MA FASHION PROMOTION COMMUNICATION & DIGITAL

MEDIA, FASHION & CULTURE TERM 1

ADITI ASHOK
082415

9/12/22
2531

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Miranda Rios 084079 9/12/22 Fashion Sociology
 Coursework submission sheet
Academic Year 2022
MA Fashion Promotion, Communication & Digital
Programme, Year and Class
Media
Unit Fashion & Culture
Term 1
Massimo Casagrande, Maro Kakosimou & Thierry
Teachers
Herselin
Name and Surname Aditi Ashok
Student Number 082415
Deadline of the submission Time: …...6:00....... Date: …9/12/2022…
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Topic - A change towards sustainable fashion system - a pragmatic anticipation

The following essay will critically analyze if the fashion system today has become obsolete and if so
can it give birth to a new system. Furthermore, the consideration of the sustainable side of fashion
and how it is being adapted today is highlighted.
With the help of primary and secondary research, we will try to understand the trajectory of the system of
fashion. Primary research consists of an interview with a conscious consumerism and sustainability
advocate providing qualitative data and a survey providing quantitative data. The secondary research has
been done based on extensive reading of books, journal articles, fashion magazines, and informative
videos.

Introduction

Fashion is ephemeral. However, the fashion system that contributes to the making of fashion has become
more global, hybrid, and decentralized over time. It has objectively evolved in adherence to socio-
economic advancement. Arguing the same, Li Edlekoort, one of the most respected trend forecasters,
claims that the fashion system has become obsolete in her manifesto for the next decade (Edelkroot,
2015). Considering that, this essay will first briefly define the system of fashion and its evolution over
time, consequently it will try to understand if the evolution of the system of fashion has reached a
breaking point. Following the definition of the system of fashion suggested by Yuniya Kawamura
(Kawamura, 2005), the two entity, the designer and the consumer, that constitutes the core anatomy of the
system of fashion, has been taken into deliberation to determine the evolution of the fashion system over
time. Furthermore, the anti-fashion theory of union and differentiation suggested by George Simmel
(Simmel, 1904) has been argued to demonstrate how the system of fashion has evolved from modernity to
postmodernity and in due course, the same theory has been applied to construct and substantiate the
structure for a new system of fashion. Ultimately, based on the data aggregated from the two types of
primary research have been put together to analyze the sustainable side of the proposed system of fashion.

Evolution of the fashion system

To establish a point of time in the history of fashion that suggests the beginning of the fashion system is
intricate. However, in the mid-19th century, when customers started attending the atelier of the haute
couture tailors instead of the traditional practice where the tailors were summoned to a noble residence, it
declared a reversal of the systematic relationship between the couturier and a client, marking the
beginning of the fashion system (Kawamura, 2005). An episode that symbolically demonstrates such role
reversal was when Federick Worth (1825-1895) convinced Empress Eugenie, wife of Napoleon III, to
wear as he mandated. When fashion came out in Paris, it used to be a privilege for the aristocrats of the
upper class implying that the system of fashion during modernity was structured based on social classes.
According to Veblen, during modernity fashion was consumed in an ostentatiously conspicuous manner.
He argues that conspicuous consumerism was a way to display wealth, since “our apparel is always in
evidence and affords an indication of our pecuniary standing to all observers at first glance” ( Veblen,
1899: 77). In another manner, the fashion that was defined by the upper class of the society was a way to
stand out in the society based on affluence.

The beginning of the postmodern era can be marked by the emergence of the avant-garde designers like
Issey Miyake, when there was a breakdown in the racial boundaries in the fashion system that was
predominantly white. The acceptance of Asian designers brought openness to a great variety of styles and
genres. With postmodernism, the definition of what was fashionable started changing, eliminating
distinction. The definition of beauty, which is considered synonymous with fashion changed when avant-

