Exploring the UK's Gen Z consumer

emotions and response towards Luxury

fashion brands' use of gaming as
collaborations and marketing tools.

Chrystal Mae Bringas Agagon

A dissertation submitted in partial fulfilment of the requirement

for the award of the degree BSc (Hons) Fashion Management
London College of Fashion
University of the Arts London

24 May 2022

I
Declaration Page

“I, Chrystal Agagon, certify that this is an original piece of work. I have acknowledged all
sources and citations. No section of this BSc project has been plagiarised.”

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Acknowledgement

"I would like to express my gratitude to my dissertation supervisor, Ayshen Ali, for her
assistance throughout this study. I am grateful for her professional advice, inspiration,
and drive.

I'm also grateful to Affan Hameed and Max Tookey for sharing their SPSS data
programme knowledge and expertise.

Finally, I'd want to thank everyone who took the time to complete the surveys and
participated in the data collecting."

III
Abstract
Research context

Gaming has become a popular hobby and a platform for opportunities as technology
progresses. Using the high level of competition in the luxury fashion business,
manufacturers should think about partnering and collaborating with games. From a
consumer insights viewpoint, this study aims to provide a basic understanding of the
sentiments and reactions of the UK Gen Z market, which will be utilised to give
managerial suggestions to luxury fashion brands.

Purpose

To identify gen z reactions to gaming in luxury fashion as an understanding to

consumer insights and behaviour in the given context. Consumer insights are required
to construct strategic managerial planning in luxury fashion.

Methodology

The study is of an inductive nature which follows an exploratory sequential design

using mixed methods to gather qualitative and quantitative data. The data was
analysed using thematic analysis and SPSS.

Findings

A range of themes of customer emotions were found, the prevalent being intrigued.
Relationships between likelihood of luxury purchasing and engagement with gaming
collabs were significant.

Originality and value

This study provided themes identified from qualitative and tested relationships by
statistically analysing quantitative data. Taking findings and applying them to the
phenomenon of gaming in luxury brand management through

Keywords

Luxury fashion, Gaming, Collaboration, Consumer Insights.

Word Count

Total Words: 10104

Own Words: 9803

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Table of contents
Table of Contents
Chapter One……………………………………...………………………………………..p.1
1. Chapter Introduction……………………………………………………………………p.2
1.1 Background and Rationale…………………………………………………………..p.2
1.1.1 Definitions…………………………………………………………………………..p.2
1.1.2 Luxury Fashion market climate………..……………………………………..p.2, p.3
1.1.3 Gen Z as consumers ……………………………..…………………………..p.3, p.4
1.2 Theory and Models……………………………………….…………………………..p.4
1.2.1 CBBE Brand Equity model…………………………………….…………………..p.4
1.2.2 Self-Discrepancy theory…………………………………………………….……..p.4
1.2.3 Growth and opportunities in Gaming………………………………………..p.4, p.5
1.3 Aims and Objectives………………………………………………………………….p.5
1.4 Research Design and Philosophy…………………………………….…………….p.6
1.4.1 Ontology……………………………………………………………………………..p.6
1.4.2 Epistemology………………………………………………………………………..p.6
1.4.3 Strategy and Approach………………………………………...…………………..p.6
1.4.4 Study scale …………………………………………………………..………..p.6, p.7
1.5 Methodology……………………………………………………………….……..p.7, p.8
1.6 Overview and Structure…………………………………..……………………..p.8, p.9
1.7 Chapter Summary…………………………………………………...………………..p.9
Chapter Two…………………………………………………………………….………..p.10
2. Project contextualisation and literature review……………….……………………p.11
2.1 Chapter Introduction…………………………………………………….…………..p.11
2.2 Luxury Brand Management…………………………………………………..p.11,p.12
2.3 Keller’s Brand Equity model………………………………………………………..p.12
2.4 Rise of gaming……………………………………………………..………………..p.13
2.5 Examples of game-based activities in Luxury fashion…………...………p.13,14,15
2.6 Current Market trends………………………………………………………..p.15, p.16
2.7 Experiential marketing and the luxury consumer…………………...……..p.16, p.17
2.8 Self-Discrepancy Theory……………………………………………………..p.17, p.18
2.9 Gaps and opportunities in research……………………...………………………..p.18
2.10 Proposed hypotheses……………………………………………..………..p.18, p.19
2.11 Chapter Summary…………………………………………………..……………..p.19

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Chapter Three……………………………………………………………………..……..p.20
3.1 Chapter Introduction…………………………………………………….…………..p.21
3.1.1 Research objectives and hypotheses…………………………………………...p.21
3.2 Research philosophy………………………………………………………....p.22, p.23
3.3 Research approach…………………………………………………………..p.23, p.24
3.4 Research methodology……………………………………………………………..p.24
3.5 Strategy………………………………………………………………………..……..p.25
3.6 Time horizon……………………………………………………………..…………..p.26
3.7 Methods of data collection…………………………………...……………………..p.26
3.8 Secondary research……………………………………………….………………..p.27
3.9 Qualitative methods…………………………………………..……………………..p.27
3.9.1 Pilot………………………………………………………………………………....p.27
3.9.2 Focus groups………………………………………………………………..p.27, p.28
3.9.3 Semi-structured Interviews…………………………………………..…………..p.28
3.10 Quantitative methods……………………………………………..………………p. 28
3.10.1 Surveys………………………………………………………………….....p.28, p.29
3.11 Sampling and Participant parameters……………………………………………p.29
3.11.2 Survey sampling…………………………………………………………………p.30
3.12 Research ethics…………………………………………………………….………p.30
3.13 Chapter Summary…………………………………………………………………p.30
Chapter Four………………………………………………………………………..……p.31
4.1 Chapter introduction…………………………………………………………………p.32
4.2 Qualitative Phase 1a: Focus group………………..………………………………p.33
4.2.1 Expression through avatars………………………………………………………p.33
4.2.2 Digital Preference……………………………………………...…………………p. 34
4.2.3 Impact on brand interest and perception……………………………….………p.34
4.3 Quantitative Phase 2: Survey Analysis……………………………………………p.35
4.3.1 Normality of data……………………………………………………………p.35, p.36
4.3.2 H1: Paired Samples T-test………………………………………………….……p.36
4.3.3 H2: Paired Samples T-test…………………………………………………….…p.37
4.3.4 Open-ended questions: Word clouds……………………………………...……p.38
4.4 Qualitative Phase 1b: Semi-structured interviews……………….………………p.39
4.4.1 Aesthetic and execution……………………………………………………..……p.30
4.4.2 Avatar discrepancy…………………………………………………..……………p.40
Chapter Five…………………………………………………………...…………………p.41
5.1 Chapter Introduction Introduction…………………………………………….……p.42
5.2 Discussion……………………………..…………………………………………….p.42

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5.2.1 Consumer reactions and the CBBE model……………………………………..p.42
5.2.2 Importance of execution of activities…………………………………………….p.43
5.2.3 Avatar customisation and self-discrepancy…………………………………….p.43
5.2.4 Hypotheses implications …………………………………………………………p.44
5.3 Contribution…………………………………………………………………………..p.45
5.3.1 Academic Contribution……………………………………………………..……..p.45
5.3.2 Managerial Contribution to luxury fashion………………………………………p.45
5.5 Limitations…………………………………………………………………………….p45
5.6 Recommendations…………………………………..………………………………p.46
5.7 Chapter summary..………………………………………………………………….p.47

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List of Figures
Figure 1.1: Prediction of Gen Z market size by 2025…………………………………p.3
Figure 1.2: Table showing financial situations of consumers from different
generations..……………………………………………………………………………….p.3
Figure 2.1 Keller’s CBBE Model………………………………………………………..p.12
Figure 2.2 Purchasable digital avatar skins and physical clothing………………....p.14
Figure 2.3 Snapshot of Paris Loubi World in ZEPETO………………………………p.14
Figure 2.4 Animal crossing avatar clothing designed by THE Marc Jacobs (Marc
Jacobs, 2022)…………………………………………………………………………….p.15
Figure 3.1 The ‘Research onion’ model……………………………………………….p.23
Figure 3.2 Exploration sequential design for research………………………...…….p.25
Figure 4.1 Summary of relevant themes identified
Figure 4.2 Paired Samples T-test using survey questions Q1 and Q17 conducted in
SPSS…………………………………………………………..………………………….p.36
Figure 4.3 Paired Samples T-test using survey questions Q13 and Q16 conducted in
SPSS………………………………………………..…………………………………….p.37
Figure 4.4 Word cloud of survey Question 10…………………………..……………p.38
Figure 4.5 Word cloud of survey Question 11………………………………………..p.38

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List of Tables

Table 1.1 Research objectives ………………………………………………………….p.5

Table 1. 2 Dissertation Structure………………………………………………………...p.9

Table 2.1 A Typology of Luxury Consumers: How Different Personality Types Are
Motivated to Buy Luxury Products……………………………………………………..p.17

Table 2.2 Hypotheses.………………………………………………………………… p.19

Table 3.1 Comparison of Positivism and Interpretivism Philosophy……………….p.22

Table 3.2 Comparison of approaches and implications……………………..p.24

Table 3.3 Exploration sequential design for research ……………………………...p.25
Table 3.4 Objectives and correlating methods……………………………….p.26
Table 5.1 Limitations and alleviations………………………………………………….p.46

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 Chapter One
INTRODUCTION

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1. INTRODUCTION

This chapter sets out to contextualise the research. As technology advances, gaming
has become a popular activity and platform for opportunities. With the competitiveness
of the luxury fashion market, brands should consider the potential of collaborating and
marketing with games. This study attempts to build a foundational understanding of
feelings and reactions of the UK Gen Z market from a consumer insights perspective,
to be used to make managerial recommendations to Luxury fashion brands.

1.1 Background and Rationale

1.1.1 Definitions

The term ‘Generation Z’ lacks a standardised definition, dictionaries and scholars have
commonly described the demographic as born from the late 1990s to the early 2000s
(gen-z, n.d.), (Generation Z definition, 2022), (Francis and Hoefel, 2018). For this
research, the term is defined as individuals born between 1995 and 2004 as an
identifiable measure for the demographic in the study. Generation Z may be referred to
as ‘gen z’ throughout this study for convenience. Defining a luxury fashion brand often
leads to debate, upon research, qualifiers are suggested in establishing the status of a
luxury brand. Identifiers include high quality, prestige, exclusivity, customer resonance,
craftsmanship and other intangible factors that create value (Vecchi and Buckley,
2016), (Ko, Costello and Taylor, 2019). Within the global fashion market, consumers
view brands from leading fashion houses such as LVMH, Kering, Richemont and Prada
Group amongst a few. Such factors have been considered and applied throughout the
study when discussing ‘Luxury fashion brands’.

1.1.2 Luxury Fashion market climate

Luxury fashion is of a competitive nature, competing to maintain exclusivity, prestige,

and innovation to name a few parameters. For a brand to lead within the market an
essential part of branding is value creation (Holmqvist et al., 2020). Studies have also
found a growth in online luxury sales, a reported growth of 27% since 2021 (Williams,
2021) exhibiting the need for a strong online presence and the positive reaction
consumers have towards online shopping and interactions.

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 1.1.3 Gen Z as consumers

According to Figure 1.1, Generation Z is the future’s biggest consumer demographic,

with online channels being the most dominant stream for luxury fashion purchases of
the generation (From Surging Recovery to Elegant Advance: The Evolving Future of
Luxury, 2021).

Figure 1.1: Prediction of Gen Z market size by 2025 (D'Arpizio and Levato, 2017).

Figure 1.2: Table showing financial situations of consumers from different generations
(MINTEL, 2022).
Financially it is reported that gen z is in a stable financial situation and chooses to
spend a sum of their income on clothing among leisure and beauty/personal care

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products. This shows the promising market size of generation z within luxury apparel
(MINTEL, 2022).

1.2 Theory and Models

1.2.1 CBBE Brand Equity model

The Customer-Based Brand Equity Model (CBBE) is a consumer-centric approach to

brand equity. It's founded on the idea that consumer experiences and feelings
determine the brand's strength. These tools assist marketing teams in determining
what makes their brand great and how to strengthen their brand by knowing customer
wants and aspirations (Keller, 2013). The application will be used to complete
objectives (iii) and (iv), as it serves as an evaluation of the subject's feelings toward the
phenomena and indicates areas of strength and weakness for strategic
recommendations.

1.2.2 Self-Discrepancy theory

According to Higgins, such persons have three versions of "self," the real self, which is
what they actually have, the ideal self, which is the self with the traits they aspire to
possess, and the ought self, which is the self with the attributes they feel they should
possess (Higgins, 1989). A paper by (Kim and Sundar, 2012) indicates avatar
customisation as a psychologically motivated response to the opposing "self" because
of the differences in these distinct forms of self. After being presented this idea in the
context of Avatars in a prior unit, it serves as an interesting concept for exploration
in value creation when applied to luxury brand management. Within the constraints of
the project, comparisons and evaluations of this theory will be made throughout this
study, explicitly meeting objectives (ii) and (iii).

1.2.3 Growth and opportunities within the gaming

An increase in engagement and interest in gaming is apparent in the current fashion

market, “15% interacted with fashion brands when playing a video game over the past
year and 20% who haven't been interested in doing so...1/3 of male shoppers aged 16-
24 have customised avatar clothing on gaming platforms” (Mintel, 2021). There has
also been a reported increased mobile gaming and growth in engagement during
lockdowns from 2020, due to predicted acceleration with an increase of access and
capabilities such as 5G networks (Mintel, 2021). Gamers have increased by half a
billion in the past three years, with approximately 2.7 billion globally. The report

4
predicts more than 400 million new gamers are expected by the end of 2023,
highlighting a potential market demographic that brands could target. Insights report
from new zoo forecasts a game generated revenue of $175.8 billion by the end of 2021
and 2.9 billion players (newzoo, 2021). The rise of gaming and clear indication of
revenue generation highlights the opportunity gaming offers as a platform for luxury
fashion brand activities. Research into consumer insights must be taken to develop an
additional stream to omnichannels to reach the next big demographic and create value
for the consumers.

1.3 Aim & Objectives

This academic research study is centred around the aim of “Exploring the UK's Gen Z
consumer emotions and response towards Luxury fashion brands' use of gaming as
collaborations and marketing tools". This is an exploratory study as it intends to
discover consumer behaviours towards this modern phenomenon from a consumer
insights perspective (Saunders, Lewis, and Thornhill, 2019).

Objectives

(i) To identify consumer emotions towards gaming and luxury brand

collaborations and activities.
(ii) Establish relationships between the UK Gen Z market and game-themed
Luxury brand activities.
(iii) To critically evaluate findings by appropriate applications of behavioural and
brand equity models.
(iv) To formulate recommendations for Luxury brands implementing
gaming/esports in their products and market activities.

Table 1.1 Research objectives

1.4 Research Design & Philosophy

1.4.1 Ontology

For the study, the assumption that reality is multiple is of a relativist nature. The
research is concerned with the reactions of gen z to the independent variable of
exposure to game-based activities. Thus, dependent on an individual’s beliefs and
values. This study takes this approach as reality is multiple and relative (Lawrence
Neuman, 2014).

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 1.4.2 Epistemology

Subjectivism is where beliefs and actions cause social phenomena.

To uncover knowledge an explorative approach is taken through interpretivism as a
way of learning social facts and behaviours of the gen z consumers. This is appropriate
as interpretivism aims to understand meanings in human behaviour which the study
sets out in exploring gen z reactions and feelings (Lawrence Neuman, 2014). As reality
assumes to be interpreted, methods with a qualitative nature are used, such as focus
groups and interviews where the researcher takes verstehen (Martin, 2017) to research
subjective social phenomena.

1.4.3 Strategy and Approach

An interpretive approach is taken to gain in-depth insights into consumer behaviour

psychology for closer interaction with participants through qualitative methods and to
recognise individuals as "active agents" (Rowlands, 2005). Interpretivism is associated
with high validity as data is assumed trustworthy and an accurate record of feelings
from qualitative research such as focus groups and interviews (Myers, 2008). This
approach is suitable as the study attempts to understand human actions which is the
underpinning question of the research title. An inductive approach begins with
observations, identifying, followed by theorising from the data. This study used mixed
methods in an exploratory sequential design to discover meanings and test quantitative
data statistically, attempting to reach a robust conclusion.

