मेमो: ओलंपिक फैशन

8 अरब डॉलर से ज़्यादा के बाज़ार मूल्य और 2020 के 6.16 अरब डॉलर के वार्षिक राजस्व के आंकड़े को पार करने के साथ, राल्फ लॉरेन की बराबरी करने वाले बहुत कम ब्रांड हैं। और शायद यही वजह है कि इस साल के टोक्यो ओलंपिक में इसका स्वागत उसके ठंडे ब्लेज़र जितना ही ठंडा रहा है। न्यूयॉर्क टाइम्स की मुख्य फ़ैशन समीक्षक वैनेसा फ्रीडमैन ने हाल ही में कई प्रगतियों पर रिपोर्ट दी:

ध्वजवाहक सू बर्ड और एडी अल्वारेज़ की नेवी जैकेट में वह तकनीक शामिल है जिसे ब्रांड ने आरएलकूलेंट तकनीक करार दिया है। [ 1 ]

ब्रांड ने सिंथेटिक फाइबर से तकनीकी डेनिम के निर्माण की ओर भी कदम बढ़ाया, जो कि उस उद्योग में एक स्वागत योग्य प्रगति है, जिसमें मिनिस्ट्री ऑफ सप्लाई और मिज़ेन + मेन जैसी कंपनियों ने 2011 में अग्रणी भूमिका निभाई थी।

ओह, और "जींस" (ज़ाहिर है, उनके पास जींस होनी ही थी: राल्फ-डिज़ाइनर भी ब्लैक टाई इवेंट्स में अपनी खुद की फीकी डेनिम पहनते हैं) एक विशेष नई सामग्री से बने होते हैं, जिसके बारे में ब्रांड का कहना है कि यह "सिंथेटिक प्लास्टिक से मुक्त है।" [ 1 ]

प्रीपी वियर और टेक्निकल वियर, दोनों ही उद्योगों के एक अनुभवी होने के नाते, मैं इन सुधारों की सराहना करता हूँ। ये सुधार ध्यान आकर्षित करने के योग्य हैं, और कंपनी का घरेलू निर्माण पर ज़ोर भी। ये स्वागत योग्य प्रगति हैं और कोई भी आरएल की तरह बाज़ार का परीक्षण नहीं कर सकता। लेकिन आम जनता इन प्रगतियों को इसके महान, अंतर्राष्ट्रीय मंच के योग्य नहीं मानती। हालाँकि राल्फ लॉरेन ने 2008 से अमेरिकी एथलीटों के लिए उल्लेखनीय काम किया है, लेकिन तब से बहुत बड़ा बदलाव आया है। यह ब्रांड किसी तकनीकी या आपूर्ति श्रृंखला की कमी से नहीं जूझ रहा है; बल्कि एक सांस्कृतिक कमी से जूझ रहा है। द न्यू प्रेप में, मैंने बताया था कि राल्फ लॉरेन, टॉमी हिलफिगर और ब्रूक्स ब्रदर्स पर सांस्कृतिक रूप से अप्रासंगिक होने का खतरा मंडरा रहा है:

राल्फ लॉरेन और टॉमी हिलफिगर जैसे खुदरा विक्रेताओं के लिए, अफ्रीकी-अमेरिकी स्ट्रीटवियर संस्कृति ने उनकी शैलियों को अपनाया। स्वाभाविक रुचि के इस नए आधार ने 1990 के दशक में दोनों ब्रांडों को असाधारण ऊंचाइयों तक पहुँचाया। राल्फ लॉरेन कॉर्पोरेशन (और इसका 5.5 बिलियन डॉलर का बाजार पूंजीकरण) उस आकस्मिक सांस्कृतिक प्रभाव का लाभार्थी बना हुआ है।

2008 के बाद से जो कुछ हुआ है, उसकी भविष्यवाणी शायद ही कोई कर सकता था। ऐमे लियोन डोर, नोआ, किथ, टेल्फर, टॉड स्नाइडर (अमेरिकन ईगल के स्वामित्व वाले) और रोइंग ब्लेज़र्स जैसे ब्रांडों ने प्रीपी होने के मायने को नए सिरे से परिभाषित करने में योगदान दिया है। हर किसी के अपने-अपने तरीके से, इन ब्रांडों ने वह स्वीकार किया है जो राल्फ लॉरेन ने अपने सबसे महत्वपूर्ण विकास चरण के दौरान नहीं किया था। जीक्यू की रेचल ताशजियान के अनुसार, यह एक नया अमेरिकी स्पोर्ट्सवियर है। यह प्रामाणिक और समावेशी है।

