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As I'm working as a fashion designer, I experienced and saw so many problems in the fashion industry both in China and United States. In New York, the people working in the garment distract made NYFW one of the most important events throughout fashion history, but their working environment and treatment was not as bright as the shows. At the same time, in China I found the treatment of working class people in the fashion industry are suffering from how to survive without correct system.

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Nov. 11th 1st Consultancy with Dr. Lezley

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Nov. 11th 1st Consultancy with Dr. Lezley

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Our work can be progressive.

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My Main Focus:
Humanism & People;
Respect Understanding and Caring.
Topics:
1. Nationalism in Fashion
2. Toxic Working Environment
3. Practice Existentialism in Fashion
4. How to help young designers and   working class in the industry

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TO DO LIST:
1. Figure out our team members' responsibilities.
2. Read through the brief
3. Think about the end - product?
(ex. web based commerce and magazine)
4. Layout our 1st pitch
5. Research - Update Molly's Padlet

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This Padlet shows the development of our ideas, and how we narrow it down to our final pitch.

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We were focusing on the treatment of working class people and biases in the fashion content.
Here are some main subjects we were looking at. (In our shared padlet page, there is more detailed developing process.)

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Front cover for Chavs: The Demonisation of the Working Class by Owen Jones

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Front cover for Chavs: The Demonisation of the Working Class by Owen Jones

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About brands not paying garment workers due to pandemic

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About brands not paying garment workers due to pandemic

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A man wearing a protective mask passes in front of a closed fashion shop, Friday, March 20, 2020.
NurPhoto via Getty Images

A humanitarian crisis is unfolding in Bangladesh, with the fate of 4.1 million garment workers in the hands of western fashion brands, who have reportedly cancelled over $2.8 billion in orders as the COVID-19 crisis escalates. The novel coronavirus pandemic has led to worldwide store closures and now many brands are refusing to accept completed garment orders, which they would no doubt struggle to sell during the current global lockdowns. According to the Bangladesh Garment Manufacturers and Exporters Association ( BGMEA) president, Rubana Huq, many garment factories in Bangladesh have received impersonal corporate emails from brands cancelling garment orders, and have subsequently ceased communication with factories altogether.

A survey of 319 garment factory owners in Bangladesh conducted by the Center for Global Workers' Rights between March 21 and 25, revealed that when cancelling orders, over 72% of buyers refused to pay for raw materials (fabric, etc.) already purchased by the supplier. Over 91% of buyers refused to pay for the cut make-trim cost (production cost) of the supplier. "As a result of order cancellations and lack of payment, 58% of factories surveyed report having to shut down most or all of their operations."

The survey also revealed that "At least 1.2 million workers had already been impacted by the order cancellations. For suppliers who abruptly lost buyer contracts without compensation, "72.4% said they were unable to provide their workers with some income when furloughed (sent home temporarily), and 80.4% said they were unable to provide severance pay when order cancellations resulted in worker dismissals."

Bangladeshi worker at a garment factory in Gazipur, Dhaka, Bangladesh, March 6, 2020.
NurPhoto via Getty Images

The Center for Global Workers' Rights concluded that:

The responsible approach is for brands and retailers to find ways to access lines of credits or other forms of government support to cover their obligations to supplier factories so that they can cover their expenses and pay their workers, in order to avoid sending millions of workers home with no ability to put food on the table, let alone cover medical expenses.

The Center for Global Workers' Rights

Rubana Huq, a garment factory owner herself, has issued a formidable video and written appeal to fashion brands to honour their agreement with garment factories. Brands working with factories in Bangladesh include H&M, Bestseller, Adidas, C&A, Marks and Spencer, Target and PVH Corp (which owns Tommy Hilfiger and Calvin Klein), among others. PVH Corp's 2019 factory list on their website includes 49 partners in Bangladesh, along with their supplier declaration: "At PVH, we believe corporate responsibility helps to strengthen our organization by managing risk, maximizing efficiency, and driving value in a rapidly changing world. This is especially clear in our relationships with suppliers. Building stable, long-term supplier relationships increases accountability and efficiency in our supply chain." Just before this article was published, I received confirmation that PVH is committed to fulfilling their order obligations, under revised terms.

Bangladeshi peoples gathered to collect electric recharge cards in Dhaka following the authorities ... [+]
NurPhoto via Getty Images

Huq is asking brands to accept the goods that are ready to be shipped and pay the full cost (under flexible terms) or at least compensate factories for sunk costs of any in-process manufacturing. Flexible storage and deferred payment options are fully negotiable, she explained. "We are not begging," said Huq. She went on to say she is simply asking brands to pledge to uphold their agreements with factories. "Without the brands giving this pledge we cannot survive," she said.

