#DareToVintage Challenge - Fashionably Breaking the Stigma Against Second-Hand Items
The Problem & The Importance
The #DaretoVintage movement has been established to tackle a prominent problem in the fashioning world. The accumulation of clothing has increased in most developing and developed world-leading to fashion, producing 20% of the world’s wastewater and 10% of global carbon emissions.
“If nothing changes”, the UN Environment Programme (2018) states, “by 2050 the fashion industry will use up a quarter of the world’s carbon budget”.
A New Textiles Economy Report, from the Ellen MacArthur Foundation (2017), states that the amount of times we use clothing has decreased drastically by 36% compared to 15 years ago and less than 1% of new-production material is recycled. 1,200,000,000 tonnes of carbon dioxide-equivalent (CO2e) is emitted by the fashion industry - more than all international flights and maritime shipping combined.
This infographic by the Ellen MacArthur Foundation Report (2017) also covers the issue visually, with a highlight on the 73% of clothing produced being landfilled or incinerated.
The increase in production and consumption is primarily due to the meteoric rise of fast-fashion. However, the success of fast fashion has come at a grave cost. The constant demand for stylistic change incentivises minimum-cost, quick turnaround design and production methods that are environmentally and socially destructive; some fast-fashion items being so cheap they are intended for single-use only.
(UNEP 2018; Remy et al. 2016; Ellen MacArthur Foundation 2017; McFall-Johnsen 2019; Laville 2017).
As opposed to the current linear make-take-dispose model, The Ellen MacArthur Foundation (2017) continues to strive for a circular economy, aiming for production and consumption to be based on reusing, upcycling and recycling. Despite this, shopping or receiving second-hand items is still bound by a stigma, a sense of embarrassment and shame drapes the individual who wears pre-loved garments perhaps due to hostile attitudes from others and associations with lower socioeconomic status (Imgur 2016; Kestenbaum 2018; Laitala & Klepp 2018).
A survey conducted in Norway revealed key barriers preventing individuals from wearing second-hand clothing include social status rejection, perceiving second-hand clothing as a contaminant, the process as inconvenient and inadequate availability of appealing pre-loved fashion (Laitala & Klepp 2018).
In our project, we challenged these barriers and invited others to join our fashionable, forward-thinking and kind movement by making, displaying and in doing so, embracing sustainable fashion choices.
Target Audience
Being the first cohort of digital natives coupled with today's fast-changing fashion trends, young people have become accustomed to a lifestyle in which The New York Times calls it the 'I want what I want when I want it' style of living. The expression implies how, nowadays, fashion is in the hands of the buyer wherever they are. With a wide range of different brands targeted towards young people and made available both online and offline, shopping clothes has become more convenient for consumers (Grundmeier, 2017). Thus, the fast-fashion epidemic has become the only solution for both consumers and sellers, but like all epidemics, has had detrimental outcomes.
A survey commissioned by eco-friendly soap brand Method (2018) suggested that millennials are the largest demographic to throw away clothing; 25% clear out their wardrobes every month and 22% abandon their clothing items shortly after being pictured in it between 1-3 times on social media. The results highlight how the consciousness of social evaluations shape our fashion choices today and contribute to an increasingly unsustainable model. Considering that young people are our current and future consumers, we wanted to enhance the awareness of youngsters in sustainable fashion and to develop conscious consumerism. With these results in mind, we chose to target our audience towards university students aged 18-25.
To reach this demographic, we chose Instagram as our platform. According to We Are Social & Hootsuite & Data Reportal (2020), Instagram is renowned for trendsetting with one of the most widely used networks for image sharing and a strong following of approximately 30% of active users between 19-24 years old. Furthermore, Carah and Shaul (2018) found that Instagram enables advertising to reach younger audiences and thus, using this platform would be useful to access our target audience.