जिस संस्कृति ने 1980 और 1990 के दशक में राल्फ लॉरेन के लिए गलती से क्रांति ला दी थी, उसने आज प्रीपी संस्कृति को लगभग निगल लिया है। हैम्पटन में, रिबेका मर्सर उसी समुदाय में रहती हैं जहां सीन कॉम्ब्स रहते हैं। अभिजात वर्ग के प्रारंभिक स्कूलों में, किशोर छात्र जीप रैंगलर में हिप हॉप सुनते हुए और स्कूल द्वारा जारी प्लेड और खाकी के साथ जॉर्डन 1 पहने हुए अपने परिसर के प्रवेश द्वार पर पहुंचते हैं। ये दृश्य न्यू जैक सिटी की कल्पना को क्रूर इरादों से ज्यादा याद दिलाते हैं। उनके पॉप संस्कृति के आदर्शों की त्वचा भूरी और काली है। और अगर उनकी त्वचा नहीं है, तो वे ऐसे कलाकारों से प्रभावित थे जिनकी त्वचा भूरी और काली है। सप्ताहांत में, प्रीपी के हाई स्कूल और कॉलेज के वार्डरोब स्टॉकएक्स या गोल्डन गूज से प्रभावित होते हैं

यूटा के 171 वर्ष पुराने दैनिक समाचार पत्र डेज़रेट न्यूज़ में 1990 में प्रकाशित एक लेख इस प्रकार शुरू हुआ:

यदि 1980 का दशक एक फिल्म होता - और अभिनेता/राष्ट्रपति रोनाल्ड रीगन के दशक के वर्चस्व को देखते हुए यह रूपक लगभग अपरिहार्य है - तो क्रेडिट लाइनों में राल्फ लॉरेन की वेशभूषा को शामिल करना होगा। [ 2 ]

टोक्यो ओलंपिक की बात करें तो राल्फ लॉरेन की अमेरिकी तैयारी की अभिव्यक्ति 1980 के दशक की परंपरा है, 2020 की वास्तविकता नहीं। और जब आप संस्कृति की ऐसी अवधारणा पेश करते हैं जो अमेरिका को सटीक रूप से प्रतिबिंबित नहीं करती, तो आपको नीचे दिए गए जैसे अनगिनत जवाब देखने को मिलते हैं:

माइक सिंग्टन ने ट्विटर पर लिखा: "टीम यूएसए ओलंपिक उद्घाटन समारोह की वर्दी डिज़ाइन करने के लिए हमेशा राल्फ लॉरेन को ही क्यों चुना जाता है? हमारे अमेरिकी एथलीट एक विविध समूह हैं, वे न्यूपोर्ट या हैम्पटन जाने वाले कोई सजे-धजे गोरे लोग नहीं हैं। pic.twitter.com/JaTCH6tEu9 / Twitter"

टीम यूएसए ओलंपिक उद्घाटन समारोह की वर्दी डिज़ाइन करने के लिए हमेशा राल्फ लॉरेन को ही क्यों चुना जाता है? हमारे अमेरिकी एथलीट एक विविध समूह हैं, वे न्यूपोर्ट या हैम्पटन जाने वाले कोई सजे-धजे गोरे लोग नहीं हैं। pic.twitter.com/JaTCH6tEu9

उच्च समाज के अतिरंजित व्यंग्य की समस्या यह है कि यह इस धारणा को बल देता है कि न्यूपोर्ट, द हैम्पटन्स, कुलीन स्कूल और प्रतिष्ठित उद्योग (जो कभी 80 के दशक की युप्पी संस्कृति के लिए जाने जाते थे) जैसे स्थान अन्य संस्कृतियों से रहित हैं। यह सरासर सच नहीं है। वॉल स्ट्रीट पर आइवी से शिक्षित रंगीन बैंकर हैं। सर्वश्रेष्ठ स्कूलों में सांस्कृतिक और जातीय रूप से विविध छात्र हैं। बहुत कम लोग ऐसे कपड़े पहनते हैं जैसे वे ब्लॉक आइलैंड पर सप्ताहांत बिताने के बाद अपने स्कूनर को बाँध रहे हों। यह कहना कि राल्फ लॉरेन का अमेरिकी तैयारी का संस्करण आज की वास्तविकता है, यह कहना है कि जो लोग वर्तमान में उस संस्कृति में रहते हैं, वे उस संस्कृति के नहीं हैं। तो फिर हम कहाँ पहुँचते हैं?