We want (brands) to take what's ready, what's been promised and ensure that at least the salary payment for our workers for the next three months is there - in the absence of the export documents we can't do anything.

Rubana Huq, President, BGMEA

Crucially, manufacturers are able to access lines of credit from banks to pay overheads and garment workers if they are in possession of either export documents (which many brands are refusing to agree to), or a pledge from the brands to make good on their payment commitments, with revised terms, and accept shipment at a later date of their choosing.

She went on to say that this crisis is temporary and urged all the brands to "be a little more responsible." Citing the commonplace compliance and labour rights manifestos of global brands, this begs the question: How can brands so easily abandon the manufacturers and garment workers who produced the products upon which they have amassed great wealth?

The Bangladesh RMG industry is the backbone of its economy, accounting for over 80% of the country's exports. It competes successfully on price, operating at large volumes with small margins per unit. It also has some of the world's cheapest labour, with the legal minimum monthly salary for garment workers being TK8,000 (around $96). This has left factories, garment workers and the country devastatingly exposed, with no indication of when they will receive future orders or payments. It is reasonable that brands would cancel future orders at such a volatile time, however, Huq is audibly devastated that the brands the RMG industry in Bangladesh has worked with for years, and in some cases decades, are "abandoning" them.

Has there been any commitment declared from brands, I asked Huq? "A couple of people [buyers] at Primark have said they will take their goods and pay after 180 days. H&M has also reached out and declared their support." On the subject of enforcing the terms of the agreements with brands who are cancelling orders already produced or in production, Huq explained that there is no actionable recourse for manufacturers.

18 March 2020, stores closed until further notice to contain the spread of the coronavirus.
dpa/picture alliance via Getty Images

Of the brands I approached for comment on honouring their agreements, Bestseller, C&A, Target, Walmart and Marks and Spencer did not respond. H&M, whose factory list includes 723 manufacturers in Bangladesh (some of which they own), responded on March 27 via their Press Officer Katarina Hugo as follows:

We will stand by our commitments to our garment manufacturing suppliers by taking delivery of the already produced garments as well as goods in production. We will pay for these goods and we will do it under currently agreed payment terms. In addition, we will not negotiate prices on already placed orders.

Katarina Hugo, Press Officer, H&M Group Communication

She went on to say: "We will continue to have a close and open dialogue with our suppliers about short-term and long-term plans."

With brands facing huge losses, is there potential for the government of Bangladesh to step in and lend support to factories, I asked Huq? She responded: "the government may announce support, but that shouldn't deter brands from fulfilling their obligations. This is a bilateral agreement (between brands and manufacturers) without government involvement."

The government has since announced a stimulus package worth TK500 billion ($5.9 million) aimed at helping export-oriented industries to counter the economic impact of the coronavirus pandemic. Prime Minister Sheikh Hasina said the fund "could" be used for paying wages and allowances to the readymade garment workers and employees. With the RMG sector salaries amounting to TK4000Cr ($471 million) per month, this package falls far short.

While some may question the resilience of a sector of over 4,000 factories that has been operating successfully for four decades and faces collapse within a timeframe of just three months, others are pointing to the profits brands are making and urging them to step in (as they are with their own staff) to ensure salaries are being paid. Calls for brand CEOs to take the lead have followed debates about the profits of some of the brands in question. Walmart, for example, had $7.7 billion in cash on hand in 2019, while adidas and Target had $2.6 billion and $1.5 billion respectively, as reported by Statista.com.

Huq noted that business will go on once we emerge from this pandemic. "People won't stop buying clothes. Business will turn around in 3 to 6 months (and) in these 3 months we need basic support." She also warned brands that the abandonment of their manufacturing partners may lead to an economic and social crisis and reminded brands that they "do not want their reputation to be at stake." She also appealed to the brand's good sense, saying "it is not a huge amount of money for you" to pay what is owed. At the time of going to print, no additional brands had come forward to pledge to meet their order agreement obligations.

... Read More

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The True Cost Of Brands Not Paying For Orders During The COVID-19 Crisis

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Western fashion brands cancelling garment orders is causing a humanitarian crisis for garment workers in Asia. Bangladesh is one of the worst hit sectors, with 20 million people's livelihoods at risk. BGMEA President Rubana Huq explains the crisis, urging brands to honour their agreements.

