Месяц: Сентябрь 2020

The COVID-19 pandemic forced the industry to reflect on what needs to change, and the Black Lives Matter movement only intensified that urgency. We spoke to designers, activists, models, and sustainability pioneers about finding a path forward that respects the planet and ensures inclusion for all.

What Industry Insiders Think

During the height of the pandemic, one of fashion’s foremost eco-warriors found ample reason to be hopeful for the future. As part of ELLE’s look at the future of fashion, Stella McCartney shared why she continues to raise the bar and why sustainability cannot exist without solidarity.

You’ve been a champion of sustainable design from your brand’s inception, but you’re also a luxury brand. Have your ideas about the latter category changed at all during this period?

From day one of my brand, almost 20 years ago, I always knew that if I was going to start this company the only way to do so was if I stayed true to my beliefs. It was important to me to stay informed and make conscious and responsible decisions for both animals and our planet. From the beginning, I never worked with leather, feathers, or furs. There have been many challenges along the way and I know we’re not perfect, we are always striving to do better, but I am proud of being able to show that you can create luxury fashion and desirable accessories in a way that is better for the planet and better for the animals without sacrificing style for sustainability. Innovation is at the core of what we do here. In 2010 we stopped using PVC which is by far the most toxic of all plastics. In 2016 we hit two milestones: we stopped using virgin cashmere and introduced sustainable viscose. Virgin cashmere has about 7 times lower impact than virgin cashmere. Viscose comes from trees, and our sustainable viscose ensures that no deforestation occurs. We are able to map the journey of our ready to wear collections viscose back to its roots in sustainable managed certified forests in Sweden. As part of the autumn 2020 collection, we started using KOBA, which is a new fur-free-fur that is made from plant pulp and recycled polyester and uses around 30% less energy and 63% less carbon emissions. These are just a few of the things we’ve done that I am most proud of which define the modernity of the brand and continue to challenge me.

If anything, this period has only strengthened my belief in the way we work at Stella McCartney and will also push us to challenge ourselves more. We were already working with leftover fabrics from previous seasons for the spring collection when the crisis hit. I already was trying to think differently because I am keen to reduce our impact, our footprint and continue to develop our sustainable practices across all aspects of the business. I hope that this crisis will help my peers in our industry and others see that doing business in this way has its advantages.

Do you foresee the current climate as a period that will help or hinder the sustainability movement? In what ways?

I am always hopeful, I really hope that coming out of the pandemic will bring us all a sense of values. In fashion, sustainability should be a strong focus. Fashion is one of the most polluting industries in the world. For the first time in history during this pandemic we can really measure the damage done by human activity. The equivalent of one garbage truck of textiles is burned or sent to a landfill every second, we can’t sit by and let this continue. I really hope this moment in time causes a turning point. I am realistic, and I know these changes won’t come overnight, I am happy with any slight shifts. I think we would all be doing ourselves a disservice if we don’t come out of this with a conscious outcome. We must stop and consider the waste. We should buy less and buy better. The change is not only going to come from us as an industry but also in consumer behavior–it can be our gift to the planet.

You have a long-running partnership with Adidas. People are certainly embracing comfort more than ever while isolating at home. Do you foresee this trend influencing your main line?

I started the Adidas collaboration in 2004 because I wanted to change what I saw out there. Sports performance clothing for women wasn’t a subject that was really addressed by fashion–there wasn’t much variation in design and I saw that moment as a good opportunity to offer women something they could work out in while feeling great about how they looked. Now sportswear has become a lifestyle choice for women everywhere and is more important than ever. There has always been some connection between my collections with the colors and prints and comfort. With the Adidas collection we are also mindful of making sure the fabrics are made in a sustainable and ethical way, we keep our brand ethos at the forefront while trying to push every angle with technology, manufacturing, and the fashion to try and be as forward-thinking as possible.

The fashion world is coming to realize that operating a truly sustainable business goes far beyond raw materials and includes embracing diverse perspectives. Thoughts?

We cannot have sustainability without solidarity. We can have a positive impact on people and on the planet. It is our responsibility to use our platform to make a difference and we are taking actions to make diversity our reality. This is a turning point. We are seeing there is hope and what we can accomplish when we rise up together.

