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Individual presentation on Southbank

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Mood Board and Colour board for micro skirt trend

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-Subcultures or Micro trends (this section was a collaborative reflection)

Generally speaking yes, social media causes these subcultures to become mainstream and followed by the masses, which later on is monetised by brands (creates profit) Concern of social media/influencers who claim the creation of certain trends/subcultures, but they have already been trickled into the mainstream (causes appropriation). No much time for subcultures to develop, its more the aesthetic that is picked out and not so much the lifestyle/belief. K-Pop and Maximalism are two subcultures that are up and coming (obsolete?). Some subcultures like punk/emo are ubiquitous (depends on the country, and where within the country).

-Influence of Gen Z

The influence of Gen Z defiantly has an impact on micro-trends and subcultures. The impact is tied along with the use of social media. Youth culture in history has always had an impact on fashion, trickling up to high street brands and later luxury/runway brands.

-Death of y2k or not?

In my opinion, the current y2k trend is just a mixture of some early 200’s trend, and current (micro) trends. I honestly don’t think we can define even call the y2k trend a trend, as there isn’t a defined style/items of clothing/aim in wearing these clothes, overall their is not point, no substance in this current trend. There is also a certain nostalgic aspect, probably due to the fact that Gen Z has been faced like many issues which deeply question our future (Pandemic, Climate Change, War), making us look back in the past as a mean of comfort.

-How have subcultures influence you?

I think I have had quite a negative view of current sub-cultures, as social media always spins it out of control (brands try to monetise and diffuse certain products to the masses), many sub-cultures are not clearly defined, and many come in and out of style very quickly. Thus, I have never really related to subcultures as our current one lack in narrative, and in the way they are portrayed to us/around us.

-Product examples / Fashion Style

The Miu-Miu Micro skirt has had a big presence on social media over the last few months. First worn on the runway, the skirt has trickled down to high street stores, with brands like H&M and Bershka making dupes, and allowing the masses to have access to this trend. This skirt started out a the micro-skirt trend that is still ongoing.

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A Mood board is based on what makes up my identity in terms of growing up, my past experiences, and the people I've met who have made me the person I am today.

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Individual presentation on Battersea Power Station

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Individual formative presentation reflecting on identity

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BOF Article: Fashion’s Climate Challenge: From Marketing to Risk Mitigation

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BOF Article: Fashion’s Climate Challenge: From Marketing to Risk Mitigation

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The article, "Fashion’s Climate Challenge: From Marketing to Risk Mitigation," published in Business of Fashion, discusses the impacts of rapid climate change on the fashion industry. The article begins with a headline made by the UN earlier this week, stating that at this stage there is, "no credible pathway,’ to avoid irreversible climate change. If the world continues as it is, we are set to increase by a full degree at the end of the century, where the target goal was 1.5 degrees Celsius above pre-industrial levels. Throughout the article, there is a warning that fashion brands can no longer use this as a marketing opportunity, such as recently SheIn implemented a return and re-sell option, where consumers can re-sell their SheIn products back on their website to other consumers. H&M has also faced a lot of controversy regarding 'greenwashing' claims, where some of their garments were said to be made from 75% recycled material (already an odd statistic), which turned out to be a lie.

Many fast fashion and high street brands have proven to take advantage of climate change as a marketing opportunity, instead of tackling the problem head-on, these brands have managed to monetise the issue, instead of making compromises on their side. It’s not to say that some brands aren’t making a conscious effort to be more green, take Connor Ives, a luxury independent brand that transforms vintage t-shirts into new garments, or Marine Serre who uses upcycled materials to create her garments, but there is still no proof of reduction in packaging or greenhouse eggs emissions. From these two examples. The common thread is that they are luxury brands, they take more time to create their garments, and there is a big push for craftsmanship, so it makes sense that they charge more for their pieces. This raises the question, does this mean that sustainability is discriminative towards those who can’t afford it? If only luxury brands are taking the time to review their product life cycle and not high street brands then realistically, how tangible is it to say that sustainability is accessible? This is a global issue, so when are high street brands going to take advantage of the fact that there is a larger target market in the high street than luxury, and start to review and change their product life cycle? The World Economic Forum came out with several articles on this issue, stating that not only high street but also luxury brands would have to drastically change their tactics. They said to build a better future, fashion shows would have to decrease her year, meaning fewer fashion weeks. Also the colours we use per season would have to drop (or stick to three maximum).

Generally speaking, brands are going to have to slow down in their process, making sure that they source their resources sustainably, and making sure that they are producing less per season. Consumers are also responsible, and are going to have to consider which brands they deem sustainable carefully or not (transparency from brands on their processes is also crucial for this to happen), or buy from second-hand stores, and as ourselves when is the breaking point, and better so how can we avoid it?

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In 2015, world leaders agreed to try and cap global warming at a level that scientists believe could stave off the worst effects of climate change. In the intervening seven years, the fashion industry has treated the issue more as a marketing opportunity than a real business risk.

