Blue Is For They and Pink Is For Them: How Reshaping Gender Norms Are Reshaping The Fashion Industry

Boys wear blue and girls wear pink. Skirts are for girls and pants for boys. Girls wear dresses, boys wear suits. These phrases are something we have all probably heard at one time or another. They express how gender could be expected to be presented in society. Someone’s appearance and clothing could be used to assume what gender they belong to. But what if that way of thinking is becoming a thing of the past? These days gender is understood to be a social construct of society. Sex is the title you are given at birth which is either female, male or intersex. Gender is something to be determined and expressed by the individual and is not set in stone. With the current generation of youth “Generation Z” there has been a huge difference in how they look at gender and they express themselves in ways that before, may have been deemed “inappropriate,” or “strange.” This generation has been pushing boundaries and challenging stereotypes with their fashion and accessories. There is much less importance on masculinity and femininity. People are instead free to express themselves however they wish and less assumptions are made about their sexual orientation based off their appearance. With the greater acceptance for the LGBTQA+ community, there is also a greater interest into “queer fashion.” More youth are labeling themselves as gender fluid than ever before. Meaning they do not ascribe to any set gender and instead see themselves sitting somewhere in the middle between female or male on the gender scale. Social media also helps build community for these youth to express themselves and identify with others.

This is not the first time that fashion has been used to challenge gender norms. In fact it is a very common theme that can be observed in many points of history. For instance during the Women’s Rights Movement pants were seen as a political statement and would have been an indication of a radical women. Historically celebrities and activists have also challenged gender stereotypes with their fashion choices. Examples including Joan of Arc, Marlene Dietrich, Amelia Bloomer, David Bowie and Prince. Nowadays popular celebs are still keeping on the trend. With stars like Billy Porter, Billie Eilish, and Harry Styles making headlines for their more androgynous fashion styles. In late 2019 Harry Styles was interviewed by Teen Vogue about his gender non-conforming fashion and his opinions on gender neutral fashion. He admitted that he considers his style more androgynous and it is represented in both his appearance and the music he makes. He believes that without gender norms confining individuals there is a greater freedom for artists. He says that getting rid of these norms makes things much more interesting and stimulating in all forms of art. He mentions that it encourages freedom and instead of focussing on being masculine or feminine people can focus more on just being better people. Billy Porter was quoted at the Academy Awards in 2019 saying that he wants to be a political statement with his appearance. He wants to make people question their thoughts on masculinity and what the term even means.

In the fashion industry you have probably already begun to notice a lot of changes reacting to the incline of popularity in genderless clothes. Some clothing stores have non gendered sections now, where anyone can comfortably shop. There have been designers who have released gender neutral clothing lines. Even large well known companies like H&M and Zara have both released gender free collections. Many advertising campaigns have been seen with men wearing traditionally feminine clothing and women in traditionally masculine clothing.

Also a greater amount of models that have a more gender fluid appearance are seen frequently on many runways. Designers are using unconventional fabrics with traditional silhouettes in order to be less gender confined. Like using a sheer fabric for a men’s dress shirt. Another .popular technique for genderless design is combining pieces that are masculine with ones that are feminine. Like pairing a blazer with a skirt, or a blouse with trousers. Overall you can see how the industry has started to react to the movement of gender fluidity. It is important for companies and designers to stay open minded and embrace these new ideas of what gender means. They will need to practice inclusitivity and give people the ability to express themselves through their clothing. It can be expected that the trends for upcoming seasons will not be divided by men’s and women's wear but instead be just announced as a whole. Labels of masculine and feminine will be eliminated and clothing will have no gender at all. There are still companies that label collections gender fluid, when they lean more to being either men’s or women’s wear. Defining what clothes that are truly genderless is an ongoing conversation still being debated and explored. Many of the genderless clothing options right now are baggy and made more one-size-fits-all. Making clothes that are fitted but still fluid is another issue currently being tackled by designers. The end goal is that the clothing will not define the gender of the person but the person will define the clothing.

The Mirror Crack’d – When the Funhouse Isn’t Fun: Body Image and Diversity in Fashion – Altering Perceptions

Have you ever looked in the mirror and questioned the reflection staring back at you? Have you wondered if, for example, you were in a funhouse? In a sense, you are. Distorted mirrors have often been used for optical illusions. Just like those mirrors, our view of ourselves is subjective and can be distorted. Have you compared yourself to images in a fashion magazine and thought that it is impossible for someone to really look that way, but disparaged yourself just the same? The fashion industry moguls are modern day illusionists who manipulate our perceptions of beauty to induce us to chase a phantom ideal. This can leave many of us feeling inadequate.

Body image is an important part of self esteem. Everyone should aspire to a healthy view of themselves. Why? Because a healthy body image leads to better physical and mental health and improved quality of life. As students of fashion, we need to be sensitive to the well being of the people we are serving and encourage and promote diversity. Sustainability is not the only issue facing the fashion industry.