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garde started becoming popular. By this time, the archetype of the fashion system that began in Paris
started broadening with the emergence of fashion designers in the cities like London, Tokyo, New York,
and Milan. In postmodern societies, everything could become fashionable. For instance, inspired by the
clothing culture in jails where belts were not allowed and the lack of availability of the right size of
clothing resulted in saggy pants; wearing oversized pants revealing the band of the underwear became
fashion in the 1980s with the emergence of the Hip-Hop culture in the US (Barnard 2002: 401). Blue
jeans, that was initially considered as an anti-fashion or alternative to fashion, became the new fashion in
the 1990s when designers like Ralph Lauren and Moschino presented them as expensive designer wear.
The 1980s pronounced the death of traditional haute couture (Vinken, 2005) and youth culture became
the essence of the consumers and the producers of fashion in the postmodern era (Kawamura 2005:106).
Abandoning Haute Couture, young people started taking inspiration from the streets and experimenting
with everything possible to create their style. For instance, challenging the theory of vertical diffusion
that implies that fashion is initially adopted by the upper classes and later is imitated by the lower classes
(Veblen, 1994 [1899]); Yves Saint Laurent’s adoption of the leather jacket into his designs convinced that
high couture “came from the bottom up”. Quite evidently, postmodernity deconstructed modernity and
can be identified as an era of experimentation and diffusion of fashion giving rise to a more complex
fashion system that consisted of the involvement of various sets of organizations, individuals, and ideas.
In the postmodern era, it was not only the designers and the consumer who was the crucial part of the
system, the mass manufacturing of clothes due to the democratization of fashion as well as marketing,
advertising, magazines, and retail became an inevitable part as fashion became more global.

Regardless of its size or complexity, a fashion system has certain basic features. It basically requires a
network of people that includes the proposer who introduces the change in the dress/clothing, identified
as a designer, and the adopter who embraces the proposed change, identified as the consumer (Kawamura
2005: 39-50). For the system to work cohesively, the designer and the customer are required to be in
connection with each other, either directly or indirectly. Considering that, the next part of the essay will
strategically target the designer-consumer relationship and evaluate the fashion system revolving around
the same.

The system of fashion of today and why is it obsolete?

Li Edelkroot segments the system of fashion into ten categories (Edelkroot, 2015). Along with designers,
consumers, manufacturing, marketing, advertising, press, and retail, she talks about the education system,
materialism, presentation, and blogging which combined make the fashion system of the 21st century.
Along with the redundancy in the marketing and outdated ways of presenting fashion, the
overconsumption of cheap products, and the lack of innovation in retail, her manifesto also takes into
account the shift in consumer behavior caused due to the developments in technology and the hyper-
connectivity provoked by the social media revolution. In this section, the discord between the ideology of
the current system of fashion and the turnaround of consumer behavior will be argued.

To understand the requirement of the system of fashion today, let us first discuss a few points that are
causing incoherency. Unlike the ideologies of modernity and post-modernity where individualism was
celebratory, we live in a society where communal values are more important than individual gains.
However, the idea invigorated by the fashion institutes and academies, of becoming a catwalk designer
and highly individual star, states that we are still working in the 20th-century mode of celebrating
individualism. Being fashionable in a conspicuous way in a society hungry for consensus and altruism
makes the current fashion system de facto “old-fashioned”. Considering the fact that we live in the digital
age where everything is instant, technology and social media have rendered a shorter fashion trend cycle.
A busy lifestyle has compelled consumers to look for unobstructed clothes with innate style, as the

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famous journalist, Suzy Menkes once said, “I want my clothes to work as hard as I do” (AP Archive,
2016). As a result, designing capsule collections of wearable clothes has become the need of the hour
leaving no room for conceptual innovation. When the Parisian Icon Ines de la Fressange collaborated with
Uniqlo in 2015, it proposed the non-necessity of change and innovation in clothing, declaring newness to
be a thing of the past. With the popularity of trends like dress-for-the-gram, customers have forgotten that
fashion trends were meant to be loved and savored before jumping off to a new one. The arrival of fast-
fashion retail chains with low-priced merchandise has made consumers believe that the clothes are
disposable and have no value, implying once again that the culture of fashion is ruined.

