Challenges Facing The Fashion Industry

Communication and Message FASH20031

The challenges facing the fashion industry a reflective viewpoint

By Charlotte Cooper

The fashion industry, like most industries, has its fair share of challenges and opportunities. Again, similar to most industries, the world of fashion needs to adapt to an everchanging market, financial climate, and customer needs which will coincide, with technology and media enhancements that means standing still is, in effect, moving backwards. However, perhaps unlike other industries, fashion has some PR catchingup to do in respect of social, environmental sustainability, discrimination and ethnic challenges, however the Design Council do see this happening in the future of fashion ‘the future of fashion is set to be more sustainable, ethical, inclusive and all about the internet’ (Design Council, n.d.) although this may be good to a certain extent, the Design Council also stated that the fashion industry is actually scared that future users will take over.

For new recruits entering the fashion industry, these topics will be paramount on market positioning, as ignorance to them will serve to alienate the industry further still. It has to be seen as an inclusive industry rather than simply exclusive and associated with one-dimensional glamour and celebrity culture.

The course “Fashion, Communication and Promotion” can be regarded as a learning programme to understand the past, present but perhaps, more importantly, the future of the fashion industry. This ensures the industry can adapt to the ever-revolving fashion world in order that new challenges can be confronted head-on.

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What is the future of fashion?

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It is my belief one of the biggest responsibilities within communicating and promoting is to be regarded as being inclusive and open-minded within the fashion world. As in the case of the “All-Walks Campaign” shown in figure 1, this adopts a strong-minded view that the fashion industry should be more accepting of women and men in relation to their bodies and their acts (All Walks, 2012: online) and, adopting an inclusive viewpoint, to encompass previously taboo aspects such as race and disability. Much of this originates from where these views are being published and shown. Whereas the mass of people buy fashion magazines, attracting a populist view, this shouldn’t be regarded as the future of fashion (Norris, 2012) it is simply, as it states, a fashion magazine, including the likes of Vogue and Elle.

In order to make a real difference, these messages need to be published in futuristic style magazines all supporting diversity; ‘Dazed and Confused’ are seen supporting disability in figure 2, ‘Pop’ showing originality in figure 3 and ID supporting race in figure 4 as examples. Publishing targeted photoshoots and articles in these magazines will help set the tone for the fashion industry not to be as narrow-minded and to create a powerful and positive message.

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Figure 1: ‘Who are all walks?’ By All Walks Campaign (2012)

Figure 2: “Fashion Abled” photoshoot, by Alexandra McQueen and Nick Knight in Dazed and Confused (1998)

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Figure 3: “American Gothic Christina Ricci” by Mert Alas and Marcus Piggott in Pop magazine (2011)

Figure 4: “i-D Rules”

by Daniele and Lango in ID (2011)

However, we are not to forget that style magazines have used famous fashion shoots in their journals, which has ultimately created powerful messages. Conversely, at times it has been too powerful and has almost verged on being contentious. The Face being one of the most controversial, with shoots like “Alex Eats” based on a bulimic model, which was quite topical of the day and photos were therefore taken down. Also Kate Moss, shot by Corrine Day, as highlighted in figure 5 and 6 depicted Miss Moss, wearing designer clothes – which were very minimal for her young age, surrounded by malnourished children in the third world environment of Borneo The editor of the face at the time Sheryl Garrat, described as setting out: “A new editorial task of expressing the underground movements of the 90s. Acid house, ecstasy and the massive, rapid rise of rave culture was the magazine’s inspiration. It felt like a time for smiling rather than pouting, for bright colours and openness and also for something more natural and real – which Corinne Day’s images tapped into very clearly” (Garrat, 2011: online) This can be arguably seen as disconcerting and tasteless: to display two contrasting worlds in one photo together.

The counter-argument however is that it can be regarded as drawing attention to the over-riding problem. This shows a problematical issue of finding the right balance between fashion and political correctness.