It is well known that designers in the fashion industry prefer wraith like models to display their creations on the catwalk. Designers use these models because they believe that the clothes drape better when a model is extremely thin. Advertising also tends to showcase women that are thin and even photoshops images if they are not “ideal”. They believe that thin is what sells and are reluctant to show anything else. These models are often obviously and dangerously underweight and unhealthy. And they do not represent most ordinary women. The dress size of the average American woman is a size 16-18.

Everyday we are bombarded with an unrealistic and unattainable view of feminine and masculine beauty. There is a social cost to this phenomenon. Such images can contribute to low self-esteem, depression and sometimes, eating disorders. Dr. Stephanie Cassin, C.Psych., an Associate Professor in the Psychology Department at Ryerson University (where she specializes in, among other things, disordered eating, obesity and body image) states that, although “biology and genetics are also important, the sociocultural aspect does play a role.” We are definitely influenced by what we see in the media.

Although thin as an ideal is pervasive in the media, eating disorders are relatively rare. Nonetheless, there is strong evidence that exposure to idealized images corresponds to a negative body image. Ryerson University students, participating in an educational program on diversity called The Body Project, name appearance as their primary social concern. At its worst, negative body image can lead to illnesses such as anorexia and bulimia.

For those that do develop eating disorders, the consequences can be terrible. Anorexia is a serious, debilitating and sometimes deadly disease. It a distortion of body image so severe that even though someone is starving themselves to the point of death, they still believe they are overweight. According to Dr. Cassin, anorexia disproportionately affects females, but males can have body image issues as well.

While women are pressured to be thin, men are pressured into a muscular masculine ideal. This can lead to excessive exercise. Anorexia can lead to cardiovascular, gastrointestinal, and neurological problems and increased death rate. Binging, a related disorder, causes someone to gorge themselves on food and then promptly vomit it up. It also leads to heart problems, can damage the digestive system and lead to dehydration.

In the quest to achieve the thin ideal and obtain work, (and they are told that unless they are thin enough they will not be hired) models resort to drastic measures. At times their health is so neglected that they faint during photo shoots or end up in the hospital. Some models have eaten cotton to fill their stomach, damaging the intestinal tract. Others become permanently infertile.

The Body Positive movement has gained steam in the last few years. Its program aims to get designers and advertisers to show more diversity and more realistically represent how women in the general population look.

One brand that has embraced body positivity is Dove. Launched in 2004, their Real Beauty campaign used models more representative of the population in their advertising. Levi’s has also made an effort. Many up and coming designers have made diversity their mantra and cater primarily to a varied group of consumers.

Countries like France and Israel recently passed laws banning the use of underage and underweight models. In France, models must provide proof that they are 16 years of age and that their body mass index is above a certain threshold in order to be allowed to work. In both Israel and France, photoshopped images must have a disclaimer stating that they have been altered. Design houses such as Dior, Gucci and Yves Saint Laurent have banned models that are too thin from the runway.

Has the movement been successful? Some designers still refuse to change. Victoria’s Secret recently created a scandal when one of its representatives said the company would not use plus size models. The company said that they tried using plus size models but that they received no interest. In a video discussion by Huff Post called, “Is the Body Positive Movement Just a Trend?” body positive activist Anastasia Garcia points out the demographics that such companies are neglecting. By refusing to cater to larger sizes when approximately 70% of women could not wear their product, they are missing out on a large amount of potential sales. ”Do they hate money?” she asked.

While the body positive movement encourages us to love ourselves, some feel there is a pitfall to unfettered optimism. Critics of the movement think that by telling people to accept themselves regardless, they are contributing to normalizing an overweight body that can lead to health problems. Just as with being underweight, overweight can lead to heart problems, and other health issues like diabetes.

However, Dr. Cassin thinks that any attempt to change perceptions is positive. “Anything that promotes body positivity and diversity is helpful.” Health at every size is part of the movement. Dr. Cassin remarks, ”There is a stigma that thinness equals health.” But she points out that it is possible to be thin and unhealthy, larger and healthy.

How can one maintain a healthy body image? “Body image is not an all or nothing. It is a continuum," says Dr. Cassin. It is possible for someone to like some aspects of their physical appearance and not others. Focus on your strengths, what you do like and on what your body can do. Try to avoid comparisons.

The fashion industry has a long way to go, but it is a start. It is our duty as responsible citizens to make a positive impact on our world. With growing awareness, hopefully designers of the future will heed the call. And choose to represent diversity in their work.

‘Looking like an absolute cosmic-magistrate’: Where androgyny and Indigenous fashion meet political statement

Cody Bowles has a passion for fashion and a commitment to justice for their Indigenous community. The Juno-nominated singer/drummer started their journey to find their unique personal style through thrifting.

