourages individuals to embrace their own style
and attitude with confidence, rather than conforming blindly to established norms. This collective
message suggests that customers are not constrained by the unwritten rules of contemporary
fashion. Consequently, this culmination of common traits gave rise to the fourth and final thematic
category in this research: 'Fashionable and Stylish.' These posts collectively emit a distinctive and
alluring ambiance, emphasizing a sense of uniqueness and visual appeal.
After a meticulous and iterative examination of the posts within the spreadsheet, followed
by a thoughtful process of reflection and thematic review, this research has discerned four distinct
themes. Firstly, the 'Professionalism' theme (theme one) portrays messages of elegance, authority,

76
and empowerment, creating an image of dashing, stable, and powerful authority for women. The
underlying concept emphasizes the communication of professional power.
Within the 'Femininity' theme (theme two), the imagery within ZARA's posts
communicates sensuality and allure through suggestive poses, such as neck touching, an elevated
chin, or partial facial framing. However, this theme surpasses the superficial notion of merely
appearing sexy; it encapsulates a deeply personal character that includes a unique charm that
attracts others and a wisdom that reveals inner strength. The messages embedded in this theme
place significant emphasis on the expression of female empowerment. This portrayal of femininity
extends beyond traditional boundaries, adapting to different settings—whether in private or public,
domestic or professional—and manifesting in various nuanced ways.
The 'Brand Ambassador' theme (theme three) sends a clear message to consumers: by
donning the same clothing as a celebrity featured in these posts, they can embody the celebrity's
image. Celebrity endorsements serve as powerful incentives for purchase, aligning promotional
performance with the visual appeal of the celebrity figure.
Lastly, the 'Fashionable and Stylish' theme (theme four) conveys messages of
contemporary fashion trends, oversized accessories, subtle intricacies, and an aura of controlled
chaos. This theme underscores that fashion, chicness, and stylishness represent not just clothing
but an attitude. Clothing acts as a vehicle for personal style and a symbol of self-expression. It is
a means by which individuals communicate their unique image, allowing their clothing and
accessories to articulate on their behalf and set them apart from others.
The subsequent step in this research involved categorizing the 54 posts into the four
previously established thematic categories. This categorization process distributed the posts as
follows: five posts were placed into category one, eight posts into category two, thirteen posts into
category three, twenty-six posts into category four, and two special discounted campaign posts
were classified separately.

3.2 Professionalism - theme one

Within Zara's posts, a thematic analysis unveils a narrative that empowers customers to
perceive femininity as a social construct expressed through fashion in diverse settings. Whether in
private or public, domestic, or professional spheres, Zara's portrayal emphasizes the multifaceted
nature of femininity. The thematic analysis reveals a nuanced understanding of beauty, ideals, and

77
inner comfort that transcends conventional male gaze and societal beauty standards. The portrayal
in Zara's posts embraces a diverse and inclusive perspective, constructing femininity and fashion
as vehicles for individuals to embody their ideal selves. This approach resonates with those who
identify with the characteristics attributed to the 'entrepreneur' within the neoliberal framework,
emphasizing empowerment and individual expression.
The theme of 'Professionalism' eloquently encapsulates the concept of self-management
and empowerment. From the vantage point of image composition, Zara's posts employ a form of
direct communication to illustrate that individuals navigating professional environments have the
agency to choose attire that conveys a sense of professionalism. The portrayal of suits symbolizes
a professional attitude, while the simplicity and elegance inherent in these garments
simultaneously project a message of high fashion and self-assuredness.

