The following is a PESTLE analysis of the fashion industry today. A PESTLE analysis is an invaluable tool used to analyse the external factors currently impacting the fashion industry.
There are various political factors which have a great effect on the fashion industry as a whole. These include workers’ rights which have always had a great impact on the industry. Many brands have drawn criticism for failing to uphold these, such as Nike (Fritz, 2018).
Another key political issue currently effecting the fashion industry is Brexit. This threatens all aspects of the fashion industry and therefore makes content creation and marketing on social media more crucial for fashion brands (Foster, 2021).
A third crucial political factor effecting the industry is the government-imposed restrictions intended to reduce the spread of COVID-19. Social distancing, capacity limitations and, for a time, closure of bricks-and-mortar locations made social media, e-commerce and engagement with customers from a distance all the more crucial to fashion brands (Baum et. al 2020).
The most pressing economic issue effecting the fashion industry today is the unprecedented and sudden economic crisis caused by the COVID-19 pandemic. The pandemic has sent almost every country into recession and this has resulted in multiple challenges for businesses. They have had to adapt their operations and rely more on e-commerce (McKinsey 2021). This has had an additional effect on fashion brands as consumer behaviour has shifted to the purchase of more leisurewear and generally reduced spending on clothes and fashion than they had in previous years [Amed 2020]. The crisis caused mandated store closures and meant that companies have had to rely on their e-commerce for sales rather than traditional stores.
Two of the most pressing social issues effecting the fashion industry today are the Black Lives Matter movement and the social impacts of COVID-19. The Black Lives Matter movement has touched all walks of life and the fashion industry is no different. The industry has a chequered past regarding racial equality and racism and so it has had adapt in the wake of the movement (Hunt 2020). More care has been needed to avoid accidental cultural appropriation and additional attention has been necessary to follow and support the social activism of the movement by brands. This has been especially crucial in social media content creation due to the prevalence of Black Lives Matter content on social media.
The other major social issue affecting the fashion industry is the social impacts of COVID-19. Due to various lockdowns and closure of restaurants, bars and clubs consumer habits have changed. Consumers have adapted to extended times at home by embracing comfort and loungewear. This is reflected in the popularity of items of such as Birkenstocks and the rise in brands specialising in loungewear (LYST 2020). Brands are having to adapt to this not only in the variety of products that they sell, but also the ways in which they engage and interact with their consumers due to the lack of store visits.
The most prescient external technological factor influencing the fashion industry today is the rise of social media. This has been a game changing revelation for the industry and has affected everything from the ways brands advertise to the way they engage with customers and even, with the rise of shopping features on Instagram, the way they sell to consumers. This technology has been embraced by brands from luxury to fast fashion and allowed companies to connect on a greater level with their target market (Mohr 2013). Brands have had to adapt to the hyper-fast nature of social media which provides both greater opportunities to gain popularity or go ‘viral’, as well as greater accountability from consumers. It has also led to the risk of significant bad publicity otherwise known as getting ‘cancelled’ (Yotka 2019).
The development of social media has also led to a growth in ‘influencers’ who promote a brand’s product to their audience. This is another key area of change and growth for fashion brands (Mathew 2018). Social media and the rise in influencers as well as their new importance to the fashion industry is an external factor that makes content creation a crucial skill. Roles exist to not only create content for the brands own social media but also to act as third-party influencers who promote and create on behalf of brands.
Whilst having less of an impact on content creation specifically, external legal factors are still important to the fashion industry. As with all industries, fashion companies must operate within the confines of the law. They must adapt to new legislation, adhering to consumer, labour and safety laws throughout the fashion brands supply chain. Similarly, brands must adhere to copyright law in their designs (Furi-Perry 2013).