This interview has been edited and condensed for clarity.

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For Dior’s artistic director Maria Grazia Chiuri, the lockdown was a time for reflection on everything from sustainability to the renewed importance of craft (something she showcased in the house’s artisan-centric cruise show in July.) As part of ELLE’s examination of the future of fashion, the designer shared her thoughts on the «shameful wastefulness» she thinks the industry needs to leave behind in this new era.

The conversation around fashion pre-COVID was focused on making the industry more sustainable, both environmentally and in terms of pace. Do you think the current crisis has accelerated those conversations? Do you think it will ultimately push the industry in a more sustainable direction?

I think so and I hope so. This health crisis has forced us to confront several limitations of the production model that we work within–limitations linked to environmental but also human sustainability. We all found ourselves with a lot of time on our hands to think, which is something that was sorely lacking in our lives before. Time to think about what we do, how we do it, and what price we pay for our working arrangements, both in material terms but also related to creativity. Fortunately, this quickly led to a heightened awareness of the critical issues we are faced with.

How are the current limitations forcing everyone to be more creative? Have you been reimagining the way you do things?

I’m not sure we can talk about “more” or “less” creativity. Creativity is not a quantity that increases or decreases; it’s a strange animal. It develops in ways that escape all rationale. As with instinct, creativity is surely influenced by whatever is going on around us. Recent changes in our routines have had an effect on how we approach our projects, and also on the issues that we are drawn to the most, the issues that incite us to produce something that is culturally relevant and responds to current needs. This is reflected in how we work in teams, how debates take place and ideas are exchanged, which naturally leads to how these ideas are translated into material objects. It’s a new normal, but it’s great to be back together to look for solutions for working together, with such enthusiasm and good will.

This period has given everyone time to reflect—what have you learned over the last few months that will influence your work (or that you feel will influence the industry) going forward? Do think there will be a renewed appreciation for craft/quality?

It’s difficult to make predictions; we don’t yet have enough hindsight to assess things critically. What we can do is rise to the occasion, take up the current challenge, and work within the guidelines designed to safeguard our health. I really hope that the attention to quality and the return to delighting in details, in craftsmanship, in the beauty of objects in general–aesthetic and in production–will be the long-term silver lining of the months of solitude and reflection we have just experienced.

How do you think fashion shows and fashion weeks could change? Are there other traditional ways of operating that you think will change? What do you envision taking their place? How can fashion transform and become a stronger industry?

There is no doubt that many things will change, especially how people and things get around, and how often we are asked to show our work. At least for now. But slowing down right now does not mean denying the value of fashion, nor does it mean missing out on anything. That goes for clothes and objects in general, but also for their corollaries like fashion shows, presentations, editorials and exhibitions that go hand in hand with fashion. A more mindful relationship with time and a more direct connection with what people want and need: that’s what it will take for the fashion industry to keep its relevance in society and consolidate its role as a touchstone of contemporary culture.

What do you want to take away from this time, and what do you want to leave behind in the pre-COVID era?

Shameful wastefulness. Political claims that become a mere PR act. Abstentionism and turning a blind eye to the problems we face today.

A lot has been said about what people are wearing at home, but what overall changes have you noticed in how people are dressing? Do you foresee a point when the pendulum will shift and people will be excited to dress up again?

History has taught us that people’s tastes fluctuate with time, depending on what is happening in the world. And these fluctuations occur more as “reactions” to the status quo than as a natural progression. That is why, yes, I expect–and even hope a little–that we will quickly go back to expressing joy and enthusiasm through fashion choices that are daring and mindful. A celebration of joy in seeing, ultimately, the full picture of oneself.

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After a breakneck couple of years, Brandon Maxwell has learned the value of slowing down. The 2019 CFDA Womenswear Designer of the Year award winner and Project Runway judge spent the height of the pandemic at his Brooklyn home and studio, where he rediscovered his love of the design process. As part of ELLE’s look at the future of fashion, he talked about the perks of pulling yourself together for Zoom and why it’s OK to take it easy sometimes in the name of self-care.

I’m curious to hear how you’re approaching your next collection, as there have been so many conflicting opinions on how to approach Fashion Week.