Figure 24. ZARA Professionalism Pose Post Example

In Figure 19, we witness a continuation of Zara's direct communication strategy. The model's
attire, with a blend of sophistication and allure, communicates a nuanced concept of femininity.
The semiotic elements in this figure, such as the dress's design and the model's composed pose,
reinforce the narrative constructing a new set of femininity cues without conforming to some
stereotypical expectations for women.
Note, Retrieved from https://www.facebook.com/Zara/

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 3.3 Femininity - theme two

Zara's posts embark on a captivating visual journey that invites women to assume a myriad
of roles and expressions. These posts collectively construct the concept of sexiness as a pervasive
ideology that transcends stereotypical boundaries. In Zara's realm, sexiness is portrayed not
through overt sensuality or flamboyance but, rather, through the prism of attitude and self-
confidence. Here, true sexiness is depicted as an innate and effortless quality.
For example, certain models featured in Zara's posts embrace short hairstyles, a decision
that transcends mere aspirations of sexiness. Conventionally, long hair has been emblematic of
sensuality and fertility, often catering to male preferences. Conversely, short hair can signify a
departure from traditional gender norms. Yet, within the context of Zara's posts, women opting for
short hair are not necessarily making a feminist statement. Instead, their choice of hairstyle is a
pragmatic one. It aligns with the outfit's aesthetics while evading the pitfalls of appearing untidy
or incongruous.
This narrative communicates the notion that individuals can confidently embrace diverse
styles while embodying cultural constructions of femininity without succumbing to rigid
stereotypes. Zara's social media posts utilize semiotics to construct the models' personas, where
elements such as expressions, hairstyles, and body positioning contribute to reinforcing the image
of these women as desirable and self-assured individuals.

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 Figure 25. ZARA Confidence Pose Post Example
Zara's intentional use of poses and visual elements to construct a narrative that goes beyond
showcasing clothing. These posts contribute to a broader conversation about redefining beauty
standards and empowering individuals through fashion. The integration of these figures into the
analysis enhances our understanding of how Zara strategically communicates concepts of
confidence and femininity through its social media posts.
Note, Retrieved from https://www.facebook.com/Zara/

Upon examining posts within the femininity theme, it becomes evident that Zara employs
direct communication strategies to convey the concept of embracing a more feminine vibe to
consumers. These posts collectively underscore that achieving a sexy or feminine look doesn't
require donning extremely short skirts or intentionally revealing too much skin. Instead, they
advocate for the idea that individuals can infuse their style with the desired charm based on the
context, whether in a daytime or nighttime setting, and express their personal style in various
aspects of their daily lives. This approach reflects a nuanced understanding of femininity as a social
construct expressed through fashion in different settings and diverse ways.
For instance, one post creates an air of mystery by not prominently displaying the model's
face. This approach not only exhibits a strong sense of design but also conveys elements of fashion
and high-end sexiness.

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 Figure 26. ZARA Femininity Pose Post Example
It is not merely a display of clothing; it is a visual narrative contributing to the broader discourse
on femininity and self-confidence. The model's body language, characterized by a firm stance
and direct eye contact, challenges traditional norms, offering a more empowered representation
of femininity. This aligns with Hebdige's (1991) exploration of subcultures and style, where
fashion becomes a tool for challenging societal expectations.
Note, Retrieved from https://www.facebook.com/Zara/

3.4 Brand Ambassador - theme three

This theme delves into the strategic connection between renowned celebrities and the
product's defining attributes. These posts typically adopt an air of nobility and elegance, capturing
the essence of celebrity endorsement. Within this theme, lighter color setting backgrounds
dominate the visual palette, and celebrities serve as the prominent focal points. These posts employ
indirect communication techniques to convey a compelling message: by choosing to adorn
themselves in the same attire as the celebrity in the image, customers can aspire to emulate the
star's image. Given that celebrities play a pivotal role in these posts, the captions often contain
phrasing that emphasizes the distinctiveness of the celebrity collaboration, further reinforcing the
brand's messaging.

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 Figure 27. ZARA Brand Ambassador Post Example
Note, Retrieved from https://www.facebook.com/Zara/

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 3.5 Fashionable and Stylish - theme four

Zara's posts depict a particular perspective on makeup, emphasizing a natural foundation and a
clear, nude aesthetic. The female figures featured in these posts embody an aesthetic of liberation
and sophistication, representing a form of beauty that is both unburdened and refined. Through the
example post within this theme, Zara communicates indirectly with its consumers by manipulating
posing techniques; models often reveal only a portion of their faces, striking a delicate balance
between sensuality and allure. These posts convey the message that one's attire and image are
intertwined with daily social activities. How individuals choose to dress can reflect their inner
concepts and beliefs, while the careful selection and coordination of clothing can exemplify
creativity and beauty.