Additionally, this project was aimed towards individuals with a large following on Instagram, also known as ‘influencers’. Having a vast number of followers indicates that many other users are interested in a particular page and therefore, are subscribed for constant updates. As influencers consistently publicise their ideas, having a high number of followers can expedite the diffusion of information within their audiences, enhancing interpersonal influence (Cha et al., 2010; Yoganarasimhan, 2012). Research has shown that more famous users of Instagram will be perceived as higher in three dimensions of source credibility (physical attraction, trustworthiness, and competence) in comparison to those with a lower number of followers (Jin & Phua, 2014). Importantly, this suggests that influencers are considered as opinion leaders and valuable sources of information. Therefore, we chose these two groups as they would have both a strong influence upon others and a more significant impact in the #DaretoVintage movement.
The Intervention
Instagram Page and Challenge:
Using Instagram, we created an account under the handle @dare.to.vintage (https://www.instagram.com/dare.to.vintage/) to promote our cause. The account features posts and stories that emphasise issues of our current fashion climate. This is done in the hope that our followers will be more environmentally conscious and play their part by breaking the social stigma attached to wearing second-hand clothing and joining our #daretovintage challenge.
(Above: Logo for our campaign)
The challenge gave a clear behavioural change solution to our target audience outlined in the three steps below:
1) Take a picture of your pre-used clothing item
2) Share your posts (and experiences) using our hashtag (#daretovintage)
3) Tag (challenge) 3 friends to participate!
With the challenge we wanted to change behaviour or mindset by planting a seed, to build upon with an influential movement that contributes to the strengthening of the circular economy.
Having reached our targeted Instagram following, we created content for our page that was posted on our feed and stories. These included:
Posts on the challenge procedure & why it matters
Informative posts on the impact of fast fashion as well as sustainable fashion with credible sources & citations
Quotation posts (some self-made), each conceived with different designs and phrasing specifically to evoke a sense of group identity and desire to join the movement
Posts about second-hand clothing items sold in stores to make the behaviour change easy & accessible as well as to reinforce that individuals can be stylish and mindful at the same time. We also tagged other famous pages to gain theirs and their followers’ recognition.
Re-posts on our page of individuals stories and posts showing them participating in the challenge
Use of hashtags to enhance the visibility of our posts
We drove engagement by sharing the post in our personal networks, re-posting via our stories on Instagram (Warren, 2020). As a head start to increase the visibility of our page, we reached out to Nadhif Basalamah - an influencer with up to 23 thousand followers on Instagram - as well as friends or relatives to promote our cause. We messaged different accounts with a pre-written message, or sometimes asking simply if they’d like to participate. We also shared posters by the mirror bathrooms of the library, which were taken down days after.
Our challenge was modelled from the ALS (Amyotrophic lateral sclerosis) Ice Bucket Challenge; a viral challenge that raised $115 million in the summer of 2014 alone. It involved individuals sharing a video online, pouring a bucket of ice water on themselves and tagging individuals to take part to raise awareness and fundraise for the neurodegenerative disease (The ALS Association, 2020). We implemented techniques that follow a similar framework to the ALS challenge, such as the 6 R’s of Mind Change and the STEPPS framework. By engaging in these various techniques, we hoped to instil our followers with a positive outlook towards shopping second-hand. We will discuss them alongside the psychological and theoretical explanations for each step in more depth in the next section.
Psychological & persuasion techniques used, evidence and links with our project
In carrying out our project, we hoped individuals would be persuaded to engage in the target behaviour by participating in the #Daretovintage challenge. In doing so, we wanted participants to engage in a process called internalisation which Kelman (1958) suggests can result in a permanent change of behaviour. Internalisation is considered the most profound form of conformity and can, therefore, elicit a higher level of behaviour change (Kelman, 1958). This is because it involves both public and private acceptance of norms, evoking an action that is genuine and from the individual’s belief system (Kelman, 1958).
We recognised that many young people are highly invested and accustomed to the pace of the current fashion industry. Our aim was to encourage individuals to make more sustainable fashion choices. Hence, for individuals to participate in the challenge and adopt sustainable fashion choices and behaviours, we had to create an environment conducive to change with several levels of influence.