1.4.4 Study scale

Due to time limitations, this is a small-scale cross-sectional study; meaning data

collected and analysed will be from a population at one specific point in time. The
chosen subject demographic is Generation Z in the UK, Generation Z is defined as18-
24-year-olds to maintain research ethic guidelines. These have been chosen to fill a
gap in current market research, based on a preliminary literature review, which heavily
focuses on Millennials. This is also appropriate for accessibility and scale for a small-
scale academic project with time constraints.

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1.5 Methodology

A preliminary literature review was done to understand luxury fashion management and
the current market, this involves research and review of articles and reports from
databases like MINTEL and industry-standard sources such as BusinessofFashion. A
sequential exploratory design (Creswell, 2009) for the triangulation of mixed methods is
used. Mixed methods were undertaken to collect both qualitative and quantitative
research. Disadvantages of rigidity in solely qualitative methods, despite the study
being of an interpretive nature, were compensated through quantitative methods would
increase reliability whilst qualitative methods would ensure validity (Myers, 2008).

Primary data collection began with focus groups to gather key themes and ideas from a
thematic analysis of transcripts. This relates to objective (i) by identifying beliefs and
attitudes through an open discussion. As (Myers, 2008) says, this offers high validity.
Participants are found through voluntary convenience sampling on the criteria of 18–
27-year-olds living in the UK.
After the focus group, a survey is undergone based on the findings of the focus group
and literature to gather quantitative data for statistical analysis of hypotheses. An in-
depth semi-structured interview was conducted to explore deeper meanings into the
thoughts and feelings of consumers. A thematic analysis was done using transcripts to
draw out correlations between themes identified in the focus groups and the proposed
framework/theory. This granular level of research aims to fulfil objectives (i), (ii) and aid
in (iii) and (iv).

A survey was designed based on identified and relevant themes. Qualtrics were used
for efficient data collection. Ensuring that the data collected is relevant and fit for
fulfilling objective (ii) using quantitative data. A minimum of 120 online responses were
collected for meaningful results suitable for statistical analysis. Distributed online
through an anonymous link, this is voluntary convenience snowball sampling, a control
question will be included to ensure the correct study population is reached. The
responses were statistically analysed using SPSS to identify quantifiable correlations
and the significance of the data. Attempting to address objective (ii) by identifying
relationships between consumer behaviours and the research topic.

Sampling for all is of a non-probability nature for cost and time efficiency, again only
within limited academic project timescale and resources. For time and project
management, a plan has been devised using a gantt chart, see Appendix 4, to meet
deadlines.

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General research ethics maintained:

• No under 18s
• All focus groups/interviews will be conducted in an online space for COVID
safety and confidence.
• All participants will be briefed and must give consent.
• Consent forms will be provided.
• Full transparency and disclosure of the study were stated.
• Any participant who wishes to withdraw from the study will be able to without
questioning or pressure.

1.6 Overview & Structure

Section Title Content

Chapter one Introduction Establishing the context and background of the

research.
The aim and objectives of the studies are
presented, accompanied with an overview of
the methodology and dissertation structure.

Chapter two Literature Market data regarding gaming and fashion is

Review presented. Existing papers, scholarly reviews
and theoretical frameworks on gaming and
consumer behaviours, are reviewed and
synthesised. Research questions are
constructed and developed.

Chapter three Methodology A comprehensive evaluation of the research

design is discussed in relation to the research
aim and objectives. Research methodologies
(data collection techniques, sampling strategy,
and procedures) are explained. Research
ethics, reliability, validity, and limitations of the
method are considered.

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 Chapter four Findings & The outcome of the focus groups and
Analysis interviews are presented, supplemented with
thematic analysis for survey construction.
Analysis of qualitative and quantitative research
data is presented using statistical analysis
(SPSS).

Chapter five Discussion & Critical evaluation of research findings and

Conclusions recommendations for gaming-based luxury
market activities. Limitations are presented, as
well as potential future research of the topic.

Table 1. 2 Dissertation Structure

1.7 Chapter Summary

This chapter presented the context and rationale of the study. With the rise in gaming
engagement over the recent years and further acceleration during the pandemic, there
is an increasing market of consumers interacting with gaming and luxury brand
activities. Gaming is emerging as a community and hub that offers opportunities for
consumers’ experiences in luxury brand management. Aims and objectives are
constructed based on the psychology of consumer behaviour in this context with a
focus on pre-existing literature and theories. This research attempts to answer this
question by taking an interpretive and inductive lead approach and exploratory
sequential design to understand UK gen z responses to the application of gaming in
the luxury fashion market.

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 Chapter Two

PROJECT CONTEXTUALISATION AND

LITERATURE REVIEW

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2. PROJECT CONTEXTUALISATION AND LITERATURE REVIEW

Objectives

(i) To identify consumer emotions towards gaming and luxury brand

collaborations and activities.
(ii) Establish relationships between the UK Gen Z market and game-themed
Luxury brand activities.
(iii) To critically evaluate findings by appropriate applications of behavioural and
brand equity models.
(iv) To formulate recommendations for Luxury brands implementing
gaming/esports in their products and market activities.

Table 1.1 Research objectives

2.1 Introduction

The literature review attempts to investigate gaming in luxury fashion activities, their
effects on brand equity, influence on consumer behaviour and, reconsider brand
management accordingly. This chapter reviews and engages with literature, studies,
Higgin's Self-discrepancy theory, Keller's Brand equity model, and technological
innovation in fashion marketing. Gaining an in-depth understanding of the study context
and identifying gaps within existing literature for further research.

2.2 Luxury Brand Management

The luxury brand market is growing in complexity and demands luxury brands to
innovate and compete for advantage (Okonkwo, 2007). Brand management is key to
strategising business activities through marketing and branding to increase the
perceived value of the brand to consumers (Kapferer, 2008).
Brand equity is defined as “the creation of brand value” (Okonkwo, 2007) and is seen
as the brands’ worth in consumer perception, influencing customers’ ultimate choice of
brand interaction and purchases. In turn, leading to a more financial metric of the
brands’ worth known as brand value (Kyriakidi, 2021). Defining these terms is critical in
understanding the nature of luxury brand management and appropriately applying
frameworks and findings to the industry. Research found that brand equity is
“associated with some aspects of consumer behaviour including willingness to pay
extra costs, brand preference and purchase intention.” (Satvati, Rabie and Rasoli,

11
2016). This is relevant to the study as it intends to explore the effect of gaming
collaborations in luxury on gen z consumers.

2.3 Keller's Brand Equity model

Figure 2.1 Keller’s CBBE Model (Keller, 2013)

Kotler and Keller place emphasis on consumer perceptions and resonance to create
value (Kotler, Phillip and Keller, 2016). The Customer-Based Brand Equity Model
(CBBE) approaches brand equity from the viewpoint of the consumer. It’s based on the
premise that the strength of the brand is dependent on customer experiences and
feelings. Aiding marketing teams in identifying what makes their brand strong and how
to build a strong brand by understanding customer needs and desires. "The power of a
brand lies in what resides in the minds and hearts of customers." as said by (Keller,
2013). It serves as an evaluation of the emotions of the subject towards the
phenomenon and highlights areas of strengths and weaknesses for direction in
strategy recommendations.
Aaker (1991) conceptualized brand equity as a set of assets (or liabilities) suggesting
the five assets of brand equity: brand awareness, brand associations, perceived
quality, brand loyalty, and other proprietary assets. Another study revealed that the
sensory experience positively influences brand awareness, brand association,
perceived quality, and brand loyalty. This will create an emotional bond between the
customer and a brand which will in turn influence brand equity (Beig and Nika, 2019).
Nowadays consumers are looking beyond a product for the satisfaction of their needs.
Consumers seek memorable and meaningful experiences as part of any offer to be

12
delivered to them (Choi, Ko and Kim, 2016). The study’s findings suggest that brand
experience can be used as an effective strategy to influence the emotions and psyche
of customers.

2.4 Rise of gaming

Gaming is the act of playing video games, now extending further to mobile and VR as
technology advances. Evolving into large gaming communities in which some compete
professionally on gaming platforms such as Fortnite, League of Legends and Valorant.
This is dubbed Esports and is seen as a "World", players can win titles and even cash
prizes. As a result, form lockdowns in recent years and rapid advancements in
technology, gaming has exponentially grown (Birch, 2021). With an estimated 2.7
billion global gamers, analysts predict the platform to be the next opportunity for
business and marketing ventures (Gaming: The Next Super Platform, 2021). Alongside
the growth of gaming comes opportunities for transactions, a reported findings claim
that “Nearly a quarter (23.5%) of Gen Z have purchased digital fashion items and
would again” (Gen Z and Millennials 2022, 2022). Generation z is at the heart of this
expansion, with 49.4% expressing interest in exploring a metaverse made by fashion
brands, which is more than any other generational group (Gen Z and Millennials 2022,
2022). Gamers have increased by half a billion in the past three years, with
approximately 2.7 billion globally. The report predicts more than 400 million new
gamers are expected by the end of 2023. Insights report from newzoo forecasts a
game generated revenue of $175.8 billion by the end of 2021 and 2.9 billion players
(newzoo, 2021).

2.5 Examples of Game-based activities in Luxury fashion

When referring to game-based activities in luxury fashion, the study defines these as
collaborations, marketing campaigns and modes of advertising in digital and physical
means such as virtual brand experiences on gaming platforms and collaborated
tangible physical clothing.

2.5.1 LV x LOL

A collaboration of both physical clothes which were sold out on the LV European online
store within an hour of release and digital skins were released. Indicative of, a clear

13
interest, that there is a market presence, and the spending power of these consumers
is large and fast.

Figure 2.2 Purchasable digital avatar skins and physical clothing (Louis Vuitton, 2022)

2.5.2 Christian Louboutin launches ‘Loubi world’ on ZEPETO

Figure 2.3 Snapshot of Paris Loubi World in ZEPETO ((Christian Louboutin, 2022)

This collab was unveiled in spring 2021’s men’s and women’s collections during
London Fashion Week. It incorporated a Parisian square, a flagship boutique, and a
disco area for users to explore and take photos. Users were given the opportunity to try
digitalised collection pieces on their virtual avatars and were free to explore the brand’s

14
world. This enables users to engage with the brand at the ease of phones and allowed
the brand to communicate its aesthetic and personality. From this Louboutin during a
preview: ZEPETO has sold 600 million virtual items, generated 780 million photos and
videos and 178 million registered users (Socha, 2020). Showing both the scale and
promising channel and adaptability to external factors, such as covid restrictions
(Accenture, 2021), proving the growing community and potential market sector.

2.5.3 Animal Crossing

Figure 2.4 Animal crossing avatar clothing designed by THE Marc Jacobs (Marc
Jacobs, 2022)

Animal Crossing: New Horizons, Nintendo’s life simulation game (launched on 20

March), enabled fashion designers to virtually showcase new or existing collections in
the form of downloadable outfits, designed within the game. Marc Jacobs, Valentino,
and Sandy Liang were among the labels to experiment with Animal Crossing. There
was huge anticipation and noise on social media for the 2020 release during
lockdowns.

2.6 Current Market trends

A report found that

“15% interacted with fashion brands when playing a video game and 20% who
haven't, are interested in doing so...1/3 of male shoppers aged 16-24 have
customised avatar clothing on gaming platforms” (Mintel, 2021).
Showing engagement and interest in gaming. Reported increased mobile gaming and
growth in engagement during lockdowns from 2020, due to predicted acceleration with

15
an increase of access and capabilities such as 5G networks (Mintel, 2021). Gamers
have increased by half a billion in the past three years, with approximately 2.7 billion
globally. The report predicts more than 400 million new gamers are expected by the
end of 2023. Insights report from newzoo forecasts a game generated revenue of
$175.8 billion by the end of 2021 and 2.9 billion players (newzoo, 2021).

Recent industry reports highlight the growth in technology innovation in brand activities
and recommend implementing such to engage 16-24-year-olds with fashion
consumption (Mintel, 2021). Epic Games creators of Fortnite recorded a $5.1 billion
revenue hit in 2020 driven by in-game sales of v bucks (Maguire, 2021), which are
used to buy skins and avatar accessories etc, Fortnite. Balenciaga collab: skins priced
1000 v bucks = $8 for inclusivity to gamers. however physical products were matched
with the pricing of other Balenciaga goods.

2.7 Experiential marketing and the luxury consumer

Experiential marketing is a concept where experiences are categorised into 4 realms:

Educational, Esthetic, Escapist, and Entertainment referring to participation (Pine II and
Gilmore, 1998). This study considers this concept in the context of how gaming and
fashion collaborations fit into these categories and how these affect gen z’s opinions on
a luxury fashion brand. Experiential marketing centres consumers’ experiences and
feelings with the brand and is deemed vital in the current luxury market for a brand to
excel (Atwal and Williams, 2009). A study found that sensory experiences positively
affect “brand awareness, brand association, perceived quality and brand loyalty.” (Beig
and Nika, 2019). Supporting studies claim that brands experimenting with digital worlds
will follow a ‘path to success and leadership in their category’ as ‘virtual worlds provide
enormous opportunities for engaging luxury brands with the future through the eyes of
the virtual world residents.’ (Okonkwo, 2010). Experiential experiences applied to a
proposed typology of luxury consumer (Table 2.1), would fit under III, and IV where
experience and personal hedonism is valued by certain individuals. This in practice tie
into the CBBE Model (Keller, 2013) where gaming experience may affect consumer
feelings and perception of value of a brand.

16
Table 2.1 A Typology of Luxury Consumers: How Different Personality Types Are
Motivated to Buy Luxury Products (The Nature of Luxury Brands, 2016)

2.8 Self-Discrepancy Theory

Higgins proposes that those individuals have 3 versions of "self", actual - what the
person legitimately possesses, the ideal self - the self with attributes the person wishes
to possess and the ought self - the attributes that the individual believes they should
possess (Higgins, 1989). The discrepancies in these different versions of self result in a
range of emotions, a study by (Kim and Sundar, 2012), suggesting avatar
customisation as a psychological driven response to the contrasting "self". Being
introduced to this theory in a previous unit with the context of Avatars, the theory will be
used as a starting point of action reasoning when applied to the gaming context.
With the sales of digital items becoming a huge and lucrative market (Bonder,
2017; Vanzo, 2017), it is imperative to know what types of users may be more likely to
purchase digital items and how to motivate their purchases. A further study suggests
that it may be worthwhile to target users who are likely to have high self-discrepancy
(Li, Phang and Ling, 2019).

Linking self-discrepancy to psychology, a study states that individuals need others to

know that he or she possesses a particular self-definition to feel a sense of completion
(Gollwitzer et al., 1982). To do so, they “engage in behaviours associated with that self-
definition, such as purchasing or wearing certain symbols to convince others of his or
her self-definition” (Yurchisin and Johnson, 2004). Apparel and related items; shoes,
accessories, and cosmetics, have often been used as symbols in the process of
symbolic self-completion because of their high communicative value (Solomon and
Douglas, 1987; Gollwitzer et al., 1982). In virtual, digital items may be purchased to
communicate a certain desired self-definition for the purpose of symbolic self-

17
completion, such as the purchase of virtual clothing that makes one’s online avatar
(i.e., a virtual representation of oneself online) look stylish as a function of hedonism.
Similarly, the gamers' ideal self-image is more important than their real self-image
when playing an online game and attachment to the game character increases the
player's intention to purchase game items for the avatar (Ko and Park, 2020).
Consumers tend to evaluate a brand more positively if it fits with whom they would like
to be rather than who they are (Dornoff and Tatham, 1972; Sirgy and Samli, 1985).

2.9 Gaps and opportunities in research

The literature discussed is not strictly focused on gaming and luxury fashion or
specific generation z age demographic, however, findings and discussions can
be contextualised and applied to this research. As this is an upcoming and
developing topic area, literature and studies are limited however, using pre-
existing theories and models as a foundation, new research can be conducted
in the applied context of gaming and fashion marketing of all facets.
Current data find that young women are interested in fashion and gaming
(Mintel, 2021), this should be further explored to understand how they would
interact with the collaboration and what function it serves regarding their
shopping experience. Luxury brands can use this insight and rejuvenate their
current marketing strategies to target these consumers. As this is an upcoming
and developing topic area, literature and studies are limited however, using pre-
existing theories and models as a foundation, new research can be conducted
in the applied context of gaming and fashion marketing of all facets.