The two spirit, non-binary musician is half of the two-time nominated Juno band, Crown Lands.Named for the land Canada stole from Indigenous Canadians, Bowles and their bandmate, Kevin Comeau, use their platform to raise awareness of, and open a conversation about, Missing and Murdered Indigenous Women and Girls in Canada.

In March, Crown Lands was nominated for two Junos in the Breakthrough Group and Rock Album of the Year categories. Also in March, the band was featured in Rolling Stone magazine.Inspired by Rush, Queen, and Led Zeppelin, the Oshawa-based band was formed in 2016 and has been blowing up over the past year despite a European tour being cancelled at the beginning of Covid-19.

Indigenous rights and issues are at the forefront of Crown Lands’ values as a band. “And we are going to see what else we can do and what else we can talk about in the framework of music to give people, to give indigenous people, more of a boost of awareness instead of people living in this country completely oblivious to the history.”

Bowles said talking about Missing and Murdered Indigenous Women makes some people uncomfortable, but is a way to educate the uninformed and create a space for uncomfortable conversations, while honouring women and their families. “On the flipside, there are people who are like, ‘oh, thank you so much for playing this music, you’ve really made me feel seen because my sister was taken.' We’ve had people come up and say that. So it is something that is really profound and touches me.”

Bowles feels a responsibility as an artist to honour Indigenous history in this country, creating awareness of Canada’s cultural genocide and silencing of the Indigenous population. “And that is far more nefarious to me than being overt about something, that covert, creepy silent smile,” Bowles said.

When asked whether being Indigenous affects how they dress, Bowles discussed being two spirit and connecting with their androgynous identity and Indigenous roots. “Oh yeah, 100 per cent, being non-binary and two spirit are two separate things to me,” said Bowles. “It is like being in my body is really hard to describe, it is hard to describe what two spirit is ... to anyone who is not that themselves it is so hard to explain. But it does absolutely influence the way I am.”

Bowles long locks are important to their identity. “I have always had long hair and that is because I have always been two spirit and it is something I directly related to that and it is something I have always really had pride in”

Bowles looks stunning and their style, both retro and fashion forward, captures attention with bold patterns and layered necklaces. Their love for fashion exploded through thrifting where you can find more unique pieces than in fast fashion; things ranging from designer vintage to granny vests. Despite recent gentrification of thrifting, there are still places to go and dig for unique and weird treasures.

Bowles cruises thrift stores looking for items that speak to them. This was where they, “developed my sense of taste in fashion and discovered what I liked and wanted to put on my body."

The fashion goal? “Looking like an absolute cosmic-magistrate." This journey began with one blue shirt from Winners. “It was something that wasn’t flashy, that is the funny part. I wore a lot of necklaces with it … and I was like, yes, this is the direction I want to go in and fuel that fire. It’s that passion for fashion.”

Meanwhile, the Canadian duo are embracing the time this pandemic has given them in the studio. “So we have been working tirelessly every single weekday, up to five hours a day, on new music which created about 50 new songs,” said Bowles. “Just trying to make something magical and make something stick, you know?”

Finding success and comfort during a global pandemic is no easy task, but Bowles credits their meditation practice for keeping them grounded. “I meditate every day that I can, you know, and getting up in the morning is really hard sometimes,” said Bowles. “When I am able to kind of dig deep and reflect and sit with myself, the world becomes a little bit more manageable and with that freedom the door opens up a little more for me to accept the way things are for what it is and just kind of take each day in stride. And be thankful for everything I have, you know, I am thankful that I have my health and try my best to remain safe.”

To see Crown Lands’ activist work in action check out their music video for End Of The Road. https://www.youtube.com/watch?v=pr-sq55Au8s

World Fare for a Fair World: Fair trade and its importance for the future of fashion

In 2013 I spent the end of my summer in Thailand, half vacationing and half trying to gain a fresh perspective on life. It was my first time in Asia, and I was intrigued to see what sort of cultural differences I would encounter while travelling so far from home. What I wasn’t expecting however, was the stark contrast between the energy I’d felt back home and the immediate lightness I felt once I’d landed. I spent the better part of the trip trying to put my finger on what it was that made that place so serene compared to the West.

Ironically, my quest for mindfulness didn’t come where I’d expected it to; it wasn’t while taking in the tranquil atmosphere of the temples or while marveling at their brightly painted murals, and it wasn’t while admiring the monks in their long orange gowns with their selfless devotion to something greater than themselves. As markedly interesting as those experiences were, it was the mildly chaotic markets outside Wat Chalong temple where I found the understanding I’d been searching for. I walked around the grounds and browsed the adjacent markets all selling small gifts and souvenirs. I made my way through the individual stalls, their walls blending together, each owner calling, “Aussie, Aussie!” (to my not-so-Aussie-self) as I passed. And then amidst the bustle, I came across the quiet stall of a tall Thai man perched reading in the back.