The push for greater sustainability within the fashion industry is one of the most pressing external factors influencing the industry today. It has also made content creation vital because, compared to more traditional forms of marketing, online and social media marketing is relatively sustainable. Brands are under increasing pressure to adapt their offerings and increase their environmentally friendly credentials as well as place a greater emphasis on sustainability. This has led to a rise in upcycling (Chan 2020) as well as sustainable brands such as Everlane (Everlane 2021). This issue is forcing the fashion industry to adapt or face backlash from a more aware and engaged consumer and sustainability is one of the biggest concerns facing the fashion industry today (Gardetti & Torres 2017).
Treadgold’s experience curve is a valuable way to analyse the growth of a company. It examines the various stages of reluctance, caution and ambition as the company internationalises. By mapping Gucci’s moves throughout its history onto this model it allows us to explore the motivations and expansion of Gucci from local artisanal manufacturer into the global leader we know today.
Figure 1
Here we see an example of the Treadgold Experience Curve (Treadgold 1990) mapped to Gucci’s international expansion. Three key events in Gucci’s history are present representing the reluctant, cautious and ambitious stages of the model. These are Gucci’s initial international expansion into the US in 1953, Gucci’s expansion into Asia in 1973 (Gucci 2016) and the opening of Gucci’s Asian flagship in Hong Kong in 2006 (Vogue 2006).
The first stage in this model is reluctance. This represents the earliest stages of internationalisation for a company when they expand almost begrudgingly due to external factors. For Gucci this would be the opening of their first international store in New York in 1953 (Figure 1). This store was located on 5th Avenue, New York’s iconic shopping district and represented Gucci’s first move out of Italy. Gucci is perhaps unorthodox among companies as at the time of their initial expansion there was little risk involved. Gucci was already world renowned and a beloved brand to celebrities, businessmen and even politicians so this move meant they were merely moving closer to an eager customer base. Similarly, when looking through the Hofstede Country Comparator (Hofstede 2020) it seems this internationalisation also had minimal risk.
Italy – Blue United States – Purple Figure 2
It is shown clearly here the many similarities between the culture in Italy and the United States (Figure 2). According to the comparison both countries are largely individualist meaning that both countries favour an independent self-image with a focus on self-actualisation. Similarly, both countries are considered masculine and driven by competition, achievement and success.
Culturally, Italians like to show success through status symbols. The United States operates in a similar way, striving for success, openly discussing their personal achievements and also seeking status symbols. Whilst there are undoubted similarities, it is the way the countries differ on the comparator that ensures Gucci’s success in the United States. For example, a clear difference is that the USA are a more indulgent country than Italy. Culturally the Italians are restrained, this means they are more likely to be cynical and pessimistic with a controlled gratification of desires. Similarly, cultures like Italian feel restrained by social norms and often feel that self-indulgence is wrong.
This is a contrast to the United States which is an indulgent country. They operate on a series of contradictions such as a work hard, play hard philosophy and outward prudishness despite clear underlying immorality. This is a key cultural difference and increases the likelihood of Gucci’s success in the country. The USA’s cultural indulgence combined with the masculine society means that they gravitate towards status symbols even more than the Italians. This meant that this internationalisation was relatively low risk for the company.
Nonetheless, this still fits into the reluctant stage of the model and was a reactive decision rather than a proactive one. This would also be considered a push factor towards internationalisation (Swoboda, Zentes and Elsner 2009). This is because Gucci needed to move out of a limited market in Italy due to the competition from other fashion houses such as Prada. Luckily for Gucci, at this time luxury brands were primarily European-centric so an expansion into the USA proved successful. Their high-quality leather goods and accessories were already lauded by American celebrities such as Elizabeth Taylor (Curcio 2019), so the expansion required no adjustment to their product portfolio. Overall, although a choice pushed upon them this was a key moment in Gucci’s history that was vital to their long-term success and allowed them to expand into a market in a relatively low risk way.
A second key moment in the history of Gucci’s internationalisation was their expansion into Asia. Asia presented altogether different challenges for what was, in 1973, already a highly successful brand. Gucci opened their first Asian store in Tokyo Japan in 1973 (Figure 1). This represented Gucci’s first forays into the Far East and presented a drastic cultural shift. The Japanese market posed a more radical challenge than America did. This stage is represented by the cautious stage of the Experience Curve and presented Gucci nervously expanding to a more culturally diverse continent.