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It is my opinion this is one of the initiatives that should be encouraged, to create a theme, but not in a manner that it marginalises opinion. The consumer must always remain the main focus; isn’t this yet another example of the aged-old argument of freedom of expression versus risk of offending.

Figure 5: “Borneo” photoshoot by Corrine Day in The Face (1991)

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Figure 6: “Borneo” photoshoot by Corrine Day in The Face (1991)

In relation to the aforementioned stance on fashion being political, much of what we are seeing in magazines today adopts a similar pattern. Emerging markets are becoming ever more prevalent in modern society and are becoming increasingly attractive to multinational corporations wishing to expand by taking advantage of fashion-changing economic dynamics around the world (Tata n.d.), this is due to China becoming the largest fashion market in the world.

Consequently magazines are celebrating using Asian models.

However, is this right to use them just because they mirror the appearance of the target market? Conversely, Asian models in other photos almost seem faded out and non-existent. Dolce and Gabbana are famously guilty for doing this as seen in figure 7 they sent out an all white catwalk for their Spring/ Summer 12 collection. Also shown in photshoots; Dolce and Gabbana essentially used white models as its centrepiece of the photo as seen in figure 8 and 9, whilst also employing an Asian model at the edge of the image with sunglasses on. This is hardly promoting the fashion industry’s most lucrative market.

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Figure 7: “Molto, molto Italiano” by Dolce and Gabbana (2012)

Figure 8: “Dolce and Gabanna Winter Ad” (2011/2012) by Steven Klein (2011)

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Figure 9: “Dolce and Gabanna Winter Ad” (2011/2012) by Steven Klein (2011)

People often ask what ‘beauty’ entails, but even in modern society there is neither a conclusive definition nor a shared vision. According to O’Riordan (2008) beauty is subjective and goes on the popular statement “beauty is in the eye of the beholder” it cannot mean the same to everyone. Furthermore, it is reasonable to assume the fashion industry would take inspiration from this concept, but they have there own conceptualizations of what beauty is. When written about, a lot of the same words are used to describe someone who is “beautiful” and all the models have a certain look as shown in figure 10 and 11, they all posses symmetry.

Additionally, this could be one of the main reasons as to why there are eating problems and mental disorders in the society of today. The assumption is that both sexes feel like they have to fit into this definition of what ‘beauty’ means, in terms of what the fashion industry articulates it to be.

With words being used in publications like: flawless, glowing, natural, healthy, enhanced, radiant and perfection, this is all demonstrated in figure 12 and 13, with articles like these supporting it. Are the people who have this ‘beauty’ role models for real people?

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Figure 10: “Beauty” by OK magazine (2010)

Figure 12: “JESSICA’S BODY SECRETS” by Heat Magazine (2012)

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Figure 11: “Beauty” by Beauty Therapy (2009)

Figure 13: “GET GLOWING SKIN AT ANY AGE” by Harpers Bazaar (n.d.)

When watching a BBC programme called “Am I normal?” it identified that children as young as 5 and 6 go through a sensitive period concerning their weight. With a culture of unrealistic figured Disney princesses and Barbie dolls shown in figure 14 surrounding them, it is unsurprising that there is a growing concern for them using these dolls as their role models.

In a study called “Does Barbie Make Girls Want to Be Thin?”

It shows the effect of experimental exposure to images of dolls on the body image of 5 to 8-year-old girls. In their experiment “a total of 162 girls, from ages 5 to age 8, were exposed to images of either Barbie Dolls, Emme dolls (U.S. size 16) displayed in figure 15, or no dolls (baseline control) and then completed assessments of body image” (283).

The professors discovered that those exposed to Barbie doll images produced “lower self-esteem and a greater desire for a thinner body shape than in the other exposed conditions” (Ive and Halliwell 2006, pages 283-292)

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Figure 14: “Barbie Princess and the Popstar doll” by Toys R US (n.d.)

