AN EXAMINATION OF GENERATION Z’S FASHION UPCYCLING IN SOCIAL MEDIA

AND WELL-BEING

By

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GISELA ARIAH VALDERRAMA

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A thesis submitted in partial fulfillment of

the requirements for the degree of

MASTER OF SCIENCE IN APPAREL, MERCHANDISING AND TEXTILES

WASHINGTON STATE UNIVERSITY

Department of Apparel, Merchandising, Design and Textiles

JULY 2023

© Copyright by GISELA ARIAH VALDERRAMA, 2023

All Rights Reserved
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© Copyright by GISELA ARIAH VALDERRAMA, 2023

All Rights Reserved
To the Faculty of Washington State University:

The members of the Committee appointed to examine the thesis of GISELA ARIAH

VALDERRAMA find it satisfactory and recommend that it be accepted.

Jihyeong Son, Ph.D., Chair

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IE Ting Chi, Ph.D.
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Xingqiu Lou, Ph.D.

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 ACKNOWLEDGMENT

I would first like to express my immense gratitude to my friends and family members for

loving and supporting me throughout my journey in pursuing my master’s degree. With all the

love, support, and encouragement from each and every one of you, it has provided me with the

push I needed to succeed when times were hard. I truly could not have done this without you all.

Additionally, I would like to extend my appreciation to my professors, especially Dr.

Jihyeong Son, and my committee members, Dr. Ting Chi, and Dr. Xingqiu Lou. Thank you

immensely for your willingness to help and collaborate with me on this thesis. The insight and

knowledge you have provided me with is greatly appreciated.

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The education I have earned within the AMDT department at Washington State
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University over the last five years is greatly appreciated and valued. The work I have produced

comes as a result of my growth and hard work, as well as all that I have learned from the
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professors, faculty, and colleagues within the department. I am forever grateful for the guidance

and support I have received from all of those involved within AMDT, all of which have allowed

me to thrive within this field. With that, I look forward to what the future holds.
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 AN EXAMINATION OF GENERATION Z’S FASHION UPCYCLING IN SOCIAL MEDIA

AND WELL-BEING

Abstract

by Gisela Ariah Valderrama, M.S.

Washington State University
July 2023

Chair: Jihyeong Son

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Fashion upcycling has been implemented within the fashion industry in recent years and
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has become increasingly popular for Generation Z (Gen Z) consumers seeking innovative

fashion by means of sustainability. This new aspect within the fashion industry involves
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perceived values and an emotional influence that contribute to a consumer’s intention to share on

social media and its influence on their well-being. Understanding the emotional aspects of
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fashion upcycling consumption within social media is essential, as it influences positive and

negative emotions in Gen Z consumers, potentially affecting their mental health. The purpose of

this study is to explore the relationships between fashion upcycling, social media, and well-being

through positive and negative emotions, providing valuable insights into the fashion industry’s

sustainable practices and Gen Z consumer behavior trends.

The survey was administered to Gen Z participants recruited via Amazon Mechanical

Turk to test hypotheses related to fashion upcycling consumption. With 301 usable responses,

the statistical analyses examined the relationship between perceived utilitarian and hedonic

values, emotions, share intention, and well-being. Perceived utilitarian and hedonic values

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influenced positive emotions but not negative emotions. Then, positive emotions increased share

intention and well-being. Additionally, share intention positively influenced well-being.

This study provides significant insights for the sustainable fashion market by taking

mental health attributes into consideration and relating them to consumer behavior and trends,

focusing on fashion upcycling specifically. The study highlights the importance of emotional

factors, particularly positive emotions, in shaping Gen Z’s consumption behavior and well-being

related to fashion upcycling experiences on social media.

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 TABLE OF CONTENTS

Page

ACKNOWLEDGMENT................................................................................................................ iii

ABSTRACT................................................................................................................................... iv

LIST OF TABLES ....................................................................................................................... viii

LIST OF FIGURES ....................................................................................................................... ix

CHAPTERS

CHAPTER ONE: INTRODUCTION ..................................................................................1

Background of the Study .........................................................................................1

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Significance of the Study .........................................................................................5
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Purpose of the Study ................................................................................................6

Objectives of the Study ............................................................................................7

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Definition of Terms..................................................................................................8

CHAPTER TWO: LITERATURE REVIEW ....................................................................10

Fashion Upcycling .................................................................................................10

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Generation Z ..........................................................................................................15

Social Media ..........................................................................................................17

Stimulus-Organism-Response (SOR) Theory........................................................18

CHAPTER THREE: METHODOLOGY ..........................................................................30

Sampling & Survey Procedures .............................................................................30

Instruments .............................................................................................................30

Statistical Analysis Methods ..................................................................................34

CHAPTER FOUR: RESULTS .........................................................................................36

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 Survey Respondent Profile ....................................................................................36

Assumption Examinations & Factor Analysis .......................................................38

Multicollinearity Test.............................................................................................41

Hypothesis Testing Results ....................................................................................42

CHAPTER FIVE: DISCUSSION, CONCLUSIONS & IMPLICATIONS..................45

Discussion ..............................................................................................................46