The R’s of Changing Minds
Howard Gardener’s theory acknowledges individuals are generally resistant to change and for them to challenge this, it quite often involves personal, social and cultural forms of influence to induce gradual changes in mind and therefore, behaviour. We used the techniques from this framework to evoke change in consumer behaviour (Parselle, 2006; Gardner, 2004).
Reason
This refers to the use of logical arguments to persuade individuals engaging in the intended behaviour is a rational choice. This also corresponds with the ‘P - Practical value’ in the STEPPS framework to be discussed.
Nelissen and Meijers (2011) found across several experiments testing the reasoning for the consumption of different ‘luxury’ items, is because they signal traits of high wealth and status implying possible favourable treatment in human interactions.
We recognised individuals often prefer wearing clothing items with brand names and thus ensured the second-hand clothing items we posted about were well-known labels such as ‘Valentino’ or ‘Versace’ in the hopes it would challenge the pre-existing notion that buying and wearing pre-loved items is associated with lower socioeconomic status.
We also highlighted in our captions how climate change is ‘the crisis of our time’ and a simple solution such as creating ‘less waste’ can have a significant impact on the environment and its preservation. Quite often, the age-old excuse that one person is not enough to make a change is recycled. However, we aimed to persuade the individual reading the posts to trigger the transformation and to set off a chain reaction by engaging in the challenge and adopting eco-friendly fashion behaviours.
In doing so, a group of people could view, join or even follow suit, resulting in a possible substantial impact. Hence, the solution we suggested was not dependent on one individual alone to make some drastic change. Still, lots of individuals can create small, manageable changes that collectively have a significant effect.
Research & Real-world events
This aspect of Gardners’ theoretical framework refers to the presentation of factual data to challenge any competing facts that already exist in the individual’s mind (Parselle, 2006).
In line with this approach, we included facts of various forms. For example, one of our posts stated that ‘For every 100 pre-loved clothing items we buy, we help the planet from having to create 60-85 new ones’ (Farrant et al., 2010). Furthermore, we highlighted how the choices we make as individuals matter and have an impact on the environment by referring to recent events like the Australian Bushfires.
Another form of information we presented in our posts was where to buy different clothing items. This included ‘Depop’ and ‘Nuvonu, on the Tuesday store’ as well as Instagram pages such as ‘what goes around NYC’. We tagged these pages in our posts to make it easy for viewers of our content to access the official pages of these second-hand designers and businesses. The posts we created on our pages also targeted different audiences, such as both curvy and slim body shapes - this meant as many different viewers as possible could engage in the target behaviour.
Resonance
This coincides with the ‘E - emotional’ aspect of the STEPPS framework and appeals to the feelings a consumer or content viewer may experience. Mainly we wanted individuals to feel enough, so they act.
The name of our campaign (#Daretovintage) was inspired as we recognised that individuals want to be different. The use of the word ‘dare’ implies something risky, different, and that stands out from the norm.
The slogan we used was ‘Fashionable, Forward-Thinking and Kind’ and was in our Instagram biography. This tackled three different aspects:
Fashionable - suggesting the target behaviour is trendy, stylish and thus desirable.
Forward-thinking - suggesting that by participating in the challenge, individuals would be perceived as progressive, and who want change for the better using unique, innovative ideas
Kind - implying that those who participate are good, a sense of social affirmation from not only us as the content creators with authoritative influence but also others who engage with the page, be it friends or just the broader public of Instagram
Crucially, each word used in the slogan tackled a social, logical and personal/emotional aspect, respectively.
This principally focused on satisfying what some consider an intrinsic drive; a human need to belong, to affiliate with others and gain social acceptance, and the need for positive self-presentation (Mann, 1969).
Representational redescriptions
This mainly refers to reiterating a message in different ways to make the solutions for the problem seem more attractive.
According to Cruz, Leonhardt & Pezzuti (2017) found that second-person pronouns enhance consumer involvement and brand attitude on social media platforms as it increases the extent to which consumers engage in self-referencing. This concept of self-referencing coincides with the theory of internalisation and participating in a deeper level of persuasion for individuals to enact a specific behaviour (Kelman, 1958).