हालांकि राल्फ लॉरेन की किस्मत ब्रूक्स ब्रदर्स से कहीं बेहतर है, लेकिन निस्संदेह एक नया गार्ड है।

शायद ऐसे ही ट्वीट्स की वजह से इंडस्ट्री के सबसे अनुभवी फ़ैशन लेखकों में से एक को जवाब देना पड़ा। उस ट्वीट में मैंने लिखा था:

यह शायद आखिरी साल है जब राल्फ लॉरेन ओलंपिक टीम के लिए कपड़े तैयार कर रही हैं। अगला डिज़ाइन चक्र संभवतः उन ब्रांडों का एक समूह होगा जो आज की पहचान हैं। नोआ, किथ, ऐम लियोन डोर, टॉड स्नाइडर, रोइंग ब्लेज़र्स, फियर ऑफ़ गॉड, टेल्फ़र, इत्यादि।

यह किसी भी तरह से कोई ख़्वाहिशमंदी नहीं थी। स्पष्ट रूप से कहें तो, यह संभव नहीं है कि फ्रीडमैन ख़ास तौर पर मेरे सुझाव का ज़िक्र कर रही थीं, लेकिन मुझे राल्फ लॉरेन की निरंतर भागीदारी को सही ठहराने के लिए उनके द्वारा दिए गए तर्क पर आपत्ति है। फ्रीडमैन का तर्क सरल है: आरएल का आधार पैमाने की अर्थव्यवस्थाएँ हैं।

वैनेसा फ्रीडमैन ने ट्विटर पर लिखा: "वे सभी लोग जो टीम यूएसए के लिए राल्फ लॉरेन की बजाय एक नए आधिकारिक ओलंपिक आउटफिटर की मांग कर रहे हैं - मैं समझती हूँ, लेकिन याद रखें: उन्हें 615 प्रतियोगियों और कोचों आदि के लिए मुफ़्त कपड़े बनाने में सक्षम होना चाहिए। उस बजट वाले डिज़ाइनर सीमित हैं। / ट्विटर"

वे सभी लोग जो टीम यूएसए के लिए राल्फ लॉरेन के बजाय एक नए आधिकारिक ओलंपिक आउटफिटर की मांग कर रहे हैं - मैं इसे समझता हूं, लेकिन याद रखें: उन्हें 615 प्रतियोगियों और कोचों आदि के लिए मुफ्त कपड़े बनाने में सक्षम होना चाहिए। उस बजट वाले सीमित डिजाइनर हैं।

पैमाना उतना बड़ा नहीं है जितना कोई सोचता है। डिजिटल-मूल युग में जन्मे कई व्यक्तिगत ब्रांड हैं जो इसे अपने दम पर हासिल कर सकते हैं। ये केवल स्वतंत्र डिज़ाइन हाउस नहीं हैं, ज़्यादातर मामलों में ये वित्तपोषित व्यवसाय हैं। जेन्स ग्रेड और किम कार्दशियन द्वारा स्थापित कंपनी स्किम्स ने अपने दो साल के जीवनकाल में 154 मिलियन डॉलर जुटाए हैं। कंपनी ने "अमेरिकी ओलंपिक टीम के आधिकारिक अंडरवियर प्रदाता" की भूमिका हासिल करके सुर्खियाँ बटोरीं। रोइंग ब्लेज़र्स ने अल सल्वाडोर की ओलंपिक टीम में एक बहुत छोटे दल को तैयार किया , जो हाल ही में पुनर्पूंजीकृत कंपनी की अमेरिकी महत्वाकांक्षाओं का संकेत है। और क्वींस में जन्मे, लाइबेरियाई-अमेरिकी डिज़ाइनर टेल्फर क्लेमेंस ने लाइबेरिया की ओलंपिक टीम को सफलतापूर्वक तैयार किया - एक संकेत कि अगर अमेरिकी ओलंपिक आयोग आज की अमेरिकी संस्कृति की पुनर्परिभाषा पर विचार करना चाहे तो वह भी इस अवसर पर खड़े होंगे। बेयोंसे को उनके एक बैग के साथ देखे जाने के बाद, लोकप्रिय डिज़ाइनर हाल ही में मुख्यधारा में आ गए। जैसा बेयोंसे करती है, वैसा ही अमेरिका भी करता है।

