Vanessa Twerefou

The crossroads of art and commerce have been integral to the fashion industry’s evolution, with profit emerging as a vital pillar in this dynamic relationship. In the 1960s, the worlds of art and fashion truly began to converge, giving birth to a cultural phenomenon. Fashion, long perceived as a realm of commerce, and art, a realm of personal expression, collided, blurring the lines between the two. The 1960s marked a turning point when art and fashion started to collaborate (Entwistle, 2015). One notable example is Yves Saint Laurent’s iconic Mondrian dress, inspired by Piet Mondrian’s abstract paintings. This fusion of art and fashion gained momentum, reflecting a post-World War II economic boom, which led to the rise of youth culture and the bold marketing of consumer goods (Alvarez, 2008).

Artification is a transformative process that elevates non-art into art, increasing its prestige. Fashion brands have increasingly embraced this concept by exhibiting their clothing in museums (Becker, H., 1982). This practice blurs the line between commercial products and art, as brands classify their creations as art, not just products for sale. For instance, Selfridges promotes its stores as spaces for cultural exploration and thought-provoking ideas, championing art within the realm of commerce. The persona of an artist has always appealed to fashion designers. Early accounts, like Giorgio Vasari’s “The Lives of the Artists” from 1550, contributed to the idea of artists as mythical geniuses. Artists were separated from mere artisans, and their work was considered highly prestigious. This notion persists in modern society, where artists are seen as interpreters of the world from an outsider’s perspective. Alexander McQueen’s work, such as “The Bridegroom Stripped Bare,” demonstrates how fashion designers’ reference and draw inspiration from the art world, imbuing their creations with depth and meaning.

Sociologist Pierre Bourdieu’s theory of capital provides a valuable framework for understanding the intersection of art and commerce in fashion. Bourdieu identified three main types of capital: cultural, social, and economic capital (Bourdieu, 1986). In the context of fashion, cultural capital encompasses knowledge and expertise about the industry, which is often acquired through personal experiences and connections. which are essential for bringing fashion creations to life. The intersection of art and commerce in the fashion industry is a complex and fascinating phenomenon. Profit plays a vital role in this dynamic relationship, with fashion brands artifying their products and designers adopting the persona of artists. The blurring of lines between art and commerce has brought new depth and prestige to the fashion world, allowing it to be both a commercial enterprise and a creative force. In this ever-evolving landscape, the fusion of art and commerce continues to shape the fashion industry, demonstrating that both profit and art can coexist harmoniously

References:

Entwistle, J. (2015) The Fashioned Body: fashion, dress and modern social theory. (2nd Edn.) Cambridge: Polity.

Alvarez, L. (2008). The Power of the Zoot: Youth Culture and Resistance during World War Two. University of California Press.

Becker, H.S. (1982). Art Worlds. University of California Press.

Bourdieu P.. (1986). “The Forms of Capital.” p. 241-258 in Handbook of Theory and Research for the Sociology of Education, edited by J. G. Richardson. New York: Greenwood Press

Putting people at the core of a brand’s identity is not just a trendy marketing approach; it’s a strategic decision that can lead to a more authentic, relatable, and successful brand. By recognizing and respecting the diversity and values of customers and employees, fashion brands, and businesses in general can build stronger, more sustainable relationships and make a positive impact on society.

Businesses have recently started embracing the social media site Tik Tok as a tool. One of TikTok’s distinguishing qualities is the focus it places on brand authenticity. By using TikTok, businesses can produce honest, unfiltered content that appeals to this audience. They can engage in trends that gen z finds relatable, give behind-the-scenes looks, and highlight the people behind the company. With potential clients, this authenticity promotes trust and long-lasting partnerships. However, because of this effective marketing, overconsumption has significantly increased in the fashion sector, and despite the generation’s distinctive individualistic culture, there is now more pressure to adhere to particular fashion and design styles. The fundamental goals of marketing are identifying a need in society and proving that your products can fill it. The fashion sector, however, is distinct in that it creates that void (McKinsey, 2023). Profiting on this enmity, businesses propagate the lie that consuming commodities and services is the only way to sustain in society (Lascity, M.E. ,2021). Therefore, it’s not about going without material things. It’s about the rat race.

Nike, a global sportswear giant has been at the forefront of marketing to Gen Z, with a focus on diversity and inclusivity. Nike launched the “You can’t stop us” campaign in July 202 amidst the backdrop of the covid-19 pandemic and the global Black Lives Matter movement. The campaign serves as an excellent case study of a fashion brand effectively marketing to Gen z on a profound level. The campaign not only contributed to a positive brand image but also demonstrated the potential for fashion brands to use their platforms to drive social change and promote values cherished by this influential generation. In conclusion, brands aiming to effectively market to Gen Z must grasp their shopping habits. Authenticity, social responsibility, and digital convenience are important to Gen Z (McKinsey, 2018) and brands must develop essential people skills if they want to keep their interest and loyalty as they develop. These abilities include empathy, and the ability to adapt and accommodate to shifting generational preferences. Additionally, for brands to create and maintain a strong presence in the ever-evolving Gen Z market, they must practise open communication, be committed to sustainability, and be in tune with the values and interests of this generation.