Figure 28. ZARA Fashionable and Stylish Post Example

The semiotic elements in this figure play a pivotal role in shaping the narrative. The black
background, synonymous with elegance and sophistication, creates a visually striking contrast,
emphasizing the model's outfit and her confident pose. This aligns with Barthes' notion of
fashion as a language that communicates through visual elements. The choice of a black
background, coupled with the confidence pose, contributes to the creation of a specific aesthetic
that communicates strength and poise.
Note, Retrieved from https://www.facebook.com/Zara/

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 3.6 Discussion

These posts from Zara convey the belief that beauty is not merely a superficial quality but
a fundamental aspect of well-being. In essence, maintaining a healthy appearance and wearing
simple yet satisfying clothing can empower individuals to feel in command of their own sense of
beauty. This, in turn, enhances their confidence, overall happiness, and efficiency. This investment
by Zara emphasizes the materiality of the body, highlighting the significance of a healthy,
authentic, and contented self-image.
The poses struck by the models in these posts reflect a vision of health, self-assuredness,
and happiness. In essence, Zara's social media posts reinforce the narrative that profound self-
confidence enhances one's sense of beauty, and a beautiful body, in turn, contributes to that self-
assuredness. As evidenced in Figure 17, where the model gazes directly into the camera, this
confidence is palpable, reinforcing the message that self-assurance is a key element of beauty.
All posts tried to encourage customers to consciously understand and listen to their own
inner voice, to know what they want, and to live their ideal life without deliberately conforming
to other people's wishes in their bodies. Therefore, inner confidence and outer dressing are a
recognition of the expression of self-worth. When we saw Zara’s posts advocating beauty, I
thought of Zara’s conscious desire to show women that they can choose the clothes and makeup
that fit them to make themselves look more confident. According to this logic, what Zara wants to
do in this regard is to change women's perceptions of their appearance and body through posts.
Simultaneously, let the reader realize that beauty can come from the inside out, and develop the
reader's own subject position.
So, the answer to RQ2: what kind of messages does Zara use on Facebook to sell its product?
Based on the research, each post of Zara conveys the essence of dressing as the unity of the inside
and the outside. In essence, individuals and their attire form a harmonious union, where the
clothing perfectly encapsulates the unique essence of the person wearing it. This synergy results
in a striking and authentic presence, emanating a sense of comfort, beauty, and natural grace. Zara's
social media posts exemplify this phenomenon. Within each post, both the clothing and the models
themselves exhibit distinctive qualities, whether it's exuding sensuality, strength, coziness, or chic
style. Yet, collectively, they consistently project an effortless and inherently elegant fashion
statement. From these 54 posts, Zara’s posts do not have the image of the male gaze, the interaction
between the sexes, and the competition for gender status or power.

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 3.7 Limitations

There are two research limitations in this study. First, it is not available to collect Zara’s
internal data. The fashion and apparel industry is a large economy with a large production system,
which involves a lot of internal statistics and analysis. Although Zara publishes its annual reports
on the Internet, there are still many trade secrets that cannot be obtained. Most of the information
comes from newspapers and magazines, and it takes a lot of time to collect and verify the data,
making research difficult.
Moreover, in this study, I used the thematic research method. If the research can collect the
data through a focus group interview, which may allow the audience to depth understand how
respondents are experiencing purchasing Zara products and the relationship between the consumer
and the brand Zara. For example, what exactly is the purpose of the consumer to buy the products,
and does Zara’s social media marketing strategy impact the most when the customers try to do
some shopping? Along with adding the different consumption experiences and thoughts of the
respondents in various regionals. So, the differences between consumers in different metropolitan
areas can be compared. Furthermore, the inclusion of Zara’s internal management views and
opinions in the data collection interviewees should improve our understanding.