फ्रीडमैन के अनुसार, इस अवसर का अर्थशास्त्र इतना कम नहीं है कि उसे कम करके आंका जा सके। और जबकि कुछ ही ब्रांड्स के पास 615 ओलंपिक एथलीटों को 80 परिधानों की आपूर्ति करने की बैलेंस शीट है, ऐसे कई तरीके हैं जिनसे इस तरह के काम को पूरा किया जा सकता है। एक पल के लिए फैशन से बाहर निकलें और आपको अपना समाधान मिल सकता है।

इस हफ़्ते, नोबुल के नाम पर एक वार्षिक आयोजन हो रहा है, जिसके अधिकार 10 साल के लिए रीबॉक के पर्याय बन गए थे। एमएलएस कप चैंपियन कोलंबस क्रू, स्वामित्व परिवर्तन और शहर की संस्कृति में अपनी भूमिका के प्रति फिर से बढ़ी रुचि के बाद, एक नए स्टेडियम में स्थानांतरित हो गया। जब 314 मिलियन डॉलर के लोअर.कॉम फील्ड की घोषणा कई लोगों को आश्चर्यचकित करते हुए की गई, तब नोबुल केवल तीन साल पुराना था। कोलंबस बिज़नेस फ़र्स्ट के अनुसार, इस सौदे का मूल्य 3-4 मिलियन डॉलर प्रति वर्ष है। ओलंपिक उद्घाटन समारोह भी ऐसा ही अवसर प्रस्तुत करता है।

यह संभव नहीं है कि आप कभी किसी फ़ैशन लेबल को किसी स्टेडियम या खेल आयोजन का नाम देते हुए देखें, लेकिन हैल्स्टन (1976), लेवीज़ (1980 और 1984), और राल्फ लॉरेन (2008 - आगे) ने एक ऐसा ही नाम स्थापित किया है। अगर किसी को अंतरराष्ट्रीय स्तर पर अपने ब्रांड को ऊँचा उठाने का मौका मिले, तो संभव है कि कोई आधुनिक रिटेलर इस जोखिम का फायदा उठाए और परियोजना को वहन करने के लिए आवश्यक राशि जुटाए। इसमें 10% यूएसओसी रॉयल्टी, आधिकारिक अधिकार, और ओलंपिक मेज़बान देश को पूरे सीज़न की इकाइयों की शिपिंग के लिए आवश्यक वस्तुओं की लागत शामिल है। बदले में, उस ब्रांड को अर्जित मीडिया, खुले दरवाजे, शीर्ष स्तर की रुचि, और शायद 2024 की गर्मियों की शानदार कहानी मिलती है।

एक ऐसा ब्रांड होगा जो राल्फ लॉरेन के बड़े पदचिह्नों को भरने के लिए उभरेगा। जब क्लासिक अमेरिकी संस्कृति की उनकी व्याख्या दुनिया भर में टेलीविज़न और स्ट्रीम की जाएगी, तो यह अमेरिकी तैयारी का एक व्यंग्य नहीं लगेगा। यह अमेरिका जैसा ही लगेगा। अगर राल्फ लॉरेन अगली पीढ़ी के अमेरिकी ब्रांडों को कमान सौंपने का फैसला करते हैं, तो ऐसा कोई ब्रांड नहीं होगा जो इस सम्मान को डिज़ाइन, निर्माण और शिपिंग न करे। वास्तव में, कम से कम कुछ ब्रांड सक्रिय रूप से इस अवसर की प्रतीक्षा कर रहे हैं। वे तैयार हैं।

वेब स्मिथ द्वारा | संपादक: हिलेरी मिल्नेस 

Memo: In Good Fashion

The merits of fashion retail have never been logical but for the best operators, there is a way to make sense of the chaos.

