Fashion Consort News Bytes

Since early 2020, customers have been forced to rethink how they engage and buy from brands. Due to the Covid-19 pandemic, not only has shopping shifted to online, but customers needs and wants have changed. 

This shift has meant that fashion brands have also had to rethink how they engage and sell to consumers. Dealing with a global pandemic, put fashion consumption in stark reality to more important issues. What’s more, customers were now working from home and were focused less on new trends and more on comfort. But they also desired relief from the constant stream of pandemic news and the monotony of being cooped up at home. This made the marketplace ripe for fashion brands to try new ways to engage their customers--outside of their normal, “tried and true” marketing strategies. And for many, this meant seeking partnerships and collaborations with other brands to create new narratives, and an element of surprise. 

Caryn Pang, an adjunct professor at Parsons School of Design, and retail technology consultant, also believes that collaboration provided an opportunity for brands to energize their employees, especially when racial issues added another layer to pandemic anxiety. She explains:

“At the core of collaboration is teamwork, which is an important part of the inclusivity and accessibility conversation that began in earnest in the spring of 2020.” And she adds that a sense of inclusivity and accessibility that can be engendered through teamwork can also lead to a much-needed sense of community. “In turn, community creates a sense of belonging and optimism. This real need for belonging, coupled with a sense of shared hope, can be attributed to the pandemic and being home for so long, disconnected from others. It’s human nature for people to want to come together and collaborate--to create a future together.”

Read the full transcript: FCNewsBytes.com

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If the events at the U.S. Capitol early this year are any indication of what’s to come, 2021 is surely going to be a year about deep reflection and change.

Over the past year, it’s become clearer that shared ideals that create unity in society are delicate, that racial, ethnic and gender disparities are front and center in the US, China and Europe. And fashion brands are being required more and more to take a public stand in addressing issues of social justice.

Sabrina Lynch, Senior Vice President of Culture and Marketing Communications at Taylor Strategy, and a TEDx speaker, offers companies three clear strategies to mitigate and correct issues of social justice internally. First, she says:

“To understand social issues, you really need to appreciate the tapestry of culture and complex of issues facing so many communities. And you'll never be in a position to do so when you've consciously, or unconsciously sometimes, recruited a talent who only offer one singular perspective.”

Read the full transcript: FCNewsBytes.com

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Almost overnight, fashion design companies and fashion design students were forced to move to a mostly remote work environment and away from the studio and tools of their trade. For many designers, this meant shifting their practice into a more virtual space, using emergent technologies such as Clo3D.

It’s an expensive process and takes expertise that is largely non-existent in the current workforce. However, for companies and schools that were already implementing 3D design into their workflow, the switch came more easily according to Soojin Kang, a fashion designer and faculty member at Parsons School of Design. 

[Soojin] I had the privilege to teach the first Clo3d trial class at Parsons, and so when the pandemic hit we did not have any significant difficulties switching from offline to online. 

She describes the remote teaching and learning process:

[Soojin] I was able to do live demonstrations via Clo3d software by sharing my screen on Zoom. I could then remote control a student’s screen and give them technical support right away. Even remotely, my students were still able to make 3D garments in the digital space, expressing their designs and outcomes beautifully; and with very few problems. 

When Parsons decided to go fully online for the fall, Clo3D was adopted into all third level courses, with the support and enthusiasm of students, who recognized this skill as an important one in their toolkit. 

[Soojin] I am very excited for our current Parsons students who will obtain 3D design knowledge and experiences before they graduate. 

Soojin notes that the industry has reached a tipping point. The need for 3D design experience and skills will not just be helpful on a resume, it will become a mandatory skillset, especially as businesses understand its benefits.

See the full transcript:

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2020 has been a year like no other. Fashion retailers were hit especially hard early on by the Covid-19 pandemic. Since then, they have been racing, fighting even, to adapt, evolve and innovate fast enough to save their businesses. Changes that were once part of a long-term strategic plan had to be implemented immediately, often remotely and with less staff. In some cases, this acceleration of change helped to stave overall losses. For some, it even provided an opportunity for brand growth and scaling. But for many it was an acceleration towards insolvency and bankruptcy.

For those who made it pass these initial hurdles, the focus turned to the fourth quarter, the most important season for fashion retailers in terms of overall sales. For most retailers, this meant putting more emphasis on e-commerce, restructuring promotional timelines and realigning direct-to-consumer distribution strategies. For others, this included more drastic measures, such as reconfiguring physical stores to be pick-up only locations, or even “dark stores” or warehouses. 

Now, as we near the end of the fourth quarter, retail executives are hoping to see that their efforts have paid off and will provide a foundation with which to rebuild their businesses in the short term, post-pandemic.

Full transcript available at FCNewsBytes.com.

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Each month Sass Brown, an expert in ethical fashion, sustainability and craftsmanship, shares a fashion brand that approaches business differently and innovatively or operates outside of the main fashion systems and capitals. Sass is the former Dean of Art and Design at the Fashion Institute of Technology and the founding Dean at Dubai Institute of Design and Innovation.

