Finding Safety in Refuge
Earth 2030
Finding Safety in Refuge Earth 2030
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Earth 2030 We live in turbulent times, in this ‘new normal’ world we are constantly being challenged by different environmental issues. In 2030 we will continue to face new challenges and threats which will force us to adapt to the ever-changing world we live in. Preparing ourselves for the future is imperative and could have a lasting effect on our planet if we don’t act now. ‘Finding Safety in Refuge’ narrates and discusses a range of topics such as ethical issues in the fashion market today and how we need to make a change in order to save our dying world. The visualisation of my trend forecast will narrate how in an act of crisis we will find new ways to protect ourselves and reconnect with the environment as an escape.
There are many ethical issues involved in the fashion industry today including the use of high natural resources, poor working conditions, environmental pollution, child labour as well as many more. I will be concentrating on the issue of increased consumerism and waste which adds to the accountable 10% of greenhouse gas emissions from the fashion industry. Shopping for an item of clothing used to be a special event which only happened every now and then, this is now a thing of the past. It is now seen as a form of adrenaline-rush activity, grabbing as many pieces for the lowest price, wearing them a few times and then throwing them out (Gubensek, 2021).
At the start of the 2000’s, a new term “slow fashion” emerged into the industry, a movement to alter the retrogressive fashion system. The idea of slow fashion defends design, production, consumption and usage processes can be carried out in a more ethical and sustainable way (Overconsumption in Fashion Industry, 2021). As consumers, we have to share this responsibility and change our consumer attitudes to the slow fashion movement. Today’s fashion consumption pattern is simply not sustainable. The current system in the fashion industry predominantly works in a take-make-dispose way where high volumes of non-renewable resources are extracted to produce clothes which are often only used for a short period of time before ending up in landfill.
The fashion industry will continue to play a huge part in the ongoing environmental issues we face unless we make a change to our spending habits. The fashion industry has a disastrous impact on the environment, it is the second largest polluter in the world, closely behind the oil industry (Environmental Impacts of the Fashion Industry — SustainYourStyle, 2021). As the industry continues to grow, the environmental damage is also continuing to grow. There are a range of solutions to reduce these problems, however we need to act fast and make a change now before it’s too late. The first step in mitigating these problems is building awareness and the willingness to make a change for our planet. People will not make a change for something they do not have the correct knowledge on and therefore not know the real extent of the issues the fashion industry contributes to. This forecast predicts that by 2030 consumers will have a deeper understanding of the impacts the industry can have on our beautiful world.
In order to move forward in a way which is sustainable and reduces the environmental impact brands must adapt to a more circular approach. “The future of fashion is circular. It has to be”, says Stella McCartney. The term ‘circular fashion’ combines the principles of both sustainability and circularity. The idea of circular fashion is that once clothing has been used it is circulated effectively in society for as long as possible instead of being discarded in landfill. This involves clothing being made from safe and renewable materials in order to be upcycled and made into something new. Every part of the life span of a garnet is cyclical, garments need to have longevity. In the long run this concept will mean less materials being bought and less to ruin the planet with.