Likeability, brand equity, and appeal can shift in an instant. But there are predictors of success and failure. Historical benchmarks have long been available to serve as guideposts for the savviest retailers looking to navigate tumultuous times of the present. Manufacturers have thrived during war, recession, protest, and pandemic, and only the poorer performers cited external factors as cause for concern.

A common misconception in the digitally native vertical brand industry is that the previous year of the pandemic is thwarting the growth of fashion retailers, harming sales projections, stifling growth, or shuttering doors. The hard data contends there’s more to the story. Of the current top 100 fastest-growing direct-to-consumer brands tracked by 2PM, 40 are fashion retailers, while four are in the top 10. This has been a breakout year for fashion.

Updated for the week of 2/8/2021

A number of modern brands deepened community and developed foundations for explosive growth over the last 12 months: Parade, Rowing Blazers, Madhappy, Aime Leon Dore, Tracksmith, Buck Mason, Gymshark, and Monica & Andy are but a few. For the retailers who struggled through the last year, this memo can serve as a helpful reset.

The average American buys a piece of clothing every five days. A study of historical crises will show that our behaviors do not slow to halt during moments of distress. Instead, they change; we allocate our spend differently. We limit our purchases to “affordable pleasures” or we shift to differing styles that represent the feel of the moment in question. We are wired to buy things to wear and we do so frequently, even the most frugal of us. What changes is how we express our individuality in evolving times.

Consider Ralph Lauren’s rise in the late 1970s and early 1980s despite a catastrophic American recession. A 1990 article in Utah’s 171-year-old daily paper Deseret News began:

If the 1980s were a movie – and the metaphor is almost unavoidable given actor/president Ronald Reagan’s domination of the decade – the credit lines would have to include costumes by Ralph Lauren. [1]

The designer identified and marched forward on a new approach to an established idea, the article explains: The New Traditionalism or “the baby boom’s kitschification of the middle age.” Lauren wasn’t the first; an even greater example of this strategy is 1947’s launch of then-obscure designer Christian Dior’s first line.

In 1947, my first collection was successful beyond my wildest dreams. 

After departing the army in 1942, the 37-year-old Dior joined the Lucien Lelong fashion house alongside a gentleman named Pierre Balmain, the house’s other primary designer. Drio, along with Lelong and Balmain, labored to maintain France’s fashion industry throughout World War II. Five years later, Dior launched his design house’s debut fragrance. The bottled Miss Dior perfume was a tribute to his sister Catherine who was liberated from a concentration camp just two years prior. Inspired by the country’s Belle Époque period of the late 1800s, Dior preceded Ralph Lauren in a period-driven return to tradition. It was his admiration of that period, 50 years on, that influenced a femininity in his design that would eventually take the contemporary fashion world by storm.

Fashion has never been logical. Sometimes, timing is as much a factor as anything else. For Dior, timing couldn’t have been better. Fast Company’s Liz Segran recently covered COVID-19’s effect on fashion trends. She cited Dior’s prescient strategy and brilliant timing:

During World War II, for instance, women wore jeans and overalls as they took over men’s jobs. Then, in 1947, Christian Dior unveiled his debut collection, which featured figure-hugging jackets, fitted waists, and A-line skirts. It was a radically feminine look that repudiated the utilitarian, masculinized garments of the previous years—and that was the point. Around the world, women swooned over this style, dubbed the “New Look,” which became a dominant fashion trend of the late 1940s and early 1950s. [2]

This next part is prescient. In that Fast Company report, Segran went on to explain the dynamic of women wearing men’s workwear, including overalls and denim, during the war. She cited author Kimberly Chrisman-Campbell explaining how, even after the war concluded and the pendulum swung to a radically feminine look, the fashion trends of the war persisted:

After a crisis, there is a backlash, but there is also a lasting effect. Both of these can be true at the same time.

The war years normalized a new era for womenswear, including pants and garments that were never before considered customary. This sheds light on the potential post-pandemic behaviors of today.

The retail industry has suffered from foundational issues. The reliance on debt leverage to fund growth and inventory has contributed to legacy companies filing for bankruptcy. Of these, J.Crew, Brooks Brothers, JCPenney, and Neiman Marcus are three of many.