I walked around his little corner of the market, enthralled by how almost paradoxical his place there seemed. Juxtaposed against the shop owners calling to passersby and people hastily buying souvenirs, the quiet man seemed entirely unaffected by the microcosm of commercialism encroaching him. I distinctly remember the care he took while telling me the different meanings behind each of the Buddha statues lining the shelves. I remember the way he explained the purpose of the mala beads and the significance of the number of threads. And I remember noting how, unlike the other stalls senselessly pushing merchandise, for him, the items possessed a greater purpose than merely being stuff. His need to impart some degree of understanding seemed to far surpass any concern for profit. And for some reason, that bigger picture resonated with me; it wasn’t just about the stuff.

It was shortly after that trip that I ventured down to southwest Florida and by happy accident stumbled across He, She & Me. Fairly new to the concept of fair trade, I wandered through the eclectically adorned shop, taking in the various pieces crafted and produced by global hands. I met Melody Hull and was immediately drawn in by her kind aura and her passionate advocacy for equal opportunity, sustainable development, female empowerment and the environment. And everything just sort of came full circle; it wasn’t just about the stuff here either.

And it got me thinking: why is this the fringe group? Why does fair-trade, the environment, and animal rights only exist as some small counterculture movement against a backdrop of consumerism? And how can we strike a balance between appreciating the finer things in life, while acknowledging that those finer things rarely have a glamourous path from production to our closets?

Now, before anyone pulls me from this too high a horse, let me make one thing clear: Coco, Yves, Louis, Gianni and Christian? Big fan. Their collections line my bookshelves, their shows fill my search history, and the things I would do to wear couture just once, are illegal in 49 states. Because to quote Bianca from 10 Things I Hate About You: “I like my sketchers, but I love my Prada backpack.”

Before shuttering its doors I made a point of visiting He, She & Me every time I was down south because each of my small purchases allowed me to reflect on my own privilege. The jewelry and articles of clothing I’ve bought over the years, while beautiful, are so much more than just stuff. They are a reminder that it is so easy to purchase things without much thought to where they come from, the environmental impact of their production, who produced them, and under what conditions. They are a reminder that it is far too simple to become entitled, to take for granted our own circumstance, to blindly ignore our own privilege and to falsely attribute our birthright to something within our own jurisdiction. For me, the small act of buying and incorporating fair trade into my wardrobe helps me to acknowledge that hard truth. It guides me, in a very small way, to live lightly by supporting an industry grounded on compassion.

Can second-hand save us? And are resellers the push people need to purchase pre-loved?

The pressure to shop sustainably and responsibly is at an all-time high as the world gets warmer, and fears over climate change mount. Fashion lovers are being barraged with media encouraging us to seek eco-friendly ways to satiate our cravings for a wardrobe spring-awakening, and to keep it local to do our part to stimulate the economy in our favourite towns nationwide.

With 20% of pesticides worldwide used on cotton farms, and blue jeans taking roughly 1800 gallons of water to produce per pair, buying second hand is a trendy way to reduce, reuse, and recycle. Brands like Natalie Camara’s Angel Seven (https://www.instagram.com/shopangelseven/) re a virtual reinvention of the traditional thrift store, combining the power of a talented stylist with legwork of a local vintage picker.

“My brand Angel Seven sources apparel and repurposes thrifted materials to create inspired vintage looks.” Says Camara. “My goal is to offer customers a sustainable shopping experience with a personal touch. Whether it’s an alteration, a customization or a specific request, my aim is to help people find the next piece for their closet or home.” Thrifting can be intimidating, and second-hand stores are filled with confusing sizing, unidentifiable textiles and bygone brand names. What really makes Angel Seven so special and accessible is the one-stop-shop attitude, utilizing Camara’s tailoring skills and knowledge of vintage clothing to personalize your shopping experience, all from the comfort of your own home (Angel Seven sells through Depop.)

Camara puts the looks together herself much like a visual merchandiser would in a brick and mortar fashion retailer, helping shoppers visualize trends come to life with the unique touches that make vintage so special. “While sourcing clothes is an accessible and rewarding hobby, most people don’t have the time to do so on their own, or they aren’t looking to put in the amount of effort it takes to find great vintage pieces. Vintage stores also tend to be more chaotic and overwhelming in the eyes of casual shoppers, most of whom aren’t looking to expend large amounts of time on the off chance that they might find something special.” Angel Seven takes out the guesswork, chicly displaying high-quality items that capture current trends without any super mass produced tackiness on their feed.

“I also provide personal styling consultations in person and over FaceTime or Zoom.” With the door to shopping second hand cracked open already, Angel Seven’s styling services pack an extra punch. With a little additional guidance cementing a vision or someone to push you out of your comfort zone, vintage shopping can offer more unique and special pieces than big retailers.