So I can’t really speak for the industry as a whole. I can only really speak for myself personally, obviously, but one thing that I’ve done—and I don’t know that this is the appropriate word—but the gift I’ve given myself during this time is to not push myself to do anything. This is a mentally challenging time for everyone, and I want to be kind to myself and also to give myself the time to process how I want my work and story to be.

Have you felt the urge to design during this period?

In the interest of being 100% honest, I have a studio in my house and I’ve made some clothes. But I wouldn’t say that I’ve overly challenged myself to understand what that will look like come September.

Safety is really important for me personally and so until I really know what that looks like, I’m not challenging myself to come to a conclusion. One thing we have been doing is focusing on pre-existing collections that were already in the works or rolling out limited products that feel timely, not necessarily full collections.

How do you feel about the possibility of not staging a big show come fall?

If you look at the experience of my show, it’s so personal and it’s definitely about the human interaction. There’s lots of of yelling and clapping and screaming but even pre- this moment I’ve been feeling like a need to return to a more intimate format.

My very first show was very small, uptown, and it remains such a special memory for me because it was filled with people I really knew and had personal relationships with. I’m hopeful that we will find a way to strike that balance going forward, whatever that means.

What lessons have you learned since March?

That you have to stay fluid and nimble and change with the times, so we try to focus on doing that as best we can.

Do you think when this is over, people will be excited about getting dressed again?

I would say that I have already had a point personally when I’m dressing up again, just for myself at home. I’m naturally someone who’s always in Nike wind shorts and a T-shirt, but this period has been a whole other level of dressing down. I’ve just noticed in my own disposition whenever I do make an effort to get ready or schedule a Zoom cocktail with friends, it’s less about the item and more about giving yourself the gift of feeling good. And I don’t think that will go away.

Are you optimistic about the future of the industry?

I’m not quite as pessimistic about the future of fashion as others maybe are. Speaking for my customers, they are purchasing items to dress up right now even if it’s just in their own backyard. Technology is now such an incredible asset to designers, and I see that more and more while engaging with design students. It opens the door for new ideas and new people. I think that’s something we need to and brave and joyful about, in the midst of so much sadness. I’m really hopeful that this experience has highlighted how connected we all are, and maybe weren’t aware that we were.

This interview has been edited and condensed for clarity.

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Indya Moore has been getting creative. The model and Pose star has been turning laundry bins, chairs, and pieces of Styrofoam into makeshift camera stands to shoot socially distanced campaigns. Moore is just one of many models who’ve become their own photographer, stylist, and/or glam team during the lockdown. Moore has enjoyed the creative freedom, but has also felt sudden pressure to present a backdrop that’s on-brand, stressing about not being “in an aesthetically fashionable quarantine space.”

It’s easy to romanticize modeling as a career, but many models are living paycheck to paycheck, just like any other gig workers. Sara Ziff, founder and executive director of the Model Alliance, is helping guide them through these strange times, whether that’s making sure they’re receiving adequate compensation for the many new skills they’ve been required to master, or helping them file for unemployment. A survey the group conducted with Cornell’s Worker Institute earlier this year found major financial gaps between respondents of color and their white peers. “Black respondents, in particular, were far more likely to say that they wouldn’t be able to cover their basic needs without [new] income,” Ziff says.

The question of inclusion also looms with regard to runway shows and photo shoots, whenever those return in their non-socially-distant form. It’s just as crucial for those working behind the camera as it is for those in front of it, says Ivan Bart, president of IMG Models & Fashion. “When a model is on set, I think it’s important for them to see people with shared experiences, to see themselves. Our part is to sign Black talent, [promote] visibility, and absolutely focus on equity in pay.”

Says Moore: “I hope that fashion designers and creators are taking the time right now to learn about real folks’ circumstances, so they understand why it’s so important to represent these people on their runways and in their brands. Fashion can change in so many ways, but one way that it hasn’t changed is in its representation; it’s always one or two Black people. Not seeing myself on a runway for so many years, not seeing myself in media, not seeing myself anywhere? It really makes you question your self-worth.”

This article appears in the September 2020 issue of ELLE.