Francis, T., & Hoefel, F. (2018). ‘True Gen’: Generation Z and its implications for companies. McKinsey & Company. https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/true-gen-generation-z-and-its-implications-for-companies

Lascity, M.E. (2021) Communicating fashion: clothing culture and media. London: Bloomsbury Visual Arts.

Business of Fashion (BOF) and McKinsey & Company. (2023). The State of Fashion 2023. https://www.mckinsey.com/~/media/mckinsey/industries/retail/our%20insights/state

Fast fashion has democratised fashion, the whole tenet of Zara founder Amancio Ortega (Costa. A, 2017). Today, clothing shown on the runway is accessible to people from all socioeconomic groups. Therefore, lower-income individuals can buy more styles for less money. Fast fashion has provided an answer to the capability’s perspective through its creative supply chain. However, most fast fashion clothing is not built to last (Niinimäki K. et al. 2020) and is typically made of inexpensive synthetic fibres like polyester. Polyester can take up to 200 years to break down, which is highly alarming for an industry that produces more than 100 billion new garments annually (Allon G,2022). This is precisely why ‘Responsible consumption and production’ is one of the United Nations’ Sustainable Development Goals. The overconsumption encouraged by fast fashion has negative impacts on the world’s finite natural resources, globally it is estimated that 20% of all water pollution is caused by the dyeing of textiles in the fashion industry (The World Bank, 2019).

Wearing sustainable or second-hand clothing, on the other hand, might be perceived as a privilege because of the numerous constraints in place, which is the antithesis of fast fashion consumption. Many sustainable fashion companies lack broad size ranges, and there is undoubtedly a high-cost barrier, limiting variety for numerous consumers. There are basic requirements of consuming ethically that consumers may lack the time and resources to avoid for the sake of sustainability.  Regarding price barriers, another substantial problem with fast fashion is that it causes society to undermine the hidden costs of production such as labour costs and energy resources like oil which are integral factors in garment production (EMF, 2017).

The main argument here is that the volume of clothing produced by multinationals is worsening the negative impact that fast fashion has on the environment. Therefore, when someone urges another to “purchase ethically”, they are expecting each individual citizen to fix the problems caused by large corporations. One can purchase all the vintage and second-hand clothing they want, but Primark continues to produce mountains of disposable fashion at an ever-increasing rate. Essentially, it is obtuse to expect the working class to make up for the wrongs committed by multinationals, especially when those wrongs involve the items that they depend on to thrive in society (Thomas, D. 2019). What’s concerning is that it costs money and takes time to try to “consume ethically”. Not everyone can afford to entirely give up their spending habits, so we cannot expect everyone to do so. But it’s crucial that we in the ‘first world’ at least try. The more rapid the world achieves the sustainable development goal of ‘responsible consumption and production’, the more likely it is that the incredibly destructive fast fashion system will collapse.

Bibliography:

Costa, A (2017) ‘ZARA’S CASE STUDY: The Strategy of the Fast Fashion Pioneer’ ISCTE Business School https://repositorio.iscte-iul.pt/bitstream/10071/15686/4/master_ana_morgado_costa.pdf

Niinimäki, K., Peters, G., Dahlbo, H. et al. (2020) ‘The environmental price of fast fashion’. Nat Rev Earth Environ 1, 189–200. https://doi.org/10.1038/s43017-020-0039-9

Allon G. (2022) Business Insider ‘The fashion industry’s dirtiest secret’ https://www.businessinsider.com/fast-fashion-christmas-shopping-clothes-returns-shein-zara-waste-mountain-2022-12?r=US&IR=T

The world bank (2019) ‘How much do our wardrobes cost to the environment?’ https://www.worldbank.org/en/news/feature/2019/09/23/costo-moda-medio-ambiente#:~:text=If%20demographic%20and%20lifestyle%20patterns,of%2050%20billion%20plastic%20bottles.

Ellen MacArthur Foundation (EMF)(2017). A new textiles economy: Redesigning fashion’s future. ellenmacarthurfoundation.org https://www.ellenmacarthurfoundation.org/assets/downloads/publications/A-New-Textiles-Economy_Full-Report.pdf 

Thomas, D. (2019)’ Fashionopolis: The price of fast fashion and the future of clothes’. London: Head of Zeus.

Coats with fur trim, draping, prints, ruffles, high slits, and low necklines are all brand staples for my current favourite fashion brand, Blumarine. Considering how the y2k aesthetic has dominated fashion in recent years, styles like these may undoubtedly be considered “trendy,” but in my opinion, current creative director Nicola Brognano adds an airy radiance to collections, evoking feelings of nostalgia using motifs like butterflies and flowers, which to me signify a metamorphosis of the brand. Trying to recreate twenty year old styles can sometimes appear costume-like or can even seem to recreate ‘period dress’, but I think Brognano does an impressive job at creating pieces as close to the source material as possible but also daring enough to make them contemporary. In my opinion, Blumarine is for the modern young adult, like me, who is still attempting to rekindle their connection to the nostalgic fashions of their adolescent years in the early 2000s while also adapting those to present-day fashion trends.