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fashion industry; fashion business; diversity and inclusion; fashion culture

In Business/ Culture/ Fashion

Inclusion in the fashion industry is no longer black and white

While bigger fashion brands and the industry as a whole has been under increasing pressure in the last decade to provide more visibility into their supply and sustainability processes, there are still many facets of the industry that remain somewhat opaque, and in definite need of further scrutiny.

Consumers are becoming increasingly aware and therefore critical of, the fashion industry’s ethical and moral obligations, as they relate to labour and working conditions, exploitation, the impacts on the environment, and the consequences of fast fashion. Brands have had to provide more visibility to satisfy this need, with some even changing processes and their strategies, given the need for more transparency. Consumers’ evolution of consciousness has unequivocally had a transformative impact, however, fashion’s commitment to diversity and inclusion remains considerably lacking.

A truly fair and sustainable industry would be one representative of all people; of varied backgrounds, ethnicities, and particularly one which is respectful of, hires and gives credit to the very cultures and minority groups from which it often takes inspiration.

The momentum of the Black Lives Matter movement has increased attention around the necessity for more legislation, equality, and recognition for those who in the past have been overlooked or discriminated against. The fashion industry is guilty of this just as much as any other and has still a long way to go to tip the scales of equality.

The fashion industry, and many major luxury brands, have long been complicit in a culture of cultural appropriation, racial insensitivity, discrimination, underrepresentation, and promoting racist ideologies in plain sight. They have long defined the standards of beauty; typically, through the almost exclusive use of extremely thin models with fair skin, thin smooth hair, and light eyes. Women of colour are scarcely represented in campaigns or on runways, and then forced to work in an industry that mistreats or silences them. One such type of normalised discrimination is by hiring makeup artists and hairstylists who are untrained to work with darker complexions and natural hair at the global fashion weeks.

Models have spoken out about this marginalisation, but little has been done. Some are even asked to arrive to shoots camera-ready or pay for their own hairstylist given that the team hired will not or can not work with their hair. Simply casting black or minority models is not enough; creative backstage teams should also be skilled enough to work with all races. This disparity should also, therefore, be addressed both in cosmetology schools and by makeup brands, to set the expectation that to work in fashion, you must know how to work with all models. These prolific discriminatory practices and industry-wide means of exclusion need to end.

There have also been numerous instances of whitewashing occurring within fashion media, a practice that has finally been receiving criticism, despite it happening for years. The practice of artificially lightening someone’s skin tone of their hair to appear fairer underpins this cultural creation that lighter is more beautiful. Several major fashion magazines, advertisers, and cosmetic companies have faced controversies in recent years due to the apparent lightening of complexions in their media, and while these claims are disputed, the images themselves feed into a very damaging culture and perpetuate negative sentiments for women of colour and how they should fit into a ‘white’ industry.

As a consequence, many large fashion houses and magazine publishing firms have pledged to do better, to openly promote diversity and inclusion, feature a greater variety of individuals on their runways, pages and in their advertising, and revise their hiring strategies to ensure their own creative teams and talent reflect this, all the way to the top. But who exactly can hold them accountable for this? And will this bring lasting change?

Statistics have shown that the more culturally diverse their executive teams are, the more profitable they are. McKinsey and Company’s 2018 research has attributed this to better access to talent, improved decision making, deeper employee engagement, and greater insight into their consumers.

While there are financial incentives to make changes, one might also ask why their moral obligations and commitment to creating opportunities for those who have been historically disenfranchised might not be enough. The greatest incentive perhaps, which has brought about these changes in the last year, has in fact been consumer pressure.

The industry has always largely been controlled by white men in executive and board member positions, meaning unless those at the top embrace the changes, and become allies committed to reversing years of systemic racism, a future of fair representation and diversity in their positions of power, might still be a long way off. Open communication and discussions about both overt and unconscious bias will inevitably need to be addressed if brands want to evolve and meet their consumer’s demands.

They also will have a lot of work to do within their supply chains and distribution chains. It is no secret that the communities most negatively impacted by the poor labour practices and terrible environmental effects of the fashion industry are disproportionately people of colour. Likewise, large retailers, need to support and promote black-owned businesses and carry more labels from minorities to more fairly reflect our populations. With less than 1% of the stock in the market today being from black-owned businesses, no more evidence is needed to reflect the discrimination in the industry.

Companies will need to monitor their own progress, and then be judged against others in the industry. Data, transparency, and accountability are prerequisites for measuring significant change, and aggressive goals need to be set. Consumers will ultimately then need to decide if brands are taking sufficient action and it is in the power of consumers to ensure the momentum for change is sustained; brands and consumers alike will need to commit to this for years to come. There is no easy road to progress, but the events of 2020 showed us that we don’t have any more time to wait.