2.10 Proposed hypotheses

The hypotheses we formed on the potential relationship between the use of gaming in
luxury fashion and consumer psychology. As links can be drawn from customer
experience and brand equity, the research attempts to statistically test the significance
of the relationship through quantitative data. The hypotheses attempt to fulfil objectives
(i) and (ii). Qualitative data will also be done to strengthen research and offer answers
through interpretation to supplement and gather interpretations.

18
 Hypotheses

H1: The use of gaming in luxury fashion activities has a significant positive
effect on UK gen z consumers’ interest in the brand.

H2: UK Gen z consumers are significantly more likely to purchase from a

Luxury brand after engaging with game-themed activities from the brand.

Table 2.2 Hypotheses

2.11 Chapter Summary

This chapter has explored literature regarding proposed theories and models of
consumer behaviour, brand equity and current market trends. One key issue emerging
from the literature is the lack of research conducted in gaming and esports.
Considering the advancements in technology and growth in gaming communities and
platforms, it is useful to understand the influence on and reaction of the next luxury
fashion consumer. Understanding brand equity technology acceptance through the
Customer-Based Brand Equity Model (CBBE) (Keller, 2013) and how different facets
can be affected by innovation is essential in understanding the feelings of the
consumers in relation to the brand. A connection can be made between Higgin’s (1989)
self-discrepancy theory in how this psychological function affects customer experience
and engagement with the business. This could have implications on business models,
as technological advancements and consumer interactions could change the way that
retailers create value for customers. Retailers need to understand a consumer journey
to innovate their business models, to enhance themselves within a competitive market.

19
 CHAPTER THREE
RESEARCH DESIGN AND METHODS

20
3. RESEARCH DESIGN AND METHODS

3.1 Chapter introduction

This chapter discusses the processes used in the fulfilment of the research aim and
objectives and, hypotheses as outlined in Chapter Two. Explaining the choice of
fundamental philosophy, adopted approach, methods and strategy, and the means with
which data and primary research were garnered and later analysed. Ethical
considerations of the study are recognised and outlined in full in accordance with the
Code of Practice on Research Ethics of the University of the Arts London (2017).

3.1.1 Research objectives and hypotheses

Objectives

(i) To identify consumer emotions towards gaming and luxury brand

collaborations and activities.
(ii) Establish relationships between the UK Gen Z market and game-themed
Luxury brand activities.
(iii) To critically evaluate findings by appropriate applications of behavioural and
brand equity models.
(iv) To formulate recommendations for Luxury brands implementing
gaming/esports in their products and market activities.

Table 1.1 Research objectives

Hypotheses

H1: The use of gaming in luxury fashion activities has a significant positive
effect on UK gen z consumers’ interest in the brand.

H2: UK Gen z consumers are significantly more likely to purchase from a

Luxury brand after engaging with game-themed activities from the brand.

Table 2.2 Hypotheses

21
3.2 Research philosophy

The research philosophy represents the ‘system of beliefs and assumptions about the
development of knowledge’ (Saunders, Lewis and Thornhill, 2019)). It is the approach
taken by the researcher to investigate the research questions and interpret the results
(Crotty, 1998). Research philosophy begins with two key assumptions to be questioned
for subsequential research design. Ontology is the understanding of what reality is (Bell
and Bryman, 2007) and epistemology refers to how reality is examined in research
(Saunders, Lewis and Thornhill, 2019). The paradigm involves the choice between
dichotomous stances, referred to as positivism and interpretivism. Choosing is
dependent on the researcher’s personal philosophy, ‘objective and generalizable’
reality or ‘subjective and diverse perceptions of a phenomenon in business’ Saunders,
Lewis, and Thornhill, 2019).

Ontology (nature of Epistemology Axiology (role of Typical methods

reality or being) (what constitutes values)
acceptable
knowledge)

Positivism

Real, external, Scientific method Value-free research Typically deductive,

independent One Observable and Researcher is highly structured,
true reality measurable facts detached, neutral large samples,
(universalism) Law-like and independent of measurement,
Granular (things) generalisations what is researched typically quantitative
Ordered Numbers Causal Researcher methods of analysis,
explanation and maintains objective but a range of data
prediction as stance can be analysed
contribution

Interpretivism

Complex, rich Theories and Value-bound Typically, inductive.

Socially constructed concepts too research Small samples, in-
through culture and simplistic Focus on Researchers are depth investigations,
language Multiple narratives, stories, part of what is qualitative methods
meanings, perceptions and researched, of analysis, but a
interpretations, interpretations subjective range of data can be
realities Flux of New Researcher interpreted
processes, understandings and interpretations key
experiences, worldviews as to contribution
practices contribution Researcher reflexive

Table 3.1 Comparison of Positivism and Interpretivism Philosophy (Saunder, Lewis

and Thornhill, 2019) Adapted (Agagon, 2022)

22
This is appropriate in answering the research aim as interpretivism values feelings and
meanings (Creswell and Plano Clark, 2018), (Saunders, Lewis, and Thornhill, 2019),
producing in-depth insights into consumer behaviour psychology. Interpretivism’s
emphasis on subjective meanings fulfils the objective (i) To identify consumer emotions
towards gaming and luxury brand collaborations and activities., and (ii) as discoveries
and explanations from a subjective stance can be taken and then analysed.

3.3 Research approach

Figure 3.1 The ‘Research onion’ model (Saunders, Lewis, and Thornhill, 2012)

There are 3 types of approaches identified in Figure 3.1, deductive and inductive
approaches are of most contrast. As the study takes interpretivism philosophy, an
inductive approach is deemed appropriate to strategize research based on the model.
An exploratory study is overall regarded to be inductive, as the research attempts to
discover reactions to an upcoming phenomenon (gaming and luxury collaborations) in
a study group (UK gen z). It is suitable to observe and identify patterns and theorise.
This is ideal for the topic as it is emerging and investigates contextualised consumer
psychology when presented with game-based activities within a luxury fashion context.
Exploratory studies are categorised as a characteristic of inductive research as seen in
Table 3.2.

23
.

Table 3.2 Comparison of approaches and implications (Saunders, Lewis, and

Thornhill, 2019)

3.4 Research methodology

Mixed methods research was chosen for this study for these main reasons 1.
Qualitative data is suitable when interpreting consumer beliefs and feelings, 2.
Quantitative data is necessary to reach a more comprehensive conclusion to findings
and 3. To meet academic guidelines. Mixed methods research aimed to improve the
validity and reliability of data so that hypotheses may be tested with greater confidence
(Abowitz and Toole, 2010). Inductive research used a mixed-methods approach for
complementarity (Greene, Caracelli and Graham, 1989), accounting for rigidity in
strictly mono methods through clarifying and elaborating on data from different
methods. This is suitable as H1 and H2 require quantifiable data to test an assumption
but would benefit from measuring perception and opinion through qualitative means for
explanations. Alternatively, mixed methods have been debated of a pragmatic nature
(Creswell and Plano Clark, 2018), thus essential to understand the mission of this
research question. This research used mixed methods in a sequential design to
emphasise the exploration of consumer psychology rather than empirical measures
maintaining a heavy interpretive approach.

24
3.5 Strategy

Exploratory sequential design starts with the qualitative research and then uses
insights gained to frame the design and analysis of the subsequent quantitative
component (Creswell and Plano Clark, 2018). This used mixed methods and followed a
logic in data collection, analysis, and interpretation (Saunders, Lewis and Thornhill,
2019). This was chosen as there is limited existing academic research on this topic,
discussed in chapter two, therefore gaining scope, and identifying themes for a
foundation aid in further exploration through subsequent quantitative methods
(Creswell and Plano Clark, 2018). This is appropriate as the research takes an
inductive approach with mixed methods, this strategy is often assigned to exploratory
cases to make results generalisable to gen z consumers (Creswell and Plano Clark,
2018).

Figure 3.3 Exploration sequential design for research, adapted from (Creswell and
Plano Clark, 2018), (Agagon, 2022)

25
3.6 Time horizon

Data is cross-sectional due to limited time and designed to discover consumer

psychology and gaming in the luxury fashion during a 4-week data collation period.
Cross-sectional data provide a snapshot of findings of a particular time (Collis and
Hussey, 2003), potentially limiting the representativity of the data (Bowen and
Wiersema, 1999). Future longitudinal research should be done for representative data
application to gen z consumers in the UK.

3.7 Methods of data collection

The use of focus groups and interviews developed ideas, not solely statistical facts
(Oppenheim, 2009), approaching objective (i) and (iii) by investigating how generation
z think and feel about the research topics. See Table 3.3 for a summary of methods
and objective links.

Purpose Sample size Which objective(s)

does this method aim
to fulfil

Literature Knowledge & 25+ sources (i) & (iii)

Review understanding

Focus Groups Identify themes, 10 split into (i)

survey question design 2 groups

Survey Patterns & > 120 (i) & (ii)

relationships for
statistical analysis,
triangulation

In-depth semi- Deeper meanings, 1 (ii), (iii) & (iv)

structured triangulation
Interviews

Table 3.4 Objectives and correlating methods

26
3.8 Secondary research

Secondary research began the investigation in the form of a review of key literature
sources surrounding the research topic. This stage evaluated existing theoretical
frameworks and the phenomenon of gaming and behavioural models. A range of
academic literature, journal articles, trade publications and market data sources were
evaluated at this stage, to identify research gaps to then be explored further in primary
research. It is important to note, that industry resources (e.g., Business of Fashion)
were included to support literature on the emerging concept of brand consolidation, as
little contextualised academic literature existed on the topic.

3.9 Qualitative methods

3.9.1 Pilot

A pilot for focus groups was conducted (informal) at the beginning of the research to
improve and rearrange research questions. This method allowed for obtaining
comprehensive information from the target group, confirming the accuracy, and getting
data fully and " is important to establish the content validity of an instrument and to
improve questions, format, and scales" (Creswell and Plano Clark, 2018). As a result of
piloting the data collection, it was noted that complex industry jargon should be
simplified and explained at the outset and related examples should be used to
contextualise the research questions. With research questions developed on the
analysis of the relevant academic literature and identification of the gaps, the focus
group questions were broad to gather a range of consumer beliefs.

3.9.2 Focus groups

Consumer focus groups were conducted. A focus group is a research technique that
collects data through group interaction on a topic determined by the researcher
(Creswell and Plano Clark, 2018). This format was chosen to investigate reoccurring
themes within the topic which will then be deeper explored through a survey and
interviews. One of the major issues related to this mode of research is the different
perceptions or expectations of focus group participants that may affect their responses
to brands (e.g., 15 extremes responding). Moreover, given the qualitative nature of the

27
data, the study recognises queries of interpretation as various researchers may reach
radically different conclusions. A topic guide was produced for guidance (Appendix 4)
and responses were transcribed (Appendix 6).

3.9.3 Semi-structured Interviews

The interviews used the identified themes from the focus group thematic analysis,
these were used as discussion points in a semi-structured interview. This was to
understand those patterns identified at an in-depth level. A semi-structured interview
requires the interviewer to have the required skills of probing, when necessary, rapport
with the interviewee and understanding the aims of the project and guiding the
interview to extract the required data. (Noaks and Wincup, 2004). Including open-
ended questions was a way for respondents to share their thoughts with greater
richness and spontaneity. Transcripts are necessary when recording data for accurate
analysis Creswell and Plano Clark, 2018), this has been done using Dragon software to
transcribe speech during the session and closely revised to avoid recording errors.
Transcripts were then coded to identify key themes for analysis and correlation against
previous models and the proposed. Interview transcripts can be found in Appendix 8.

3.10 Quantitative methods

3.10.1 Surveys

The survey questions are partly based on the themes and feedback from the
focus groups (Appendix 5), this is to further investigate themes discovered from
the first stage of primary data collection. By sequencing the data collection this
way, the researcher can formulate a robust and comprehensive survey that
targets the identified themes in a developing and little-researched topic. A
control question in section 1 (Figure 3.3) was used to ensure samples were of
the intended research demographic. To characterise individuals and emphasise
patterns in attitudes and behaviours, questions used a combination of ordinal
and categorical measures (Punch, 2003). To allow for any missing reasonings
and viewpoints in the response options, open-ended questions were introduced.
The poll was created with Qualtrics and made available via a URL that was
shared on social media sites like Instagram and Facebook.

28
 Section 1: Research brief and Consent
Section 2: Building a customer profile on views and consumption of
Luxury Fashion.
Section 3: Collection of experiences and emotions from Gaming.
Section 4: Recording reactions after exposure to gaming and luxury
brand collaborations.

Figure 3.3 Summary of survey design

3.11 Sampling and Participant parameters

Prior to data collection, the criteria were set out for the participants to be considered for
the research project. Participants recruited were identified to have met the criteria set
by the researcher in relation to the study aim of the UK Gen Z demographic. A required
age of 18 is necessary to fulfil ethical codes despite the debate on the gen z age range.

Participant criteria:
• Aged 18-27
• UK resident

3.11.1 Focus group and Interview sampling

Because of the limited time frame, research sampling was accomplished by randomly
selecting volunteer participants who replied to a post-briefing about the study topic and
a request for volunteers. A list of volunteers was generated and numbered, and 12
volunteers were chosen using an online random number generator. Contact
information was acquired, and Zoom sessions were set up for safety and accessibility.
A Zoom invitation with a consent form was emailed to volunteers. Participants were
instructed on the research subject and planned use of data before proceeding for
ethical conduct, and ethics and consent procedures were explained and completed
throughout the conversation.

29
 3.11.2 Survey sampling

The chosen sampling method was voluntary convenience snowballing, where

participants could choose to take part via a link which was shared on social media
platforms and through participants who also shared to survey potential individuals who
fit the research demographic criteria. This was done to maximise the number of
respondents and to speed up data collection within a 2-week period.

3.12 Research ethics

The data collection and analysis were done in compliance with the Code of Practice on
Research Ethics at the University of the Arts London. A Research Ethics Form,
authorised by the supervisor, was completed, and signed by the researcher before the
start of the study to avoid any potential inconvenience later and to ensure the academic
integrity of the work (Appendix 1). Before proceeding, each interviewee received an
information and consent form, as well as the opportunity to resign from the project at
any moment (Appendix 2). Participants were also asked if they agreed to have the
sessions recorded for transcribing reasons. Participants in the quantitative research
were given information before they started the survey. This helped participants
understand what the study entailed and how their responses would be utilised. They
were not provided consent documents as the survey was conducted anonymously.
These ethical considerations ensure safety and confidentiality for participants and the
researcher (Gregory, 2003).

3.13 Chapter Summary

The techniques employed to achieve the study goal and objectives, as well as the
hypotheses presented in Chapter Two, have been discussed in this chapter. An
explanation of the core philosophy, the approach, tactics, and strategy used, and the
methodologies used to collect and analyse data and primary research have been
presented. The study's ethical implications are acknowledged and addressed in detail
in accordance with the University of the Arts London's Code of Practice on Research
Ethics (2017).

30
 Chapter Four
FINDINGS AND ANALYSIS

31
4. FINDINGS AND ANALYSIS

4.1 Chapter introduction

Following the exploratory sequential design this chapter analyses data from Phase 1a
qualitative data collection leading to survey design in Phase 2 quantitative data
collection. Analysis of qualitative and quantitative research data is presented using
statistical analysis (SPSS). Phase 1b data is thematically analysed in this chapter.

Objectives

(i) To identify consumer emotions towards gaming and luxury brand

collaborations and activities.
(ii) Establish relationships between the UK Gen Z market and game-themed
Luxury brand activities.
(iii) To critically evaluate findings by appropriate applications of behavioural and
brand equity models.
(iv) To formulate recommendations for Luxury brands implementing
gaming/esports in their products and market activities.

Table 1.1 Research objectives

Hypotheses

H1: The use of gaming in luxury fashion activities has a significant positive
effect on UK gen z consumers’ interest in the brand.