However, like womenswear post-World War II, the reset is not as clear as once thought. America’s current comfort in casual wear is likely to persist in the home and places of work for years to come. Consumers did buy clothes to wear during the pandemic despite the remote work trend, stay-at-home orders, and distance learning. The clothes or the messages by the retailers were just unique to the time.

Good Fashion, Bad Everything

This year, traditional retailers like VF Corporation’s The North Face grew in prominence through careful merchandising, streetwear adoption, and savvy collaborations (See: Gucci). Lululemon’s stock is trading near all-time highs. And Gucci has become the “preferred” luxury brand of Generation Z.

While many brands are suffering, and some have had to take drastic measures like permanently closing stores, other brands like Dior or Louis Vuitton have been performing well, indicating that the pandemic is hitting brands with pre-existing conditions harder. [3]

Direct brands like Parade climbed from relative obscurity to $10 million in annual revenue. Rowing Blazers, a traditional menswear retailer, showed up on everything from NBA stars to Princess Diana in Netflix’s The Crown. Madhappy used savvy merchandising, a persisting message, and their partnership with LVMH to earn Lebron James’ attention in the NBA bubble. The brand is now one of the most coveted streetwear brands born in the last five years. Gymshark accepted its first funding, landing at a valuation north of $1 billion. And Tracksmith, the amateur running brand, finally caught the attention of the mainstream after years of quiet growth. It is now featured across the airwaves thanks to the success of their succinct and aspirational advertising strategy.

Like Ralph Lauren’s rise to prominence during an economic recession and political and cultural reset, and Christian Dior’s establishing of a new post-war tone for American women that flew in the face of other trends, the brands that succeeded during our most recent global crisis did so because they were properly equipped. In each case, they all share (1) smart marketing, (2) savvy merchandising, (3) a messaging strategy that cuts through the worried noise, and most importantly, (4) appreciation for the history of the industry.

For the brands that struggle to regain their footing, at least one of the above four are missing. The pandemic has served as a mirror for modern and traditional retailers alike. Walk into a J.Crew and you may feel soulless. Walk into a Rimowa store and you will feel the sense of New Traditionalism that catapulted Dior and Ralph Lauren to generational success. An over-reliance on physical distribution, pay-per-click advertising, traditional merchandising cycles, academic marketing strategies, and stale interpretations of customer profiles are the preexisting conditions that culminated with the current state of retail distress.

It doesn’t have to be this way. Study the best practices of the past. There will always be momentum shifts, forth and back, over time. The brands that survive are studied in sociology, customer understanding, brand history, communication, and the experiences that elevate a product into a moment. These brands capture more than eyeballs; they capture imagination. It’s the one constant of an enduring brand over decades of ebbs and flows.

वेब स्मिथ द्वारा | संपादक: हिलेरी मिल्नेस

New to 2PM? Read the rest of the 662nd edition.

Memo: H.E.N.R.Y. Revisited

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Every week, there is a new retailer in distress. It’s time to consider how much of America’s retail economy was built on a class of consumers that was never as static as once believed: the middle class.

Many legacy retail brands, marketplaces, and department stores are at an impasse. For decades, they successfully marketed to a group of Americans that would neither rise nor fall from their economic standing. When that consumer cohort faced job losses or other financial uncertainties, retailers responded by offering promotions to attract them to their stores. In the previous decade, those promotional efforts haven’t let up. Few retail executives seemed to consider the longer-term sociological trends that impact class and consumer confidence.

Consider Ralph Lauren Corporation’s (RL) current struggles. According to a Credit Suisse report, the retailer grew digital sales just 3% in Q2 of 2020. This was against the backdrop of historic online retail growth for retailers. The stock is currently trading near five-year lows; much can be attributed to their poor promotional strategy and a lack of investment into direct-to-consumer business. According to Retail Dive:

The brand also noted in its meetings with Credit Suisse that it plans to take the pandemic as a time to aggressively pivot from low-value online customers and pursue higher-margin customers, a demographic which the company believes to be more accommodating of its recent price increases, reduced promotions and higher-end selection of products. [3]

A product of the 1980s, Ralph Lauren and its peers assumed that some things would never change. That didn’t hold true.

From the Far South to the North Shore

Like many children of the ’80s, I devoured films like The Breakfast Club, Sixteen Candles, Ferris Bueller’s Day Off, and Uncle Buck. The films were idyllic. From the images of economic prosperity to the confidence of the characters, I was drawn to it all. It wasn’t until I was an adult that I realized the cultural implications that served as the backdrop of John Hughes’ work – the fractured city, itself.