“If you educate yourself on the basics of fashion and learn how to put together an outfit that suits your own style, shopping for vintage clothing offers a more rewarding experience. A huge benefit of shopping vintage is that you are presented with a wide variety of options. Typically, the only variety offered by fast fashion outlets and departments stores concerns the size written on the tag. Through my work as a stylist I can introduce my clients — many of whom would not have considered shopping second hand — to beautiful vintage items that I have curated.”

Depop and other reselling websites have faced criticism over the gentrification of second-hand shopping, and the accompanying price gouging. Critics claim that a rise in popularity of vintage reselling has driven up the prices in second hand stores, forcing individuals who are tight on cash to go without fashionable or accessible clothing. While it is important to avoid overconsumption, Angel Seven is an example of a local business taking great care to put sustainability practices in place. “[Angel Seven] shops locally to support the community and cut back on vehicle emissions, uses packaging that is recycled and recyclable, uses thermal printed labels rather than ink, uses packaging tape with water activated adhesive rather than traditional lastic tape adhesive and encourages customers to buy more than one item by offering free shipping and additional discounts in an effort to cut back on shipping emissions.” If the choice is between fast-fashion and second hand, businesses like Angel Seven act as a useful avenue for even the most timid shoppers to explore the more eco-conscious alternative.

Depop is a superhighway connecting anyone to the pre-loved and reinvigorated garments of their dreams – one artfully curated click away. And individuals like Camara are doing much of the heavy lifting, taking a dent out of the fashion industry’s dangerous contributions to environmental destruction, the exploitation of garment workers and climate change. With time feeling more of the essence every day, maybe it is time to put reservation aside and recognize what a valuable place vintage resellers hold in the fashion community. Whether you are a seasoned thrifter with a busy schedule, or someone brand new to the pleasure of second-hand clothing, brands like Angel Seven are the backbone of any smart, savvy and socially aware trendsetter’s closet.

Lights, Camera, Fashion: Fashion Brands Give the Runway a Makeover

In a world living through a pandemic keeping us away from one another, we as a society have come to rely on modern technology to keep us connected. The technology we use allows us to keep in touch with friends & family while giving businesses a way to reach their consumers from the comfort of their homes across the globe. There are very few industries that haven’t been uprooted as a result of the new world we now live in and the fashion industry is no exception. For the past year, designers and creators alike have begun to adjust away from traditional methods of promotion and creation to reach a customer who cannot leave their home. With people working from home and students learning in front of their laptops there is more opportunity than ever for a business to reach their audience online.

Before Covid-19, one traditional element of the fashion industry that evolved with time was the fashion show. Innovations to make this more accessible involved filming the show, live streaming it on different platforms, and posting photos of the looks on the brands’ social pages. Since Covid-19 however fashion shows have become almost impossible to be presented in the same magnitude as the past. While some designers have found ways to ensure a safe and creative show- Christian Siriano presented his SS21 collection in his backyard -many designers have foregone the traditional format for something more elevated. In the past year without global fashion weeks and designers deciding to cancel certain seasons, innovation has brought fashion film to the spotlight.

Production of a fashion film is quite different from that of a runway show, both from the designer’s perspective and from the photography & film departments. For starters, a standard runway becomes much more static as models are walking up and down without extra flair. This can be elevated with different runway paths, a beautiful location, and appropriate music, but the base format is usually the same. In contrast, a fashion film allows designers to put a different visionary spin on the way they showcase their collections.

According to Emerging Producer Alessandra Sconza the process behind a fashion film is much different from filming a runway, and she should know as she has filmed for Canadian designers in both settings. Sconza also added that filming a fashion promotional film allows the designer to showcase their garments in a way that runways cannot. She recently worked with a local designer who had already done their product shots, so the focus was more on the movement of the garments to show them in an interesting way. Using key elements including lighting and video editing the team was able to make the production much more interesting and engaging for the audience.

Fashion films give designers a bigger space to be editorial, informative, and plan to fully encompass the inspiration for the collection. In a film she recently shot, Sconza discussed how they were filming in a smaller location with two models and used different coloured lights as well as foam boards to give the effect of the model walking down a hallway. Larger brand names such as Versace, Balenciaga, and Louis Vuitton are able to go bigger with their productions, having managed to incorporate the fundamental elements of a fashion show while adding their own visual elements, turning the videos into more artistic promotions. Versace’s FW21 collection is shot with models walking on a smaller stage designed to resemble their logo, featuring rotating camera angles and cuts of different models sitting in different spaces - something they would not have been able to present with a traditional runway.

Production of a fashion film can also be a completely different experience from the runway as the film style changes. A recent fashion film done by Sconza featured only up to ten people including the filming and photography staff, two models, the designer and hair & makeup artists. Especially with Covid, sets must be more cautious about the amount of people brought on in order to meet government guidelines. In comparison, a film shoot to be shown at New York Fashion Week could have a crew averaging 40-50 people, Sconza says, as larger locations with more models and looks means a larger amount of work to do.