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Key workers photographed for the cover of British Vogue by Jamie Hawkesworth

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Key workers photographed for the cover of British Vogue by Jamie Hawkesworth

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Learn NSI Master Class Roadmap for the Rebuild Standards in Plain Language Take Action News Donate

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Photo: Courtesy of SFI

Not being paid for your work is bad. But paying someone else for the opportunity to get a job is even worse.

And according to a new report, that's exactly what's happening at entry-level positions across the fashion industry: interns may pay more for the "privilege" of interning than they get paid to work.

"Even when fashion interns are compensated for their work, more often than not payment is so low that students are forced to take out loans and rely heavily on family and friends for financial support to complete coops required for graduation," says a report called "The Dream Will Never Pay Off" from the Sustainable Fashion Initiative at the University of Cincinnati.

The report, which is based on two years of research by students Draven Peña, Alexa Ream and Elie Fermann and overseen by Liz Ricketts of The OR Foundation, goes on to claim that "on average a Fashion Design Student at the University of Cincinnati pays $37,607.50 for the expenses related to their internship experiences."

While some of the report's research focuses specifically on the University of Cincinnati, much of it is more broadly applicable to fashion interns studying anywhere in the U.S. Based on a combination of historical research, in-depth interviews with a few dozen people and a survey over a couple hundred more, it highlights the problems with the current internship pipeline in fashion careers.

The report outlines the discrepancy between the expectation students often have about internships - that they will, in the long run, lead to financial gain - and the reality, which is that they may be just as likely to put students (especially students from low-income backgrounds) into debt. The report notes that 77.8% of respondents said they received financial assistance from their family to make interning tenable.

"What are low-income and working-class interns to do when these resources are not available to them? The answer is that they are forced to either take out loans, adding to the debt they will likely carry with them throughout adulthood, or they are forced to forgo the opportunity all together," the researchers write. To this they add anecdotes from individual respondents, like one who took out a $15,000 loan to cover internship-related expenses.

That might be marginally easier to justify if fashion internships reliably resulted in career-furthering connections, job skills and helpful mentors. But the report describes an opposite reality: interns being brought on to do menial tasks and not leaving with any real job training, or being totally ignored by supervisors who are supposed to be providing them with guidance. That's not to say anything of the sexual harassment, verbal abuse, sexism and racism that other former interns described encountering while on the job.

"Brands, how will you achieve diversity and inclusion targets if the only people who can afford to take unpaid Internships are white?" the researchers ask. It's a question that feels more pertinent than ever in 2020, as corporations scramble to respond adequately to the public outpouring of support for movements like Black Lives Matter.

SFI's report doesn't just point out problems with the ways that internships currently function. It also provides some guidelines for moving toward a more just entry-level fashion pipeline, including more payment transparency, CFDA oversight and mentorship guidelines.

"To prioritize paying fashion's labor force will provide the foundation necessary to jump start the positive changes that are needed for this industry to survive," the authors write.

Read the full report here.
Stay current on the latest trends, news and people shaping the fashion industry. Sign up for our daily newsletter.

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Are Unpaid Fashion Internships Inherently Exploitative?

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Not being paid for your work is bad. But paying someone else for the opportunity to get a job is even worse. And according to a new report, that's exactly what's happening at entry-level positions across the fashion industry: interns may pay more for the "privilege" of interning than they get paid to work.

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RADII | Stories from the center of China's youth culture

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Zara unwittingly kicked up a beauty debate on Weibo this week with their new makeup campaign. The reason? Freckles.

Chinese model Li Jingwen is the star of these Alicia Keys-esque images - that is, with minimal makeup (aside from the featured lipstick) and reportedly without any retouching.

The debate unfolded when commenters slammed the images on social media, saying they made her look "low-grade" compared to her white counterparts.

One commenter called the freckles "dirty-looking" and said that the accompanying "models with no freckles" were much more beautiful:

A few pointed to Zara's response that their Spanish team directed the campaign, claiming that such international selectors have different aesthetics that aren't in line with Chinese standards of beauty.

However, many more defended Zara's decision, saying the model "slayed" and dared others to try and compare themselves to Li. Some in turn jumped at the chance to criticize Chinese beauty standards:

This recently re-upped comment reads: "Western vs Chinese makeup ideas: enhance your unique beauty vs. cover it up." Another Weibo user offered this amusing recreation, saying "This is what the picture would look like according to 'Chinese people's aesthetics.'"

Still more lamented the influence of plastic surgery and wanghong - China's answer to the influencer - culture, and how these have ruined China's perceptions of beauty.