Conclusions ............................................................................................................50

Implications............................................................................................................52

Limitations & Future Studies .................................................................................54

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REFERENCES ..............................................................................................................................56
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APPENDIX ....................................................................................................................................60

Consent Form and Survey Questionnaire ..........................................................................61

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 LIST OF TABLES

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Table 1: Definition of Terms ...........................................................................................................8

Table 2: Measurements ..................................................................................................................31

Table 3: Profile of Survey Respondents ........................................................................................38

Table 4: Results of EFA and Reliability Test ................................................................................39

Table 5: Correlations and Properties of all construct variables .....................................................41

Table 6: Results of Hypothesis Testing .........................................................................................44

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 LIST OF FIGURES

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Figure 1: Research Model ..............................................................................................................29

Figure 2: Results of Hypothesis Testing ........................................................................................44

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 CHAPTER ONE: INTRODUCTION

1.1 Background of the study

1.1.1 The Emergence of Fashion Upcycling

The concept of “upcycling”, in the fashion industry, has been advanced from the

sustainable concept of a “circular economy,” which emerged in the 2000s. Fashion upcycling has

been studied to imply positive ecological effect by means of self-production and lowering the

environmental impact, for example avoiding pollution due to reduced product transportation, and

manufacturing (Coppola et al., 2020). Fashion Upcycling is a seemingly new term and is defined

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as “the material process of retaining high quality in a closed-loop industrial cycle” (Sung et al.,
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2019, p.1). This material process is “the creation or modification of a product from used or waste

materials, components, or products which are of equal or higher quality or value than its
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compositional elements” (Sung et al., 2019, p.1-2). To present fashion upcycling as a creative

and unique process, the slow fashion movement and the sustainable concept are integrated,

which contributes to sustainability attributes in the fashion industry. This fast-growing sector of
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the fashion upcycling market is fueled by Generation Z (Gen Z), whose need for creative

expression and experimental uniqueness is satisfied by fashion upcycling (Park & Lin, 2020).

1.1.2 Generation Z

Gen Z’s consumptive ideologies and behaviors are driven by their place in history and the

social, political, etc. issues of their era. Gen Z is known to live in an era of economic and

environmental crises and technological evolution. Therefore, Gen Z is known for being

environmentally and socially conscious and is more likely to seek out sustainable and ethical

fashion options, indeed, fashion upcycling. Gen Z has a high level of consumption ideology,

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which plays a central role in their decisions, actions, and practices as consumers (Schmitt et al.,

2021) and demands of creativeness and uniqueness are present. Consumption ideology operates

at both the unconscious and conscious levels (Schmitt et al., 2021). An unconscious level refers

to when consumers go about their daily lives feeling positive about their consumption habits.

According to Gazzola et al. (2020), results proved that sustainability issues in the fashion

industry drives the demand of Gen Z’s consumption behavior. Gen Z is known to live in an era

of economic crisis and technological evolution. On average, this generation tends to have an

eight-second attention threshold, where the decision of whether or not something is interesting to

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them is made (Gazzola et al., 2020). In terms of fashion upcycling in the past few years, the
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techniques and practices based on the reuse of old and waste materials have become more

popular in younger generations, like Gen Z (Atalay Onur, 2020). Therefore, Gen Z is known for
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being environmentally and socially conscious and is more likely to seek out sustainable and

ethical fashion options, indeed, fashion upcycling.

In comparison to previous generations, 68% of Gen Z shoppers consume eco-friendly

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products, drawing close ties with the sustainability movement (McCoy et al., 2021). This

generation is emerging as the new driving force for retail growth. Gen Z individuals observe

fashion products, especially apparel, as a symbol of self-enhancement and social recognition

(Joshi & Garg, 2021). Gen Z prefers traits such as shopping, banking, transacting, digital

learning, and socialization through digital platforms, which signify a very digitally heavy

lifestyle (Kushwaha, 2021).

1.1.3 The Role of Social Media

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 Social media has a significant role in the lives of Gen Z given that they are the first

generation to be considered “digital natives”, compared to past generations. According to

Morning Consult (Roberts, 2023), 38% of Gen Zers spend over four hours a day on social media,

in comparison to only 18% of U.S adults spending that time online. These generational

differences in terms of social media usage prove that social media is the best way to reach,

connect, and market to Gen Z. When contrasting Gen Z’s social media usage with their weekly

interactions, Morning Consult’s (Roberts, 2023) survey found that Gen Z also spends more time

online interacting with their peers than in-person. Gen Z’s social media usage includes

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environmental factors such as political constituents, economic factors, technological changes,
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and cultural/legal variables. All of which have shown to influence Gen Z socio-economically,

educationally, and occupationally directly or indirectly, as well as affect their acceptance process
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and usage of social media itself (Hayes, 2021). Social and economic class, morals/choices,

lifestyle stage, age-maturity correlations, and culture/subculture are personal factors that also

play a role in influencing Gen Z’s social media usage (Hayes, 2021). Both Gen Z’s influences
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and experiences impact their online and offline lives and behaviors. Gen Z consumers are often

drawn to social media to discover new trends and ideas, and upcycling has gained momentum

through social media. By sharing their upcycling creations and experiences, Gen Z consumers

are contributing to the growing movement towards sustainable and ethical fashion practices.