3.8 Implication

This study first explores the origins of fashion and then uses marketing communication
perspectives and strategies to explore how affordable fashion brands Zara successfully market their
brands globally. Based on the research, there are two recommendations for future academic and
practical aspects. First, this study investigates the marketing and communication strategies of the
Zara brand. Further research might investigate the relationship between consumer purchasing
behavior and the marketing and communication strategies of the Zara brand to discover factors
that influence consumer purchase decisions.
Furthermore, one of the international competitors of Zara, the Swedish brand H&M, has
many similarities with Zara in terms of its positioning and marketing communication strategies, is
also positioned as a fast fashion and affordable fashion brand. However, there are differences in
marketing and communication strategies, and it is worthwhile to explore and compare the
differences in marketing and communication strategies between the two brands.

85
 CONCLUSION

Zara devoted itself to the rapid response to consumer needs. Zara produces affordable and
fashionable clothing for most consumers, without relying on many advertisements but can convey
the brand spirit and impression to target consumers. Zara’s marketing and communication strategy
focuses on product strategy and channel strategy. Zara also set up large physical stores in
metropolitan areas of each city, investing heavily in decoration and design to provide a comfortable
and spacious shopping environment as a perfect place to promote the brand's image.
Most of the consumers first got to know Zara not only through word-of-mouth from friends
and relatives but also through social media promotion. So, it can be said that Zara has fully
exploited the features of social media marketing. Although Zara has almost no advertisements and
many product promotions, the high design of the products has stimulated consumers to begin
purchasing its products, which has also generated a lot of media coverage and created a lot of
voices for more consumers to accept. Therefore, Zara’s marketing communication strategy is not
only from the point of view of the marketing mix, but also from the point of view of consumers to
meet their needs and wants, the cost to the customer, convenience, and communication.
The following four points are the findings of the study: first, the key factors of Zara’s 4Ps
marketing mix strategy is producing products in response to consumer demand. Next, reducing
costs and providing affordable products within an acceptable range for consumers. Furthermore,
having physical stores in metropolitan areas creates a luxury shopping atmosphere and brand
image. Finally, without significant advertising, Zara will still create various voices with social
media strategy and media coverage such as magazines.
The differences in clothing have already crossed national boundaries and cultures, and what
Zara wants to convey is a fashion culture that transcends brands. Hence, Zara’s designs are
intended for consumers of diverse cultures around the world, not for European and American
countries, but for the masses. In other words, the biggest benefit of wearing Zara clothes is to have
the feeling of being ahead of the times and to enjoy the advantages of fashion design in line with
boutique brands. Customers can easily wear modern European and American styles with
affordable money. As a result, this does not create a distinction between each other in terms of
social class but rather shows that everyone can wear the same style of clothing as any celebrities
or CEOs. Consumers can wear the same clothes as these celebrities at affordable prices Whether

86
sharing pop culture with friends or colleagues or trying to imitate how celebrities dress, it is just a
lifestyle experience for consumers.
The analysis of Zara's communication strategy and its representation of fashion through
social media contributes to existing literature in several ways. First, it aligns with the concept of
the democratization of fashion, highlighting how Zara challenges traditional notions of exclusivity
in the fashion industry by making fashion accessible to a wide range of people, regardless of their
social class (Kawamura, 2004). This resonates with existing literature on democratization in
fashion.
Moreover, the analysis emphasizes consumer empowerment, as it shows that consumers
can make fashion choices based on their preferences rather than being dictated by social hierarchies
or external norms (Entwistle, 2000). This aspect connects with the existing literature on consumer
empowerment in the fashion domain.
Furthermore, the analysis demonstrates how Zara's communication strategy is intertwined
with the creation of a lifestyle experience for consumers (Barnard, 1996). It aligns with literature
that explores the close relationship between fashion and personal identity, as well as the choices
that reflect one's lifestyle.
Lastly, the analysis touches upon the role of fashion as a cultural signifier. It shows how
Zara's posts enable consumers to engage with pop culture and imitate celebrity styles, which is
consistent with the literature on fashion as a way to communicate cultural affiliation and trends
(Davis, 1992). In summary, this analysis builds upon and extends existing literature in the field of
fashion studies, particularly in areas such as democratization, consumer empowerment, fashion's
role in identity and lifestyle, and its function as a cultural signifier.

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