RESET autumn : winter 2022/23
a comprehensive look into the impact of the COVID-19 pandemic on the world of fashion, examining how designers and merchandisers will reemerge from this global setback with new perspectives and aspirations
mark bissell
many of us can vividly recall the day in which everything changed, the confirmation that this mysterious virus that we had been hearing about was not just an insignifcant concern, but rather a global threat. these unprecedented times have brought great deals of uncertainty and fear, that have impacted every corner of the globe. the COVID-19 pandemic, though causing an immense amount of pain, struggle, and loss, has provided us with the rare opportunity to abandon life as we knew it and take a step back. with the world on pause, we can reflect on our lives, pre-pandemic, and reroute our courses of action. maybe things were moving too fast. maybe we can rethink our approaches to problem solving. as promising signs of the forthcoming end of the pandemic begin to appear, we may soon be able to answer these questions. i was drawn to the concept of “reset� as i began thinking about how the COVID-19 pandemic has shifted my own understanding of the fashion industry. initially, this pandemic left me very discouraged about the current state of the fashion industry; however, upon reflection, in many ways, i see this book as a time capsule that has reignited my passion for this field. the global pandemic has shaken every sector of the fashion industry leaving no area untouched. from the bottom up, we must begin to reflect on our previous failures, and reassess, realign, and reset our minds.
table of contents
social direction
the new “menswear”
10
shifts in contemporary womenswear
14
genderless future
18
color
20
fabrication
“age of the amateur”
24
innovation in textile
28
business
success during crisis
32
36
the industry as we knew it
“Pregressive art can assist people
to learn not only about the objective forces at work in the society in which they live,
but also about the intensity social character of their interior lives.
Ultimately, it can propel people toward social
emancipation�
- Angela Davis
6
RESET
SOCIAL DIRECTION 7
8
RESET
SOCIAL DIRECTION 9
10 RESET
social
direction
THE NEW “MENSWEAR” As the numerical make-up of consumer bases is changing with the rise in economic power held by younger generations, such as Generation Z, recent years have indicated a shift in the values held by consumers. Growing up during the rise of the digital age, Generation Z had the ability to craft their identities around their own values and interests, rather than those of their surrounding environment. With a notable number of Gen. Z members expressing their support of LGBTQ+ issues, Gen. Z has challenged traditional understandings of masculinity and femininity, in relation to fashion, out of desire to, “experiment with different ways of being themselves and to shape their individual identities over time” (McKinsey&Company). The values of young people have taken hold of the fashion industry and forced brands and companies to address how they represent the realtionship between gender and fashion. Once a sub-industry filled with blandness and tradition, the “menswear” sector of the industry is showing promising potential for future growth, aided by the social need for clothing that meets the standards of modern menswear. Vibrant prints, colors, and experiemental silhouettes were once strangers to menswear collections, but now are signs of a rapidly changing field. With the COVID-19 pandemic sending consumers indoors gloablly, individuals have had time to experiment with what fashion means to them, personally - a direction most notably prsent in the rise of gender-blurring fashion seen by young, cis-gender males on TikTok that led to the coining of the term “femboy.” Looking ahead towards the potentially-near ending to the COVID-19 pandemic, menswear observers can expect to see a different industry than the one consumers left at the beginning of the pandemic - a new industry that values the challenging of masculinity through fabrication, silhouette, color, and print.
SOCIAL DIRECTION 11
12 RESET
SOCIAL DIRECTION 13
social
direction
SHIFTS IN CONTEMPORARY WOMENSWEAR 14 RESET
SOCIAL DIRECTION 15
as lockdowns became the new normal for individuals all across the globe, many underestimated the role fashion would play in our everyday lives as calendars became empty. with innovations in technology allowing for many common, daily tasks to be shifted to the virutal realm, consumers are beginning to seek out clothing that fits the needs of their new schedules. as told by the recent showings in the spring : summer 2021 runway collections, the womenswear sector of the fashion industry is seeing a pivot away from luxurious evening-wear towards more home-friendly, adaptable garments. fabrications and silhouettes seem to have dulled as a result of the pandemic, but have not produced less interesting garments. present womenswear 16 RESET
collections reflect a focus on tailored garments that radiate comfort while still remaining fashionable. this shift towards practical womenswear has been long foretold by fashion forecasters, but is likely to remain, even as remote WebEx meetings begin to return to in-person formats. functional womenswear is aided in popularity not only by the circumstances of the COVID-19 pandemic, but also by the histroic movements of feminism and anti-fashion which reject the status-quo of traditional womenswear. this shift in contemporary womenswear has heightened during the pandemic and will continue to influence our understandings of gender and fashion in the coming years.