The fashion system of the future and if it can be sustainable

As for most people, today, a T-shirt and well-cut trousers are the best they can do concerning style.
Clothes will become the answer to our industry, claims the forecaster Edelkroot, and it will dominate the
trend of the future (Anti-fashion manifesto). This substantiates that clothes are the new fashion and
fashion is old-fashioned in the new system of fashion. To argue this furthermore we will refer to the
definition of fashion as stated by Loscjhek. Loscjhek says fashion, which is opposed to clothes, is defined
by social validation and social dynamics of “in” and “out”. (...) Clothes are products that are released by
the means of a design process. The products that are accepted and become fashion can be defined by
society, a group within a society, or a single community (Loscjhek, 2009; 133-134). About that, it can be
interpreted that the “clothes” are the new “in” fashion, celebrated and accepted by billionaire nerds
produced by Silicon Valley. However, with the existence of fashion, the emergence of anti-fashion is
obligatory. As George Simmel argues, “two social tendencies are essential to the establishment of
fashion”, the tendency of union and the tendency of isolation; and if one of them is absent, fashion will
not be formed. It creates a desire to be a part of the society, but at the same time be to stand out.”
(Simmel 1904). Imitation is considered a way to satisfy the tendency of union, as it gives the satisfaction
of not standing alone. If we apply Simmel’s theory of union, it can be argued that consumers are imitating
the trend of “clothes” abandoning fashion for a sense of belonging. Furthermore, as Simmel argues, this
creates the need for differentiation, a tendency towards dissimilarity, inducing a desire for change and
contrast (Simmel 1904). This leaves us with the question that if everyone is religiously following the
trend of “clothes” that are practical, unobstructed, and mass-produced, what is it that creates the contrast
to display a certain kind of higher existence? To define the contrast we will take into account the two
primary research conducted. According to the survey, 49.5% of people claim that they are consciously
sustainable in their choice while 40.9% claim they are selectively sustainable, leaving only 9.7% with the
non-sustainable ideology (Appendix 1 q.7). If we have to argue about the qualitative data about the same,
conscious consumerism and sustainability activist Marina Testino, claims that “people are becoming
more aware of brands and their practices (...). The more consumers are becoming aware and informed
about sustainability, they are demanding the same from the brands they shop from (Appendix 2 q.2). In
another survey conducted by Affirm, 43% of their respondents indicated that they learned to be more
intentional in the year 2020, stating they are going to be thoughtful about the kind of products/brands they
engage with (BOF, 2021). Taking into account both the quantitative and qualitative data presented above,
it is arguable that consumers today are more conscious about the sustainability of the product they use
and the ethics of the brand they engage with. With the raising awareness in these areas, it can be stated
that consumers are embracing various alternatives to consuming fashion like renting, vintage shopping,
and shopping from sustainable brands (Appendix 1 q.10). This change in consumer behavior is conjuring
the designers/brands to create a change in the system of fashion. Proclaiming the same, Testino further
states that with the rising demand, brands are investing more toward a positive change. If the consumers
keep up the same attitude, it will either force brands to become more responsible and push those who
don’t adhere to it out of the market (Appendix 2 q.2). In a society where inclusivity has become a thing
and people are pushing towards originality thriving to live by the saying “beauty is only skin deep”,

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consumers are reflecting the same in their clothes abandoning fast fashion, which is claimed to have no
quality. As we have seen earlier, the strategy of anti-fashion that denounces the artificiality of fashion is a
new and higher form of chic distinction that creates new fashions (Simmel 1904), it is can be
metaphorically argued that the distinction in the new system of fashion is being marked by not identifying
fashion with the external beauty of the clothes and being more conscious about the internal beauty; where
external beauty is identified with the silhouette and construction of the clothes and internal beauty is
identified with the quality and ethics. Along with the consumers, the brands of the future will
simultaneously push towards a 360% change in their functioning to make the system of fashion
sustainable and satisfy their consumers. Many brands today are either in the process or have already taken
an initiative towards incorporating sustainability into their business models. “Having an entire section
dedicated to a sustainable line of products has become common” claims, Marina, adding “they are further
putting more effort in being transparent, investing in material research, using sustainable packaging and
restructuring their supply chain” (Appendix 2 q.2).

Conclusion

The fashion system during modernity was defined based on wealth and class in society. Consumers used
to differentiate themselves from others with the use of luxurious haute-couture garments. Postmodernity,
which has been defined as the deconstruction of modernity, symbolizes the democratization of fashion
due to mass production and the tickle-up theory introduced by the designers in their garments. Consumers
in postmodernity opposed conspicuous consumerism and started experimenting with new ideas pertaining
to fashion. They differentiated themselves from society by adopting diffusion theories in fashion,
indicating the end of traditional haute couture and the beginning of avant-garde. In the current system of
fashion, it is observed that fashion has become disposable and the value it holds has been lost due to
cheaper merchandise and a fast and busy lifestyle. According to the trend forecast by Li Edelkroot,
clothes will become the trend of the future to facilitate the changing lifestyle trend. Based on the changing
consumer behavior of the consumers toward sustainability, a new system of fashion has been proposed.
Although sustainability in fashion has been considered as an angle to justify the emergence of the new
system of fashion based on Simmel’s theory of differentiation, it cannot be stated for a fact that the
system of fashion of the future will only be classified based on sustainability.