Mr. Hughes, whose father was a roofing salesman, used these communities to explore issues of class, status and consumerism as well as the tension and attraction between suburb and city in ’80s America. [1]

The basis of 2PM’s Regarding HENRY report was the 1980s Lisa Birnbach book, The Official Preppy Handbook. That book, along with Hughes’ work, projected an image of ascendant wealth, ease, and certainty to an entire generation of consumers.

The book was written for what was then called Yuppies: a young person with a well-paid job and a fashionable lifestyle. Originally published in October of 1980, the book was co-authored and edited by Lisa Birnbach and illustrated by Oliver Williams. The manuscript played second fiddle to the now-iconic illustrations, ones that served as a guide for consumers and brands for nearly two decades. It was more than a north star for where to go to school, or party on weekends, or which members-only clubs to apply to. [2PM, 2]

Like Hughes’ work, Chicago’s North Shore is omnipresent throughout Birnbach’s satirical take on wealth and class in America. My youthful fascination with Hughes’ Chicago was replaced by a newer, more inquisitive one as I began to visit the city in my 20s and 30s.

America is bifurcating socially, politically, and economically. In these scenarios, the masses move towards one of two proverbial poles. In many cities, there cannot be one without the other. In Chicago, the poles are also literal. Over decades – with a diminished focus on achieving a steady middle class – some resources shifted away from the working class and towards growing the upper class. Most of the resources were misspent elsewhere, furthering the disadvantage of the working class. In just a 45 minute drive through Greater Chicago, you can observe two distinct worlds of diametrically opposed attributes: war versus peace, struggle versus ease, shortfall versus abundance.

This part of the Midwest region along Lake Michigan is a living example of Heraclitus’ Doctrine of Flux and the Unity of Opposites [5]. A Greek philosopher who lived around 500 B.C., Heraclitus claimed that each opposite is inseparable. The opposites depend on one another; this dependence forms the identity of each opposite. If one of the pair disappears so will the other, according to the philosopher.

Imagine two contrasting worlds separated by 25 miles and you’ll begin to understand Chicago’s disparities. The design of the city has bolstered this divide. There are physical barriers, bridges that can be lifted, and a quiet tension between the haves and the have nots. As of recently, the tension has grown beyond quiet and beyond the artificial borders. A citizen who lives in the city’s far South Side has a median wage of $26,400, according to a 2018 article in The Atlantic. However, an astonishing one-fourth of the city’s citizens earn north of $100,000. According to Redfin, the average home price in the North Shore area of Winnetka is $1.28 million. The respective unemployment rates of the North and South Sides are 4.7% and 16%, according to the same report. One cannot exist without the other; both sides squeeze the middle.

When I last visited Chicago, I saw it for myself. In August, I drove from O’Hare Airport towards the 100-block of East 132nd Street to visit an old friend’s grandmother. I stayed at her home for 45 minutes or so, but the impression was lasting. Everyone that I encountered wanted the literal and figurative mobility that many who read this will take for granted. In the week that followed, six local residents would die within one-fourth of a mile from the porch where I sat. The Eden Garden neighborhood of Chicago has an intensity that you won’t quite understand until you’re there for yourself.

I made my way from East 132nd street and along Route 41. One lakeside road ushered me from the city’s South Side to Evanston, one of the most noteworthy areas along the city’s North Shore and the home of Northwestern University. This is John Hughes’ and Lisa Birnbach’s Chicago. The experience was diametrically opposed to my 45 minutes elsewhere: peace, ease, and abundance. I was comfortable enough in both worlds to be able to assess their impact on the other.

In every city, you will find these lines of demarcation, though few are as clear as Chicago’s. The pandemic has accelerated the reshaping of the groups defined by these lines.

On one side, remote work is practical and desirable. Access to capital allows for short-term gains in the stock market. Savings accounts and low unemployment rates ensure a continuation of life within the new normal. It’s as if this period of economic distress hasn’t existed at all.