Carla Fernandez is a Mexico City-based designer and brand, well known for supporting and promoting indigenous traditional craft from across Mexico and famous for saying that the haute couture of Mexico is located in the indigenous villages.” 

According to Sass, “one of the beauties of Mexico, and one of the things that Carla feels so strongly about, is the fact that there is such a diversity of material traditions across Mexico, across crafts, across communities that are all unique and special.” And she explains that Carla sees it as an honor to be able to work with, and in partnership with, those communities and those people. “She has a long history of working with indigenous communities by going and spending significant time with them, listening and learning from them about what their traditions are, what the meanings and the codes embedded in those traditions and processes are, and what their actual needs are.”

As an extension to her work with indigenous craftspeople, Carla designs a fashion collection, which she sells in her stores and online. Managing the supply side as well as customer demand for fashion products can be difficult, so she has divided her business into two entities: for-profit and not-for-profit. Sass explains that this is not unusual for a socially motivated brand to do, especially when they realize the limitations of a for-profit only business. She adds, “To a degree, the for-profit arm of the business offsets the costs of the not-for-profit work which focuses on engaging with artisans to develop their traditions and crafts into marketable products.” 

For the full transcript, visit FCNewsBytes.com

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Generation Z is having a profound effect on how fashion brands engage with their customers. They prefer shopping brands that share common values. And they are demanding more transparency from brands regarding material sourcing, pricing, environmental impact and labor practices, in order to make purchase decisions. 

More and more, Gen Z customers also prefer brands that take a stand on social justice and political issues; topics which brands have typically avoided. After all, one misstep may lead to being cancelled--leading to unwanted press, boycotts and impacting sales.      

However, because of its higher price point and its focus on a more mature customer demographic, luxury fashion has not had to deal with this issue as directly as more accessible brands. Sure, there have been plenty of mishaps that have led to negative press, such as the recent Dior, Gucci and Marni fiascos, but these largely blew over.

What’s more, luxury brands have always been in the business of creating an escape from the real world, creating products that are more about desire than need. Brands such as Chanel and Hermes have been carefully crafting their images for decades, carefully cultivating an aura of mystery and authenticity--myth-making at its best--and certainly the opposite of transparency and true authenticity. 

Here’s Luca Marchetti, cultural analyst, semiotician and co-founder of The Prospectivists in Paris: 

[Luca] On a general level, yes, these concepts are in some ways contradictory with the traditional vision of luxury, in Europe at least. Even if, historically, this field was built on the highest quality and excellence, and its desirability is culturally rooted in opacity and the aura projected around products. Transparency was not an option.

[Luca] Real change will come, when it will be an obligation. It will just be harsher and even more expensive.

Full transcript available at FCNewsBytes.com

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When the Covid-19 pandemic hit this spring, many fashion companies had to put their advertising campaigns on hold. It was no longer possible to gather creative teams—directors, photographers, models and crew--together in person, in studio or on site. And so, companies had to get creative quickly. 

Some brands chose to send new styles from their collection to models and influencers, asking them to be creative and to use what they had at their disposal, hoping for the best. For many brands, this was the first time they had ceded creative control to the model or influencer. 

In the end, some of these campaigns, although home-spun, went viral and were very successful. Others didn’t quite hit the mark. Which begs the question, have brands hit on an all-together new marketing strategy? And is this model worth including in future marketing strategies? 

[Laura] No. As a matter of fact, I think this strategy will be short lived and produce results only in terms of metrics, data and social media engagement.

That’s Laura Lanteri, creative director and consultant at LLNYC Worldwide, a Global Advertising and Marketing firm based in New York City. She continues:

[Laura] In my opinion, a campaign is really successful when it becomes part of the day-to-day conversation, when it becomes part of our cultural landscape. Influencer marketing doesn’t have the power to do that. It all depends on what we decide to focus on: cultural relevance or Instagram likes.

And yet, with the growth of social media such as Instagram, and the ability and access for just about anyone to create content, a real shift in consumer demand has occurred over the past decade. A shift that places more value on realistic imagery and narrative as opposed to perfection, or at least the illusion of perfection, that the fashion industry has peddled over the past century. It’s an illusion that is very one-sided, stresses Laura.

Full transcript available at FCNewsBytes.com

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Over the past year, fashion design schools have been forced to rethink how they educate students and prepare them for jobs. It’s a monumental task, when so much about Covid-19 is still unknown, making planning for future academic years difficult at best. What’s more, with a shift to online learning and a focus on systemic racism within fashion curriculum, educators are having to shift the very models of education that have been in place for decades, especially when it comes to studio-based and Western-centric learning. 

And while institutions grapple with these changes, potential fashion design students wonder how or if these issues may change the application process. Here’s Susanna Moyer, a part time professor in the BFA Fashion Design program at Parsons School of Design and an educational consultant in New York City.