The Beauty of Imperfection: An Interview with Photographer Shen Siyuan

In China, beauty has been traditionally rigid and ethnically Han-dominated. Shaped by online influencers and "beauty apps" such as Meitu and Meipai, qualities such as pale complexions, thinness, narrow features and flawless skin are common hallmarks of what is considered "beautiful."

Things seem to be changing, however, as indicated by the success of idols such as "China's Beyoncé" Wang Ju, who despite her elimination from singing competition Produce 101, gained a massive following (and a Lancôme spokesperson contract) for her unique look in the process. Seeing as even Meitu has begun naturalizing their signature effects to keep up with changing beauty trends, it's likely we'll see more fresh-faced Chinese models in the months to come.

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Chinese Model's Freckled Face Divides Netizens

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Zara unwittingly kicked up a beauty debate on Weibo this week with their new makeup campaign. The reason? Freckles. Chinese model Li Jingwen is the star of these Alicia Keys-esque images - that is, with minimal makeup (aside from the featured lipstick) and reportedly without any retouching.

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Whether it's racial, class, or gender diversity, many brands recently have been making it appear that they are more diverse than they really are

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In the wake of the recent global Black Lives Matter protests, discussions surrounding racism within the workplace have been bought to light, with individuals and former employees finally finding the courage to speak out about their experiences of discrimination. As a result, many industries and companies have come under fire for their problematic attitudes towards their non-white employees and their consequential lack of action, with the fashion industry being one of the most revealing. It will come as no surprise to anyone that the fashion industry lacks diversity, with runways and fashion campaigns featuring predominantly white, thin models, and constant instances of cultural appropriation seen on the runway and in collections. However, recent years have shown a development in the diversity seen on the runway, with South Sudanese model Adut Akech winning model of the year at the 2019 Fashion Awards. Whilst this improvement cannot be said for every fashion house (just look at the Dior AW20 campaign), the inclusivity seen amongst models is undoubtedly a step in the right direction. One well-known luxury fashion brand that has been hailed for the diversity of their models is Jacquemus. This French fashion house, founded by designer Simon Porte Jacquemus, is most well-known for its stunning runway show backdrops, the Le Chiquito mini bags and also inclusivity of models of all sizes, races and genders, with Vogue even congratulating the brand for their "gorgeously diverse casting". Whilst Jacquemus has been praised for this diversity, recent revelations prove that this inclusivity goes no deeper than surface level.

A tweet from @DECOUTURIZE revealed the striking difference in diversity between the Jacquemus models and the Jacquemus team. The tweet, which has now been retweeted almost 32,000 times, shows a diverse group of models from Jacquemus's most recent Spring 2021 runway show, followed by another image of the behind-the-scenes team, which seems to be predominantly white. Whilst white washing is not a surprise within the fashion industry, numerous people were shocked by the difference between Jacquemus's models and their team, labelling their diversity as purely performative. When the only racially diverse aspect of the company is accessible and able to be viewed by the public, it is impossible to regard its model casting as anything other than diversity optics and doing the bare minimum to be perceived as diverse and inclusive. However, there is no need to 'cancel' Jacquemus or label Simon Jacquemus as a racist. Instead, this news emphasises the importance of openly critiquing larger fashion brands in the hope of improving diversity and inclusivity within fashion. This recent discovery is instead part of the wider conversation about performativity and lack of diversity within the fashion industry.

Some may remember that a similar conversation occurred last year in relation to Virgil Abloh's Off-White. Abloh posted an image of his team on his Instagram, but it didn't take long for his followers to point out the lack of diversity, with one twitter user tweeting "they call it Off-White, but it seems All White to me". With Jacquemus and Off-White publicly called out for the lack of diversity in their teams, we can only presume that the same is happening behind-the-scenes with other fashion brands. It is a well-known fact that the luxury fashion industry is not accessible, especially from a consumer standpoint, with luxury fashion companies marketing towards the elite and wealthy. There are only approximately 4,000 couture buyers in the world, and with the costs of luxury fashion products rarely coming to less than £200-£300, it is not affordable for the majority of consumers. However, the recent topic of performativity within the fashion industry suggests that fashion is equally as inaccessible from the inside, especially for BIPOC. A 2018 article from Fast Company claimed that only 3% of CFDA members were black, and that less than 10% of NY Fashion Week designers were black. Whilst some may argue that there are generally fewer non-white designers, meaning that white people will obviously be the majority within the fashion industry, it also begs the question: why does the fashion industry predominantly consist of white people?