Circular Circular Circular
By 2030 consumers won’t feel the need to buy clothing unless they truly need it and it is going to provide them with protection and security. In order to increase the longevity of clothing consumers will mend their clothing when slightly damaged which will reduce the amount of clothing being sent to landfill. With fast fashion seasons currently almost changing weekly, new garments are being produced way too often. By 2030 seasonless clothing will be a more prominent theme in the fashion industry with more brands taking this sustainable approach. Going seasonless could save money, fashion, and more importantly help to save our dying world. Many brands such as Michael Kors and Saint Laurent have already removed themselves from the traditional seasonal fashion calendar (Let’s Stop Pretending We Need New Clothes Every Season, 2021). Other brands such as Gucci and Prada have decided to cancel their new collections completely. Over the past 30 years the fashion industry, especially the luxury side has gone from having only two seasons to now having five or more. Fast fashion brands such as Fashion Nova and Zara churn out designer dupes at a rapid pace at prices which are feasible for more consumers, the cycle of seasons has gone up to 52. This way of selling clothes cheapens the brand and perpetuates the idea that our clothing is disposable. Over the years we have been pressured into feeling the need to wear a new outfit for every occasion of even every social media post. We have been conditioned into thinking we need new things constantly, this is resulting in vast damages to our planet. Earth 2030 will see collections which will consist of pieces which are timeless, versatile and adaptable. Collections will include pieces which can be paired with many other items and can be layered in the winter or worn on its own in the summer. A few pieces could form a wardrobe suitable for all seasons. This strategy will help with the high rates of overproduction and the impacts it has. Seasonality and trends shouldn’t be contributing to our waste crisis.
In a world filled with doubt and uncertainty consumers in 2030 will seek protection, one of the main ways they will do so is through their clothing. Consumers feel the importance of connecting with the environment, within doing so they will need to be protected from toxins and germs. Consumers will want to feel safe and secure in what they wear to face the varied weather conditions. Brands will need to offer more utilitarian garments which are adaptable and fit for the climate consumers will face.
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Influences Through-out the process of creating my narrative for Earth 2030 there were a handful of influences which have remained from start to finish. There are many brands which are including a survival and protection aspect to their collections including The North Face and RÆBURN. Not only do The North Face sell clothing which will protect its consumers from various weather conditions, the brand’s ethos comes from their desire to share their passion for the outdoors with their consumers. The brand makes it clear that as part of their responsibility they work to protect outdoor areas, reduce and offset their greenhouse gas emissions and lower the environmental impacts of their facilities (Protect, 2021). The brand’s athletes are empowering students to take action on climate change and their Explore Fund is helping young people experience and explore the outdoors. The North Face influences it’s consumers to have a deeper connection with the outdoors and the environment that surrounds them.
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Christopher Raeburn is another person and brand who has had an influence on my work, a British fashion designer known for reworking surplus fabrics and garments. Christopher Raeburn has established his famed brand with responsible and intelligent fashion design for a global audience. In particular, Raeburn’s RÆMADE ethos has pioneered the reworking of surplus fabrics and garments which have created distinctive and functional pieces. The RÆBURN RÆMADE philosophy has its origins in Chistopher Raeburn’s fascination with military materials and utilitarian clothing (RÆBURN, 2021). Christopher’s never-ending ‘archaeological’ discoveries led to his first full collection (AW10 PREPARE) using de-commissioned military stock to create limited edition outerwear for both men and women. From wool field jackets to nylon parachute canopies, each RÆMADE style is produced by meticulously deconstructing the original and reworking the materials into unique and ethical garments (RÆBURN, 2021).
Furthermore, upon researching brands who have already started to adopt these types of attributes into their garments I discovered a Parsons Student who Designed Her Senior Thesis To Help Syrian Refugees (Griffin, 2021). Each garment included in the brand ‘Design for Difference’ addresses a particular environmental issue such as exposure to extreme elements, drowning or having no shelter. The collection is made up of seven transformative outerwear looks which include two jackets which transform into full size tents, a jacket which turns into a sleeping bag, a jacket that turns into a backpack, an inflatable life vest garment, an adjustable child carrier vest, and a reversible camouflage jacket (Griffin, 2021). These garments include features and functionalities fit for survival and from our uncertain climate. Future natural disasters will drive consumers to reach for garments such as these created by Luna and push them to focus on survival. Especially post pandemic the demand to feel a sense of security from clothing choices will increase.
