Enemie Zine: Issue 1

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Home Sweet Home Editorial OOTD: The Toxic Truth Spring Trend: Techno Outerwear Is technology taking over the fashion industry?

ISSUE ONE

Spring 2020

RESORT 2020

ENEMIE: THE ZINE enemie.home.blog Editor: Natalie Evans Contact: n.evans2909@gmail.com @ 2020. Enemie, the authors, the photographers and the contributors.

4 9 12 18 19 @enemieblog

HOME SWEET HOME OOTD: THE TOXIC TRUTH TECHNO OUTERWEAR IS TECHNOLOGY TAKING OVER THE FASHION INDUSTRY? REFERENCES

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When most people think of the catastrophic consequences of the ‘fast fashion’ industry, they tned to think of the Rana Plaza incident in 2013, which killed over a thousand people. To some, in a society that is driven by rapidly fluctuating trends and fads, this came as a shock. Although the expression of ‘slow fashion’ (‘fast fashion’s’ reverse gear) came into use in 2007 by Kate Fletcher in an article for The Ecologist, the 2013 factory collapse gave it a well-deserved meaning and momentum.

Is this momentum enough to overcome the integrated element of society that ‘fast fashion’ has become? In our global ‘throw away’ culture, can our dependency on it be disposed of so easily and replaced by sustainability?

Despite the media’s high coverage of the Rana Plaza collapse, you can’t help but wonder: is this really what it takes to get people to see the results of their fast-paced desire for clothing? The term ‘incident’ implies the collapse was an accidental one-time event, but was it really? We have to be comforted by the versatility of the fashion industry, which perhaps promises that change is possible, but at what cost? Surely, the cost of lives outweighs the economic cost? According to the fast-fashion brands that remain to be thriving on our highstreets, it appears as a society we are missing the point. Events like the Rana Plaza incident will almost inevitably happen again. With consumer desire fuelling these brands, the ‘fast-fashion cycle’ has become more of an unstoppable force; a cyclone that although quenches our cravings in the short-term, will only provide damage in the long-term.

This detrimental cycle has only been escalated in recent years and we can, of course, survive without it.

What many people do not know, is that sustainable fashion has been at the depths of our society as far back as the 18th century, with clothes being constructed for long-wear and re-usability. However, it explicitly came into the public foray in the 1980s and 90s as renowned companies such as Patagonia and ESPRIT brought sustainability into their businesses. In order for sustainability in the fashion business to be successful, some rules must be followed. These ‘slow’ principles advocate for: 1. Good quality apparel (that still reflects the desires of the consumer) 2. Clean apparel (that is produced in a way that does not harm the environment) 3. Fair apparel (accessible value for consumers and fair trade) The journey to sustainability for us, the consumer, is more centred around becoming cognisant of our ecological impacts (after all, it is us that drive the trends in the first place!) and recognising the suffering of fashion’s victims as being preventable by shifting the desires of our consumer society. A demand for ecofashion and ‘slow’ principles can make changes all across the supply chain.

Of course, the consumer does not hold all of the responsibility. It may be argued that shifting the pace of our desires may slow down the cycle, however the ultimate authority lies in the industry itself. Campaigns, shifting resource usage and modifications in the design world usually do not come under the responsibilities of the consumer, but of the brand itself. Thus, in order for sustainability to be achieved, incentives must be in place for all of these players to cooperate with one another to finally defy ‘fast fashion’. At the heart of such a movement is education: education for the consumer, education for the retailer and education for the manufacturer.

For an industry with such a large web of supply chains, truly sustainable fashion seems like a difficult concept to achieve. There are so many elements that the industry has to incorporate to be effective – it must take into consideration the environment, wildlife and animal welfare, human rights and treatment – and then combine these necessities with the demanding desires of a consumer society. In order to educate all of the members of fashion’s web, media coverage is key, as shown by the coverage of the Rana Plaza incident. However, media has also meant the embedment of fast fashion into our global culture and the consequential dependence on cheaply manufactured apparel and ignorance towards where our clothes come from. How easy is it to view the rapidly-shifting trends of today? As soon as I wake up, I’m scrolling through more and more #ootd on Facebook, Instagram, Youtube, Pinterest and Twitter and am able to swipe clothes straight into my basket on apps such as ASOS, Boohoo and Missguided. Manipulation of the media is crucial in the 21st century for communication to the consumer: to convey that it is imperative for our dependence on ‘fast fashion’ to be terminated. For good.