This new store opening presented more of a risk for Gucci as well as more of a challenge. Although they had Asian customers, they were not as beloved in Asia as they were in America. Similarly, the Asian markets didn’t possess the historical love affair with European goods in the same way as American consumers. An additional challenge faced by Gucci was that they were entering an alien market filled with entirely new competitors. However, they also had many factors in their favour in regard to this move. For example, at this time due to an economic boom Japan was one of the world’s most prosperous countries (Oka, 1970). This left consumers with disposable income for luxury fashion (Monroe 1972). Similarly, the Japanese fashion scene was not entirely unknown to Gucci. The rise of designers such as Kenzo Takada, who founded his brand Kenzo, which fused Asian, specifically Japanese, style with European construction, in Paris showed Gucci what to expect from some of their new rivals (Dorsey 1976).
Italy – Blue
Japan – Purple
Figure 3
As with the United States, there are both similarities and differences between the culture of Italy and that of Japan (Figure 3). One of the key cultural similarities is that both Italy and Japan are masculine countries. Japan is among the most masculine societies in the world and this has led to the reputation of workaholism of the Japanese (Figure 3). One of the other large similarities is the long-term orientation of each country, although Japan takes this to a much greater extreme viewing their individual lives as merely a short window in history. This is also reflected in the long-term approach of Japanese businesses. Whilst the countries also share similar traits in terms of uncertainty avoidance, indulgence and power distance they have a large cultural difference in terms of individualism. Japan is a collectivist society which puts the harmony of the group above the individual (Figure 3). However, whilst collectivist by western standards, Japan is considered fairly individual by standards of other Asian countries such as China. This meant that Japan was a clever point of entry for the Asian market for Gucci, providing a halfway house between the West and the East and preventing the culture shock from being too drastic.
This movement to internationalise eastwards was a proactive decision by Gucci as well as a pull factor (Alexander 1990). The decision to move east was to expand on Gucci’s successes in Europe and America and continue their evolution into one of the most successful fashion brands in the world. Similarly, the economic boom in Japan and resultant increase in disposable income made the move an appealing proposition, as would the work loving nature of the Japanese employees which must be a benefit to brands establishing themselves in the country (Alexander 1990). These would both count as pull motivators as the conditions would be tempting for Gucci as they would have enabled faster growth in this new market (Alexander 1995). Nevertheless, this would still be considered the cautious stage of the curve. Gucci opted to enter the least culturally different of all of the major Asian countries and did so with a store in the largest city, the capital Tokyo. Similarly, this cautious approach is shown by the fact that Gucci’s branding and goods remained unchanged with the only a variation being in the prices of the goods. This is still the case today with a pair of Gucci Jordaan Loafers, costing 110,000 ¥ in Japan (Gucci 2021) and €650 in Italy (Gucci 2021), a price difference of around €200.
The third and most recent key move made by Gucci was the opening of an Asian flagship store in Hong Kong. This shows just how important the Asian market has become to Gucci in the years since their entry in 1973. It joined flagship stores such as those in Florence, Milan, London, New York, and Los Angeles.
This Hong Kong store was the most recent major instance of internationalisation for Gucci when it opened in 2006 (Figure 1). It also represented the ambitious stage of internationalisation for Gucci. Gucci had, by 2006, become a global power in the fashion world. They had been purchased by Kering in 1999 giving them increased financial firepower (Kering 2021). Between their expansion into Asia in 1973 and this flagship opening in 2006 Gucci had great commercial success (Anderson 1992). Despite this Gucci had received mixed reviews critically. Their products had gone in and out of fashion and the brand itself had experienced various family feuds culminating in the Gucci family being forced out of the business and the infamous murder of Maurizio Gucci (Tagliabue 1995).