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Figure 15: “Barbie vs Emm Doll” by Ive and Halliwell (2006)

So what is body image? According to Grogan it is “a persons negative thoughts and feelings about his or hers body” (Grogan 1999). Rothblum and Tiggerman in Grogan (1999) talked about the way we have the tendency to link physical attractiveness with positive personal qualities – this all comes down to the culture we live in.

There is a biological debate that being slender is considered being healthy. This can be shown by Monaghan in Grogan (1999:12), who simply stated that “within Western ideology, being overweight is perceived to violate the cultural ideal of self-denial and self-control” Monaghan, 2005. On the other hand it was argued by Gordon in Grogan (1999:14) that thin is often argued that the “thin idea” is the outcome of being successful, arrested by the fashion industry, which has become the standard of cultural beauty in the industrialised affluent societies of the twentieth century”.

A Mexican study showed different behaviour when it comes to the idea of being thin, which implicates it showing the ideal of wanting to be beautiful is different in cultures. Martinez stated in Grogan (1999:12) “Anti-fat attitudes are part of an individualistic Western ideology that holds individuals responsible for their life outcomes”. Americans are also known for doing this with them having a similar positive attitude of “you can do it”.

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The change needs to happen for the customer, they need to develop self-acceptance and have self-esteem about themselves. The term self-esteem means to reflect yourself over all development and self-acceptance is having the ability to love yourself unconditionally no matter what flaws exist. The UK average is 23/30 using a self-esteem scale (Rosenburg 1965) compared to the self acceptance scale (Chamberlain and Haaga 2001) of 88/140, companies like M&S and Vaseline focus on this, for example as seen in figure 16 Vaselines campaign called ‘Do you see skin the way we do?’ making the customer believe that their skin is beautiful.

Figure 16: “Do you see skin the way we do” by Vaseline (n.d.)

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I believe this is a responsibility that should be taken seriously to prevent the ever-growing number of health problems. Companies like Dove help make people accept themselves at a young age, launching a “Campaign for Real Beauty” included in figure 17, 18 and 19. Using this form of psychology will help encourage selfesteem and acceptance. A shocking fact said that “only 2% of women find themselves beautiful” (Dove 2004) surely this is what the fashion industry should be reaching out too?

In order to change behaviour on body image we need change how its been written and portrayed. I believe making a change on how beauty is portrayed in a retail environment will create a big impact as this will reach out to mass people. Speaking on a visual merchandising front, changing the in store layout, where clothes are positioned, instead of having smallest to largest, why can’t the sizes be randomised? Primark and H&M are very poor at visual merchandising, due to them having no real layout in store and clothes being put on the wrong rails, this is shown in figure 20 of Primarks scruffy layout. Visual merchandising in-store should be neat to get the message across, places like Topshop and high-end designer stores excel in this, this is shown in figure 21 of the visual merchandising of Anthropologie.

The use their mannequins and creativeness as a main centrepiece in store and making use of the extensive retail space.

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Figure 17: ““Campaign for Real Beauty – wrinkled?

Wonderful?” by Dove (2004)

Figure 18: ““Campaign for Real Beauty – Ugly spots? Beauty spots? by Dove (2004)

Figure 20: Primark Visual Merchandising by Charlotte Cooper (2012)

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Figure 19: “Campaign for Real Beauty - Grey? Gorgeous?” by Dove (2004)

Figure 21: Anthropologie Visual Merchandising by Charlotte Cooper (2012)

Changing the shape of the mannequins would have an interesting effect. Instead of having size six and eights shown in both low and high end fashion, why can’t it reflect the UK average of a size 14. Adel Rootstein was the well-known mannequin maker in the industry, casting bodies from supermodel, for example Dianne Brill as shown in figure 22 and 23. This again is injecting the public a desire to be slim, by not using realistic body shapes shown in window displays.