Social media platforms have quickly become a relevant form of communication,

available for a wide variety of content, like sharing information, ideas, and personal messages

(Campana, 2022). Although social media can be damaging to individuals’ mental health, some

platforms have been able to highlight self-expression, guidance, and much more. Feelings of

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social connectedness from social media usage, has been associated with greater identification

with social groups, more interpersonal trust, fewer social avoidance, less anxiety, depression, and

overall emotional well-being (Shafqat et al., 2023). As a social and progressive generation, Gen

Z has been able to create a positive change within its social media presence, offering a sense of

positivity, growth, motivation, and relatability. As Gen Z’s social media usage has influences on

well-being, the fashion upcycling market provides a creative outlet within the sustainability

realm. Fashion upcycling has the opportunity to not only support sustainable attributes within the

fashion industry, but also simultaneously enhance Gen Z’s sense of well-being.

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1.1.4 The Connection to Mental Health
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Social media has also become a platform for individuals who struggle with mental health

to turn to share their experiences and receive advice from psychologists or therapists, as some
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have also joined these platforms to offer their services (Campana, 2022). Despite an existing

stigma surrounding mental health, Gen Z has been able to seek comfort in the discussions that

involve mental health on social media (Campana, 2022). There are an extensive number of
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accounts and users who feel more socially connected, happier, and fulfilled when using social

media (Shafqat et al., 2023). Therefore, it is crucial to understand the emotional aspect

surrounding and the mental health component of fashion upcycling consumption within social

media because it is quickly becoming a major part of the fashion industry for numerous reasons.

Sustainability is also highlighted on social media through discussions of Gen Z individuals,

considering this sort of environmentalism is highly cared for by this generation. Fashion

upcycling as a category of sustainability can also be connected to mental health attributes as it is

a topic that matters to Gen Z. Social media lies as a central place for discussions revolving

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around mental health, sustainability, and creative expression to take place. This involves Gen Z’s

consumers’ social interaction about fashion upcycling in social media and its impacts on their

well-being. The emotional aspect surrounding hedonic and utilitarian value holds a high

emphasis in terms of share intention and well-being from fashion upcycling consumption. This

study seeks to explore the ways fashion upcycling and social media are connected to Gen Z and

well-being through positive and negative emotions. Afterall, the true or false information and

content derived from social media has shown to strongly impact the users emotional, mental, and

spiritual well-being positively or negatively. The emotions derived from social media usage rely

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heavily on the information and content perceived and consumed. Therefore, it is essential to
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acknowledge that social media usage can positively or negatively impact its users.

For this study, the emotional values under examination are encouragement, excitedness,
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happiness, interest, hope, and pleasure for positive emotions and frustration, nervousness,

fearfulness, boredom, disgust, and irritation for negative emotions. With emotions being the

driving consideration of many hedonic and utilitarian values (Ganak 2019), these variables were
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used as they entail the main emotions that can arise from a consumption experience.

1.2 Significance of the study

As fashion upcycling has become increasingly popular in the industry, a need for this

understudied trend has developed when considering the future of the fashion industry and

fashion upcycling’s contribution towards sustainable attributes. There is a lack of existing studies

revolving around Gen Z’s well-being and sustainable attributes in the fashion industry as a

whole. Given that sustainability attributes and social media are important to Gen Z, researching

the details surrounding potential connections between fashion upcycling and well-being is

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 important. An individual’s state of well-being is a key determinant that drives a continuous

behavior, such as creativity and innovation behaviors (Wang et al., 2017) The current

information on this topic includes limited-to-no studies on Gen Z in relation to fashion upcycling

and well-being. Therefore, this research aims to explore the ways fashion upcycling and social

media are connected to Gen Z and well-being through positive and negative emotions.

1.3 Purpose of the study

The benefits of fashion upcycling for individuals can be both hedonic (i.e., enjoyment,

excitement, intrigue) and utilitarian (i.e., convenience), and include a wide array of emotions and

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motivations. In this study, the positive emotions, such as encouragement, excitement, happiness,
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interest, hopefulness, pleasure (Zegarra & Mafe, 2020), are examined. As well as negative

emotions, such as frustration, nervousness, fearfulness, boredom, disgust, and irritation (Zegarra
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& Mafe 2020). Likewise, the desire to maintain existing relationships and to meet new

people/socialize (Pertiwi et al., 2022) are two motives within this study that correlate with social

media as a platform where the upcycling market and the Gen Z lifestyle intersect.
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The purpose of this research is to explore how fashion upcycling and social media are

connected to Gen Z and well-being through positive and negative emotions. This research adds

to the literature surrounding the upcycling market in the fashion industry by providing

information on multiple fronts, as well as how Gen Z consumerism is related to share intention

and well-being. This research can also provide significant insights for fashion brands,

entrepreneurs, marketers, and retailers in the fashion industry by taking mental health attributes

into consideration and relating them to consumer behavior and trends within the sustainable

fashion market. From a sustainable fashion viewpoint, this study will contribute to a better

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