H2: UK Gen z consumers are significantly more likely to purchase from a

Luxury brand after engaging with game-themed activities from the brand.

Table 2.2 Hypotheses

32
4.2 Qualitative Phase 1a: Focus group

An analysis of the focus groups is presented, supplemented with a thematic analysis

for survey construction. A thematic analysis was undergone to identify prevalent
consumer responses and feelings towards gaming and luxury brand
collaborations/activities. Using raw transcripts from each focus group, first coding was
done to highlight granular views, followed by grouping these codes into overarching
defined themes. Figure 4.1 shows a summary of key themes drawn from the
discussion. Appendix 7 shows 8 common themes were identified, however, to maintain
relevance to the research objectives, themes of Expression, Digital preference, and
Positive/Negative reactions (towards the fashion brands) were used as focal points in
the survey design.

Figure 4.1 Summary of relevant themes identified

Some themes identified in the analysis did not link to previous academic studies nor
aligned with the proposed hypotheses. The themes of importance are those that regard
consumer feelings about the research topic and potential actions these lead to, these
set out to accomplish objectives (i) and (ii) through understanding consumer insights.

4.2.1 Expression through avatars

A consensus of enjoyment and expression of style and creativity is reached during the
discussion. Individuals who did not consider themselves a gamer or hugely a fan of

33
gaming expressed experience and enjoyment when customising virtual avatars. When
customising avatars participants chose to be more adventurous and ‘experiment’ with
confidence and choices that they did not have the option to choose in real life. Some
participants expressed so much interest and enjoyment in avatar creation that they are
willing to spend money on in-game items.

Participant B: “it’s like playing dress-up in a sense. I can be creative; I don’t

experiment with my style, but I feel like I can do this (experiment with style)
easier on avatars."

Participant C: "I spend money in the game, so for like currency to buy upgrades,
skins to customise and other things to make the game more enjoyable."

4.2.2 Digital Preference

Participants preferred digitalized products for their lifespan, prestige, and ease of
engagement and usage. Due to poor aesthetics and a lack of desire to wear them
outside of a virtual realm, physical products did not elicit the same amount of interest.

Participant B: "I don’t know if I'd buy anything at their stores, but I would look for
digital things."

Participant A: "I like the concept of virtual worlds and experiencing the brand
through a gaming platform."

Participant H: "the physical clothing are cringe."

Regardless of interest in gaming, participants valued the execution of the collaboration

with an emphasis on aesthetics and affordability. Digital pieces were considered more
accessible than traditional physical offerings as prices tend to be lower.

Participant B: “I wouldn’t buy a Balenciaga t-shirt in real life but for my avatar
yes because it’s a fraction of the cost and I would enjoy using it on my avatar
instead of actually wearing it.”

34
 4.2.3 Impact on brand interest and perception.

Exposure to collaborations gained interest and respect for brands' innovativeness.

Non-gamers also appreciated the attempt and concept of the game.

Participant D: “Makes me appreciate the brand more, it shows they're not

ignorant of the community because they create products for us."

Participant E: "I appreciate fashion developing and expanding into other things,
so I think it’s the next level to experiment with virtual items. "

Similarly, activities can be poorly executed and caused disinterest in the collaboration
and resulted in some participants taking the brand less seriously. Not all game-themed
activities by brands are good.

Participant F: " I don’t see how some of the products suit the game."

Participant H: I feel like the Balenciaga missed the mark with translating the
game in their aesthetic."

4.3 Quantitative Phase 2: Survey Analysis

The survey was designed to test the proposed hypotheses. These hypotheses fulfil
objective (ii) in specific through quantitative data and statistical analysis. A sample
survey is in Appendix 5 shows questions and response options.

Hypotheses

H1: The use of gaming in luxury fashion activities has a significant positive
effect on UK gen z consumers’ interest in the brand.

H2: UK Gen z consumers are significantly more likely to purchase from a

Luxury brand after engaging with game-themed activities from the brand.

35
Table 2.2 Hypotheses

4.3.1 Normality of data

Testing for normality was done for questions prior to further statistical testing to
carefully consider appropriate tests.
Kolmogorov recorded <.001 on all samples, this value is greater than α = 0.05 (5%).
The reasoning is that if the sig. value is greater than α, we always fail to reject the null
hypothesis. Translating as p = .001, therefore 95% confident from evidence to reject
the null hypothesis that the data follows a normal distribution. However, normality tests
can be sensitive to outliers which may have caused the potential rejection of normality.
Complementary to normality tests, QQ plots were created to further analyse normality.
QQ plots show points on or close to the line of expected normal distribution (Appendix
10) . This visual mapping of distribution show normality throughout the sample dataset.
Based on the Central Limit Theorem, data is assumed normal, thus assuming the
distribution is also normal within a large sample size of over 100. The sample size is
over 50 and therefore regardless of histogram shape and testing, data should be
treated as normally distributed (Lumley, Diehr, Emerson and Chen, 2002). Assumption
of normality is taken across all samples and therefore suitable for parametric tests.

4.3.2 H1: Paired Samples T-test

H01: The use of gaming in luxury fashion activities does not have a significant positive
effect on UK gen z consumers’ interest in the brand.
H1: The use of gaming in luxury fashion activities has a significant positive effect on UK
gen z consumers’ interest in the brand.

α = 0.05
t =0.084 < p = 0.93, little variance.
Small t value shows that groups are similar
t(93) = 0.084
P > 0.05 = not significant

36
Figure 4.2 Paired Samples T-test using survey questions Q1 and Q17 conducted in
SPSS

A Paired-Samples T-test was conducted using an 𝛼 level of 0.05 to compare the

interest of gen z in luxury fashion before and after exposure to game-based fashion
collaborations. As the Sig. value for the paired samples is .993 which is greater than
the significance level of 0.05, we fail to reject the null hypothesis H01. Concluding that
UK gen z consumers' interest in luxury brands do not positively differ before and after
engaging with examples of the use of gaming in luxury fashion, t = 0.084, p = 0.93 >
0.05. This insignificance of the relationship between interests is evident in the mean
before engagement (2.56) and after (2.55) showing unchanged interest in the brand
after the interaction. However, with no change in interest, participants’ mean response
was ‘Interested’ showing a value 2.0 (Appendix 10) when it came to luxury brands.

4.3.3 H2: Paired Samples T-test

H02: UK Gen z consumers are not significantly more likely to purchase from a Luxury
brand after engaging with game-themed activities from the brand.
H2: UK Gen z consumers are significantly more likely to purchase from a Luxury brand
after engaging with game-themed activities from the brand.

α = 0.05
t = -2.519
P = 0.013
P < 0.05 therefore significant

t(92) = -2.519, p = 0.013 < 0.05

37
Figure 4.3 Paired Samples T-test using survey questions Q13 and Q16 conducted in
SPSS

A Paired-Samples T-test was conducted using an 𝛼 level of 0.05 to compare the

likelihood of gen z of purchasing a luxury product in luxury fashion before and after
exposure to game-themed fashion activities. As the Sig. value for the paired samples is
.013 which is less than the significance level of 0.05, we can reject the null hypothesis
H02. Concluding that UK gen z consumers' likelihood to purchase from luxury brands
increases after engaging with examples of the use of gaming in luxury fashion, t = -
2.519, p = 0.013 < 0.05. This shows a significant relationship between increased
likelihood to purchase and interaction in game-themed fashion activities. It is also
evident in the mean before engagement (2.83) and after (3.09) showing an increased
likelihood of purchasing a luxury product after the interaction. However, the effect is
large as seen from the low difference in means.

4.3.4 Open-ended questions: Word clouds

Word clouds were made using open-ended responses to highlight reoccurring views
and frequent ideas of the study sample. The words are shown in the size of frequency
seen in the data. Here we see that the majority feel positive emotions, ‘happy’, ‘relaxed’
and ‘comfortable’ (Figure 4.3), showing the hedonistic and desirable effects of
engagement with games. In contrast, the overall feeling from collaborations is negative
(Figure 4.4) where we see the opinion of ‘cringe’ again as seen in the focus groups
(Appendix 6). Despite overall dislike of some examples, the majority still felt interested
in the idea of gaming in Luxury fashion.

38
Figure 4.4 Word cloud of survey Question 10: How does gaming make you feel?

Figure 4.4 Word cloud of survey question 11: How do these collaborations and
campaigns make you feel?
4.4 Qualitative Phase 1b: Semi-structured interviews

Interviews found similar codes, during a thematic analysis (Appendix 9), to Phase 1a
analysis findings. This provides further evidence of interest in the digitalised
collaborations, and positive emotions when character building and playing in a virtual
‘free’ world. Participant 2 gave insight into monetary value in how much they have
spent, this implicates the value created by the brands and serves as consumer
feedback for consideration to taking the gaming opportunity on.

39
4.4.1 Aesthetic and execution

Participant 2 considered themselves a gamer and appreciated luxury fashion, they felt
a strong interest in the combination but would maintain the requirement of appealing
visual aesthetics and the collaboration itself is not enough to purchase.

Participant 2: “I have spent £90 two days ago to purchase a skin bundle on valorant.
So I would say yes I spend on customisation… Below 100 for a single purchase”

4.4. Avatar discrepancy

The themes show that participants would rather design their avatars with experimental
clothing than to accurately mirror their current aesthetic.

Participant 2: “Customisation in games makes me feel good, cause it feels more

satisfying using certain skins, cause some skins have different vfx or sfx. They feel
good to use compared to the regular ones… I joke around with how my character looks
just cause its fun with other players too to see what everyone's customised”

Participant 1: “I go for something that is different and not basic like my everyday
clothes”

4.5 Summary of findings

Qualitative data found themes of escapism, expression through avatars and a

preference for digital experiences/items over physical ones. Based on statistical testing
H1 is rejected and H2 was supported. Findings demonstrate a mix of positive and
negative reactions with the overarching feeling of initial interest of the idea. A range of
themes of customer emotions was found, the prevalent being intrigued. Relationships
between the likelihood of luxury purchasing and engagement with gaming collabs were
significant.

40
 CHAPTER FIVE
DISCUSSION AND CONCLUSION

41
5. DISCUSSION AND CONCLUSION

5.1 Chapter summary

This chapter summarises the key conclusions from Chapter 2's literature review. The
original research in this study is then interpreted, along with its relevance to secondary
research. A thoughtful conclusion completes the picture. The luxury brand
management advice, study limitations, and future research recommendations are also
discussed in this chapter.

5.2 Discussion

Objectives

(i) To identify consumer emotions towards gaming and luxury brand

collaborations and activities.
(ii) Establish relationships between the UK Gen Z market and game-themed
Luxury brand activities.
(iii) To critically evaluate findings by appropriate applications of behavioural and
brand equity models.
(iv) To formulate recommendations for Luxury brands implementing
gaming/esports in their products and market activities.

Table 1.1 Research objectives

5.2.1 Consumer reactions and the CBBE model

A range of reactions was identified from Gen z individuals, not all reacted positively to
the collaborations. Although despite this, consumers were intrigued as the examples
piqued their interest. The participants respected and acknowledged the attempt of
experiential branding that incorporated games and created value through innovation.
These findings accomplish the objective (i) where feelings and reactions are identified.
The brands were deemed more appealing regardless of prior interest in gaming and/or
luxury fashion. This plays a role in the consumers’ value perception of the brand as it
accomplishes a basic level of Brand Salience based on the CBBE model (Keller, 2013).
As feelings towards the collaborations are mixed, one could argue that achieving brand
salience is a foundation that offers the opportunity for the brand to increase value and
move up the model (Keller, 2013) as interest and awareness are already achieved.
This could be interpreted as a gateway to the following tier. Similarly, following
Aaker(1991)’s concept of the 5 brand equity assets, the asset of brand awareness is
obtained. However, the initial stage of awareness may not lead to subsequent

42
elements to brand equity, therefore important for brands to review consumer reactions
and adjust collaborations/activities to ensure a positive reaction for brand value.

5.2.2 Importance of execution of activities

Transcripts showed frequent comments of dislike toward physical luxury game

collaboration pieces, dubbed as ‘cringe’ and ‘over the top’. Gen z consumers seek
sophisticated clothing when shopping in the physical world, however, data found that
some individuals of generation z prefer digital clothing as they offer more than just
visuals, e.g. programmed skins that enable exclusive character movements and
actions. It is important to note that the collaborations between luxury fashion and
gaming can be both on and offline, these do not ensure the same interest and desire.
Following the CBBE model (Keller, 2013), these could both lead to salience, however,
one may perform better, therefore, the execution of the collaborations should aim to
resonate with the consumer e.g. aesthetics. A critique of relying on salience is that
interest alone does not guarantee sustained and enhanced brand equity. Some felt that
collaborations which did not represent the game accurately and simply just used the
brand logo, e.g. Balenciaga and Fortnite collaboration, demonstrated laziness of the
brand. This deterred customers who enjoyed the game as they did not fully resonate
with the product. This shows that brand equity creation from gaming and luxury
collaborations is not simple, but requires a sound understanding of the target consumer
in order for individuals to appreciate beyond initial interest.

5.2.3 Avatar customisation and Self-discrepancy

Analysis showed a consensus of enjoyment when customising avatars on virtual

platforms, see 4.2.1, from transcripts (appendix 6) our reasons include experimentation
of style and increased self-confidence. Increased self confidence is an attribute of
taking on the identity of the ‘ideal self’ (Kim and Sundar, 2012). Few participants
expressed a history of purchasing virtual skins and character items. This shows the
potential of gaining gen z consumer interest of individuals who choose to design their
ideal self (Higgins, 1989), and the potentially strong influence when targeting this
emotion led consumers (Li, Phang and Ling, 2019), (Atwal and Williams, 2009). As
noted in the thematic analysis, people preferred to dress their avatars in

43
 5.2.4 Hypotheses implications

Hypotheses

H1: The use of gaming in luxury fashion activities has a significant positive
effect on UK gen z consumers’ interest in the brand.

H2: UK Gen z consumers are significantly more likely to purchase from a

Luxury brand after engaging with game-themed activities from the brand.

Table 2.2 Hypotheses

Statistical testing failed to reject null hypothesis H01, concluding that UK gen z
consumers' interest in luxury brands do not positively differ before and after engaging
with examples of the use of gaming in luxury fashion, t = 0.084, p = 0.93 > 0.05. The
quantitative testing showed that gaming and luxury collabs did not impact consumer
interest. This means there is little evidence for a relationship between the UK Gen Z
market and game-themed Luxury brand activities this arrives at a conclusion of no
direct relationship between increased interest as a response to objective (ii).
Test for H2 resulted in a Sig. value for the paired samples is .013 which is less than the
significance level of 0.05, rejecting the null hypothesis H02. Concluding that UK gen z
consumers' likelihood to purchase from luxury brands increases after engaging with
examples of the use of gaming in luxury fashion, t = -2.519, p = 0.013 < 0.05. This
shows a relationship between the likelihood of purchasing a luxury product and
experience and exposure to the collaborations.
We could argue that there are different relationships identified for objective (ii) as an
inductive approach intends to discover and gather themes and patterns. Although the
logic applied to generation z looks to disobey logic if the collaborations did not increase
luxury brand interest, why would engagement with the collaborations increase the
likelihood of purchase? This requires further research of a larger sample within a longer
time scale to meet representative outcomes, research on other variables such as ease
of access and professional gamer influence should be studied to address this
discrepancy.

44
5.3 Contribution

5.3.1 Academic Contribution

With a lack of research on consumer insights of gen z in a luxury fashion and gaming
subject, this academic paper provides a small foundation for future research and
ideation. The study used Keller’s CBBE model, a pillar of brand management, as a key
model to be applied and explored in the context of gaming and luxury fashion.
Consumer insights were investigated based on the psychological theory of Higgins’
Self-discrepancy (Higgins, 1991) to gain a deeper understanding of consumers in the
context of gaming and luxury.