The years between 1973 and 2006 also saw a great Gucci revival under the creative direction of Tom Ford. This revival saw a reduction in the number of global stores, critical as well as commercial success and an increase in Gucci’s marketing budget (Anderson 1992). This increased the exclusivity of the brand which had taken a hit since their jetset boom in the 1960’s and 1970s. It was clear that Gucci was riding a new high and was beginning to re-expand its business after a period of consolidation.
This new period of growth was achieved with the financial backing of Kering and was clearly ambitious on Gucci’s part. As well as being the result of a proactive decision from Gucci to expand, it is also an example of a pull factor of Gucci being drawn to new lucrative markets (Alexander 1990). Gucci were going for more ambitious stores of greater scale and grandeur, showing ambition and foresight on Gucci’s part as they predicted how lucrative the Asian market could become. Today the Asian market remains vital to the success of Gucci with the Asia-Pacific region making up 44% of Gucci’s revenue in 2020 (Sabanoglu, 2021).
Although Gucci has kept its overall global offering and branding very similar its expansion into the Asian market did result in some changes. This was due to the propensity of the Asian markets to favour heavily branded goods. Gucci began to adapt their designs to incorporate more logos and a greater emphasis on branding. However, rather than using this tactic exclusively in Asia, Gucci retroactively applied it to the whole of their business in an exchange of ideas caused by their internationalisation (Burt and Sparks 2002). This change has led to great success for Gucci, particularly in recent years (Perino, 2019), but it probably would not have occurred without the committed expansion into Asia.
Italy – Purple
Hong Kong – Blue
Figure 4
Although highly successful this move was not without difficulties due to cultural differences. Hong Kong presented the greatest cultural shift yet for Gucci. The most drastic differences came in the cultural view on individualism (Figure 4). Whilst Japan was more individualist than other Asian countries Hong Kong has a truly collectivist culture. They put the needs of the group ahead of individuals and avoid open conflicts. This is a contrast to the individual nature of Italian culture, which is a society generally defined in terms of I, not we. Another drastic difference is the cultures view on power distance (Figure 4). Whilst Italy believes in true equality, Hong Kong as a society accepts inequalities and there is little defence against power abuse. A third drastic difference is the views on uncertainty avoidance, whilst Italian culture is deeply uncomfortable with ambiguity, the culture in Hong Kong is more pragmatic on the subject. The people of Hong Kong are largely comfortable with ambiguity. This shows that adapting to the new culture would have presented a great challenge for Gucci. However, their success in this shows that Gucci were up to the challenge and have thrived.
This model allows us to determine the strategy Gucci have used to internationalise. I have mapped Gucci onto the model in order to illustrate the way in which they have expanded. This allows for comparison with other brands from Treadgold’s original model.
According to the model Gucci fall along the global category as a massive brand. However, they also expand with high cost and high control over their internationalisation, using investment to directly control their stores and supply chain. This contrasts greatly to other global brands like McDonalds who franchise and largely relinquish control. This franchise strategy would not work for a brand like Gucci as their luxury branding demands exacting and consistent brand standards.
Whilst this model allows us to see the generalised strategy of a brand as they internationalise it presents some flaws. The model is less tailored towards fashion brands, as shown by the lack of fashion brands in Treadgold’s original model (Treadgold 1988). The model also doesn’t take into account brands such as Gucci, as is shown by their lack of companies in the high cost, high control section for global brands. This seems like a large omission as it excludes a large number of important brands. A third issue with this model is the fact that it doesn’t take into account cultural differences between countries. Drastic cultural variances, as we have seen using the country comparator, often affect brands as they attempt to globalise. Given that the Treadgold model is focused on internationalisation this seems like an important omission. Nonetheless, the model still provides a useful insight into a brand’s entry and operating strategy for internationalisation.
The first brand extension strategy would be a strategic alliance between Gucci and another Kering brand. Kering is a house of brands that contains not only Gucci but also other luxury powerhouse brands such as Saint Laurent, Bottega Veneta and Balenciaga (Kering 2020). This strategy would allow Gucci to take advantage of the fact it is part of such a house. The collaboration has potential to add significant value to the brands involved as well as the house overall.