On the South Side, wage work and income require a physical presence and a tolerance for health risk. These are the dignified hourly workers that make our economy move, though they receive no credit for doing so. There is little to no access to capital on their side; there is no taking advantage of record market gains during record highs in unemployment. There isn’t even capable WiFi access for many. For these citizens, nothing is the same as it was before the lockdown. Matters found a way to further devolve. And for a subset of them, impossibly hard circumstances have worsened. Remote learning is mandated for families whom cannot work from home or support the infrastructure required to learn remotely.

This is the backdrop. American retailers suffered because they didn’t foresee the bifurcation of wealth, access, and humanity that was staring back at them. When you review a list of bankruptcies and closures, you will notice that they will skew towards companies that have built strategies around a perpetual middle class. But in my trip along Route 41, there was no middle class to observe. For our consumer economy (one that employs nearly 30 million Americans) to return to form, enterprise retailers will have to understand the core message of “HENRY.” The middle was never really static at all.

HENRY Revisited

The HENRY designation is short for “high earners not rich yet.” The acronym system of identification has become popular with analysts, however, this consumer classification has gone largely ignored by enterprise retailers.

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Whether by acronym or not, the pandemic has been witness to this phenomenon. Access to suburban escapes, remote work or educational benefits, and day-trading volume were but a few of the tell-tale signs. In New York and Brooklyn, residents fled to New England and the Hamptons. In the Midwest, the upper peninsula of Michigan was a hot spot for this psychographic. On the West Coast, rents in the Bay Area’s suburbs grew as rents in the city fell as much as 15%.

When Ralph Lauren Corporation cites a strategy to modernize its business by creating “smart customer profiles,” it is the HENRY designation that the brand is speaking of.

The HENRYs are advancers, not necessarily those who have cleared the wealth bar to America’s elite class. In fact, many are working to leave the middle class as if it’s a blemish on their personal ambitions. In this way, the term is more inclusive than the yuppie moniker of yesteryear. It’s also a symptom of our current economy, one where the cost of living can begin to erode long-term investments like real estate, money market funds, or other equities. [2PM, 2]

As Heraclitus wrote, “life is flux.” The focus on early identification of the upwardly mobile is one that will become commonplace in marketing and branding. As target metrics like customer acquisition cost (CAC) and lifetime value (LTV) dominate eCommerce-first retail, I’d argue that there is another that will arise: duration of loyalty (DOL). Brands will identify certain customers early and follow them throughout their education and careers, a strategy commonly practiced in the automobile industry.

As enterprise retailers like Ralph Lauren begin to smart-target the middle class, the days of shallow promotional efforts will give way to the notion of flux. By targeting these customers appropriately, the hope is that many will remain loyal as they ascend to greater discretionary income and higher consumption.

In Sanitized Urbanization, 2PM explored the larger trend of urbanites moving to suburban areas. Across America, the upwardly mobile pursued exurban peace, ease, and abundance. Some sought permanent moves. In theory, these areas brought a calmer pace, cleaner air, and functioning local retailers. These were things that were once considered essential, today they are luxuries. In these areas, amenities like parks and beaches provided a sense of normalcy.

Sanitized urbanization removes the perceived risks of living in urban areas while adding the value of – what’s often – upgraded infrastructure, improved schools, and lower tax bases. It is likely to become a politicized issue once urban municipalities begin to suffer the full force of the migration away from city centers. [2PM, 4]

Like many phenomena, the pandemic accelerated existing trends: sanitized urbanization, remote work, online retail, in-home fitness, and a decreasing dependence on personal vehicles. For the professionals who were comfortable with this shifting economy, a great many of them achieved financial breakthroughs despite the economy’s vulnerability. The vulnerability has never been equally distributed. One of the last bastions of economic mobility is America’s 29+ million retail jobs. To protect what’s left of them, retailers must begin to see the market this way. The industry’s stodgy retail executives seem to lack the ability and foresight to do so.

This cohort of professionals is a cross-section of race, ethnicity, and gender though many share similar traits in quality of education, career, and social standing. This psychographic is due to become the key study in the next five to 10 years of retail marketing and communications development. HENRY is beginning to live up to its name. There is a new guard of creative leaders, solo capitalists, and ascendant executives to show for it.

वेब स्मिथ द्वारा | संपादक: हिलेरी मिल्नेस | कलाकार: एलेक्स रेमी | लगभग 2 बजे

Original Report: Regarding H.E.N.R.Y.