In Business/ Culture/ Fashion

Fashion Shows of the Future: Did 2020 bring about a new age of the fashion runway?

The fashion industry is changing at every level. These seismic shifts in most areas of the industry have needed to happen for a while but were accelerated considerably by events that took place in 2020.

One such change, which is especially visible, is the reformation of the fashion show. Global lockdown allowed many in the industry to reflect on the way in which collections were presented, but also, and to a higher degree, fashion houses were forced to reconsider how to produce shows when the majority couldn’t take place physically, as had been the tradition since the early couture shows of the 1940’s.

For decades fashion designer shows have been synonymous with big scale productions, beautiful theatrics, glamorous settings and in more recent times, a-list packed front rows. Starting from the 20’s many high-end fashion houses or designers used models to display their collections to the chosen elite. This eventually evolved into fixed date shows, as demand increased across Europe, especially in Italy and France, from foreign buyers, wanting a taste of European sophistication. Across the ocean, this started a movement for department stores in the United States to host their own fashion runway shows.

Following the Second World war, the Italian fashion industry, alongside the rise of ready to wear clothing production, was also boosted by post-war government policy and reforms to support the export economy. In 1949 fashion shows were held for the benefit of the international press, to showcase Italian art and culture. A pivotal fashion show in the summer of 1951 in Florence, drew in nearly 200 buyers and journalists from the U.S. making internationally publicized shows, now a seasonal affair.

The traditional fashion show format that we know today was firmly set by the 1960’s, often embracing youth culture and appealing more to the masses, via marketing techniques involving mixing fashion with popular music, location staging, and with models who were then becoming globally recognisable.

Now in 2021, it appears that we have reached a turning point; a before and after. Fashion houses are now faced with having to produce shows that will translate for digital audiences.’Digital couture’ was offered as a short term way to navigate the restrictions surrounding the global pandemic, but it could be argued that the 2020 pandemic simply accelerated this process, which would have had to happen inevitably anyway. Not only does it offer a more sustainable solution, but it makes high-end fashion brands and their once exclusive shows, more accessible to the masses.

Starting first with London Fashion Week in June 2020, the British Fashion Council, were the first to innovate and offer a fully online gender fluid event, which included not only virtual shows, but digital parties and video led discussion panels. The notion that fashion editors, buyers and influencers, were flying across the globe for short physical shows, and clocking up huge carbon footprints as a consequence, now seems rather outdated and excessive.

Brands are obviously still figuring out how to deliver on this successfully, and but nevertheless, with two seasons of digital fashion weeks that have taken place in 2020, we can now ask the question… Do they work?

Fashion was already on the cusp of transformative change, given that some brands were moving away from traditional seasonal calendars. Consumers were changing how they consume, so the need for change in the fashion week format, was also inevitable to some degree. There has also been a need in recent years for brands to invest more in virtual and more immersive experiences, in order to remain competitive in the market. 3-D fashion shows, and interactive digital live streams were becoming more commonplace, and the need to make shows more inclusive and relatable for consumers was becoming increasingly important.

Creating connections with the audience is key to the success of this new format, but going digital does offer opportunities to build stories around collections, generate deeper connections with the brand values, and potentially make the shows more impactful. The storytelling opportunities are vast, nevertheless it does present challenges for brands to build the same excitement around virtual shows. While it can be argued that the social aspect cannot be replicated online, digital shows offer opportunities which elevate brands beyond the boundaries of physical venues, seating and set construction.

New technologies present new narratives, with 3-D rendered clothing, CGI, video content and digitally crafted locations. With no clear path for where this experimentation might take us, it allows brands to fully explore the possibilities, and perhaps the future of fashion weeks around the world, might result in a perfect blend of digital and physical shows, created with the brand values and their particular audiences in mind. Perhaps physical shows will get smaller, with more focus on the audience watching at home. Or it will lead to fully green screen virtual multimedia shows, where the full experience is delivered via our devices.

Whatever the answer, the deciding factor will undoubtedly be the impact on the brands reach and their sales. In any format, the products and clothes themselves will need to remain at the centre. Will buyers stock their shelves and consumers spend their hard earned cash with items that they haven’t been able to see or touch in person? Time will tell. That being said, the traditional means of presenting physical collections once season ahead, was already dying, and had zero relevance to many modern consumers. It was time for a rethink, and experimentation will be essential for allowing new fashion events to emerge.

Whatever the future will look like, 2020 has brought us closer to this new reality, and only time will tell if the new experiences of this year, will become the new norm, or if fashion once again reverts back to its heritage, and tries to maintain the exclusivity and physical extravagance of its catwalk shows, for just a little longer.