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References

Ahmed,O. (2015). The YSL Collection That Shok Classic Couture To Its Core.Another Magazine
[Online] [Accessed on 6th December 2022] https://www.anothermag.com/fashion-beauty/8078/the-ysl-
collection-that-shook-classic-couture-to-its-core

AP Archive. (2016). International Vouge editor Suzy Menkes’s tactical style.[Online] [Accessed on 30th
November 2022] 0:12-0:30

BOF.(2017). Anti-Fashion: A Manifesto for the Next DecadeI Li Edelkroot I #BoFVOICES [Online]
[Accessed on 2nd November 2022] 0-30:44 https://www.youtube.com/watch?v=LV3djdXfimI&t=1601s

BOF Studio. (2021). At Affirm, Insights Into Consumer Behaviour in 2021.BOF.[Online] [Accessed on
1st December 2022] https://www.businessoffashion.com/articles/retail/at-affirm-insights-into-consumer-
behaviour-in-2021/

Chuprina, N., Kolosnichenko, M., Kara-Vasylieva,T., Krotova,T., and Pashkevich, K., (2020).
‘FORMATION OF FASHION SYSTEM IN THE XX - THE BEGINNING OF THE XXI CENTURY’.
Fibres and Textiles. 4.pp.48-57

Edelkoort, L (2015). ‘Anti-Fashion:A Manifesto of the Next Decade’. Tend Union,2,pp.1-8.

Kawamura, Y. (2005). Fashion-Ology. 1st ed. Oxford: Berg.

Milligan, L. (2014). See Ines de la Fressange’s Second Uniqlo Collection.British Vouge.

[Online][Accessed on 20th November 2022] https://www.vogue.co.uk/gallery/ines-de-la-fressange-
uniqlo-collection-pictures

Mollard, M. (2022).Understanding fashion trend life cycles: The 5 stages.Heuritech [online] [Accessed on
6th December 2022] https://www.heuritech.com/articles/five-stages-of-fashion-trend-life-
cycle/#:~:text=The%20life%20cycles%20of%20fashion,predictable%20than%20in%20the%20past

Rosa , A. (2013).‘The evolution and democratization of modern fashion: from Frederick Worth to Karl
Lagerfeld’s fast fashion’. Departamento de Jornalismo e Ciências da Comunicação.24. pp. 79 – 94.

Simmel, G. (1975) 'Fashion'. The American Journal of Sociology. 62(6), pp. 530-549

Veblen, T. (2016). Theory of The Leisure Class. Poland: Amazon Fulfillment pp.75-83.

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Bibliography

Ahmed, I., Andre, S., Balchandani, A., Berg, A., and Rolkens, F., (2022).The State of Fashion
2023:Holding onto growth as global clouds gather. Mckinsey. [Online] [Accessed on 2nd of December
2022] https://www.mckinsey.com/industries/retail/our-insights/state-of-fashion

Black, S. (2012) Sustainable Fashion Handbook. London: Thames and Hudson.

Fletcher, K. (2016). Slow Fashion: An Invitation for Systems Change. Fashion Practice, 2(2), pp.259-266

Fletcher, K. and Hawken, P. (2011). Fashion & Sustainability Design for Change. London: Laurence
King Publishing Ltd.

McDonald, D. (2016) Postmodernism & 21st Century Society. [Online] [Accssed on 3rd December]
https://globalmillennial.org/postmodernismand21stcenturysociety/

Nguyen,K. (2021) ‘Consumer behavior change within the industry due to the Impact of Covid-19
outbreak

Vinken, B. (2005) Fashion Zeitgeist Trends and Cycles in the Fashion System. Oxford: Berg.

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Appendix 1
Question 1:

Question 2:

Question 3:

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Question 4:

Question 5:

Question 6:

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Question 7:

Question 8:

Question 9:

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Question 10:

Appendix 2

Question 1.
You have been raising awareness regarding conscious consumerism and sustainability, what
inspired you to do what you are doing?

Consciousness is part of my DNA. My family has always been immersed in this lifestyle, and it largely
shaped me. For example, when I was young my father built a home in Tulum that was 100% solar-
powered and recycled rainwater into our showers and toilets. Then for many years, we lived in the
Spanish countryside. It wasn’t until I grew up and moved to cities like Barcelona, London, New York,
and Paris that I fully understood how unique this upbringing was.

While a conscious lifestyle was at the core of my upbringing, my family was also deeply immersed in the
fashion industry. There was always the underlying desire to make these two worlds compatible, which is
something that still drives me today. Regardless of how the industry operates, people need clothes.
Because this demand isn’t going away, you can’t fight the fashion industry and expect it to change. It
needs to be fixed from the inside, which is what I hope to achieve through my awareness campaigns and
projects.