5.3.2 Managerial Contribution to Luxury fashion

This research looked at feelings, reactions and relationships between the customer and
collaborations. As a result, the data can assist luxury brand executives in developing a
complete strategic strategy for future endeavours in game-related brand activities.
Arriving at key emotions and reactions of the study group, we see that some
consumers are more influenced by the collaborations than others. Management should
consider the psychological function of avatar customisation for plan implementation as
both gamers and non-gamers express hedonistic functions and enjoyment from it. This
can be translated as digital experiences creating more value as consumers are more
likely to enjoy avatar creation for self-fulfilment and thus leading to value for the brand.
This drives the potential for sustained brand equity where strong positive emotions and
interest lead to resonance with the brand. Brands should further research the game in
collaboration with a granular level from a game fan perspective, research should
include aesthetics of interest e.g., colour schemes and imagery, and a deeper
understanding of the specific game world. This avoids a mismatched project offering
from surface-level knowledge of the game and enables the brand to effectively gain
interest and invoke positive experiences

5.5 Limitations

A range of limitations was identified throughout the study. Taking a subjectivist stance,
interpretations are mostly interpreted, this could be due to a hidden bias taken by the
researcher. A way to consolidate this is to cross analyse with other researchers and
compare results. This potentially removes bias, however as that was not possible a

45
neutral stance was taken throughout. Despite limitations, the researcher attempted to
compensate when able to, alleviation techniques are noted in

Limitation Limitation explanation Alleviation

Limited existing Little specific research on Ensure a robust

studies of topic gaming and luxury from foundation of theoretical
using behavioural models. underpinnings and
Thus, lack of data for industry data and go
triangulation. beyond numbers by
evaluating key points and
link theories/models
through interpretation.

Methodology An interpretive and Mixed methods included

inductive approach seeks quantitative data for
to explore and gather statistical analysis for
ideas, these are often comparisons and data
subjective and contain a consolidation.
hidden researcher bias due Triangulation was based
to personal opinions on theory application.
potentially influencing
analysis.

Sample size and The sample size is Further research should

time scale relatively small to represent increase sample size and
a whole demographic. The potential granular
time restrictions only research of subgroups in
showed a snapshot of the demographic should
emotions and reactions be explored.
which may not be the same More case studies and
for future time points. longitudinal research.

Table 5.1 Limitations and alleviations

5.6 Recommendations

Following the findings of this investigation, numerous recommendations must be

addressed. To begin, a more extensive study on this issue is required to reach a more
representative sample of Generation Z customers. The sample size is relatively small
compared to industry standards for consumer research. A larger sample should be
studied as a number of themes may have been missed in the sample due to the limit.
Secondly, further quantitative studies in this field are urged. Deductive quantitative

46
approaches offer numerical data and statistics, they will give significant insights from
numerical empirical data, which may be useful in the collection of statistical evidence
and reports when evaluating a game-themed fashion opportunity. Finally, following up
on the findings of this study, more research is needed to investigate the impacts of
luxury and gaming on purchase intent. This will enable the creation of a complete plan
for implementing a game-based luxury brand strategy. More research is needed to
create a database that will allow for topic-specific triangulation in the areas of luxury
fashion, gaming, and generation z.

5.7 Chapter summary

This chapter discussed findings in relation to literature and purpose. Overall the
study followed the proposed plan and produced data and conclusions that
complete the research title, objectives and tested hypotheses. Links can be
noted between literature and the case findings, however, more research should
be conducted to reach a robust data set and conclusion. Despite the need for
future research, the findings of feelings and reactions of Generation Z
consumers in the UK can act as a preliminary assumption when strategizing for
product development, branding, and marketing activities within the management
of a luxury brand.

47
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53
Appendix 1

Student Research Ethics Approval Form

Form 1 – Student Research Ethics Approval Form

NAME: CHRYSTAL MAE BRINGAS AGAGON

COLLEGE: LCF FASHION BUSINESS SCHOOL

IF YOUR RESEARCH INVOLVES PARTICIPANTS, PLEASE COMPLETE QUESTIONS 1

TO 9. IF NOT, GO TO QUESTION 10 BELOW.
1. Will the participants be: (please tick as appropriate)

Students at the University 

Participants outside the University 

2. How will participants be recruited and how many will be involved? (Approximate number
is OK)

120 questionnaire respondents

10 focus group participants
2 individual interviewees

3 What will the participants be asked to do? (Explain clearly so that a non-specialist will
understand)

- Answer a series of questions on an online form to aid the research study.

- In smaller groups, via a video call, converse with fellow participants and the
researchers around the topic.
- Engage in a one-to-one interview with the researcher talking about thoughts and
feelings regarding the study.

4 What potential risks to the interests of participants do you foresee and what steps
will you take to minimise those risks? (A participant’s interests include their physical and
psychological well-being, their commercial interests; and their rights of privacy and reputation).

- Participants will not be forced to disclose their names and full identities if they are not
comfortable doing so.
- Participants may feel judged or uncomfortable during focus group discussions, care
will be taken to facilitate the conversation to diffuse any tensions/create a comfortable
safe environment.
- The potential risk of contracting COVID-19 from physical meetings, thus all data will
be collected through online means e.g., Qualtrics and Zoom.

5 What potential risks to yourself as a research student do you foresee and what
steps will you take to minimise those risks? (e.g. does your research raise issues of personal
safety for you or others involved in the project, especially if taking place outside working hours or off
University premises)

- For health and safety reasons e.g., COVID-19 and potential physical harm from
participants, data will be collected through online means e.g., Qualtrics and Zoom.

54
6 Please attach a copy of proposed written information / consent form to be given to
participants for agreement and signing. If you are not obtaining written consent or
supplying an information sheet, please explain the reasons for this.

Attached: 

7 Does your project involve children or vulnerable adults e.g. a person with a
learning disability? YES/NO
If YES, you must refer to the Guidance Note on Informed Consent in the
Code of Practice on Research Ethics at
http://www.arts.ac.uk/research/researching-at-ual/researcher-support/ and
obtain a Criminal Records Bureau (CRB) check.
You are advised to discuss this with your supervisor.

Please tick to confirm this has been obtained:

Please refer to the guidance note on data protection available at

http://www.arts.ac.uk/research/researching-at-ual/researcher-support/ before
answering the next question. Please consider the value of coding; the importance of
secure storage and disposal of personal information, particularly sensitive data (e.g.
records of health, origin, criminal record etc.)

8 Will you be obtaining personal data from any of the participants? YES/NO

If YES give full details based on the following questions:

(a) How will you store and use this information during your research?
Data will be stored on Qualtrics, SPSS and Excel until the feedback is given after
the submission (July).
(b) What parts of this information will be confidential?
Age, Gender, Names and Questionnaire responses.
(c) Will you separate personal identifiers from other (coded) personal data, and if so,
how will you safeguard the key?
Data will be stored on an external hard drive and mac software of The researcher
(d) Will personal data be irreversibly anonymised or, if you have separated the
data, will the linking code between the two databases be destroyed?
Data is irreversibly anonymised
(e) At the conclusion of your research:
(i) Which of your data sets do you intend to retain personally for use in future
research?
Only analysed data in forms of anonymised spreadsheets, graphs, word clouds
will be kept.
(ii) Which do you intend to archive for other researchers?
Only analysed data in forms of anonymised spreadsheets, graphs, word clouds
will be kept.
(iii) Which do you intend to destroy?
Raw unanalysed data from questionnaires, focus group/interview transcripts
and participant information will be destroyed.
(f) Depending on your answers to (f):
(i) If you intend to retain certain data sets for future use or to archive them:
(i.i) How will they be stored?
Data analysis will be stored on an external hard drive in the researcher’s
possession and can be obtained through emailing the researcher at
[email protected].

55
 (i.ii) Will participants be informed what data will be retained, and will
their consent be obtained for this?
Participants will be notified of the data collection and storing through the
participant consent forms which will need approval before continuing in
this research study.
(ii) If you intend to destroy certain data sets at the conclusion of the
research:
(ii.i) Explain why this is appropriate
Raw data sets will be destroyed to maintain confidentiality, anonymity
and control the access to the data. Data will no longer be used for
further research or publications.

(ii.ii) How will you ensure that the data will be disposed of in such a
way that there is no risk of its confidentiality being compromised?
Data will be manually deleted where used on software and on hard
drives. Any physical copies will be shredded and disposed of.

9 Will payments to participants be made? YES/NO

(If YES, please state amount and whether payment is for out-of-pocket expenses, or a fee.
Normally no payment is made in student research projects.)

10 Will any restrictions be placed on the publication of results? YES/NO

(If YES, please state the nature of the restrictions, e.g., details of any confidentiality
agreement)

No personal details of participants will be disclosed.

11 I confirm my responsibility as a student of UAL to conduct research in accordance

with the Code of Practice on Research Ethics of the University of the Arts London
(the University). In signing this form I am also confirming that:

a) The form is accurate to the best of my knowledge and belief.

b) There is no potential material interest that may, or may appear to,
impair the independence and objectivity of researchers
conducting this research.
c) I undertake to conduct the research as set out in this form.
d) I understand and accept that the ethical propriety of this
research may be monitored by the relevant College Research
body and/or the University’s Research Ethics Sub-Committee.

Signature of
Researcher: Date: _16/02/2022_

56
12 I support this project and have reviewed it with the applicant:

Signature of
Supervisor: Date: ___07/03/22________

57
Appendix 2

Participant Information sheet and participant consent forms

Form 2 – Information and Consent Form for Participants

Title of the dissertation: "Exploring the UK's Gen Z consumer emotions

and response towards Luxury fashion brands'
use of gaming as collaborations and marketing
tools"
Student name and contact CHRYSTAL M.B. AGAGON
details: [email protected] or
[email protected]
Hosting Institution: University of the Arts – London College of
Fashion

Background and Rationale

This is an undergraduate piece of research to identify the thoughts and

feelings of generation z individuals when presented and engaging with luxury
fashion brands’ use of gaming in their promotions. As the gaming community
grows and technology advances, companies have been incorporating gaming
platforms in their activities. This is a recent and developing phenomenon and
must be explored from a consumer aspect for valuable information to be used
in the fashion industry.

Aim of this research

Participants are needed to gain insights into consumer thoughts, feelings,

opinions, and experiences in the collaboration of luxury fashion and gaming.
Participants must be aged between 18 -27 (generation z) and reside in the
UK. This is to study the appropriate demographic for the study. In turn, the
researcher will analyse collected data to identify key themes of customer
reactions to luxury fashion and gaming. Managerial recommendations will be
formulated based on the findings as part of the dissertation.

FAQ
How much time will be involved?
Data collection, analysis and report writing will last until the submission date
of 24/05/2022
The survey is approximately 7-12 minutes long
2 Focus groups of 5 each 45 – 60 minutes long session
2 Interviews each 20- 30 minutes long

Note: focus group and interview sessions will be audio-recorded and

transcribed for collection and analysis purposes.

Where will the research be conducted?

58
 Online via Qualtrics (survey) and Zoom (focus groups and interviews), Dragon
software will be used to transcribe.

What will happen to the information collected?

Information will be analysed and referred to and held throughout the study,
the information held will then be deleted upon publication of dissertation
results.

How will the data and information collected be used?

Information will be analysed and referred to and held throughout the study

Will the outcomes of the research be published?

Copies will be available via the UAL Library by December 2022 and directly
upon email request: [email protected] or
[email protected]

Will my name or the name of my company appear in the research report?

No, only a signature will be kept in the appendix for consent forms.

What will happen to the data upon the completion of the project?
All data will be deleted unless analysed and used in the body of the dissertation.

What happens if I change my mind and I don’t want to take part in this
research?
Please contact the researcher via email and request a withdrawal, please
include your name, and contact details and which studies you participated in.
Withdrawal will not be questioned and will always be processed.

Consent

“I have read the Information Sheet and have had the details of the study explained
to me. My questions have been answered to my satisfaction, and I understand
that I may ask further questions at any time.
I understand I have the right to withdraw from the study at any time and to decline
to answer any questions. I agree to provide information to the researcher on the
understanding that my name will not be used without my permission. (The
information will be used only for this research and publications arising from this
research project.)

Agree Not Agree

I agree/do not agree to the interview being taped.
My name can be mentioned in this research study

59
 The name of the organisation I work for can be
mentioned in this research study

I understand that I have the right to ask for the audio/videotape to be turned off
at any time during the interview. I agree to participate in this study under the
conditions set out in the Information Sheet.
Name: _____________________________________

Signed: ____________________________________
Date: ______________________

60
Appendix 3
General risk assessment

61
62
63
64
Appendix 4
Gantt Chart for project management

65
Appendix 4
Focus group study guide

Discussion points:
On gaming/esports use/views/experience: first brief a definition on
gaming/esports, examples: League of Legends, Fortnite, Twitch, and present
statistics on the growth of gaming.
• Are you aware of gaming and esports?
• What is gaming to you?
• Does anyone play, use, or consume anything game/esports related?
• Why do/don’t you engage with it?
• How does it make you feel?
• What do you think about the continuing rise of gaming over recent years?

On luxury fashion: define luxury fashion, example brands: Louis Vuitton, GUCCI,
Balenciaga etc.
• Is anyone here interested in luxury fashion brands?
• Does anyone here own/actively purchase from luxury fashion brands
• Why don’t/do you?
• What would make luxury brands more appealing to you?

On the collaboration of gaming and luxury fashion: showing a few examples of

the collaboration – LV x LoL, Balenciaga x Fortnite, GUCCI x ROBLOX
• What do you think about these past collaborations?
• Does it interest/appeal to you?
• How does it make you feel?
• Do these collaborations affect how you view the brand?

End of the focus group:

• Debrief
• A reminder of non-disclosure and confidentiality
• Thank you

66
Appendix 5
Qualtrics Survey

Luxury fashion and Gaming Dissertation

Research

Survey Flow
Block: SECTION 1: Brief and Consent (4 Questions)
Standard: SECTION 2: Participant profile - Luxury Fashion (5 Questions)
Standard: SECTION 3: Participant profile - Gaming (6 Questions)
Standard: SECTION 4: Collaboration reactions (7 Questions)
Page Break

67
Start of Block: SECTION 1: Brief and Consent

Research background This is an undergraduate piece of research to identify the

thoughts and feelings of generation z individuals when presented and engaging with
luxury fashion brands’ use of gaming in their promotions. As the gaming community
grows and technology advances, companies have been incorporating e-sports and
gaming platforms in their activities. This is a recent and developing phenomenon and
must be explored from a consumer aspect for valuable information to be used in the
fashion industry.

Data use and intent Participants are needed to gain insights on consumer thoughts,
feelings, opinions, and experiences to the collaboration of luxury fashion and gaming.
Participants must be aged between 18-27 (generation z) and reside in the UK. This is to
study the appropriate demographic of the study. In turn, the researcher will analyse
collected data to identify key themes of customer reactions to luxury fashion and
gaming. Managerial recommendations will be formulated based on the findings as part
of the dissertation.

Consent “I have read the Information Sheet and have had the details of the study
explained to me. My questions have been answered to my satisfaction, and I
understand that I may ask further questions at any time. I understand I have the right
to withdraw from the study at any time and to decline to answer any questions. I agree
to provide information to the researcher on the understanding that my name will not
be used without my permission. (The information will be used only for this research
and publications arising from this research project.)