SOCIAL DIRECTION 17
social
direction
GENDERLESS FUTURE
18 RESET
times of uncertainty require radical change and attention to innovation in order to reinspire growth. while challenging the norms of genderenforced clothing is not a new concept to the fashion industry, the social demands of younger generations combined with the global pause induced by the COVID-19 pandemic, provide the perfect opportunity for designers and merchandisers to reimagine the relationship between gender and fashion. perhaps the most significant factor driving the push towards genderless products is the movement’s ability to be applied at all levels of the design chain. brands such as LOVERBOY by Charles Jeffrey and Maison Margiela have found great
successes in incorporating degendered clothing into their business models; however, this trend is also taking shape within lower-tier, fast fashion brands such as H&M and UNIQLO, both of which have begun developing unisex lines. degendered products as a whole have seen mass popularity as told by the successes of Telfar’s unisex bag designs, Milk Makeup’s genderless skincare products, and Calvin Klein’s genderless fragrance selections. the incorpoation of genderless clothing at all design levels is indicative of further degenderment of the fashion industry in coming years - a movement that will bring great success to brands willing to meet the demands of young consumers.
SOCIAL DIRECTION 19
color
VIBRANT OPTIMISM 20 RESET
autumn : winter 2022/23 projected palettes
troubling times make for some of the most triumphant recoveries. though the COVID-19 pandemic has been a looming cloud over the typical operations of the fashion industry, we are already beginning to see how designers are responding to the immense uncertainty. spring : summer 2021 shows boast bold color palettes, in attempt to appeal to a sense of optimism within consumers during uncertain times. looking ahead, there will be typical notions of seasonal neutrals that appeal to wider customer-bases; however, as COVID-19 has provided individuals with the opportunity to experiment with their style, playing “dress-up� in the comforts of their rooms, we can expect to see designers connecting with this youthful, freespirtied consumer attitude through the use of vibrant, mis-matched color palettes.
COLOR 21
22 RESET
COLOR 23
24 RESET
fabrication
“age of the amateur” in her Business of Fashion podcast interview, forecaster Li Edelkoort describes the global pause that resulted from the COVID-19 pandemic as an opportunity for the fashion industry to, “... slow down and to change our ways.” this opportunity, being so rare, has allowed artists and designers to reconnect with their work and explore previously unfamiliar mediums and methodologies. the coming years will produce a period known as the “age of the amateur” - a time in which experimintation and innovation, particularily in regards to textile deisgn and production, are prioritized more so than perfection and structure.
FABRICATION 25
26 RESET
burlap and cotton quilting fabric, felted for texturized appearance when news of the lockdown was first announced, many took to craft stores in attempt to rekindle their relationhsips with old hobbies - a surge that led to an estimated 70% increase in arts and crafts related sales during the beginning of the pandemic (NPD). notably, across the internet, tie-dyeing, bleaching, and diy-ing clothing has become a viral hit that has yet to slow. though the internet is not the sole dictator of fashion trends, the collective interest in custom clothing is related to a movement that is occuring within the fashion industry at large, a movement that values personalization over replication. textile design and production provides designers with the opportunity to partake in this movement by utilizing textiles that feel unique to their own aesthetic. in coming years, we are likely to see continued experimentation with dyeing techniques, particularily the continued exploration of natural dyes, thoughtful use of materials through repurposing, and a reconnection with older techniques such as weaving, felting, and hand-print-making. though these techniques may not be best suited for large-scale businesses concerned with mass-production, small-medium tier deisgners may find these techniques particularily useful as it will allow them to connect with consumers longing for handmade goods during such isolating times.
FABRICATION 27
fabrication
INNOVATION IN TEXTILE 28 RESET
while smaller designers may find more success in directing their attention towards unique textile development, brands looking to incorporate innovation on a larger scale can turn to the exciting recent developments in textile manufacturing. the COVID-19 pandemic has put a particular focus on the need for sustainability and the repurposement of materials. while like many previously mentioned movements, this is not an entirely new idea within the fashion industry, the recent circumstances of the pandemic have provided businesses with the opportunity to slow production-as-usual and think about their role in enabling waste, mass-production, and mass-consumption. the industry-wide call for sustainable fabrication has been met by small designers, as well as larger brands such as Stella McCartney (left) and Prada (right), both of whom are exploring the use of Econyl, a recycled nylon. given that producing sustainable synthetic fibers is such a difficult task, Econyl is particularily exctiting as it reduces the use of crude oil and CO2 emissions generated from raw nylon. along with Econyl, textile producers have also been exploring the use of new organic fibers such as bamboo (above), which creates fabric with similar qualities to that of jersey knits, and pineapple (PiĂąatex), to produce a new form of leather. the possibilities in textile production are seemingly endless and could be the much needed excitement to revitalize interest in the fashion industry. as businesses begin to reopen, we will see an industry wide push to continue experimenting with textile, in order to achieve a standard of sustainability that reflects thoughtfulness and righteousness.