Rootstein started by making window displays as seen in figure 24, which gave her an understanding of “the void that had existed between fashion coverage in the international media and what actually happened in windows. ‘There must be excitement to make people buy. We aim for a theatrical vision of real life” (Roostein 1992). Proving that Adel Rootstein uses supermodel mannequins as a way of portraying what the media is depicting beauty to be, even referring to human bodies as a theatrical vision – making them sound inhuman like.

Although changing the shape of mannequins would have an impact on the customers, businesses could frown upon this concept, as they aren’t there to make a difference to society, however are there to sell clothes. This consequently opens up the debate of what is morally right.

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Figure 22: “The Queen of the night”

by Adel Rootstein (1988)

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Figure 23: “The Queen of the night” by Adel Rootstein (1988)

Figure 24: “Red Ladies Window Display”

by Adel Rootstein (n.d.)

Having artists like Jenny Saville will help reinforce the idea into western society to accept bigger body shapes. In Jenny Saville’s documentary, she diverts from archetypal skinny models, yet makes women think it’s not all about being slim saying ‘I want to be a painter of modern life, and modern bodies’ (Saville 2012) One example of Savilles art piece is shown in figure 25 which presents a larger women. Having taken part in a life-drawing class, it highlighted that not having that perfect figure is still beautiful to draw, indeed if not more beautiful as it’s more interesting and unique.

Jenny portrays in her work, the difficulties women have to go through about being a certain shape, including some disturbing paintings of women going through plastic surgery, shown in figure 26 and 27.

“I’m not anti conceptual art. I don’t think painting must be revived, exactly. Art reflects life, and our lives are full of algorithms, so a lot of people are going to want to make art that’s like an algorithm. But my language is painting, and painting is the opposite of that. There’s something primal about it. It’s innate, the need to make marks. That’s why, when you’re a child, you scribble.” (Saville, 2012: online)

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Figure 25: “Propped” by Jenny Saville (1992)

Figure 26: “Entry” by Jenny Saville (2004/2005)

Figure 27: “Entry” by Jenny Saville (2004/2005)

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According to Martin Lindstorm (2010) evidence suggests using real people is more effective than using celebrities when selling beauty and 200 per cent more likely to buy a product if the models advertising them look more like them. (Barry 2012), this showing us that using skinny, perfect models could in fact be bad for business. On the other hand, using a celebrity would surely provide a more memorable subliminal message. It could install within the consumer to think the product is fashionable and would thus be more likely to wear it.

However, a recent study at the University of Florida showed women are often turned off by extremely attractive models (Lindstorm 2010: p 187). Does this simply revert back to self-acceptance and self-esteem as they are simply intimidated by their looks?

Lindstorm (2010) points to some ‘recent’ contextual changes in society he believes there is an authenticity with real people, and we are seeing a fascinating marriage between the world of the airbrushed supermodel and the world of the ordinary consumer. Marks & Spencers, have been experimenting using real women in their advertisements, substituting the role of celebrities as shown in figure 28. However, in adopting this policy, M&S will still use the airbrush so the ‘real’ women are not that real after all as seen in figure 29. There is a balance to be found of who to cast for advertisements.

The balance is required between the extremes of slim and obese and there-in fashion can become a influencer to a healthy lifestyle.

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Figure 28: ‘For Every Woman You Are’ by Marks and Spencers (2012)

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Figure 29: ‘For Every Woman You Are’ by Marks and Spencers (2012)

In conclusion therefore, we repeat the statement made at the opening of this article. The fashion industry faces numerous challenges over and above the day-to-day marketing, highstreet retail and profit challenges. It has to embrace, or at least be seen, to embrace a whole new spectrum to make it be more inclusive and less exclusive.

The fashion industry needs to be more selective of the journals they use to portray their messages and have to show more sensitivity in the morality of the ‘shock’ culture as, for example with Kate Moss in designer clothes surrounded by poverty. These statements may provide the artist with satisfaction but it does so at risk of alienating the masses – or does this give rise to subliminal messaging to highlight the plight of the poor?