A collaboration with Bottega Veneta in which they use its trademark intrecciato weaving to great effect, or with Saint Laurent crossing the battle lines of the luxury French vs Italian brand rivalry (Bullaro 2019) would have the most potential. These partnerships would generate an extraordinary amount of hype as a collaboration between two traditional fashion houses is unheard of. This is because many of the houses do not want to compromise an image they have built over decades.
With Gucci this is not the case. Such is the strength of Gucci’s brand identity that such a ground-breaking move would seem perfectly at home. One of the many things that has defined Gucci since Alessandro Michele took over is the willingness to be unorthodox, quirky, and ultimately fun (Burzynski 2018) and there is no denying a collaboration on this scale would be all of those things. In order to stand out from the sheer number of collaborations happening in the fashion industry, Gucci would have to be unorthodox and a collaboration such as this would be nothing short of revolutionary. Hype is one of the biggest driving factors in fashion today, particularly from Gen Z (Segran 2019) and Millennials (Primo 2018) which are two demographics particularly infatuated with Gucci. One of the most effective ways that hype can be created is through unexpected collaborations (Beauloye n.d.) and there are few collaborations less expected than ones between fashion powerhouses.
As mentioned, this revolutionary collaboration would suit both Gucci’s brand identity and it’s brand image. This case is further strengthened by the fact that collaborations are already a way in which Gucci excel. This year alone saw an incredibly successful collaboration with Disney (Yang 2020) followed by the announcement a much-anticipated collaboration with The North Face. This shows that Gucci is already well versed in the art of collaboration. A ground-breaking co-operation with a fellow pillar of luxury fashion could only do wonders for the brand. It would allow Gucci to continue to release new collections without abandoning its environmentally motivated (Deeley 2020) commitment to transition from six to two main collections each year. This commitment drew praise from consumers and media alike and was seen as a ground-breaking step for the fashion industry. It followed on from other Gucci’s initiatives such as being the first major fashion player to stop using fur (Gucci Equilibrium 2020). This strategic alliance would maintain the direction of this ground-breaking and ethical move, whilst also allowing Gucci to create new seasonless releases.
Gucci would easily be able to leverage their sky-high brand equity into this brand extension. As mentioned, the willingness to break the mould is a key feature of Gucci under Alessandro Michele. This collaboration could be combined with even more iconic symbols of Gucci like the Double G or the king snake to ensure it is unmistakeably Gucci. By making the collaboration both ground-breaking and iconic Gucci would gain a greater competitive advantage based on the success and reception of the collaborative collection, making this an ideal brand extension for Gucci.
Brand Equity Brand Image Brand Awareness Quality International Markets Social Responsibility Design Quality Distribution Heritage Influence Part of House of Brands (Kering)
Counterfeiting Expensive Production
Sustainable Collections Line Extensions Strategic Alliances i.e. Collaborations Extend further into Asian markets
Competition COVID-19 Environmental damage of fashion industry Recession
Flamboyant, Floral, Made in Italy, Vintage, Animals (Tiger, Snake etc.), Double G Monogram, Harry Styles
Image (Perception)
Expressive, Empowering, High Quality, Luxurious, Flamboyant, Cheeky, Trailblazing, Iconic.
Positioning
Luxury, Exclusive, High-End for Men and Women
Strategy
Gucci’s current strategy is one of attracting new customers to the brand through the strength of their brand image and identity. Their strategy also attracts customers through the strength of their design and their socially responsible image.
Target Customer
Younger Millennial and Gen-Z consumers both male and female are the key target customer. Appealed to through big logo driven branding and trendy, socially responsible design. Account for almost 50% of sales (Primo 2018) However, also appeal to older consumers through handbags and classic garments and accessories like suits and shoes.