[Susanna] Some schools and universities will be looking for students that are able to connect with global issues, with inclusivity being one of them. Students who bring innovation and critical thinking to these issues through the creative process will be the most attractive candidates for these institutions.

And more specifically, fashion schools are increasingly looking for students who show an aptitude and knowledge of emerging technologies. 

[Susanna] Technology, as well, is becoming more and more important for the student to understand. It is being used in the school environment and the professional arena.So, it's really important for students to understand 3D technology, including Clo3D. 

While it’s not expected that an incoming student learn a complex software platform like Clo3D, having an awareness of how it works, or how it changes the design process is very helpful. This is especially true when so much of learning is online right now. 

At the same time, Susanna points out that the core of what makes a successful portfolio hasn’t really changed. It’s still important for students to present “a clear, focused direction, and diversity in presentation.” 

[Susanna] All elements, including moodboard designs and technical flats need to be well thought out and executed so the storytelling of the collection is understandable to the viewer. Along with the portfolio, the student needs to create a design journal to process concepts and research for the portfolio. Some of this content can be used in the portfolio submission. The last thing is to remember, in most cases, the student cannot be there to present their work. They need to ask themselves if the presentation is clear for the viewer. 

And Susanna points out that students who understand their potential role as a designer within the bigger picture can also help them to stand out, as long as it is authentic. 

[Susanna] It is very, very important that the students ‘do’ themselves. As Oscar Wilde said, ‘be yourself, everyone else has taken.’ Be original and believe in something. And also look at what you need to learn before you get into school.

Part of the equation for any incoming student is whether fashion design school is right for them, or if there is even any future in fashion. After all, the world is changing precipitously, and the effect on fashion is obvious. 

[Susanna] The new opportunities for students include the broadening markets and the specializations that are emerging with the changing social rules that are being broken every day. Genderless clothing is one example along with sustainable and ethical practices that are becoming stronger trends with the consumer.

With any change comes opportunity. And an education is meant to prepare students to be ready for new opportunities--to be ready to ideate, innovate and implement. Susanna sums it up, “Choose a school or program that aligns with your values and goals, and gives you a safe space to learn through process and even failure.”

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Joshua Williams: Each month on News Bytes, we feature a fashion brand that approaches business differently and innovatively or operates outside of the main fashion systems and capitals. I'm with Sass Brown, an expert in ethical fashion, sustainability and craftsmanship. She is the former Dean of Art and Design at the Fashion Institute of Technology and the founding Dean at Dubai Institute of Design and Innovation.

Sass, thank you so much for being with us today. 

Sass Brown: Happy to be here. 

Joshua Williams: And so, who are you featuring this month? 

Sass Brown: Zazi Vintage, founded by Jeanne de Kroon in Amsterdam and they work across Uzbekistan, India, and Afghanistan. 

Joshua Williams: Tell us a little bit about what makes Zazi Vintage so unique. 

Sass Brown: They work with heritage textiles and artisan-based textiles that have been produced along the traditional Silk Route. So, they work with Uzbekistan ikat. They work with Kashmiri embroidery and with Suzani embroideries. 

Joshua Williams: Wow. So, are they fully customizing each piece or do they have a line that they sell direct to the consumer? 

Sass Brown: They have the small ready-to-wear line of contemporary fashion pieces, separates and predominantly dresses. But then they have a line of Suzani coats, which are those fabulous fur-trimmed, Afghan coats. If you think of Sergeant Peppers from the Beatles; that sort of iconic embroidered uor trimmed coat. And so, those are all covered in Suzani, vintage Suzani embroideries. Those are made to order. And you're able to customize them a little bit, in terms of choice of fur, color, type of embroidery, et cetera.

Joshua Williams: Sass, what do you think that other more mainstream brands can learn from Zazi Vintage? 

Sass Brown: I think there's an awful lot to do with intention and motivation. Honestly, Jeanne is the founder of the brand, is one of the most committed people I've ever met in terms of ethics and how she works. And it's all to do with her passion for textiles, and fo storytelling, and the people whose story she tells through the weaving, through the story threads of embroidery. And so, I think her values and our motivation are incredible. 

I think an example of that is when Covid hit, she reached out to her artissans and asked them what they needed to survive during this difficult time during lockdown, when people were canceling orders. She's not the only person that works with them. So, she went back to the other brands that were working with her artisans, and said, look, this is what they need to survive, to keep a roof over their head, to keep food on the table. How do we collectively work out a plan to ensure that they can survive through this? 

Joshua Williams: Such a human-centric touch. 

How can listeners learn more about Zazi Vintage?

Sass Brown:  Well, they sell direct to consumer only. So, you have to access them through their website, which is zazivintage.com. So, it's pretty straightforward. They also have a really lovely Instagram feed, which is also @ZaziVintage. So, it's very easy to find them. 

Joshua Williams: All right, Sass. Thank you so much. We'll see you in a month for your next feature.

Sass Brown: Look forward to it.

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