The industry needs to embrace new emerging markets and embrace that culture and not enforce upon that market what the industry wants to see. This should represent a unique challenge to empower a culture and find a blend of what exists in that culture with that can be learned from traditional ‘western’ markets.

It needs to loosen the link that the industry has with beauty – everyone needs fashion and yet not everyone is beautiful.

On the same theme the industry has to adopt a duty of care with health and body shapes to ensure it is promoting healthy eating and normal body shape without offending overly skinny or obese portions of the market to which it appeals.

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Despite doing all of these things and maintaining sensible environmental and sustainability policies, the industry has to strike the balance in embracing all of these and yet remain a profitable and growing industry that is attractive to new talent entering. Perhaps, finding this balance will be the greatest challenge of them all.

What will be the future of fashion?

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References All Walks (2012) Who are all walks? [online] available from < http://www.allwalks.org/2012/05/who-are-all-walks/> [25 May 2012] Barry, B (2012) Skinny white models could be bad for business Guardian [online] Available from < http://www.guardian.co.uk/fashion/fashion-blog/2012/ may/16/skinny-models-bad-for-business > [12 January 2013] Design Council Magazine Issue 4 n.d. The future of fashion issue 4 [online] available from < http://www.designcouncil.org.uk/publications/DesignCouncil-Magazine-issue-4/The-future-of-fashion/> [n.d.]

Design Council n.d. The future of fashion: ethical, sustainable, online [online] available from < http://www.designcouncil.org.uk/publications/DesignCouncil-Magazine-issue-4/The-future-of-fashion/> [n.d.]

Dove (2004) Only 2% of women think theyâ&#x20AC;&#x2122;re beautiful [online] Avaibale from < http://www.dove.co.uk/en/Tips-topics-and-Tools/Articlesand-advice/Only-2per-of-women-think-they-are-beautiful. aspx> [12 January 2013] Grogan, S, 1999. Body Image: Understanding Body Dissatisfaction in Men, Women and Children. London: Routledge

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Guardian, 2012. Jenny Saville: ‘I want to be a painter of modern life, and modern bodies’ [online] Available from < http://www.guardian.co.uk/artanddesign/2012/jun/09/jennysaville-painter-modern-bodies > [9 June 2012] Halliwell, E and H. Dittmar. and S. Ive. 2006. Does Barbie Make Girls Want to Be Thin? Developmental Psychology , Volume 42 (2), pages 283-292.

Independent (1992) Obituary: Adel Rootstein [online] Available from < http://www.independent.co.uk/news/people/obituary-adelrootstein-1553328.html > [12 January 2012] John M. Chamberlain, David A. F. Haaga. 2001. Uncondtional Self- Acceptance and Responses to Negative Feedback Rational-Emotive and Cognitive-Behaviour Threapy, Volume 19 (3), pages 117-189 Lindstorm, M, 2010. Buyology: Truth and Lies About Why We Buy. London: Crown Business; Reprint edition Norris, Lucy (2012) The Fashion Image: Social Responsibility Waverly, Nottingham, 27 November 2012.

Lecture.

O’Riordan, M (2008) Can a disabled model make it in fashion? [online] available from <http://news.bbc.co.uk/1/hi/magazine/7481784.stm> [1 July 2008] Rosenberg, M. (1965). Society and the adolescent selfimage. Princeton, NJ: Princeton University Press.