WHY DOES AN OUTFIT HAVE TO BE FOR A DAY? CAN IT NOT BE FOR LIFE?

OOTD:

the toxic truth

Words by: Natalie Evans

spring summer 2020

TECHNO OUTERWEA

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CAN’T GOING O AND OUTERWEAR THE SAME THIN

AR

OUT OUT R MEAN NG

Photography & Styling: Natalie Evans Model: Talissa Q

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4 Simone Rocha Fall Winter 2020

Is technology taking over the fashion industry?

Words by: Natalie Evans Image: Techno Outerwear by Natalie Evans Social media has opened a gateway to a new influx of fashion; it can inspire, influence and initiate the global trends in the fashion industry today. Websites and ‘apps’, such as Instagram and Pinterest have revolutionised the accessibility of fashion blogs, photography, magazines, and businesses to the everyday consumer. In the ever-globalising world that we live in, the internet and social media have become an even more imperative way of life and, now, play a key role in how we communicate ideas and opinions (arguably, sometimes rather controversially) to one another. Today, social media is home to brands, consumers and fashion idols alike, giving a more authoritative voice to all of the industry’s players and creating an innovative web of fashion communication that reaches even those who may not have had access to magazines, brochures and catalogues. In consequence, the collision of fashion’s cultural, political and social ideals are ultimately inescapable to the 21st century audience, contributing to this new, inspiring world sat in front of us on our phones, tablets and computers.

Not only has social media led to an influx of new lifestyles and trends for the consumer’s benefit, brands and businesses have profited from higher coverage of their products. Social media is not only securing jobs, but establishing careers in the industry, such as the introduction of ‘Social Media Managers’, ‘Social Media Editors’ and ‘Media and Digital Marketing Coordinators’. Not only this, but social media is now a form of discovery; consumers are able to encounter upcoming brands like ‘Shein’ and ‘Missguided’ via Instagram and Facebook’s advertorial-prospects, drawing more and more links between the consumer and label.

Conversely, the industry’s face is changing as a result of better communicated ideas: sustainable and eco-fashion is now coming to the forefront, a movement I feel strongly about, which puts more pressures on the renowned brands of today to be environmentally and ecologically-conscious.

Fashion campaigns, such as the ‘Anti-Fur’ movement, ‘Fairtrade’ and the ‘Green Carpet’ have increased in recent decades, not only because of this growing consciousness, but also because of the voice and coverage that social media gives them.

In this sense, social media acts as a catalyst for the growth of the fashion industry, with its everchanging trends, interests and concerns. It not only financially expands the businesses and brands involved, but expands the minds of the consumer. Social media has given birth to new

magazines, such as Eluxe Magazine, the self-proclaimed first sustainable fashion and lifestyle magazine, which, thanks to social media platforms and online blogs, is now changing lifestyles and expanding internationally. Vogue, with its 17.5million Instagram followers, is also able to promote this eco-style as desirable, and so in some ways balances out the industry’s detrimental impacts. Thanks to globalisation, social media and the internet have led to a surge in the ‘fast-fashion’ industry, however with this coverage of ‘fashion with a conscience’, the early-21st century dependence on the ‘fast-fashion’ cycle is now diminishing.

Subsequently, social media is paramount for the future of fashion and, indeed, the environmental preservation of the world. Globalisation has not only increased inter-connections across the world via the internet, but has also led to a growing economy where people can now afford to live more ‘organically’ and ‘sustainably’, cementing social media’s influence. It now acts as the link between all forms of fashion media, whether that be photography, illustration or journalism, which are now accessible all in one place for the everyday consumer to learn from. This form of media is holistically altering our response and attitudes towards the fashion industry for the better; an ever-more vital concern in a world that is decaying from industry.

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Figure 2: Evans, N. (2020). LM Photoshoot, Outcome 5. All Rights Reserved.

Figure 3: Anonymous. (2020). Racket. Search Manuals, 3 Png Example Barcode.

PAGE 2 Figure 1: Rock, S. (2019). Erdem Resort 2020 Lookbook.

Erdem (Designer). Ib Kamara (Editor/Stylist). Adam Reed (Hair Stylist). Amal Tobi (Model). Ana Barbosa (Model). Available at: https://models.com/work/erdem-erdem-resort-2020lookbook/1141022.

Figure 2: Anonymous. (2019). Designer Brands: Erdem (logo). @ 2017-2019 - Humble and Rich: A Review Site for Fashionista.