Question 2.
Do you think consumer behavior is shifting and how?

I’ve definitely seen a shift. I’ve been part of the sustainable fashion movement for the last six years.
When I started, “sustainability” wasn’t a word in the fashion industry’s vernacular. Or at least not a
positive one. It was as if a brand could either be sustainable or fashionable–there was no middle ground.
That’s largely what motivated me to become an advocate for sustainable fashion. I wanted to redefine the
industry norm. I wanted fashion and sustainability to coexist, instead of having to choose between one or
the other. Thankfully, a lot has changed since then.

Just look at major brands today. Many of them are either trying to do something or actively doing
something to incorporate sustainability into their business models. It’s become common for brands to
have entire departments devoted to sustainability, and brands are becoming more transparent about their

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efforts to become more sustainable, whether they are investing in material research, creating more
conscious packaging, or restructuring their supply chain.

I think a lot of this comes down to a change in the consumer’s mindset through increased access to
education around the topic. People are becoming more aware of brands and their practices–which is
amazing. As consumers are becoming more informed about sustainability, the more they are demanding it
from the brands they shop. And as these demands increase, more and more brands are investing toward a
change. If we continue in this direction, it will either force brands to make positive changes or push those
who don’t out of the market. There’s still a lot of work to do, but I am excited to see how the fashion
industry continues to transform.

Question 3.
What are your thoughts on the fact that “the fashion system is obsolete” as mentioned in the “Anti-
fashion Manifesto” by Li Edelkoort? Do you think fashion is dying?

Fashion isn’t dying. Like I said, people need clothes. As long as that stays true, fashion will exist. It has
changed and will continue to change. It certainly needs to change. It’s equally important that the way we
interact with fashion changes. The way we treat people making clothes, the materials we use, and the
production processes are a few of the key things that need to be rethought. There also needs to be a
continued push for more transparency and circularity.

Education is one of the best ways to encourage these changes. Consumers need to be better equipped to
ask questions about what they are buying and who they are buying from. Additionally, we need to unlearn
habits of constant consumption and replace them with a more conscious, quality-oriented ethos.

Question 4.
With the rising awareness regarding sustainability among Gen Z, do you think we can bring
change in the system for good and a new system can emerge?

Absolutely. Consumers are one of the biggest driving forces for change. The preferences and purchasing
power of a more conscious generation will definitely push brands toward positive change. Hopefully, as
people become more educated this trend will continue. Along with that, I hope to see more research into
improved materials and processes. That said, we can’t forget the power our governments have to enforce
change too. By putting the right laws in place, we will see the industry change much faster.

Question 5.
What does the future of fashion look like from your point of view?

Ideally, it will be circular. It won’t be wasteful. Consumers will be more educated. People will shop more
consciously, choosing to spend on quality over quantity. Alternatives to buying new, such as secondhand
or rental platforms, will become more popular. The pressure to change clothes all the time will fade, and
we will take care of our clothes instead of treating them like they are disposable.

Question 6.
In what ways do you think one can raise awareness about sustainability that is more interesting and
engaging since it is taken as a serious topic and people lose interest easily?

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You have to speak to the fashion industry in its own language–imagery. By creating beautiful images
with a substantial message. Color, style, self-expression, poetry, and art. These are the things that draw
people to fashion in the first place. We need to put sustainability into this context if we want to engage
the mainstream.

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 5/12/2022
Aditi Ashok
MA
Promotion, Communication & Digital Media

Consent Form

Title of Project: Change towards sustainable fashion system - a

pragmatic anticipation

Name of Researcher: Aditi Ashok

1. I confirm that I have read and understood the information sheet

dated 5/12/2022 for the above project and have had the
opportunity to ask questions about the interview procedure.

2. I understand that my participation is voluntary and that I am free to withdraw

at any time without giving any reason to the named researcher.

3. I understand that my responses will be sound recorded and used for analysis
for this research project.

4. I give/ do not give permission for my interview recording to be archived as part of this
research project, making it available to future researchers.

5. I understand that my responses will not remain anonymous.

6. I agree to take part in the above research project.

7. I understand that at my request a transcript of my interview can be made

available to me.

Marina Testino 6/12/2022

________________________ ________________ ____________________
Name of Participant Date Signature
Aditi Ashok 5/12/2022 Aditi Ashok
_________________________________________ ____________________
Researcher Date Signature
To be signed and dated in presence of the participant

Once this has been signed, you will receive a copy of your signed and dated consent form
and information sheet by post.

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