Competitive Advantage
Gucci are uniquely situated compared to luxury rivals as they appeal primarily to younger demographics whilst retaining some appeal with older consumers. They have also taken steps ahead of their competitors in terms of digitisation and sustainability, making them seem socially responsible. Similarly, the strength and heritage of the Gucci brand as well as its favourable associations set it apart from competitors. This is especially important in a sector where price alone cannot gain a competitive advantage.
Now this isn’t exactly news. Oversized…well everything has been in vogue for several years now…trousers, tees, shoes you name if you should wear it oversized. This however is a little different. The limited social interactions of 2020 has been terrible for more reasons than I or any other could count but if there is one benefit it’s that nobody can judge what you wear. Whilst this has undoubtably led to some nightmare outfits and purchases it has also allowed us more freedom for self expression. Not everyone after all possesses my own mixture of arrogance and ignorance which allows me to wear what I want when I want with little fear (or knowledge) of judgement from my cohorts. This self expression is a wonderful thing and has got so many people hooked on the fashion bug. So now is the perfect time to size up! Proportion is just as fun to mess with as pattern (see earlier post on shifting) and way easier to do correctly. Not only that but doesn’t it just seem right that as the cold weather approaches in 2020 of all years that we swaddle ourselves in far more cosy fabric than necessary? I’d say so and so should you. No prying eyes to judge you here and boy is it cosy on the oversized side.
So come on over to the cosy side…you know you want to.
So, 2020 just keeps on kicking us when we’re down doesn’t it? After 6 months spent more or less in seclusion and no end on the horizon there is no doubt that 2020 has been one to forget. Approaching the New Year when everyone was excited for a revamp of the “roaring twenties” I suspect they were referring to stylish parties and not mass pandemics and recession…I guess we should be careful what we wish for? However as always there is a sliver lining to be found in even this darkest of situations and I for one have been staying sane by planning what we all yearn for most right now, a special vacation. Now after the year I’ve had not just any old jaunt abroad would do. We need something special, something spectacular…maybe even something a little magical?
So where better to plan a vacation to than the MOST magical place on Earth? I am of course referring to Walt Disney World, over 40 square miles of fun, food and just a little pixie dust. So what makes Disney World the best vacation to plan right now? Well for a start it’s the most fun place I’ve ever been with rides for everyone from the thrill seekers to the movie lovers. Not only that but the food…oh my the food is just amazing. The delightfully over the top snacks (don’t even talk to me about calories) are of course to be expected but what shocked me most on my first visit was just how incredible some of the restaurants were. Morimoto Asia, California Grill, Flying Fish; these are just some of the amazing restaurants worth a visit and I have found myself hungrily looking at pictures from previous visits on more than one occasion during lockdown. Another thing that makes planning a Walt Disney World vacation is that there is just SO much to plan. Fast-passes, restaurants, hotels, rides – the list goes on and on and this is perfect right now because honestly all I have is free time.
Speaking of Hotels…I mean everywhere has fancy hotels. This is the case anywhere in the world but nobody and I mean nobody (not even the other Disney parks) manage to theme hotels and make them immersive in the way Walt Disney World does. Grand Floridian? You walk in and are enveloped with live Jazz or Piano music which is your first impression. After that you look around and see pure Victorian opulence with ornate furniture and caged lifts. Port Orleans? Well how do you feel about visiting New Orleans and Orlando at the same time? Polynesian? Well you are stepping into Polynesia with incredible island theming and don’t even get me started on Animal Kingdom Lodge. Step inside and you are transported – which you would think is enough and then you look out of the window and there is…the Savannah. Mind = Blown. Nothing can quite compare to the feeling of waking up, looking out your window and seeing a Giraffe. It’s a thrill unlike any other you will find in Walt Disney World and it is the greatest compliment in the world to say you forget where you are. So suffice to say that picking one of these incredible hotels will take up a significant amount of time which is exactly what I need right now.
After that you can get to the real creme de la creme of Walt Disney World, the parks and rides. Now I may be unpopular in this opinion but my two favourite parks are Epcot and Animal Kingdom and as much as I love princesses you aren’t going to convince me otherwise.