Available at: https://boutique.humbleandrich.com/designerbrands/erdem/.

PAGE 3 Figure 1: Evans, N. (2020). Enemie Pattern. All Rights Reserved.

Figure 2: Evans, N. (2020) Enemie Web Logo. All Rights Reserved.

Figure 3: Ian. (2016). Designing a New Look for Instagram, Inspired by the Community, New Logo. Available at: https:// medium.com/@ianspalter/designing-a-new-look-for-instagraminspired-by-the-community-84530eb355e3.

PAGE 4 Figure 1: Davenport, E. (2020). OF Photoshoot, Outcome 1.

Natalie Evans (Styling & Model). All Rights Reserved.

Figure 2: Davenport, E. (2020). OF Photoshoot, Outcome 2.

Natalie Evans (Styling & Model). All Rights Reserved.

PAGE 5 Figure 1: Davenport, E. (2020). OF Photoshoot, Outcome 3.

Natalie Evans (Styling & Model). All Rights Reserved.

PAGE 6 Figure 1: Davenport, E. (2020). OF Photoshoot, Outcome 4.

Natalie Evans (Styling & Model). All Rights Reserved.

Figure 2: Davenport, E. (2020). OF Photoshoot, Outcome 5.

Natalie Evans (Styling & Model). All Rights Reserved.

Figure 3: Davenport, E. (2020). OF Photoshoot, Outcome 6.

Natalie Evans (Styling & Model). All Rights Reserved.

Figure 4: Davenport, E. (2020). OF Photoshoot, Outcome 7.

Natalie Evans (Styling & Model). All Rights Reserved.

PAGE 7 Figure 1: Johansson, E. (2020). SS20 Campaign, Josefine Seifert.

Cecilie Bahnsen (Brand). Lululeika Ravn Liep (Model). Natsumi Sekine (Model). Available at: https://models.com/work/ceciliebahnsen-ss20-campaign-josefine-seifert/1268775.

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PAGE 8 Figure 1: Davenport, E. (2020). OF Photoshoot, Outcome 8.

Natalie Evans (Styling & Model). All Rights Reserved.

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(Brand). Kate and Laura Mulleavy (Designers). Ashley Furnival (Fashion Editor/Stylist). Shirley Kurata (Fashion Editor/Stylist).

Caile Noble (Hair Stylist). Available at: https://models.com/ work/rodarte-rodarte-ss20/1190940.

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PAGE 12 Figure 1: Evans, N. (2020). LM Photoshoot, Outcome 1. All Rights Reserved.

PAGE 13 Figure 1: Evans, N. (2020). LM Photoshoot, Outcome 2. All Rights Reserved.

Figure 2: Evans, N. (2020). LM Photoshoot, Outcome 3. All Rights Reserved.

Figure 3: Evans, N. (2020). LM Photoshoot, Outcome 4. All Rights Reserved.

PAGE 14 & 15 Figure 1: Evans, N. (2020). LM Photoshoot, Outcome 5. All Rights Reserved.

Figure 2: Evans, N. (2020). LM Photoshoot, Outcome 6. All Rights Reserved.

Figure 3: Evans, N. (2020). LM Photoshoot, Outcome 7. All Rights Reserved.

Figure 4: Evans, N. (2020). LM Photoshoot, Outcome 8. All Rights Reserved.

Figure 5: Evans, N. (2020). LM Photoshoot, Outcome 9. All Rights Reserved.

Figure 6: Evans, N. (2020). LM Photoshoot, Outcome 10. All Rights Reserved.

PAGE 16 & 17 Figure 1 & 2: Nuding, A. (2020). Moncler 4 Simone Rocha F/W 20 Lookbook. Robbie Spencer (Fashion Editor/Stylist). Alex Brownsell (Hair Stylist). Nami Yoshida (Makeup Artist). David White (Set Designer). Flo Fleming (Model). Available at: https:// models.com/work/moncler-moncler-4-simone-rocha-fw-20lookbook/1293261.

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Copyright 2009 - 2020 Š Server CRM. Available at: https://www. otticamanara.it/brand/moncler-logo/.

PAGE 18 Figure 6: Evans, N. (2020). LM Photoshoot, Outcome 11. All Rights Reserved.

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PAGE 20 Figure 1: Teller, J. (2020). Andreas Kronthaler for Vivienne Westwood S/S 2020 Campaign. Vivienne Westwood (Designer & Model). Naomi Campbell (Model).

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