FABRICATION 29
30 RESET
FABRICATION 31
business
success during crisis recent years have shown a growing rejection of traditional fashion formalities such as runway shows, business models, and product merchandising. new york based fashion brand, Vaquera (left), has accepted this movement with grace by showing a recent collection thorughout the floor plan of Dover Street Market to create an interactive experience for consumers. as the COVID-19 pandemic nears its potential ending, brands that demonstrate the ability to adapt to growing forces of change within the industry, will prove to be most succcessful.
BUSINESS 33
34 RESET
while the COVID-19 pandemic has produced a number of challenges for designers and merchandisers, brands prioritizing accessiblity and adaptability have proven to be able to withstand the harshness of the pandemic. one of the most notable shifts in the fashion industry is the use of online marketing and presentation to reach consumers - a shift that is likely to continue long beyond the pandemic. brands such as LOVERBOY by Charles Jeffrey (above), have amassed growing popularity, even during the pandemic, which can likely be attributed to the brand’s ability to make fashion so accesible in the virtual realm. LOVERBOY presents clothing genderlessly, through their website, prioritizing fit rather than intended wearer - a quality that has allowed consumers to broaden their taste and feel excited about
fashion again. this trend of presenting clothing as individual garments rather than gendered items is likely to conitnue into the physical realm as stores continue to reopen, following in the steps of already genderless brick and mortar stores such as Browns East (top left) and Dover Street Market (bottom left.) the degendered shopping experience, though promising, will also be met with challenges by more innovative business models such as D2C (direct-to-consumer), which eliminates the need for retail stores, helps combat mass production, and builds a more personal connection with customers. as stores begin to reopen and health officials share optimistic visions for the coming year, we are likely to see a mix of these business strategies, all with an emphasis on the importance of maintaining a strong virutal presence. BUSINESS 35
business
THE INDUSTRY AS WE KNEW IT 36 RESET
the COVID-19 pandemic erupted during a time in which there was already a great deal of trubulance within the fashion industry regarding presentation formatting. long gone are the days of the Bryant Park tents and luxurious fashion venues, and in its place, a plethora of exciting possibilities. designers and merchandisers have risen to the challenges that the COVID-19 pandemic has presented with grace and excitement, exploring methods of connecting with their customers that not only serve as thoughtful business strategies, but further the creative vision of the designer. Collina Strada (above) created a video game/ streaming presentation featuring her latest collection, while J.W. Anderson (right) opted for an interactive cutout book of his latest collection, availible for customers to purchase. these innovative strategies are indicative of what is to come of the fashion industry as we knew it - a wave of young designers challenging the need for seasonal, structured, presentations that feel unattainable to fashion observers and consumers. the shift towards presentations that engage the customer is not only a wise business decision given current circumstances, but rather an overall rejection of the status-quo in fashion and a demand to make the industry more accesible. BUSINESS 37
reassess. realign.
reset.
work
cited
- Amed, Imran. “The BoF Podcast: Li Edelkoort Says the Coronavirus Is a Representation of Our Conscience.” Business of Fashion, 27 Mar. 2020.
- Anyanwu, Obi. “Decoding Genderless Fashion, the Future of the Industry.” WWD, WWD, 8 Jan. 2020, wwd.com/fashion-news/fashion-features/genderless-fashion-future-of-industry-1203381685/.
- CB Insights. “Direct to Consumers (D2C) Company Trends in Retail: CB Insights.” CB Insights Research, CB Insights, 11 Sept. 2020, www.cbinsights.com/research/direct-to-consumer-retail-strategies/.
- “COVID-19 Sales Trends.” The NPD Group, 2020, www.npd.com/wps/portal/npd/us/news/press-releases/2020/at-a-time-ofsocial-distancing-us-families-turn-to-activity-based-toys-books-and-art-supplies-for-the-home-according-to-npd/.
- McKinsey&Company “True Gen: Generation Z and its implications for companies”; Tracy Francis and Fernanda Hoefel, 2018
- The Process. Econyl, 2020, www.econyl.com/the-process/.
- Yotka, Steff. “The Future of Retail Is Genderless.” Vogue, www.vogue.com/article/the-future-of-retail-is-genderless.
work
cited
- DAZED, 2020, www.dazeddigital.com. - McCartney, Stella, “Look 19”, Vogue, 2020, www.vogue.com/fashion-shows. - Mitchell, Tyler. “Moncler’s JW Anderson Collection Is a Trippy Puffer Paradise.” Paper Magazine, 2020, www.papermag. com/moncler-jw-anderson-collection-2647881467.html?rebelltitem=22#rebelltitem22. - Ran, Dani. Introducing ‘Femboys’, the Most Wholesome Trend On TikTok, www.vice.com/en/article/3az4nn/femboys-tiktok-fashion-gen-z. - Strada, Collina. “Look 21.” Vogue, 2020, www.vogue.com/fashion-shows. - VogueRunway, 2020, www.vogue.com/fashion-shows. - WGSN, 2020, www.wgsn.com.