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Tata Communications n.d. Establishing a Presence in Emerging Markets [online] Available from <http://www.tatacommunications.com/downloads/providers/ GCS_WhitePaper-EmergingMarket_1211_US-WEBREADY-size_ v1.4.pdf > [12 January 2012]

Illustrations Fig 1: ‘Who are all walks?’ (2012) By All Walks Campaign in All Walks 2012: online Fig 2: “Fashion Abled” (1998) photoshoot, by Alexandra McQueen and Nick Knight 1998: Dazed and Confused Magazine online Fig 3: “American Gothic Christina Ricci” (2011) photoshoot by Mert Alas and Marcus Piggott 2011: Pop magazine online Fig 4: “i-D Rules” (2011) photoshoot by Daniele and Lango (2011) : i-D magazine online Fig 5: “Borneo” (1991) photoshoot by Corrine Day (1992): Courtesy Gimpel Fils, London Fig 6: “Borneo” (1991) photoshoot by Corrine Day (1992): Courtesy Gimpel Fils, London Fig 7: Molto, molto Italiano (2012) by Dolce and Gabbana Spring and Summer Collection (2012): online Fig 8: Dolce and Gabanna Winter Ad (2011/2012)

by Steven Klein in Dolce and Gabanna fall/winter collection (2011/2012):online Fig 9: Dolce and Gabanna Winter Ad (2011/2012)

by Steven Klein in Dolce and Gabanna fall/winter collection (2011/2012): online Fig 10: “Beauty” (2010) by OK magazine (2010): magazine Fig 11: “Beauty” (2009) by Beauty Therapy (2009): online

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Fig 12: “JESSICA’S BODY SECRETS”(2012) by Heat (2012): magazine Fig 13: “GET GLOWING SKIN AT ANY AGE” (n.d.) by Harpers Bazaar (n.d.): online Fig 14: “Barbie Princess and the Popstar doll” (n.d.)

by Toys R US (n.d.): online Fig 15: “Barbie vs Emm Doll” (2006) by Ive and Halliwell (2006) in “Does Barbie Make Girls Want to Be Thin?”: Journal Fig 16: “Do you see skin the way we do” (n.d,) by Vaseline (n.d.): online Fig 17: ““Campaign for Real Beauty – Wrinkled?

Wonderful?” (2004) by Dove (2004)in Campaign for Real Beauty: online Fig 18: ““Campaign for Real Beauty – Ugly spots? Beauty spots? (2004) by Dove (2004)in Campaign for Real Beauty: online Fig 19: “Campaign for Real Beauty - Grey? Gorgeous?”

(2004) by Dove (2004)in Campaign for Real Beauty: online Fig 20: Primark Visual Merchandising by Charlotte Cooper (2012) [photograph] Fig 21: Anthropologie Visual Merchandising by Charlotte Cooper (2012) [photograph] Fig 22: “The Queen of the night” (1998) by Adel Rootstein (1988): online Fig 23: “The Queen of the night” (1988) by Adel Rootstein (1988): online Fig 24: “Red Ladies Window Display” (n.d.) by Adel Rootstein (n.d.): online Fig 25: “Propped”(1992) by Jenny Saville (1992): Museum of Art Oxford

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Fig 26: “Entry” (2004/2005) by Jenny Saville (2004/2005): Gagosian Gallery Fig 27: “Entry” (2004/2005) by Jenny Saville (2004/2005): Gagosian Gallery Fig 28: “For Every Woman You Are” (2012) by Marks and Spencers Autumn Collection (2012): online Fig 29: “For Every Woman You Are” (2012) by Marks and Spencers Autumn Collection (2012): online

Bibliography Davis, J. M, James, A, Christiensen, Watson, N. and Cunningham-Burley, S., (2000) Learning the lives of disabled children: developing a reflexive approach.

London: Falmer Press.

Goffman, E (1974) Stigma Notes on the Management of a Spoiled Identity. London: Touchstone Ismail, S (2012) Why disability history should be on the school curriculum [online] available from <http://www.guardian.co.uk/social-care-network/2012/ sep/26/disability-history-school-curriculum> [26 September 2012] “One thing never changes in the beauty industry, however: an ounce of fat is a greater hurdle than a missing limb “ Stanley, A (2009) Disabled, and Seeking Acceptance in Fashion [online] available from <http://www.nytimes.com/2009/12/01/arts/ television/01model.html?_r=0> [30 November 2009] Word count: 2171

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By Charlotte Cooper