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Storytelling One of my main influences when looking into what brands are currently doing to tell the ‘story’ of their brands and collections is British Menswear Designer Craig Green. Craig Green’s designs explore concepts of uniform and utility, his cult-like processions have become a highly anticipated fixture of the menswear calendar (About, 2021). Green’s latest Moncler collection muses on ideas of transparency and protection which since being created has become very appropriate for the current state of the world. This collection was centred on Moncler’s longtime dedication to protecting its wearers from the elements (About, 2021). “I’ve always been drawn to looking at the idea of protection and I think that there is a beauty in the making of protective garments. But there’s also the notion of people feeling protected by something that isn’t physical, such as the feeling of belonging. Finding protection in other people or as part of a team or group”, said Green. As a brand, Craig Green is always on top of the latest situation in the world. Green is influenced by what is going on in the world, his inspiration comes from his interest in combining uniforms, communal ways to dress and his approach to masculinity. Craig Green’s work alters the conventional perception and symbolism of uniforms which is part of his very unique storytelling technique.
The Future Luxury brands must stay up to date as well as relevant in order to keep their consumer’s attention and loyalty and to ensure they keep developing as a brand. In 2030 consumers will be extremely more conscious with their buying habits and buy into thoughtful brands which they support. 2030 is not far away, brands need to start changing now in order to create a sustainable fashion cycle. The future of storytelling is already looking bright, many brands have already jumped onto this new form of content. Moncler has efficiently used social media and played it to their strengths in recent months with their #monclerbubbleup challenge which was first released on TikTok in 2020. The challenge involved people wrapping themselves in a blanket then transitioning into the Moncler bubble jacket.Every video included in this hashtag reached over 2.3 billion views, this shows how powerful this way of storytelling is and what an effect it can have on people in such a short time frame.
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Market Level The luxury market level is best suited for this narrative due to the trickle-down effect, meaning lower market level brands will take inspiration from the luxury market brands and create their own version/ interpretation. Due to the higher costs of manufacturing protective clothes and gear, it is difficult for lower market brands to produce garments of the same quality, however they can be influenced and take inspiration. There are many alternative ways to protect ourselves from the world in 2030 which don’t necessarily need to be luxury market level. The luxury market faces uncertain times at the moment due to current circumstances and global issues. The Covid-19 pandemic caused traditional forms of sales to be replaced by online sales, this means the importance and need of a brand’s online presence has increased greatly. This allows a lot of opportunity for luxury brand’s who may not have had a strong online presence before these challenging times. This allows luxury brands to create a deeper connection and learn more about their consumers. I believe these times will see more loyal customers support and protect their favourite luxury brands and continue to do so in 2030.
The target audience for my forecast will mainly be Generation Z as they will be the main driving force of the luxury market in 2030. As it stands Gen-Z consumers currently drive 85% worth of luxury expansion which will only increase by 2030. By 2030 Generation Z will be more conscious consumers and be more mindful with their spending habits and actions which could affect the environment surrounding them. My forecast for Earth 2030 will also apply to a much larger audience as I hope that by this time many more people will have an understanding about the ongoing threats to our environment. In addition to this, in 2030 most people will feel the need to protect themselves from their surroundings.
Luxury Luxury Luxury
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‘Finding Safety in Refuge’ aims to narrate a world where we become more connected with our surroundings as a way to escape from our hectic lives. By indulging in materialistic items less, consumers will take a step back and start to look to more simpler things for happiness and gain a sense of appreciation back. During this fast paced and technological world we are living in people will be encouraged to turn to the environment to gain a fresh perspective and outlook on life. By 2030, Generation Z will be extremely more conscious with their spending habits and actions towards a safer world.
Film Plan My video of Earth 2030 reflects the narration of our deepened connection with nature. Reconnecting with nature can function as a treatment for the global environmental crisis we will continue to face in 2030 as well as helping to transform society towards sustainability. Society’s disconnection from nature has been proposed as a root cause of unsustainability, however as people’s perceptions on this topic change as will our environmental crisis. My final video is very organic and natural which translates in a very calm and peaceful way. I wanted the viewer to gain a real sense of connection but in a contemporary way. I felt
Conclusion In conclusion, ‘Finding Safety In Refuge’ appropriately narrates how in an act of crisis we will find new ways to protect ourselves and reconnect with the environment as an escape. In 2030, consumers will be prepared for challenges which will come our way and we will find new ways of adapting in times of uncertainty and fear. In addition, in order to create a safer world we must revert to more circular and sustainable options.
