There is time to discuss the conclusion of fashion weeks and the culmination of what was shown in Paris next week. For now, though, there are observations worth exploring that go beyond hemlines and colour palettes that came up form various interesting conversations and observations within the industry. These, in fact, may tell us how we are transforming as we seek to understand our future.
Traditionally, fashion has reached the general public largely through what was conceived visually; that’s where its allure lies, for its initial attraction stems from its possibility to be visual art rather than just utilitarian function. Materials have come from a place of familiarity and common knowledge due to long-term accessibility and so merely mentioning them has taken a backseat to more visual aspects such as colours, cuts and forms. These are qualities readily captured and translated into images meted out in portions at various times of the year, working with design and manufacturing production schedules. The results created a model of anticipated interest and purchase drive as our instilled classism supported ego-based competition, fueling sustained support of an industry where continued interest in change translates into successful profit.
The incorporation of technological accessibility of information along with blossoming integration of social media has resulted in challenging those traditional models. In contrast, debate continues on the financial efficacy of such technological investments in areas such as live-streaming and real-time blog reports via sharing platforms such as Instagram, Twitter and Vine. This concern, though, hasn’t stopped their involvement. Rather, these will be here to stay as such apps become incorporated further into our daily lives.
There is no turning back on technological progress, for it is our future. But existing models are challenging the realities of outmoded fashion traditions. Designers such as Marc Jacobs and Michael Kors both showed collections with elements that hardly spoke of spring and summer. Labeled as seasonal transition pieces, the truth is that these clothes are designed to be worn as they come out in stores, not necessarily for the intended season when they roll out but for immediate wear on their arrival. And a few designers such as Burberry played with the idea of selling their collections as they showed on the runway, allowing consumers to order online before they are even minutes old in the fashion world.
This changes influence in the marketplace as fashion destined for eventual wear becomes items meant to win the race now. Fast fashion outlets such as TopShop, Zara and H & M have long been able to blend speedy production times with the immediate access to collections we all see, producing items that allow fashion fans to covet looks well before anticipated release of collections meant for impending seasons. To retaliate, designers have no choice but to change this approach and, as the previous paragraph outlined, some are. But there needs to be a preservation of the element of exclusivity, an aspect important for a brand to retain relevance and maintain leadership in the eyes of the public.
The change of exclusivity is actually revealed in more recent fashion and trends reporting. As images allow the general public the democratic ability to see as much of the collections as editors and buyers who once enjoyed a level of information prestige before, now the sub-story and key to maintaining interest are what can’t be captured in images: the materials themselves. As technology grows exponentially, we anticipate integrated technology through wearables, an industry anticipated to bring in billions more than it already successfully does now. But the future is looking to have smart approaches where the wearables are so integrated that they no longer become visible. This, along with fusing of new textiles, textures, treatments and revolutionary materials with never before experienced qualities are mentioned yet unable to be truly shared via existing communications media. And while some, such as clothes that change colour that were introduced recently at the International Symposium on Wearable Computers in Zurich, can be still be shown via existing sharing platforms, others have qualities that cannot be captured with the objective of sharing full appreciation. A textures 3D printed skirt from Iris van Herpen cannot translate its “hand”; it has to be touched and for most consumers that will never happen. The closest we can have is descriptive reporting through first-hand contact.
What makes this aspect of exclusivity more worthy of consideration is partly due to how fashion is transcending. Until we have a new approaches and perspectives later this decade, we are at a creative impasse to some degree. The multitude of permutations and combinations no longer shock or excite as much as before because we still create from a 20th century perspective and still find aspects of retro-referencing in continued collections. We are struggling to break free, despite having new tools at our disposal to break with tradition such as 3D printing and textile innovation.
This new exclusivity of materials that restores the mystique of fashion is set to be the new driver to continue interest and support consumption habits that supported fashion before as it relies on this perspective for survival. This, along with continued dialogue within the fashion community on an eventual rethink of collection roll-outs and concept releases in the face of growing volume of international presentations may see a new approach towards fashion’s evolution. It, along with our technological development, may be more fluid and organic in its growth and advancement rather than in portions and segments that past tradition has dictated. This approach no longer represents how we are anymore, especially when looking at our lifestyles. And how all this transitions and integrates with creative perspectives we cannot fathom in the coming decade will be a fascinating new world that we will be living in. And you can be the industry will find a way to cover it as it continues the translation of our world into things we wear.