Hence, we were incredibly careful with the language used in our posts and to describe second-hand clothing as we were aware of preconceived notions and negative stigmas attached to wearing pre-loved items. Interestingly, when searching for synonyms for ‘second-hand’, words such as ‘old’ and ‘worn-down’ came up. This highlighted the depth of the associations with this word and hence we chose ‘pre-loved’ or ‘vintage’ to describe items in a more positive way.
We also used adjectives such as ‘authentic’ or ‘unique’ and even used them as nouns in our posts to emphasise engaging in this movement was setting a new trend for others to follow. Participants were often referred to as ‘change-makers’, or ‘trend-setters’ and pronouns such as ‘we’ to promote inclusivity amongst us (as content creators) and people involved with the challenge were implemented. This corresponds to the ingroup-outgroup bias, which can be very useful in evoking changes in behaviour (Tajfel, 1974). So, for individuals who did not engage in the action, we used the word ‘you’ and phrases such as ‘When will you join us and make the change?’ were used in our captions. Therefore, content viewers would feel they were part of the outgroup and thus, to improve their self-image would want to engage and experience the inclusivity of being at the forefront of a movement which seemingly everyone is joining in with.
We also associated wearing second-hand clothing as a ‘smart’ choice. This is because according to (Mann, 1969), individuals also want others to have a perception that they are intelligent as well as unique and standing out. Park, Kee and Valenzuela (2009) support this as their findings in a study on Facebook participation, identified psychological needs that explain engagement on social media such as self-status seeking.
Resources and rewards:
We needed to make target behaviour easy to engage in as well as desirable or incentivised. Why? A study conducted with 295 people regarding travel behaviours highlighted that individuals are less likely to engage in potentially pro-environmental acts such as catching the bus as opposed to driving their car or their own motorcycle. The reason is because of people's perception of a threat to their self-identity present (Murtagh, Gatersleben & Uzzell, 2012).
We incentivised participation in the challenge with the reward of feeling good about oneself but in particular social recognition as individuals who took part were re-posted onto our page. Hence, we capitalised on the positive impact of making the ‘right’ choice as opposed to guilt-tripping individuals into engaging with the target behaviour. This is known as ingratiation influence whereby a person is persuaded to conform to gain acceptance from other individuals, motivated by social rewards (Mann, 1969).
With regards to resources, we created 3 steps to the challenge that was purposefully simple and vague.
Crucially, for step 1, the item of clothing could be a borrowed or gifted item as well as something bought from a second-hand clothing store. This enabled us to redefine the meaning of second-hand clothing for the target audience, so they had many options in how they could engage in the target behaviour.
Notably, step 2 was purposefully vague, so individuals had the autonomy to decide how to present their item of clothing; it could just be a photo of them wearing the second-hand pieces, which could be shared either as an Instagram post or a story.
Step 3 enabled individuals to tag whoever they wanted and gave individuals a sense of power and social influence over other individuals, mostly reinforcing the feeling of being a change-maker and initiating a chain reaction to create positive change. It would also reiterate this sense of a positive self-identity as well as a positive representation of an individual being presented to social media users.
STEPPS framework
Social currency
This aspect of Jonah Bergers’ framework reinforces what was aforementioned with regards to the importance of our social perception and representational redescriptions. Social currency, on is the idea that people try to maximise their social status by looking good, smart and/or knowledgeable in front of others (Pressgrove et al. 2018). We handled this directly by getting individuals who engaged in the challenge to tag other individuals. Thus, the participant and non-participant were open to possible evaluation from a passive audience as well as an active one.
Stories
This was a remarkable aspect of the STEPPS framework and something unique to the others we researched. This element placed emphasis on enabling individuals to create their own narrative. In essence, this is because ‘stories’ are what travel and persuade by carrying the project idea as opposed to the other way round, as found in Goosseff’s study (2014).