All responses will be anonymised and any queries or requests can be emailed
to [email protected]

o I consent as a participant (1)

o I do not consent as a participant (2)
Skip To: End of Survey If Consent = 2

68
Participant control Are you aged between 18-27 and currently reside in the UK?

o Yes (1)
o No (2)
Skip To: End of Survey If Participant control = 2
End of Block: SECTION 1: Brief and Consent

Start of Block: SECTION 2: Participant profile - Luxury Fashion

Q1 Are you interested in Luxury fashion?

o Highly interested (1)

o Interested (2)
o Neither yes or no (3)
o Disinterested (4)
o Highly disinterested (5)
Display This Question:
If Q1 = 1
Or Q1 = 2

69
Q2 Which Luxury fashion brands are you interested in? Select as many as desired.

▢ Balenciaga (1)

▢ Louis Vuitton (2)

▢ GUCCI (3)

▢ Loewe (4)

▢ Prada (5)

▢ Vivienne Westwood (6)

▢ Dior (7)

▢ List any if not mentioned (8)

________________________________________________

Display This Question:

If Q1 = 1
Or Q1 = 2
Or Q1 = 3

70
Q3 Please select all reasons to why you are interested in Luxury fashion

▢ Aesthetics (1)

▢ Status (2)

▢ Resonate with brand (3)

▢ Support brand ethics (4)

▢ Trendy (5)

▢ High quality (6)

▢ Good store experience (7)

▢ Use of experimental technology (8)

▢ List any not mentioned (9)

________________________________________________

Display This Question:

If Q1 = 4
Or Q1 = 5
Or Q1 = 3

Q4 Please select the biggest reason to why you are not interested in Luxury fashion

o Expensive (1)
o Brands do not resonate with me (2)
o Poor brand ethics (3)
o Not my style aesthetic (4)
o Feels too exclusive (5)
o List any not mentioned (6)
________________________________________________

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Q5 Rank the factors that would make Luxury fashion more interesting to you
______ Lower price (1)
______ Relatable campaigns (2)
______ 'Wearable' clothing (not standout pieces) (3)
______ Digital Clothing and accessories e.g. for a gaming avatar, NFTs and 2D art. (4)
______ Improved company ethics e.g. sustainable practice (5)
______ Pop-ups (6)
______ Online experiences e.g. live shows, immersive worlds and tech-based
interactive events (7)
______ List any not mentioned (8)

End of Block: SECTION 2: Participant profile - Luxury Fashion

Start of Block: SECTION 3: Participant profile - Gaming

Q6 Are you interested in Gaming/Esports?

o Highly interested (1)

o Interested (2)
o Neither interested nor disinterested (3)
o Disinterested (4)
o Highly disinterested (5)
Display This Question:
If Q6 = 1
Or Q6 = 2
Or Q6 = 3

72
Q7 Which games are you interested in/play?

▢ Minecraft (1)

▢ SIMS (2)

▢ Grand Theft Auto (3)

▢ League of Legends (4)

▢ Fortnite (5)

▢ Roblox (6)

▢ APEX (7)

▢ List any not mentioned (8)

________________________________________________

Display This Question:

If Q6 = 1
Or Q6 = 2
Or Q6 = 3

Q8 Rank the factors to why you are interested in gaming/esports. 1 being the most
important.
______ Its a fun way to spend time (1)
______ I enjoy exploring alternate worlds (2)
______ I like to complete tasks/missions (3)
______ I enjoy customising my avatars (4)
______ Its a way to escape reality (5)
______ I am part of a gaming community (6)
______ I feel most comfortable when gaming/consuming esports (7)
______ List any not mentioned (8)

Display This Question:

If Q6 = 3
Or Q6 = 4
Or Q6 = 5

73
Q9 Which is the largest factor why gaming/esports does not interest you?

o I find it boring (1)

o Some games are complicated (2)
o I feel that it is a waste of time (3)
o I only like customising characters and the actual game task (4)
o I do not care to watch other people play games (esports) (5)
o List any not mentioned (6)
________________________________________________

Q10 How does gaming make you feel?

________________________________________________________________

Q11 What would make gaming more interesting to you?

________________________________________________________________

End of Block: SECTION 3: Participant profile - Gaming

Start of Block: SECTION 4: Collaboration reactions

Q12 Are you aware of any past/current fashion x gaming collaborations? If so which?

o No (1)
o Yes (2) ________________________________________________

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Q13 What is the likelihood of you purchasing a luxury product?

o Very likely (1)

o Likely (2)
o Neither likely nor unlikely (3)
o Unlikely (4)
o Very unlikely (5)

Q14 Here are some Luxury fashion x Gaming collaborations

Q15 How do these collaborations and campaigns make you feel?

________________________________________________________________

Q16 What is the likelihood of you purchasing a luxury product after looking at the
examples?

o Very likely (1)

o Likely (2)
o Neither likely nor unlikely (3)
o Unlikely (4)
o Very unlikely (5)

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Q17 After looking at the examples, how interested are you in luxury fashion brands?

o Highly interested (1)

o Interested (2)
o Neither interested nor disinterested (3)
o Disinterested (4)
o Highly disinterested (5)

Q18 Would you explore gaming x fashion collaborations in your spare time?

o Definitely (1)
o Probably (2)
o Not sure (3)
o Probably not (4)
o Definitely not (5)
End of Block: SECTION 4: Collaboration reactions

Appendix 6
Focus Group transcripts

FG 1:

IVR: Hello everyone, can you all hear and see me fine?

Participants: Yes.

IVR: Before we start, has everyone read the brief sheet and signed the consent forms?

Participants: Yes.

B: I think I sent it to your email.

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IVR: Great. Is anyone yet to email me the documents back?

IVR: No? Okay, let’s proceed then. Just to introduce myself to you all, my name is
Chrystal, and I am a Fashion Management undergrad student at LCF UAL. This focus
group is part of my dissertation research about gen z responses to the use of gaming in
luxury fashion. Does anybody have any questions?

Section A:
On gaming/esports use/views/experience: first brief a definition of gaming/esports,
examples: League of Legends, Fortnite, Twitch, and present statistics on the growth of
gaming.

IVR: Are you aware of gaming and esports?

D: I’d consider myself an avid gamer, I also watch esports tournaments or gameplays in my free
time.

A: Yeah, I guess, it’s kind of everywhere now. I have friends who go to esports bars and watch
competitions.

B: I agree, gaming has always been around, I think more so now as a digital thing like league
(of legends) and things like Fortnite. I know people can make careers out of them now, which is
kind of crazy.

E: I'm aware of what gaming is but I'm not too familiar with esports. The most I know about
esports is that people compete.

C: Absolutely! I love playing games and I even go to esports bars to compete in local
tournaments.I don’t know how people aren't aware of it by now, it’s like everywhere.

IVR: What is gaming to you?

A: Gaming to me is something to do for fun (?), somewhat escape reality and plunge yourself
into a different reality.Doing tasks or exploring. It’s a way for me to enjoy and do something I
can’t do in real life.

B: Gaming is something to pass time and enjoy. I just like to mess about it, kind of like an outlet.

E: I’m not super into storylines or the game task itself, to be honest, my favourite part is the
customising (or avatar) element.Like sims? Is that considered a game?

IVR: Yes, sims classes as a game.

E: Yeah, but anyways I like designing the characters making me, friends even my neighbour ha-
ha, I could spend hours doing just that part.

B: oh my god! Yes, I love making sims (characters) too!

C: For me, it’s an outlet, gaming is a hobby for me. I like to immerse myself in gameswhether it
be alone or with friends.

D: Yeah, I agree, it’s a hobbyand I enjoy being able to remove myself from reality as I play.

IVR: Does anyone play, use, or consume anything game/esports related?

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A: Like I said I have friends who are really into gaming and esports. I'm not as much of a
diehard fan as them but I do enjoy playing gamesand depending on what game it is I will invest
in it.

IVR: What do you mean by investing in it?

A: Like buy skins for my charactersor invest time into levelling up or finishing etc.

B: I play games whilst on discord to friends, (I) watch streamers sometimes too. I also spend
money on games, not loads but like stuff to customise my avatars.

C: As I said I play and compete or naturally I consume it to a larger degree than non-gamers.

IVR: How else do you consume it?

C: I mean I spend money in the game, so for like currency to buy upgrades, skins to
customiseand other things to make the game more enjoyable.

D: I spend a lot of time and energy on gaming. It’s something I do on a daily.

E: I'm not a consistent gamer nor do I keep up with esports.

IVR: Why do/don’t you engage with it?

A: Simply I enjoy a moment of escapism or even distraction from reality. Plus, some games are
addictive, at first, you don’t think you'll really care for them but then boom you find yourself
playing almost every day haha.

B: It’s fun, I like playing games with friends, it’s a social thing.

IVR: You mentioned customising your avatars, why do you do this?

B: Well, it’s like playing dress-up in a sense. I can be creative; I don’t experiment with my style
but I feel like I can do this (experiment with style) easier on avatars. There are no boundaries
and usually the crazier the avatar looks the cooler it is on the platform. It’s a way for me to
comfortably express a side of me.

E: It’s just not my vibe, I don't get invested with things like that.

D: As someone said it’s escapism. I like being someone else, being in a different world. I can be
whom I want to be and enjoy my time doing so with others for similar reasons.

C: A lot of my friends are from Discord (a gaming chatroom) whom I play with, so it makes
sense to spend a lot of my time there for social reasons. Plus, games offer a completely
different and unique world that interests me.

IVR: How does it make you feel?

A: It makes me feel relaxed,despite sometimes screaming whilst playing from frustration, it’s
more that I forget anything else whilst I'm focused on playing. It’s enjoyable, who wouldn’t want
to do something (that) they enjoy?

B: Makes me feel happy,like P1 said, it’s a form of escapism to me.

C: I feel the more comfortable when gaming, nobody knows who I am so I can be whomever I
want (to be). I have fun being involved with esports.

D: I second that.

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E: It’s enjoyableand I like the customising process. That part hooks me in. I feel confident in
expressing and experimenting with things I would never actually wear (in real life). But other
than that, I'm indifferent to games in general.

IVR: What do you think about the continuing rise of gaming over recent years?

A: It’s a bit wild. Gaming has become super serious, there are professional esports gamers and
that’s cool but sometimes edges on dangerous in excess. If that makes sense. But I also think
it’s great in the sense there's a community to it, everyone and anyone can pretty much connect
anywhere on a single platform. Gaming is definitely way more integrated into general media
now and I don’t necessarily think that’s a bad thing, especially for those who are interested in it.

B: I fully support it. An interest of mine is growing in society. I think it’s a good thing that gaming
is seen as an opportunity in various ways.

E: I guess it is good in a sense people can enjoy things in a community and encourages
creativity in game development and usage.But a lot of kids are glued to their phones now so I
don’t think it’s all so positive.

C: I think it’s great. Gaming isn't just about playing, it’s so freeingand I think it would be ignorant
to overlook the growth of the community. The rise is good because there are endless
opportunities for literally anyone.

D: I don’t see a problem with it. If anything, it’s fun and innovative.A lot more people have
picked up gaming since the pandemic and lockdowns and I'm sure a lot of them enjoy it. So
yeah, I think it’s positive.

Section B: On luxury fashion: define luxury fashion, example brands: Louis Vuitton,
GUCCI, Balenciaga etc.

IVR: Is anyone here interested in luxury fashion brands?

A: I don’t actively search for it but every now and again I see an ad, or someone posts
something fashion related on my (Instagram) feed.

B: I know some popular brands; I've seen some collaborating with streamers and games. But
outside of that, I don’t really shop for them.

E: Luxury fashion is my weakness. I love fashion and luxury fashion is on a different level to
mainstream high street brands like ZARA that just copies.

IVR: Which luxury brands are your favourites?

E: I'm really into GUCCI and MIUMIU.

C: I like luxury fashion; I don’t often buy from luxury brands, but I take inspiration from them.

D: For sure. I live for brands like Balenciaga and Alexander McQueen for that kind of edge and
experimental look.

IVR: Does anyone here own/actively purchase from luxury fashion brands

D: Yes, I have quite a few pieces from luxury brands, but I also don’t have many clothes in
general. Oh, I've also bought things from gaming collabs like in Fortnite and skins on League
(Of Legends) so my avatars are in drip.

A: No.

B: Nothing physical but I have bought a Balenciaga skin on Fortnite for my character haha. It’s
kind of cool because it was a limited edition.

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E: I treat myself to them so yeah.

C: I have a few accessories like wallets and a belt.

IVR: Why don’t/do you?

A: It was expensive. And to be fair I'm not super into designer fashion like that.

C: I agree is pricey so I don’t splurge on it but since I do like some pieces, I would save up for
them or ask for them as gifts from my parents.

E: I like fashion so that’s where I'll spend money.

D: I like investing in things that I have an interest in, if I have the money to then why not?

IVR: What would make luxury brands more appealing to you?

A: Aesthetically I think there are nice brands, but the price is out of my budget, so to answer
your question affordability would make luxury brands more appealing to me.

B: Yeah, I think the price point is a big factor for me. Or even use like I wouldn’t buy a
Balenciaga t-shirt in real life but for my avatar yes because it’s a fraction of the cost and I would
enjoy using it on my avatar instead of actually wearing it.

E: They already appeal to me so I'm not too sure? Maybe things like experiences like a pop-up
or online events. That way I can interact with the brand more at home and outside of going to
their (physical) stores.

C: Lower the prices ha-ha

D: I'm not too sure about that.

Section C:
On the collaboration of gaming and luxury fashion: showing a few examples of the
collaboration – LV x LoL, Balenciaga x Fortnite, GUCCI x ROBLOX

//paused a few minutes for participants to look and interact with examples//

IVR: What do you think about these past collaborations?

A: They're cool! I'm not sure if I would wear them but I'd try out the virtual worlds and browse the
skins.

C: I love them! It combines my interest in fashion and gaming. I was aware of a few before you
showed me so it’s right up my alley. I think the skins are amazing, I wouldn’t wear it myself, but
I'd love it for my avatar too.

B: Some are cool, to be honest. Again, I don’t know if id buys anything at their stores, but I
would look for digital things. For the virtual experiences, I have played in some because some
are so well made. You can tell they’ve invested in creating them.

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E: I think they're so innovative, that’s why I also like luxury fashion. I feel like they're ahead of
the game and it shows that the brand is modern and relevant.

D: They're sick like I love the combination.It works so well, and I know people are interested in
the two so it's a game-changer for both gaming and fashion.

IVR: Does it interest or appeal to you?

A: I like the concept of virtual worlds and experiencing the brand through a gaming
platform.Again, not sure if I would purchase (physical) items but the digital ones are one
hundred per cent in consideration. At least my avatars would be stylish, and I would flex on my
friends ha-ha.

B: Yeah, but not purely because it’s a luxury fashion brand, it’s because I like gaming and
aesthetics too.

E: The clothing items are the most interesting part, personally.

D: Yep.

C: Totally, as I said earlier.

IVR: How does it make you feel?

A: Intrigued? Like I want to know more and explore the brand more. Like the GUCCI x, the
ROBLOX world is so interesting, I don’t think I'll ever step into a GUCCI store so virtually
stepping into it is the probably only time I would. Makes me feel like the brand is less restricted
to me, I feel more comfortable exploring it this way as opposed to in a physical store.

B: It makes me feel cool when I have limited fashion collab pieces on my account. Exclusivity in
avatar accessories is almost on par with having a rare item in the game. A bit of a status thing.

E: Yeah, I agree, it makes me feel intrigued. Even though I'm not into gaming, I'm still interested
in seeing the collaboration from an aesthetic fashion perspective.

C: It’s exciting for sure. I'm looking forward to seeing more.

D: Makes me feel excited that I can dress my avatar in brands that I genuinely like. I think it’s
dope how I can reflect my interest in fashion through clothing for my avatar.

IVR: Do these collaborations affect how you view the brand?

D: Makes me appreciate the brand more, it shows they're not ignorant of the community
because they create products for us. I respect it a lot.

A: Slightly, it makes me think "oh these brands are not so traditional?" It makes me view the
brand as innovative and aware of the younger generation who are part of communitieson such
gaming platforms.

B: It does make me think that luxury brands are more aware now of technology.Honestly, I've
learnt more from collaborations with gaming from their traditional platforms. It makes me like the
brands a little more.

E: If anything, it makes me like the brand more, I appreciate fashion developing and expanding
into other things, so I think it’s the next level to experiment with virtual items.

C: Makes me like the brand more,(I'm) not saying that I'd buy from them all the time, but I would
consider it more because these collaborations resonate with me a lot!

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IVR: Would anyone like to contribute anything we haven’t touched on?

A: Honestly, I think the digital campaigns like the virtual worlds and skins are a lot
better than any of the physical offerings.

IVR: Why is that so? Would you please elaborate?

A: I mean, the virtual offerings are not over the top and cringe, well they are over the
top but that’s fine in a game. It’s too much if those are replicated in reality. Of course,
that’s personal preference, but to me extravagant and obviously game theme things
should stay with the game platform, or it comes across cringe and tacky.

C: Yeah, I see what A is saying. Physical things should be more lowkey because it feels
like the brand is trying too hard and it misrepresents the game. Also misrepresents the
people who play the game too..