Budgeting for a fashion film is also determined by the size of the project. A larger production for an event like NYFW could cost a designer or their agency up to $50,000, which doesn’t include editing and post production costs. In reality, this can actually be more cost effective than a runway as those can cost up to $100,000 (after the designer covers models, hair & makeup, and their own staff), leaving it easier to secure a spot in the festival itself.

Fashion films are an excellent way for brands to have a base media to break down and redesign for different platforms. Whether the work will be shown on a streaming platform such as YouTube or distributed via shorter preview clips on Instagram, TikTok, or Twitter, the designer has a creative outlet to give each group of their followers a different view of their work while also covering more markets at once. According to Alessandra Sconza, when shooting the fashion film the platform it will be shared on is usually considered. Different platforms require a multitude of elements, and have different post lengths. While a brand could post a video on YouTube that is over an hour long, Instagram and TikTok videos must be cut to under a minute. One major element is the difference in video rotation, so shots for Instagram and TikTok must be captured in a vertical format rather than the usual landscape. Film crew and editors must also pay attention to how the shot is lit and what visual effects are used so that the video translates well onto different sites.

The fashion industry has been able to adapt with the changes in technology and lifestyle and Covid-19 has allowed brands to look beyond traditional methods of communicating with their consumers. Fashion films have given brands a way to freshen up their usual marketing skills and exhibit their ideas in a way that engages customers on a new level. As a society that relies so heavily on technology it is no wonder that industries are taking full advantage of the different medias available to them to reach their global audience. With changing global landscapes social media has been a way for the world to stay connected, informed, and inspired.

A NEWLY AUGMENTED REALITY: The world is living vicariously through their computers and soon enough so will all your favourite fashion brands. As the wonders of 3D body scanning are explored more deeply it becomes apparent that this sort of technology is imperative in fashion, or is it?

The year is 2025, you are trying on a new jacket from your favourite retailer; as you rotate on the spot you find that it’s a perfect fit, and the colour of the nylon contrasts your hair beautifully. *CLICK* “Add to cart”. That was easy, who knew shopping for apparel online could be so hassle-free and quick.

Augmented reality shopping really does sound like the perfect future for us but, we’re not quite there yet. It’s 2021, and although this type of scenario could very well be what we’re headed towards, we’re still a few steps away from being a few steps away before we can harness 3D body scanning technology to build virtual fitting rooms, among other applications.

This is not to say some retailers haven’t become early adopters of the tech. As Dan Norcross a founder of Acustom Apparel a men suiting company based in New York explains “There is value in scanning” and he goes on to explain that the scanning tool is best used in the hands of someone who has experience in the traditional form of tailoring. At Acustom Apparel they utilize a 3D body scan to narrow down the general size of the client. A trained employee of the company is able to take the data from the scan and find the customers appropriate measurements for the desired jacket or suit style. This method is similarly applied in Alton Lane’s store located in New York using the same body scanner machine.

These two New York based brands are just a few of many companies experimenting with the body scanning technology as many other brands look to use different types of scanners to obtain more accurate data. For example, according to an article on the Wall Street Journal Amazon has been conducting a 3D photo scan study of consumers to study how the human body changes shape over time. The e-commerce giant is building a body scanning team that is focused on “statistical 3D models of human bodies” which will have a wide range of commercial applications for Amazon customers. The ultimate goal for Amazon is the same as the made-to-measure retailers mentioned earlier; to create a virtual fitting room so that customers are satisfied with the end product before they physically try it on. For Amazon, a retailer that suffers greatly from the amount of returns generated by ill-fitting clothes, investing in this type of technology is a no-brainer.

With all this upside you would think that this technology would have advanced further since talks first began of virtual fitting rooms in the early 2010s. Yet it seems that the technology still has much more developing to do and along with it a set of draw backs as well. “CEO of Styuk, the leading 3D body scanning technology for fitness and health argues that a 3D scanner is ill placed in a design company because the number of people placed in front of it will never be large enough to justify the collection of such specific data” and yet we see many fashion companies investing in the tech anyway. Their hope is that like many technologies have in the past, that this one will make a large leap forward in the near future.

It’s why we have seen Alton Lane, the New York suiting brand mentioned earlier, has been implementing the technology into daily use. However, despite this the company has had employees report that the body scanner is only sometimes effective and more often than not employees disregard the scanners reading altogether. These type scenarios are common among these New York based brands that have become early adopters of the technology.

Disregarding the technologies technical shortcomings there also is the psychological dilemma caused by implementing such a device into the retail space. “A study written in the ITAA in 2017 about the impact of body scanning technology on body satisfaction, mood, and appearance found that some people feel less satisfied after seeing 3D images of themselves”. These types of 3D results negatively affect their self-esteem and mood rather than offering a relaxing experience for the consumer. “Some researchers from the study argue that this technology can potentially cause consumers to scrutinize themselves and their bodies”. Regardless, for the mass majority of investors it seems the technology is a gateway into the augmented realm that seems to be getting infinitely closer and also a way to take huge steps forward environmentally.