‘Electronic word of mouth’ is what we hoped would increase engagement in our challenge (Pressgrove et al. 2018). However, we had to allow Instagram-users to make the individual stories exciting, so our idea and content were interesting enough to be discussed. Hence, we enabled this as we gave individuals the opportunity to ‘share their experience’ of where their pre-loved item was from and to make their posts or stories exciting enough so they would want to tag others to view it and get involved (Pressgrove et al. 2018). This triggered greater awareness, interest and adoption of the desired behaviour from Instagram-users.
Halo effect
This is a term used to describe an individual’s increased desire towards a line of products due to positive experiences with other products by this maker (Kahneman 2011). This related to our project as individuals tended to like photos, follow our page and then post something for the challenge. Although this was not originally a technique we intended to use, it appeared this success of the posts and the order in which individuals engaged with our page and the challenge, meant increased interaction, gradually growing higher from level to level. This also corroborates Gardners’ theory that behaviour change is a gradual, not an immediate process (Gardner, 2004).
Report on Engagement
In almost 2 weeks, we were able to reach nearly 500 followers with 1,638 profile visits from March 1st-10th, 2020. The age range of our followers varied greatly, but 44% of our followers correlated with our targeted audience (18-24-year-olds) and approximately 66% were between the ages 13-24 years of age, a clear majority of our engagement thus coming from younger generations.
Our challenge took off rather quickly, with each new participant joining in by having gotten tagged by their peers. Within a week of posting consecutively, we were able to obtain 42 participants to join in. In essence, 38 people had the #DareToVintage Challenge shared through their Instagram stories and the other 4 through a feed post. Crucially, we noticed the feed posts, arguably a more definite engagement in the behaviour as it does not disappear unless archived by the individual, increased as the week went on. Attached below are some of the examples of our followers’ participation in the #daretovintage challenge.
We drove our audiences’ engagement by uploading more feed posts and stories daily, as well as actively re-posting our participants' uploaded content through our stories. Although stories are only available on Instagram profiles for a 24-hour window after they are posted, we were able to preserve their stories with Instagram's highlight feature. The feature allows us to group our participants' stories in a section we named '#DARETOVINTAGE' that sits below our Instagram bio along with our other highlights. Therefore, our old, new, and potential followers will be able to tap into our highlights and watch any time they like.
Along the course of our challenge, we were able to receive two influencer engagements. Tobias Hartmann, who is an Instagram influencer in the field of fashion with almost 14 thousand followers, also partook in our #daretovintage challenge. What is more, having taken an interest in our cause, film producer Sheila Timothy with 38 thousand followers on Instagram was willing to promote our page.
(We have been given permission to put these pictures up by the parties involved)
Given the fact that our participants were much more willing to share a story than a feed post, we want to analyse stories in terms of attaining reach with stories, since this was the intended effect of peer-to-peer word of mouth. Reach refers to how many people were exposed to the post in itself. Our top reaching five stories were all from participants in the challenge, who tagged their friends, and provided a story about the problem, and why they cared. Curiously, the top 5 posts were male users and coincidentally; the gender distribution of our followers is also made up of 65% male audiences. This was in a way, surprising, as an unintended effect (and limitation) of our content was its focus on women - for instance, we did not provide information on overcoming the fashion selection unavailability for men in our posts. Below attached are the screenshots of the top 5 reaching stories, which happened consecutively.
[Please note the cover-up of faces and handles is done to comply with project ethics, although these stories were voluntarily made publicly available in its 24 hours of availability by participants.]
We analysed our own posts, in terms of reach, engagement, likes and profile visits derived from each. Engagement speaks about users spending time interacting with the post, in screen time on the post. Likes refer to how many people clicked ‘heart it’, and profile visits point to how many profile visits did that post lead to.
Our page was able to reach 716 accounts and has successfully obtained 8,931 audiences from March 4-10th. These were our top 3 posts in terms of reach:
A clarification posed by the question “What do we mean by pre-loved?” which contained an explanation, as well as a statement that it is the most sustainable fashion. This was followed by a caption with a metaphorical fact, giving instructions stating how “we” can participate in the challenge.
A shared screenshot of a Depop seller’s piece, followed by a caption including a description, price and an introduction to the seller’s profile. Depop is a mostly second-hand online marketplace, where individuals sell their items directly to one another. We tagged the seller who re-post.