IVR: I see, that’s an interesting point you raise. Anything else?

//silence//

IVR: Okay, on that note we shall conclude this interview. Once again, I have emailed
you contact details for any queries so please feel to contact me if needed.

IVR: Thank you all for your time and contribution!

End of the focus group session

82
FG 2:

FOCUS GROUP 2

IVR: Hello everyone, can you all hear and see me fine?

Participants: Yes.

IVR: Before we start, has everyone read the brief sheet and signed the consent forms?

Participants: Yes.

IVR: Great. Is anyone yet to email me the documents back?

/silence/

IVR: Let’s proceed then. Just to introduce myself to you all, my name is Chrystal, and I
am a Fashion Management undergrad student at LCF UAL. This focus group is part of
my dissertation research about gen z responses to the use of gaming in luxury fashion.
Does anybody have any questions?

On gaming/esports use/views/experience: first brief a definition on gaming/esports, examples:

League of Legends, Fortnite, Twitch, and present statistics on the growth of gaming.

IVR: Are you aware of gaming and esports?

F: Yes, I am into games.

G: Yes but I don’t know about much in depth.

H: Mmmhm, I'm quite into gaming and esports so its one of my main interests.

I: Yeah me too, I'm very much familiar with it.

J: I'm a gamer so yeah I am aware and its growing in popularity so I would be surprised if
someone hasn’t come across it.

IVR: What is gaming to you?

F: It’s a hobby and a way for me to connect with friends.

G: Personally, I only play games when I'm really bored and have nothing to do to pass time.

H: Again, it’s a great way to connect with friends but I also like seeing different worlds in each
game, there are endless choices and that’s interesting to me.

IVR: What about that makes it interesting?

H: I guess it’s a way to pause from regular daily life and have control in an alternate one. I think
that’s interesting because I am able to do things I probably wouldn’t do in real life.

I: Gaming to me is a way to exercise my creativity, I like games like Minecraft, Roblox and Sims
where I can create a world.

J: Its really a community to me, most of my friends I've met through discord and we hang out
online by playing games whilst on call.

83
IVR: Why do/don’t you engage with it?

G: It doesn’t really interest me in a long term, I get bored after 20 minutes or so. I think some
games are confusing or get repetitive.

F: I engage with it because that’s where my friends would be so I don’t like feeling left out of
that.

J: I agree with that. Gaming is my friend groups biggest common interest, it makes sense that
we would spend most of our time online.

I: Like I said I like creative elements in games because I don’t feel restricted.

H: One of the main reasons why I engage in gaming is because I am curious about the game
world, like what does it have to offer? I want to find out and explore.

IVR: How does it make you feel?

F: I feel part of a community which makes me comfortable.

G: Good and distracted for a while until I lose interest.

H: Relaxed, it’s a nice break from regular life.

I: Happy, I feel most confident and free of judgement whilst playing games.

J: I feel joy. Its fun spending time with friends playing together, it makes me happy.

IVR: What do you think about the continuing rise of gaming over recent years?

F: Its become a lot more popular since lockdowns and I see it on social media a lot. I don’t think
it’s a bad thing, I'm more like "woah its really hitting off".

G: There's good and bad really, I mean too much gaming isn't good and it consumes a person.
However, its also a good thing that gaming and esports have more of a platform and growth in a
community.

H: I think its great, more people should be exploring new technologies and there's something
out there for everyone!

I: I don’t see a problem with it, if anything its good that my hobby is becoming part of other
things I consume.

J: Yeah, I think it crazy how much its grown. Its always been around but more so popular now
with technology. I think its great because it provides that escape for everyone in modern day's
hectic lifestyle and events.

On luxury fashion: define luxury fashion, example brands: Louis Vuitton, GUCCI, Balenciaga
etc.

IVR: Is anyone here interested in luxury fashion brands?

F: I'm not really into luxury fashion to be honest.

G: Me neither. Its not really my style.

H: Same here, I mean I can appreciate high quality and some pieces but I wouldn’t wear it.

I: I love luxury fashion, brands like MiuMiu and Fendi are my favourites.

J: Yeah I'm into luxury brands too.

84
IVR: Does anyone here own/actively purchase from luxury fashion brands

J: I would more if I could afford it.

G: I have a few but they were gifts. I haven't actively purchased myself.

F: I don’t, I would have to be really in love with the item to.

I: Yes, most of my wardrobe are luxury.

H: I only have an digital skin on LoL from a LV collab if that counts?

IVR: Yes, that counts. Why did you purchase digital item over a physical one?

H: Most physical luxury pieces are too outlandish for me to wear in real life but the online skins
are for my avatar in a game. I'm way more comfortable in my avatar wearing it, plus my friends
also got some skins. They're really cool to be honest.

IVR: Why don’t/do you?

F: It’s a high price, I cant find much justification to pay so much for clothes or a wallet. I would
have to consider it worth it.

IVR: What would make something worth it to you?

F: Something wearable, resonated with my aesthetic and last forever haha.

G: Same as Participant F, its hard to justify spending that much money.

H: I don't want to buy something I wouldn’t use. It’s a waste of space and money.

I: I'm really into luxury fashion, its my style. So to me its worth it, I don’t buy often though
because it does get costly.

J: The price is the main thing stopping me.

IVR: What would make luxury brands more appealing to you?

F: Affordability.

H: Yes affordable prices but also wearability even in a digital way like the skins I was talking
about.

J: I agree with lowering the price but I also want to maintain the exclusivity of the brand because
if not it becomes less luxury and more tacky.

G: Lowered price point and accessibility. I find most luxury confined to retailers and stores
which I feel awkward stepping into. I think luxury brands need to be more open and welcoming
to different people.

I: Generally a lowered price and also more personalised options so I can customise and make
pieces my own.

On the collaboration of gaming and luxury fashion: showing a few examples of the collaboration
– LV x LoL, Balenciaga x Fortnite, GUCCI x ROBLOX

IVR: What do you think about these past collaborations?

F: I'm a bit confused, not in a bad way but I don’t see how some of the products suit the game.

85
G: Its interesting, I wouldn’t link the two together to be honest. But I don’t think its necessarily a
bad match either. I mean some of these peak my interest and I'd probably spend time clicking
around more.

H: I like the LoL and LV one a lot and the whole concept of digitalised items. Its wearable but
the physical clothing are cringe. I wouldn’t buy a Fortnite Balenciaga hoodie and wear it. Its
trying too hard and I feel like the Balenciaga missed the mark with translating the game in their
aesthetic.

I: I agree some don’t make sense but the animal crossing one is so cute. Its lowkey but also if
you're into fashion and the brand you would definitely know. I mean I would probably buy it for
my animal. Its way cheaper than physical items and also a way to represent my interests
through my character.

J: I remember the LoL and LV one with the trophy for an esports tournament, it was raved about
and I get why. Nobody would've expected. I think its really cool since I like the brand and the
game.

IVR: How does it make you feel?

F: Intrigued even though I'm not into luxury fashion like that. I'm glad that gaming and the
community is being seen though.

G: Neutral? I guess its interesting but I'm not emotionally invested, I may explore it if I was
bored or in front of me because I'm curious.

H: A bit surprised when I see fashion merging with gaming.

I: Glad! It makes me happy to see my interests combined.

J: I agree, the collaboration between games and luxury fashion is interesting and even more so
because I like both.

IVR: Do these collaborations affect how you view the brand?

F: Slightly? I give them more respect knowing they're trying to be more inclusive and innovative
in their marketing.

G: Not much.. I think its cool what they're trying to do but its not really for me so my interest end
there.

H: It makes me resonate with the brand a bit more than I would without the collaborations. But
that’s probably because I'm into gaming, so combining the two makes me more interested
despite not being a big luxury fashion fan.

I: I view the brand in an even more desirable and positive light, I think it fits my interests and the
crossover allows me to exercise both my interests within the same space.

J: I agree, but also since some of the products are affordable, I mean the digitalised things, I
feel happy that I can technically own something from the brand and use it in a way that I enjoy.

IVR: Okay, that is it for the session. Thank you all for your time and I have sent you an email
with my contact details in case of any queries, so do feel free to contact me if needed.

IVR: Again, to reiterate, all things said during this focus group session must not be disclosed
and all participants have been anonymised for this study. Does anyone have any questions?

//silence//

IVR: You may all leave, again thank you for your time and contribution!

86
Appendix 7
Focus groups thematic analysis

Code: Subordinate themes Data Extract

Superordinate
themes

Escapism • Opportunity to "I also like seeing different worlds

explore in each game, there are endless
choices and that’s interesting to
me."

• Confidence to act "It’s a way for me to enjoy and do

without restraints something I can’t do in real life."

"somewhat escape reality and

• Break from reality plunge yourself into a different
reality"

Expression through • Investing on "I spend money in the game, so

avatars customisation for like currency to buy upgrades,
skins to customise and other
things to make the game more
• Exercise creativity enjoyable."

"it’s like playing dress-up in a

sense. I can be creative; I don’t
experiment with my style but I feel
• Alternate self like I can do this (experiment with
style) easier on avatars."
"Gaming to me is a way to
exercise my creativity"

"There are no boundaries and

usually the crazier the avatar
looks the cooler it is on the
platform. "
"I feel confident in expressing and
experimenting with things I would
never actually wear (in real life)."

Openness • Welcoming the "I think they're so innovative,

hybridity that’s why I also like luxury
fashion."

• Not against but not " Intrigued even though I'm not
particularly into luxury fashion like that. I'm
interested glad that gaming and the
community is being seen though.
"

Positive reaction • Appreciating the "Makes me appreciate the brand

(towards fashion collaborations more, it shows they're not
brand) ignorant of the community
because they create products for
us."
"I appreciate fashion developing
and expanding into other things,

87
 so I think it’s the next level to
experiment with virtual items. "

Negative reaction • Found it irrelevant " I don’t see how some of the
(towards fashion products suit the game."
brand) " feel like the Balenciaga missed
the mark with translating the
game in their aesthetic."

Digital preference • More interested in "I don’t know if id buys anything at

the digital their stores, but I would look for
collaborations digital things."
"I like the concept of virtual worlds
and experiencing the brand
through a gaming platform."

"the physical clothing are cringe."

• Found physical
items to be poorly
executed

Enjoyment from • Hobby "it’s an outlet, gaming is a hobby

gaming for me."

• Passing time " Gaming is something to pass

time and enjoy"

Social function • Sense of "I feel part of a community"

community " it’s a great way to connect with
friends "

88
Appendix 8
Interview Transcripts

Participant 1

IVR: Hi, how are you doing?

Participant 1: I’m fine thank you, and you?

IVR: I’m good too. So before we start let me just double check that I've received your
consent form.

IVR: Okay, got your completed consent form, thank you for sending that over. Are you
okay with all the questions and the topic?

Participant 1: Yes, I'm all good.

IVR: Would you like me to explain any terms or clarify anything?

Participant 1: No, I'm good. I'll just ask if needed if that’s ok?

IVR: Of course, just let me know.

IVR: Just to introduce myself to you formally, my name is Chrystal, and I am a Fashion
Management undergrad student at LCF UAL. This interview is part of my dissertation
about gen z responses to the use of gaming in luxury fashion. I've emailed you my
contact details in case of any questions, so please feel free to contact me if needed.

IVR: Any questions before we begin?

Participant 1: No.

IVR: We shall start then.

Start of interview

IVR: Are you into luxury fashion

Participant 1: Yes I am into luxury fashion

IVR: Could you please elaborate why

Participant 1: Because they have quality material and the prestige.

IVR: What would make it more interesting for you

Participant 1: Collaborations with different designers

89
IVR: Are you into gaming

Participant 1: I am into gaming

IVR: Could you please elaborate why

Participant 1: It's fun to do different levels and customise characters

IVR: What would make it more interesting for you

Participant 1: More levels and world building

IVR: What about customising characters do you enjoy?

Participant 1: Making them distinct and showing your personality through the clothes
you choose to make them wear.

IVR: How does it make you feel?

Participant 1: Makes me feel happy

IVR: Could you please express why?

Participant 1: Because I get to express myself through gaming

IVR: Would you purchase in game currency to fund avatar customisation such as
accessories and skins

Participant 1: Yes, if it was one I particularly liked

IVR: Why is that?

Participant 1: It would make my character stand out and look cooler

IVR: When customising, what do you base your creation on? For example, designing
your character as realistically close to you

Participant 1: I go for something that is different and not basic like my everyday
clothes

IVR: Could you please go into more detail?

Participant 1: Gaming is virtual and you can change your aesthetic easily

IVR: Would your consider yourself an emotional individual?

Participant 1: Yes

90
IVR: Do you class yourself as easily influenced?

Participant 1: Yes

IVR: What factors would influence you

Participant 1:Social media. Brand image. Campaigns

IVR: If your favourite fashion brand offered digitalised clothing or gaming worlds,
would you be interested in exploring?

Participant 1: Yes. Depends on how they campaign it

IVR: Do you have a preference in digital or physical collaborations?

Participant 1: Nope depends if I like it

IVR: How much would you spend on a digital luxury item

Participant 1: Less than £200

IWR: For digital pieces?

Participant 1: Yeah because I'm rich. If its exclusive then I want it.

IVR: What’s your limit for physical luxury items?

Participant 1: £5000. But if its a Birkin £25,000

IVR: How do you feel about luxury fashion collaborating with games and esports

Participant 1: It's innovative and a good idea to bridge luxury fashion with gameplay

Participant 1: Sorry but I would like to end the interview now as I have to leave.

IVR: No worries, thank you for your time.

91
Participant 2:

IVR: Hello, how are you?

Participant 1: Oh I'm good. A bit tired though haha. And you?

IVR: I’m good thanks. Ah I hope you're awake enough for the interview haha. Okay, so
before we start let me just check that I've got your consent form.

IVR: Cool, I've got your consent form, thank you for sending that over. Are you okay
with all the questions and the topic?

Participant 1: Yes.

IVR: Would you like me to explain any terms or clarify anything?

Participant 1: No thank you I think I understand quite well.

IVR: Okay, just let me know if you need any further explaining or definitions.

IVR: For formality, my name is Chrystal, and I am a Fashion Management undergrad

student at LCF UAL. This interview is part of my dissertation about gen z responses to
the use of gaming in luxury fashion. I have sent you an email containing my contact
details for any questions or concerns. Please contact me if you need to.

IVR: Any questions before we begin?

Participant 2: No questions.

IVR: Right so lets start.

Start of interview

IVR: are you into luxury fashion?

Participant 2: Yes, I am into it recreationally into luxury fashion.

IVR: Could you please elaborate why.

Participant 2: I am into luxury fashion due to the distinct silhouettes and cuts
that can only be found in luxury fashion.
They come at a premium but I pay a premium in order to own those distinct
silhouettes as they make me feel good when i wear them

IVR: What would make it more interesting for you?

Participant 2: Hm the only way i think it could be more interesting is either if

luxury prices werent so prohibitive or i got a lot richer.

92
IVR: Do you enjoy customising avatars in games

Participant 2: I do enjoy it if theres more customisation. I do think that some

games dont require it though or that it makes the main characters story feel
more generic since the developers cant craft a story round a specific main
character

IVR: Would you purchase in game currency to fund avatar customisation such
as accessories and skins

Participant 2: I have spent £90 two days ago to purchase a skin bundle on
valorant. So i would say yes i spend on customisation

IVR: Please elaborate what drove you to do so

Participant 2: Like i have the disposable income so i can afford to enjoy

luxuries like this

IVR: How did you feel after purchasing them

Participant 2: I felt good i really wanted to play the game after buying it,

IVR: Do you have a budget for how much you would spend on in game
accessories etc

Participant 2: Mmmm it depends on what it is but for this purchase it comes with
several guns and accessories. It felt reasonableish?

IVR: Could you give me a monetary value?

Participant 2: Below 100 for a single purchase

IVR: Would you ever consider purchasing digital luxury fashion collabs such as
skins

Participant 2: Yes i would obviously dependent on how it looks, I asked my

friends on call before and they also said yes… Dependent on how it looks.

IVR: How much is the most you would spend on physical luxury items?

Participant 2: 2k?? I guess?