The sustainability mantra has been growing for years in fashion and it’s been regurgitated in every which way to sell this more eco-friendly world to consumers. For once we may have a viable solution to the endless amounts of waste the fashion industry produces every year. If consumers are able to fit into more of the clothes they buy, they will waste less clothing buying sizes that don’t fit. On surface it seems like an incidental problem but the fashion industry generates 5 billion pounds of returned goods a year, which end up in US landfills. Consumers able to find a more accurate fitting online will dramatically decrease the amount of returns, which can be especially effective in this post-pandemic environment where online retailing is king.

In light of all these nuisances with the technology we see companies focusing on the promising applications of this innovation. The ability to have consumers explore collections in their entirety without ever setting foot in the store seems like a very attainable reality in the near future, and brands around the world are intrigued by this possibility. Some companies are doubly hopeful that this technology becomes accurate enough that it will one day enable mass customization of garments. It is clear that 3D body scanning technologies are becoming more apparent in the fashion world, yet there are quite a few hurdles still to be leapt before we reach this augmented reality.

To brand, or not to brand. That is the question.

It’s January of 2020. You’ve been working on your designs, picking out fabrics, and brainstorming ideas for what feels like an eternity. You woke up feeling motivated and determined. Gone are the days of procrastination. Today is the day that you are finally going to launch your brand. With a fresh pot of coffee brewing, and your laptop on full charge, you’re all geared up to get started. But, wait. HEADLINE: “First positive case of the COVID-19 virus found in Toronto”. Well hold on just a moment. You’ve been delaying this forever. You were finally ready to get started. Today was supposed to be the first day of the rest of your life. What’s going to happen to the city? How long is this going to last? What about the brand? Maybe it’s time to get back in some comfy PJs and check out what’s new on Netflix. These are just some of the wild thoughts that have gone through the heads of many young designers eager to get their foot in the door. This includes up-and-coming Toronto designer, Kyler Lauzon, who I had the pleasure of interviewing earlier this week.

Born in Waterloo, Ontario, 23-year-old Kyler has always had a passion for clothing, teaching himself to sew at the age of 14. “When I was younger, I found I really wasn’t able to afford the brands that I thought were cool,” he began, “so, one day I decided I was going to teach myself how to sew, and just make my own designs.” Kyler’s designs are best described as elevated basics, featuring unique patterns that bring a different take to the classic jeans-and-a-hoodie look. From his innovative use of different materials, to his use of detachable elements in his garments, Kyler is bringing something fresh and exciting to the industry. “In a way, I sort of see myself as my most important customer”, he stated. “Instead of focusing on what is trendy or what might generate the most sales, I simply try to focus on the things that I’m truly excited about and want to wear myself.” Kyler has recently launched the website for his brand KYISSORRY, and dropped his first official line of hoodies, which sold out within the first couple days. He has also had one of his designs purchased by Los Angeles brand Renowned, which is currently being sold at high-end retailer, Nordstrom. And believe it or not, Kyler is one of our very own, currently enrolled in George Brown’s Fashion Design and Techniques program.

I couldn’t help but wonder how he has managed these huge leaps in his career, during a time where many business seem to be struggling to survive. In January of this year, a report on business openings and closings was released by Statistics Canada estimating 25,614 have closed since February, assumingly due to the current pandemic. As we discussed his recent success, Kyler seemed acutely aware of this, stating “as the world has basically been on pause for the last year or so, it’s been tough financially on everyone. I wasn’t even able to work for half 2020.” But, instead of focusing on what he couldn’t control, Kyler decided to try and make the best of it. He took this newfound extra time and the possibly-unwanted lack of distractions to focus on his craft. “In some sense, it gave me the time to take a step back, focus on what exactly I want to do with my brand, develop my skills, and experiment more outside the box, without having this sense of urgency to create and release new garments.”

With many brands having a hard time during this pandemic, while others like KYISSORRY seem to be taking off, we’re faced with the question: Is now a bad time to start a fashion brand? According to Kyler, it’s all about what motivates you. “If you’re doing it for the wrong reasons, now may be one of the worst times to start a brand,” he speculated, “because I really think becoming truly successful within the fashion industry takes years. If you’re just looking for quick income, it’s most likely not going to work out.” Kyler advises new designers to have patience and to use being stuck at home to their advantage. “We are all adjusting to a new normal life, with a lot more time on our hands,” he said, “so use this a chance to reflect. Take a step back, figure out why you want to create a brand, what it’s going to look like, and more importantly, what it’s going to stand for.”

Fashion Relandscaping: Did the fashion Industry get some needed self-care?