Epcot is themed in several parts, one focussing on different countries from around the world and others focussing on future technology, Space, Land and the Seas. Now I could spend days just wandering around the World Showcase exploring the different pavilions. The fireworks are also something to behold with the central lagoon acting as the centre piece for a spectacular showcase. Then we get to the rides. Test Track and Soarin’ are the main events for me, both thrilling in their own ways and entirely immersive showpieces. Those are fastpass necessities, as is Frozen Ever After which is also a thoroughly enjoyable dose of Disney Magic. Although less vital I have always loved Spaceship earth, Mission Space and even The Seas with Nemo and friends. Well that’s the FastPasses for Epcot sorted.
Animal Kingdom, one word Pandora. So immersive, so bioluminescent and did I say immersive?…and bioluminescent? Not only is this land a joy to explore but the rides are truly breathtaking. Flight of Passage is the most immersive experience I have ever well…experienced. It truly makes you believe you are a giant blue person flying a alien dragon, as if saying that in normal life wouldn’t get me at the very least strange looks from those around me. Similarly Na’vi River Journey is one of the most calming experiences I’ve encountered in Disney World and again immerses you in this strange land. Okay, maybe that was more than one word but the rest of Animal Kingdom is also thoroughly immersive, lands themed around Africa, Asia and…dinosaurs truly transport you there. Expedition Everest and Kilimanjaro safaris are the other “main attractions” here but both Dinosaur and Kali River Rapids are personal favourites of mine and I would recommend them to anyone. Kali is especially great on a scorching Floridian day.
Magic Kingdom, now this is where the magic happens in the most magical place on Earth. Upon entering the park and being faced with the Cinderella Castle it strikes you that you are in some place magical. Everything is just so perfect; the smells, the sights it really must be seen to be believed. Magic Kingdom is separated into several lands each with distinct theming which blend seamlessly into each other to create a single cohesive and magical experience. As well as the obvious magic there are so many incredible rides here for people of any age. Big Thunder Mountain, Space Mountain and Seven Dwarves Mine Train are great for the adrenalin rush. Similarly rides like Pirates of the Caribbean are perfect for that hit of nostalgia and pull at the heart strings in a way that only Disney know how. To cap off the perfect day in the Magic Kingdom the Happily Ever After Fireworks Show takes all of that special Disney nostalgia and condenses it into 20 minutes of sheer awe based on incredible fireworks and projections into the castle. So there it is, the perfect day in the Magic Kingdom…but better plan a couple more days there to relive it over and over.
Hollywood Studios…now I know a lot of people love this park and I understand why but Hollywood Studios is definitely my least favourite. There is a big butt here though and that is that the last time I visited Walt Disney World, Star Wars Galaxy’s Edge had yet to open. This could be a complete game changer especially combined with Toy Story Land. Between them they add some excellent theming and some immersive rides in a park that can be found lacking. Of course everyone seems to love Tower of Terror but unfortunately if I were to go on that ride I would never again step foot in an elevator, but if that’s your thing it’s definitely worth a FastPass. Other rides worth a go are Rock n’ Roller Coaster, Slinky-Dog Dash, Toy Story Mania and I’m sure both of the rides in Galaxy’s Edge will become mainstays on my to-do list in future visits. My other main criticism of Hollywood Studios is that it is a little light on great food. The other parks, especially Epcot have incredible food at every level of formality whereas I personally find Hollywood studios wanting in this area. The exception to this are some of the snacks that can be found. Funnel Cake, Giant Cookies, Key Lime Pie on a Stick and Ice Cream Cookie Sandwiches are all must eats and they are nearly the top of my to-eat list.
Now areas that I have explored less in Disney World are the water parks. Blizzard Beach and Typhoon Lagoon give water parks the usual Disney Imagineering and are great fun for the whole family. I cannot comment much on Blizzard Beach having never been, but the wave pool and several of the rides in Typhoon Lagoon have convinced me that a trip back is needed soon. I mean who doesn’t want to ride a 6ft wave?