Artwork created by an Instagram artist, with a caption linking the “give yourself the freedom to create something different” with “creating a sustainable world (...) [with] a vintage wardrobe”. We tagged the artist, who did not re-post.
Engagement-wise, these were our top 3:
‘You can never be overdressed or overeducated” sewn into textile. This was followed by a caption stating “Well-dressed + well-educated = #DareToVintage.”
Butterfly artwork with a reflection caption on the ephemeral nature of our lives, but their possible everlasting beauty of the actions guiding them, like the butterflies.
A self-created design stating the finding that fashion is responsible for 10% of carbon emissions, more than international flights and maritime shipping combined.
The top 3 liked posts were in the same order of engagement, except that the first desired picture was the second most engaged-with picture, and the first most engaged-with picture, was the second most liked picture. The success of the posts on Instagram alludes to the ‘halo effect’ which suggests first-impressions of a person or organisation is seen as attractive or good-nature, will lead to more positive interaction (Kahneman 2011). Kahneman (2011) also gave guidelines for content messaging, highlighting the importance of intense colours but simplicity in creating a compelling message, which we have followed in all posts to deliver a persuasive pitch in a quick-impression based platform.
Our top 3 profile-visit encouraging posts were these:
A self-designed post from one of our challenge participants sharing a post in her own feed. We got consent from her to use her image to share it and showcase participation while adding a creative touch.
A clarification posed by the question “What do we mean by pre-loved?” which contained an explanation, as well as a statement that it is the most sustainable fashion. This was followed by a caption with a metaphorical fact, giving instructions stating how “we” can participate in the challenge
A “Change your mind” light art photograph, with a caption from Anne Frank, saying “How wonderful it is that nobody need wait a single moment before starting to improve the world.”
In conclusion, the most successful posts seem to follow the different strategies mentioned in the previous section that legitimise second-hand clothing through flooding various forms of influence including on a personal, social and community level. We tried to capitalise on the social currency by publishing material that would exemplify the social status by identifying with the #DareToVintage movement and challenge: to be environmentally conscious, intelligent, a savvy purchaser, collective-focused, fashionable and kind (Laitala and Klepp 2018; Pressgrove et al. 2018).
6. Future Work
We are pleased with the current outcomes of our project as it has experienced success.
There are several ways our project could be improved, so in some ways, it may be considered as a pilot study that can be built upon. Firstly, we could have provided more male-oriented content, not just female-oriented content to appeal to a broader audience. This is of particular importance as aforementioned our top 5 posts were of male participants. Furthermore, the project could be enhanced with more partnerships from the fashion industry by expanding our definition of vintage to include upcycled fashion, potentially galvanising brands and a crowd that is still wary of outdated style associated with aged clothing. We would need to also create better connections with people in the fashion industry. This is the case if what we want is to reach out to individuals who are willing not only to showcase behaviour to influence behaviour change but who are actually changing their own anti-vintage fashion behaviour. Research on how to do this would be necessary.
To make it easy for individuals to engage in the target behaviour and to incentivise uptake, we did not demand story-telling posts. As seen from the top stories of engagement by participants, those that shared a story in their post touching upon why they engaged in the challenge as well as discussing their chosen pre-loved fashion items actually drove much higher engagement. This is crucial as it highlights asking people to story-tell could encourage more significant activity and participation from other Instagram-users.
Lastly, an interesting point was the need to do further research to get influencers on board, even if they have conflicts of interest with the project - such as branding or being paid by fashion labels. We include screenshots of this extracted from a conversation of this obstacle.
We hope our recollection of the #DareToVintage project, with its limitations and purposes, can help inspire and drive sustainability projects targeting behaviour change.
In terms of ensuring continued and increased participation, the project should be kept running for a longer time. Thus, we will continue the #DareToVintage project and strongly encourage others to persist in designing, promoting and refining their own behaviour change projects, so we can drive the change you want to see in society, collectively.
Project Credits: Valeria Reinoso, Aradeta Yapsir and Sabah Rafique.
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