Let me just start by stressing that the year of 2020 was probably the most traumatic year that we will experience in our hopefully long and youthful-looking lives! With Covid-19 constantly there to remind us of our mere humanity even though we have built this idea of invincibility in the millennial era, last year was a rude awakening and hopefully a learning lesson. It’s important that as the world recovers and rebuilds we don’t revert to old ways; not to forget we’re human, not to forget others are human and not to text your ex, again. As many of us reflected, healed, learned, unlearnt and worked on us during this lockdown/quarantine/stay at home order/ who knows? The fashion industry had a similar experience.

Industry Crash?

Generally, if you ask anyone how many fashion seasons there are, they'll give you the usual 4: Spring, Summer Fall and Winter. But if you got that one a Fashion business quiz that answer would land a perfectly drawn “0”. That’s because, in the world of fashion retail, there’s a new “season”, launch, drop, installation, offering, whatever the company calls it, being introduced on a two-week average. Most time your store has the product all at the same time but it’s just locked away until its time for their “new” launch. Now while this might seem genius form a business standpoint and quite frankly that’s the only reason it’s done, it forced the entire industry to an unbelievably fast-paced race! It’s like you’ve been training for a 5k marathon for a few years then the day comes, and they changed to a 100m sprint. Yes, the concept of “fast fashion” wasn’t because of your next day shipping option. The sad reality of things was that before Covid the industry seemed to be picking up speed, it was like a meteor heading for earth and I’m not sure if it would have burned out before impact. This fast-fashion culture made the focus on one thing. More, More, More! Now that you have the black peacoat with the gold Versace-est buttons and the black one with the faux fur trim and the black causal one that a little shorter, you find yourself wearing none of them because the fabric is so uncomfortable that $500 later you’ve learnt that not all wool lends are good wool blends. Even before Covid reach our shores it had already taken a swing at us, you can say the first punch it landed was when retailers couldn’t get supplies or products. And with a product shortage, the consumer hype gradually had to slow down. Ironically when the lockdown first happened there was a boom in the online orders that almost seemed to reassure brands that they’ll be better than fine but as lockdown got longer and chequebooks got smaller, returns became oh too familiar so a drop in figures wasn't even peculiar. Dam, read that line again I think I might be a poet, watch out Lauryn Hill. With brands having a “surplus” of product and not sure where and when the next ones will come brands started to focus on what they had and by focus, I mean focus on getting rid of it. On the consumer end, we got to load of time at home and if you’re like me, in your closet and probably foundyourself saying “Why do I have so many…?” or “do I even like this …?” There was defiantly a shift in consuming fashion since lockdown, many would say a healthier one.

The Underdog

While big brands struggled and ultimately suffered as a result to adjust to the new normal, I think it’s safe to call it that, smaller brands were able to pivot quickly and quite agilely. It’s probably muscle memory from jumping through hurdles and knocking down barriers as most small upcoming brands usually must do in this fashion game. Woah, I’m really on an athletic roll here huh. Now, this certainly doesn’t mean that small fashion brands didn’t suffer as many entrepreneurs found themselves without jobs and companies. ultimately brands that accepted the fact that Miss Rona was here and while it might be a toxic relationship she’s somewhat of a ride or die. Naturally, it makes sense that the fewer signatures or approvals needed the quicker decisions can be made and implemented especially seeing that most small business production is either done in house or locally. In Toronto, we saw small companies switch their product to that of masks and face covers that fit their company’s aesthetic and offered more lounge-like options of their designs where possible. In the U.S. the brand Henry by RichFresh has had unimaginable success which still sells out one year later and has over 30 thousand followers. Smaller brands really took this opportunity to engage and show their customers that they care about them not trying to conquer the entire market but their customers hearts. Now given a chance to breathe instead of chasing deadlines, something we all can relate to, Right? We got channelled creativity, Hanifa’s Pink Label Congo was a prime example with her all too real 3D fashion show; and while Forbes tried a Miss Universe crown switch on us, because of how in tune with her community she is, that was quickly corrected.

Who’s having that conversation?

Now, these conversations were happening long before Covid-19 but what it did allow was the time for many of us to analyze the fashion industry around us and what roles we play and if they align with the best selves that we are all trying to reach. Out of these summits, Instagram lives, Zoom conferences and Clubhouse rooms came amazing initiatives, with a slowing to the fashion industry being one. Even persons that jet set from one fashion week to the next welcomed this. Now, will the “big boys” follow suit once the world is back to “normal” is the question, but one thing is for sure is that there's a large part of the fashion industry that is tired of running races and won't be reverted to that fast life as well as many customers especially as they continue to become more concern as to where their money is spent. Another great initiative off these conversations especially in 2020 was a great regard for accountability, diversity and access and the need for work cultures and environments to change. One thing is for sure that as new fashion students graduating and setting off on their own race, they will more incline to enjoy the run or jog this time