Although not a park Disney Springs is also must visit! Some of the best food in Disney World can be found here in restaurants such as Morimoto Asia and The Boathouse. Not only that but for a fashionista such as myself the shopping here is a must do! Shops such as Uniqlo and even Disney’s very own marketplace are well worth a visit for everyone. As is World of Disney, the world’s largest Disney Store and a true haven for anyone looking for a last minute souvenir. Disney Springs is also just so enjoyable to walk around. There is street entertainment, street food and just the vibes in the whole place are so pleasant for an amble round. So, we need to add that to the plans too…… this is becoming a very busy vacation.
Of course that isn’t the end of the planning, itineraries need to be made, restaurants booked and hotels picked but isn’t that for the best? After all who knows what other punches 2020 is going to throw. We may need to keep ourselves busy for months more. So, in the meantime let’s get working on how to cram incredible rides, amazing food and unforgettable experiences into a brief window of Magic. This is really the distraction we all need right now.
So 2020 has been a rough year. We can all agree on that, right? Sure the start was promising but from wildfires in Australia to the current global COVID-19 pandemic the year rapidly deteriorated into a crisis not seen in any of our lifetimes. Alongside this pandemic came lockdown, or quarantine or Shelter at home. Whatever you want to call it the effect was the same, we all needed to stay home to fight this pandemic. For many this meant an ability to work from home which whilst initially a fun novelty soon wore off as everyone itches to emerge from our exile. There has been much written about the many negative effects this necessary evil has had on people’s mental health and with good reason. I’m in no position to comment on any of that but what I can do is tell things from my perspective.
Well for me lockdown has been far better than it has for many. I have been quarantining with my parents who I am incredibly close to and I would say this enforced cohabitation has brought us even closer together. At first the lockdown gave me the perfect opportunity to put some real miles on my university dissertation and I would say in a warped way it focused my mind and meant i put more effort into that piece of work than I had at perhaps any other point in my academic career. I got the first to show for it, a welcome and rare piece of excellent news provided by 2020 (although just to temper that off the graduation ceremony was cancelled). However after that was finished what next? Well as lockdown dragged on it got easier for a time as we all acclimatised to the new normal (as if it could ever be called that), until recently. With restrictions gradually easing for 99% of the country I have fallen into a rare group. The shielding group. I myself have no conditions but my dad was placed on the shielding list and as a family my parents and I made the decision to shield together. Obviously. So this has meant we are part of a group staying in lockdown even longer than the rest of the country, obviously I have no complaints and I would much rather be safe than sorry but there is one thing that has and continues to keep me saner than anything else. Exercise.
Feeling upset? I workout. Feeling grumpy? I workout. Feeling like the world is unfair and wishing that COVID-19 would disappear? I workout. Exercise has become my instant mood booster and it is the one thing that has kept me in a (relative) routine throughout lockdown. I had already been hitting fitness hard for the previous 6 months and at first the lack of gym access made me anxious that all my hard work would be undone. However some ingenuity and some cheap weights later and truthfully, lockdown has been a dream for my exercise goals. I have no time limits, nowhere else to be and it has allowed me to focus on nutrition and eat good home cooked food more often than I have at any other point in my life. I have gone from a fairly weedy 74KG to a much more respectable 86KG to a much more toned 84 KG and I am rapidly closing in on targets I thought it would take much longer to achieve. This has allowed me to feel like I am still accomplishing something with my life whilst sitting around for 3 months which itself has innumerable benefits for mental health.
Obviously, this is a strange time for us all and it is not something that works for everyone but personally exercise, alongside my parents and a slightly unhealthy amount of internet shopping are almost solely responsible for the little sanity I will have left on emergence from lockdown. So whilst I am unsure what the world is like outside of my own four walls I do know that when I re-emerge I will be fabulously dressed and in the shape of my life and honestly that just makes lockdown feel a little bit better.
That Stylish Guy 