As the UN warned this week that countries have still set "no credible pathway" to avoid catastrophic climate breakdown, it's increasingly clear that the consequences of that inaction will have very tangible consequences for business.

The world is on track to be a full degree warmer by the end of the century than the target of 1.5 degrees Celsius above pre-industrial levels, according to a grim report published by the United Nations Environmental Programme Thursday (one of several released this week with similar warnings). Even incremental increases drastically worsen the prospect of life-threatening weather extremes.

The findings set the stage for the UN's annual Conference of Parties, or COP, climate summit, due to kick off on Nov. 6 in Sharm El-Sheikh, Egypt. The two-week long gathering is typically a staging ground for splashy corporate climate pledges. But consumer-friendly marketing messages (fashion's default) are not going to help companies survive a climate crisis. Some changes are already irreversible, even if drastic action is taken to slow rising temperatures.

"We had our chance to make incremental changes, but that time is over," said UNEP executive director Inger Andersen.

Extreme weather linked to global warming is already making fashion's supply chain challenges worse. This summer, devastating floods in Pakistan, drought in Brazil and the US and rainfall and pests in India hit cotton crops in four out of the world's five largest producers.

Rising sea levels are expected to threaten thousands of garment factories in the coming years and drought linked to rising temperatures pose an ongoing threat to raw material crops, according to a working paper published last year by Cornell University's New Conversations Project in the School of Industrial and Labour Relations.

Volatility and uncertainty associated with climate disruption creates a cloudy picture for long-term consumer demand.

Addressing these challenges requires industry-wide transformation that shifts supply chains to renewable energy, sourcing to regenerative practices and design to enable recycling. Infrastructure investment is needed to safeguard manufacturing communities particularly vulnerable to climate change and build out new supply chains that can support circular systems.

Tracking and managing companies' exposure to climate needs requires investment in people and processes and should be part of board-level strategic discussions.

Interest in projects that could shore up brands' climate resilience is gaining ground, with companies feeling out regenerative agriculture and infrastructure projects. But investment isn't happening at nearly the pace or scale required, said Cliodhnagh Conlon, associate director at consultancy Business for Social Responsibility.

"Honestly, the best time to be investing in [resilience] is yesterday," she said.
For more BoF sustainability coverage, sign up now for our Weekly Sustainability Briefing by Sarah Kent.

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Fashion's Climate Challenge: From Marketing to Risk Mitigation

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As the UN warns the world is on track for dangerous levels of warming, companies must treat climate change as a real business risk, not just a marketing opportunity.

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Personal Research on Marylebone High Street

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Personal Research on Marylebone High Street

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Notes:
-Documentary on the social, economic and political side of the company
-Motive to 'expose' the brands on the basis of exploitation of workers, disposal of garments, and the marketing behind the brand
-Workers in factories do not have a minimum wage, the wage is based on the fact that you make 500 garments a day (that's the only way you can gain commission). Workers also only have a day a month off, and often work relentlessly (only a few hours of sleep a day).
-Use of micro-influencers to promote the brand. They get sent massive packets from the brand and then post about them on their platforms. The goal is the get recognition on social media platforms. Influencers often lie and the quality of the product, as they do not want to break brand loyalty.
-Products are not designed with a cradle-to-cradle approach they create with a cradle-to-grave system (products are disregarded after one use and end up in landfills).

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Help! My Home Is Disgusting: UNTOLD

Inside the Shein Machine: UNTOLD

Cheat Detectives: The Loyalty Test: UNTOLD

Gay Under the Taliban: UNTOLD

Help! My Home Is Disgusting: UNTOLD

Inside the Shein Machine: UNTOLD

Cheat Detectives: The Loyalty Test: UNTOLD

Gay Under the Taliban: UNTOLD

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Online Habits Killing the Planet: Dispatches

The Truth About Your Coffee: Dispatches

The High Street Cash Crisis: Dispatches

Joe Lycett vs the Oil Giant

Brexit & Your Shrinking Shop: Dispatches

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Help! My Home Is Disgusting: UNTOLD Inside the Shein Machine: UNTOLD Cheat Detectives: The Loyalty Test: UNTOLD Gay Under the Taliban: UNTOLD Help!

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Marylebone High Street Group Presentation

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Marylebone High Street Group Presentation

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A group presentation was created on primary and secondary research on Marylebone High Street. Sections include Architecture, Facades, Economics, People, Stores, Lifestyle, Celebrity Visitors, and Services.

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An exhibition shown at TATE Modern on the Czech artist. Her work deals mainly with the relationship between people, nature, matter and form. She has developed an innovative way to create forms, mainly through her use of manipulating plaster. In some of her pieces, she took balloons, and either filled them or covered them in plaster, then popped them (whilst the plaster was dry or wet depending on her narrative) to create very intricate forms. Although her work doesn't deal with fashion directly, it deals with similar narratives such as shape and form.