References Craig Green. 2021. About. [online] Available at: <https://craig-green.com/pages/about> [Accessed 9 March 2021]. SustainYourStyle. 2021. Environmental Impacts of the Fashion Industry — SustainYourStyle. [online] Available at: <https://www.sustainyourstyle.org/old-environmental-impacts> [Accessed 9 March 2021]. Griffin, A., 2021. A Parsons Student Designed Her Senior Thesis To Help Syrian Refugees - The New School Free Press. [online] The New School Free Press. Available at: <https://www.newschoolfreepress. com/2016/05/07/a-parsons-student-designed-her-senior-thesis-to-help-syrian-refugees/> [Accessed 9 March 2021]. Gubensek, S., 2021. Why it’s Time to Slow Down: The 7 Key Ethical Issues in the Fashion Industry. [online] www.utopiast.com. Available at: <https://www.utopiast.com/sustainability/7-key-ethical-issues-in-the-fashion-industry/> [Accessed 9 March 2021]. Medium. 2021. Gucci’s Art of Storytelling. [online] Available at: <https://medium.com/@anahatrawal/guccis-art-of-storytelling-e5451cc9d976> [Accessed 9 March 2021]. Harper’s BAZAAR. 2021. Introducing circular fashion: the shopping concept that could save the planet. [online] Available at: <https://www.harpersbazaar.com/uk/fashion/a27189370/circular-fashion-definition/> [Accessed 9 March 2021]. 2021. Protect. [online] Available at: <https://www.thenorthface.com/about-us/responsibility/operations. html> [Accessed 9 March 2021]. RÆBURN. 2021. RÆBURN. [online] Available at: <https://www.raeburndesign.co.uk/pages/about> [Accessed 9 March 2021]. AnOther. 2021. The Story Behind Craig Green’s Latest Moncler Collection. [online] Available at: <https:// www.anothermag.com/another-man/12725/the-story-behind-craig-green-latest-moncler-collection> [Accessed 9 March 2021].
Image References Image 1- ArtsThread. 2021. amieedwards - ArtsThread Profile. [online] Available at: <https:// www.artsthread.com/profile/amieedwards/#next> [Accessed 9 March 2021]. Image 2-Art.com. 2021. Art.com - Art Prints, Framed Art, Home Accessories, and Wall Art Ideas. [online] Available at: <https://www.art.com/products/p52836930686/product.htm?RFID=990319> [Accessed 9 March 2021]. Image 3- RÆBURN. 2021. Innovative & Responsible Fashion Design. [online] Available at: <https://www.raeburndesign.co.uk/> [Accessed 9 March 2021]. Image 4- Radio.wosu.org. 2021. Why A Parsons Student Designed A Collection For Syrian Refugees. [online] Available at: <https://radio.wosu.org/post/why-parsons-student-designed-collection-syrian-refugees> [Accessed 9 March 2021]. Image 5- Dazed. 2021. Craig Green on creating giant, windblown sculptures for new Moncler collab. [online] Available at: <https://www.dazeddigital.com/fashion/article/43454/1/craiggreen-moncler-genius-aw19-mfw-milan-fashion-week> [Accessed 9 March 2021]. Image 6- CRASH Magazine. 2021. Craig Green Men’s Fall Winter 2017/2018 - CRASH Magazine. [online] Available at: <https://www.crash.fr/craig-green-mens-fall-winter-201718-collection-london/> [Accessed 9 March 2021].
Finding Safety in Refuge Earth 2030
Libby Chamberlin