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This summer, when I spoke with Fernando Garcia and Laura Kim, who are co-creative directors of both Oscar de la Renta and Monse, they said the pace of running two brands meant that working remotely had already become a way of life for them. As Garcia put it, the two “are on our phones no matter what.” But self-isolation has also caused them to re-think some of their usual practices, from sustainability to how they approach their signature eveningwear. Below, as part of ELLE’s look at the future of fashion, they share their thoughts on charting a new way forward.

Do you think this is moment going to push the industry in a better direction, whether it is being more sustainable, changing the way we produce collections, or pushing the industry to be more accountable in terms of including people of color?

Kim: We have been talking to a lot of retailers and designer friends who [split] collections into multiple deliveries. I’ve been talking to Gabriela Hearst a lot…She taught me a lot of things. For both brands, we are trying to use a lot of fabrics that is already existing instead of creating new fabric. Instead of getting it from scratch.

Garcia: It pushes you, creatively, to be sustainable. I think on the diversity front, it always has been a part of Laura’s and my mission, but there is a lot more to learn and take away from it. And we are going to strive to do that.

Kim: I mean if you look at the shows, we are always very diverse in casting.

Garcia: We just have to continue it and further it.

The current limitations are forcing everyone to be creative. How have you been reimagining the ways that you do things?

Garcia: We believe in the value of embroidery. That’s something that is part of the DNA of a brand, and that’s part of what our customers expect. But given the current climate, we have to come up with ways to perhaps manipulate fabric to get that impact, that texture, that our collections have always had. That’s something that we are trying to become more innovative and creative about.

Kim: I’m trying to produce as much as I can in New York. We’re going to save on our carbon footprint.

Are there things that you’ve learned over the past few months that have influenced your work or you feel will influence the industry going forward? What you think we will see in terms of what customers want and how their approach to fashion will change?

Kim: I think for next year, the customers, even Oscar customers, are going to look for something cheaper, but we have to make sure we are true to our brand, what we show, and not sacrifice the quality.

Garcia: To piggyback on what Laura is saying, everybody should focus on who they are as a brand because of the frugality that our customers are going to have now. They’re going to want something that looks quintessential Oscar and quintessential Monse, to feel like they got their money’s worth.

Do you think there will be a point where the pendulum will shift and people will say: “I’ve been in sweatpants for three months and I want to dress up again?” When these events obviously aren’t taking place, how does eveningwear evolve?

Kim: I think there’s going to be a lot more of small gatherings of friends. We’ve been trying to see what’s a home entertainment look that’s not too casual but not too fancy. That’s where our minds are at.

Do you have any thoughts on how fashion shows and fashion weeks will change? Are there other, more innovative ways to show that you think might replace what we’ve been doing?

Garcia: I think every brand, given the current climate, needs to do exactly what feels right for them. There’s no «right» answer that is universal for everybody.

You were working in fashion during the 2008 recession. Are there lessons you took away during that time with how to deal with challenges? Do you think there are any similarities between the two eras, and what lessons did you take away from them that you are using now?

Kim: 2008, what came out of it was contemporary brands. It was a new price point that was missing in the market. I think even now, after all this craziness, whoever stays focused and looks at the market and realizes what’s lacking and goes for it, that’s the one brand that’s going to survive instead of keeping everything the same. I think we have to be very aware of customers’ needs and what’s lacking and go from there.

What do you want to take away from this time and what do you want to leave behind in the pre-COVID era?

Kim: It really gave me time to think through what we are doing and really focus on what we’ve loved to do. I think creative people should push what they are good at, what they love to do. That’s when you get the best work.

Garcia: We get pulled in a lot of different directions, especially when you’re running two brands, but this definitely forced all of us, everyone on the team, to slow down and think about what is necessary and what is important to continue and move forward.

Kim: And there is material sustainability [as well as environmental sustainability.] My team, their energy can’t sustain [a frenetic] workload, so I think it’s about really focusing on what we love to do and what’s right for the brand.

Garcia: I’ve seen when other brands have a product sitting in the store that looks like you’ve designed it when you are exhausted. It’s possible a customer knows when you’ve created something that is truly original and excited with a smile on your face. You can feel the energy in the clothes when they were designed with proper amount of time. I think this is possibly a good outcome from this crazy situation we are in.

This interview has been edited and condensed for clarity.

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