IVR: How does the customisation process in games make you feel

Participant 2: Customisation in games makes me feel good, cause it feels more

satisfying using certain skins, cause some skins have different vfx or sfx. They
feel good to use compared to the regular ones

IVR: When customising, what do you base your creation on? For example,
designing your character as realistically close to you

93
Participant 2: It'll depend, for story driven games i usually try make it as close
to me as possible on a first playthrough, but if i play again ill change it up. If its a
multiplayer game it may be that i joke around with how my character looks just
cause its fun with other players too to see what everyones customised

IVR: Why do you choose to design this way?

Participant 2: Story driven because i want to feel connected to the story as

much as possible, so it looking like me is towards that end. Multiplayer i dont
care as much about story so i just don’t

IVR: Would your consider yourself an emotional individual?

Participant 2: Id say that i am fairly emotional though i do my best to not make

rash decisions on emotions that flare up that may be irrational, though not
always perfect of course

IVR: Do you class yourself as easily influenced?

Participant 2: Id say im fairly easily influenced yea, im aware that i am easily

influencable, though i do think through decisions after being influenced usually,
factoring how feasible a purchase/decision is, how will this impact my future etc

IVR: How do you feel about luxury fashion and gaming collaborations

Participant 2: I am warm to the idea and like the combination of two hobbies of
mine

IVR: Are there any in the past that you've liked?

Participant 2: I am warm to the idea and like the combination of two hobbies of
mine

IVR: are there any in the past that you've liked?

Participant 2: Not really games that i like have had collabs but i havent really
liked how theyve been executed

IVR: What about them did you not like

Participant 2: For example league of legends x uniqlo was just them slapping
the league of legends logo on the front of a t shirt and calling it a day.
Designs should feel kind of like a secret club like "oh i know where that shirts
from its that collab" but a regular non gamer person wouldn't know, but a gamer
would

IVR: I see
IVR: Do you have any other comments regarding luxury fashion and gaming

94
Participant 2: Not really but my friend has suggested if gaming companies just
made clothes separately independent of the game, but it may be tangentially
related. So it supports the game you like but also cool clothes

95
Appendix 9

Interview 1 thematic analysis

Transcript Codes and

Comments

IVR: Are you into luxury fashion Appreciation for

luxury fashion
Participant 1: Yes I am into luxury fashion. I don’t purchase often
though.

IVR: Could you please elaborate why.

Participant 1: Because they have quality material and the

prestige. I like the premium and exclusivity luxury holds. I also
like the styles especially of brands like Miu Miu and Alexander
McQueen.

IVR: What would make it more interesting for you

Participant 1: Collaborations with different designers. I like

seeing fusion of worlds and aesthetics like GUCCI and Balenciaga
did. It was super interesting and as a fan of both brands, it was
super appealing to me.

IVR: Are you into gaming?

Participant 1: I am into gaming yes, I wouldn't say I'm a

professional or that I'm any good. Its recreational and a fun thing
Enjoyment from
to do online with friends.
game
interactions
IVR: I see, what about the game itself? Are there elements you
particularly enjoy?

Participant 1: It's fun to do different levels and customise

characters

IVR: What would make it more interesting for you?

Participant 1: More levels and world building. I like being able to

create in games, I could spend hours doing it.

IVR: What about customising characters do you enjoy?

Participant 1: Making them distinct and showing your

personality through the clothes you choose to make them wear.

96
IVR: How does it make you feel?

Participant 1: Makes me feel happy, I feel free in whatever I Positive

choose for my player. I feel most safe and free of judgement emotions from
through avatars. avatar
customisation
IVR: Could you please express why?
Interest in
gaming x luxury
Participant 1: Because I get to express myself through gaming fashion
collaborations
IVR: Would you purchase in game currency to fund avatar
customisation such as accessories and skins

Participant 1: Yes, if it was one I particularly liked Freedom of

expression and
IVR: Why is that? creativity

Participant 1: It would make my character stand out and look

cooler.

IVR: When customising, what do you base your creation on? For
example, designing your character as realistically close to you

Participant 1: I go for something that is different and not basic

like my everyday clothes

IVR: Could you please go into more detail?

Participant 1: Gaming is virtual and you can change your

aesthetic easily.
Emotionally
IVR: Would your consider yourself an emotional individual? driven

Participant 1: Yes. I'd liked to say I am also reasonable.

IVR: Do you class yourself as easily influenced?

Participant 1: To an extent. I think I can be influenced if

something interests me because when I resonate with something
I can easily be influenced.

IVR: What factors would influence you

Participant 1: Social media. Brand image. Campaigns

IVR: If your favourite fashion brand offered digitalised clothing

or gaming worlds, would you be interested in exploring?

97
Participant 1: Yes. Depends on how they campaign it Preference in
digital/physical
IVR: Do you have a preference in digital or physical
collaborations?

Participant 1: I lean towards physical luxury items to be honest.

Whilst I enjoy some physical things or even campaigns like GUCCI
and Roblox worlds, I really like interacting physically. Such as
pop-up events and generally going to stores and purchasing
items there. I think I hold more luxury value and exclusivity to
physical things in terms of luxury. I also find that I like the visuals
of physical items more.

IVR: How much would you spend on a digital luxury item

Participant 1: £200. Since I wouldn’t pay a full price for digital

items.

IWR: For digital pieces?

Participant 1: Yeah because I have disposable income. If its

exclusive then I want it, particularly for games I play, such a as
League (Of Legends) or Valorant.

IVR: What’s your limit for physical luxury items?

Participant 1: I'm not sure, maybe up to 5k? Since its physical I

would pay more because I actually get to use it in real life and
there usually is more value to it.

IVR: How do you feel about luxury fashion collaborating with

games and esports

Participant 1: It's innovative and a good idea to bridge luxury

fashion with gameplay.

98
Interview 2 thematic analysis

IVR: are you into luxury fashion?

Participant 2: Yes, I am into it recreationally into

luxury fashion.

IVR: Could you please elaborate why.

Appreciation for
Participant 2: I am into luxury fashion due to the aesthetics
distinct silhouettes and cuts that can only be found
in luxury fashion.
They come at a premium but I pay a premium in
order to own those distinct silhouettes as they
make me feel good when I wear them

IVR: What would make it more interesting for you? High prices are a barrier

Participant 2: Hm the only way i think it could be

more interesting is either if luxury prices weren't
so prohibitive or I got a lot richer.

IVR: Do you enjoy customising avatars in games Positive emotions from

avatar customisation
Participant 2: I do enjoy it if there's more
customisation. I do think that some games don't
require it though or that it makes main the
characters story feel more generic since the
developers cant craft a story round a specific main
character

IVR: Would you purchase in game currency to Interest in gaming x

fund avatar customisation such as accessories luxury fashion
and skins collaborations

Participant 2: I have spent £90 two days ago to

purchase a skin bundle on valorant. So I would
say yes I spend on customisation

IVR: Please elaborate what drove you to do so

Participant 2: Like I have the disposable income

so I can afford to enjoy luxuries like this
Enjoyment from game
IVR: How did you feel after purchasing them interactions

Participant 2: I felt good I really wanted to play

the game after buying it,

IVR: Do you have a budget for how much you

would spend on in game accessories etc

99
Participant 2: Mmmm it depends on what it is but
for this purchase it comes with several guns and
accessories. It felt reasonableish?

IVR: Could you give me a monetary value?

Participant 2: Below 100 for a single purchase

IVR: Would you ever consider purchasing digital

luxury fashion collabs such as skins

Participant 2: Yes i would obviously dependent on

how it looks, I asked my friends on call before and
they also said yes… Dependent on how it looks.

IVR: How much is the most you would spend on

physical luxury items?

Participant 2: 2k?? I guess?

IVR: How does the customisation process in Freedom of expression

games make you feel and creativity

Participant 2: Customisation in games makes me

feel good, cause it feels more satisfying using
certain skins, cause some skins have different vfx
or sfx. They feel good to use compared to the
regular ones

IVR: When customising, what do you base your

creation on? For example, designing your
character as realistically close to you

Participant 2: It'll depend, for story driven games I

usually try make it as close to me as possible on a
first playthrough, but if I play again ill change it up.
If its a multiplayer game it may be that I joke
around with how my character looks just cause its
fun with other players too to see what everyone's
customised

IVR: Why do you choose to design this way?

Participant 2: Story driven because I want to feel

connected to the story as much as possible, so it
looking like me is towards that end. Multiplayer I
don't care as much about story so i just don’t Emotionally driven

IVR: Would your consider yourself an emotional

individual?

100
Participant 2: I'd say that I am fairly emotional
though I do my best to not make rash decisions on
emotions that flare up that may be irrational,
though not always perfect of course

IVR: Do you class yourself as easily influenced?

Participant 2: I'd say I'm fairly easily influenced

yea, I'm aware that I am easily influenceable,
though I do think through decisions after being
influenced usually, factoring how feasible a
purchase/decision is, how will this impact my Poorly executed
future etc

IVR: How do you feel about luxury fashion and

gaming collaborations

Participant 2: I am warm to the idea and like the

combination of two hobbies of mine

IVR: are there any in the past that you've liked?

Participant 2: Not really games that I like have

had collabs but I haven't really liked how they've
been executed

IVR: What about them did you not like

Participant 2: For example league of legends x

Uniqlo was just them slapping the league of
legends logo on the front of a t shirt and calling it a
day.
Designs should feel kind of like a secret club like
"oh i know where that shirts from its that collab"
but a regular non gamer person wouldn't know,
but a gamer would

IVR: I see
IVR: Do you have any other comments regarding
luxury fashion and gaming

Participant 2: Not really but my friend has

suggested if gaming companies just made clothes
separately independent of the game, but it may be
tangentially related. So it supports the game you
like but also cool clothes

101
Appendix 10

SPSS statistic outputs

102
103
104
105
106
Appendix 11
Signed digitisation/exemplar consent forms
Consent form to allow a dissertation
to be stored in the Library

I hereby give my consent for my dissertation / report to be stored in the library. *

Please note:
• Dissertations will be kept on the open shelves and are accessible to all library users i.e. students,
staff, alumni, and visitors.

• Dissertations are clearly labelled informing other library users that they should not be
photocopied, scanned, or photographed.

• Dissertations given to the Library in digital form will be printed; the original digital copy will not
be stored by the Library.

• Dissertations may be withdrawn from the Library.

• If your report contains any confidential commercial information, please ensure you seek
permission from the company concerned for this to be lodged in the library. Written
consent from companies may be forwarded onto the library separately

Name: CHRYSTAL MAE BRINGAS AGAGON

UAL email address: [email protected]

Course and level: BSc Fashion Management

Title of the dissertation: "Exploring the UK's Gen Z consumer emotions and response towards
Luxury fashion brands' use of gaming and esports as collaborations and
marketing tools"
Signature:

Date: 16/02/2022

107
Consent form to allow
a copy of your dissertation

I hereby give my consent for my dissertation/report to be used as an exemplar for other students.

Please note:
• Dissertations will have the self-evaluation removed.

• Other students will not be allowed to print, copy, or distribute your work.

Name: CHRYSTAL MAE BRINGAS AGAGON

UAL email address: [email protected]

Course and level: BSc Fashion Management

Title of the dissertation: "Exploring the UK's Gen Z consumer emotions and response
towards Luxury fashion brands' use of gaming and esports as
collaborations and marketing tools"

Signature:

Date: 16/02/2022

108
Appendix 12

Forward-facing self-evaluation

Figure 1: Gibb’s Reflective Cycle (Expert Program Management, 2022)

For this reflection, I will follow Gibb's Reflective Cycle (Gibbs, 1998) to logically explain
and explore my experience in my final academic year.

Before beginning the school year, I felt mixed emotions, feelings of doubt about my
capability to accomplish the year, excitement to finish a degree, scared for my future
beyond university. With the content of each unit becoming more challenging, I
admittingly struggled to adjust to the higher level of knowledge and academia,
specifically data-based analysis using SPSS. However, found support from my
dissertation supervisor. Throughout this dissertation, I have realised the need to be
vulnerable and brave in seeking help and guidance if in need of further explanation. It
is apparent that I can shy away and struggle alone, this made me lose confidence in
my capabilities can result in my avoidance to work on my research. This is something I
must work on to reach my full capabilities in any environment. I have set the personal
target to reach out if I struggle in any context. This is crucial in learning within
academia and in the workplace. Being vocal is a soft skill that is applicable in many
environments and offers me the chance to improve my skill set and confidence.

I began the year head-on and filled up all my spare time with the project proposal
stage, this was an important stage to me as I hoped to produce a good dissertation
which can be used within the industry. My research revolved around gaming, and
luxury fashion. Initially, I considered a research topic on sustainability. However,
listening to the advice of tutors, I decided to pick a topic which I found a strong interest

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in and enjoy. I debated the change of topic as I believed that writing about sustainability
academically would be easier as it’s a reoccurring theme in our scheme of work, plus
the abundance of existing studies. Gaming in luxury fashion is a relatively new
phenomenon and I felt daunted in approaching the topic. However, I chose to do
something of genuine interest and that enabled me to maintain drive and curiosity
throughout the course. I found this advice extremely helpful when making my choice
and now understand the importance of genuine interest over picking an ‘easy’ option.

A trouble for me was maintaining a clear focus on which literature to use, as there were
limited academic studies on gaming and luxury fashion in specific. This often made me
lose a clear vision of my research purpose. After formulating objectives, sorting the
literature became more manageable as the objectives worked as a guide. A skill of
application and critical thinking were necessary throughout this process. Reviewing
lectures and receiving academic support helped me in strengthening this skill through
practice and advice.

Throughout my academic life, I have struggled with concentration and time

management. It has recently become more apparent that planning, consistency, and
pacing are vital elements when preparing a project with the pressure of my final
dissertation. As my supervisor advised, I created a GANTT chart based on the chapter
requirements using the assessment brief. This was an attempt to maintain a schedule
to meet the deadline. However, looking back I feel that I was too ambitious with my
planned tasks and time frames, I did not account for possible barriers and difficulties
throughout the research collection. Looking to help me reorganise my plan and calm
my anxieties, I booked more personal mentoring sessions which helped me by
verbalising problems and finding a solution through conversation. My perfectionism
also prevented me from progressing with my dissertation as it would translate as
procrastination from fear of failure. This is a personal trait that I plan to discuss during
therapy to understand in depth, as a starting point to improvement.

When conducting focus groups, I encountered the problem of replacing participants

who changed their minds and rescheduling the session. This ended up causing a
period of worry and confusion during the March/April period of my GANTT chart.
Despite attempts to control the situation, I could only do so much when more than one
party is involved. I felt disappointed as I collated a list of approximately 30 individuals
who expressed interest as a precaution to this issue a few weeks prior. This led me to
the decision to reduce my sample sizes for focus groups. This way I was able to carry

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on with the analysis to meet the deadline. Analysing qualitative data was challenging
when taking an inductive approach. The text could be interpreted in various ways, and I
began to over saturate the thematic analysis of numerous meanings, and this clouded
the point of research. When revisiting this, I decided to refer to my literature review and
methodology chapter, this reminded me of the research aim. This led me to edit the
analysis to refocus the findings. Reflecting on this, it is important to remember for future
academic research to improve analysis techniques.

My ultimate career aspiration is to work in marketing for a luxury brand. Therefore, I

feel that this is an interesting valuable piece to bring into the luxury business
management as gaming is increasing in popularity and offers promising insight and
potential for further research. I feel more confident in my knowledge and understanding
of the nature of the luxury fashion market. This piece of research pushed me to explore
luxury consumer psychology, which is valuable when venturing into a marketing role.
Following my formal graduation, I intend to add this piece of research to my portfolio as
an example of my achievements from the past three years.

Overall, I have enjoyed my degree and appreciated all the knowledge and support
along the way. I hope to develop my skill set and build confidence within my industry
practice. Despite the disruption of lockdowns and restrictions, I have learnt and
experienced valuable lessons from work ethic, academia to social relationships.

References

Expert Program Management, 2022. Gibb's Reflective Cycle. [image] Available at:
<https://expertprogrammanagement.com/2019/05/gibbs-reflective-cycle/>.

Gibbs, G. (1988). Learning by doing: A guide to teaching and learning

methods. London: Further Education Unit.

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