One of the biggest barriers that prohibits inclusion within the fashion industry is class. The fashion capitals (Paris, Milan, London) are the best places to break into the business and it is practically impossible to get a job in the industry without connections, a degree or experience. However, racism and classism are still ongoing issues within these cities, which results in the fashion industry being inherently racist and classist at entry level. In France, one-third of households in which the head of the family is an immigrant from Africa lives in poverty, compared to 13% of the general population. With statistics like this, it is no surprise that BIPOC from lower income backgrounds are unable to gain unpaid internships in fashion capitals, where living conditions come at extortionate prices ( rent in Paris is between €1,000-3,000 a month). This means that individuals have to be at least middle class to even start a career in the fashion industry. As well as classism, systematic racism is something that is rife within the fashion industry, with some of the industry 'greats' such as Karl Lagerfeld and John Galliano found guilty of making racist remarks. Large fashion houses have even been accused of stealing, appropriating and profiting from the work of young BIPOC designers, with Balenciaga recently accused of stealing the work of designer Tra My Nguyen. How are young BIPOC designers and interns supposed to enter the fashion industry when their work is being used by large fashion houses without credit, or they are not being paid for their craft and labour?

It is strikingly clear that featuring a diverse selection of models on the runway is not enough to tackle the ongoing issues of racism and performativity within the fashion industry. More needs to be done to encourage and include BIPOC to work behind-the-scenes of the fashion industry in positions such as designers, stylists, hair and makeup, photographers, editors, and so many more. Emphasising the importance of transparency and inclusivity within fashion, and hiring a diverse team will only add creativity, culture and individuality to a company. As a result, this will undoubtedly pave the way for the openly diverse fashion brands and designers of the future.

- Megan Finch

More information about improving diversity and inclusion within fashion companies is accessible via Black in Fashion Council.

Featured Image Source: Pexels

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Performativity and All-White Workplaces: The Racism that Happens Behind-the-scenes of the Fashion Industry

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In the wake of the recent global Black Lives Matter protests, discussions surrounding racism within the workplace have been bought to light, with individuals and former employees finally finding the courage to speak out about their experiences of discrimination. As a result, many industries and companies have come under fire for their problematic attitudes towards...

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The issue extends far beyond catwalks. It isn't uncommon for models in their 20s to serve as spokeswomen for anti-aging creams, or for magazines to completely ignore the existence of older women in their editorials. Some covers will feature the occasional age-defying celebrity- Julianne Moore, say, or Cate Blanchett -but the entirety of the fashion stories within will be shown on girls who could be their teenage daughters. Fashion is a fantasy, it's true, but it is also a depiction of cultural ideals. At their best, models are muses-so what does it mean when the source of inspiration excludes anyone old enough to have a wrinkle? With every designer clamoring to create gangs, armies, and squads, it seems strange that so few of these groups include women over the age of 40.

Given the rarity with which they appear, every mature model sighting becomes that much more impactful. Stella Tennant's resurgence at Prada served as one of the season's highlights, as did Veronica Webb's appearances at both Sophie Theallet and Kanye West's Yeezy Season 3 extravaganza. At Undercover, Jun Takahashi added a regal air to his Fall wares with a cast that included 1980s Lacroix mainstay Sylvie Gueguen. Pat Cleveland joined her daughter, Anna, on the catwalk at H&M in Paris, one of the most diverse casts of the whole month and provided a welcome respite from the proliferation of tweens. Moments like these are meaningful, and not simply because they break from the norm. The runway is a fantasy, but it is also the place where the fashion presents its ideals, and if those don't include the women representative of the ones who are buying the clothes, it's a very real problem. As fashion struggles to get with the times and rejuvenate the retail scene, why not show women inspiration that they can believe in? And by the way, since when is aging gracefully_-stylishly_, even-not something to aspire to?

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We Need to Talk About Fashion's Ageism Problem

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The issue extends far beyond catwalks. It isn't uncommon for models in their 20s to serve as spokeswomen for anti-aging creams, or for magazines to completely ignore the existence of older women in their editorials.

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This research includes the issues we what to talk about in our project; and some visual references for our end- product.

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Nov. 25th Consultancy 2 - 1st Pitch Presentation

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Nov. 25th Consultancy 2 - 1st Pitch Presentation

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This power point is what we presented to Dr. Lezley.

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1. The topic we pitched is too big to talk about. We should focus on a one issue in the fashion industry.
2. Find one target issue.
3. Pitch again in next consultancy.

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1. In this meeting we agreed to focus on agesim in the fashion industry;
2. We will come up with a professional presentation for our 2nd pitch.

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1. I will collect the age of models from major brands' latest campaigns to see if age is well represented in those campaigns;
2. Molly and Kee will research visual reference;
3. Elizabeth will come up with our interview questions and format;
4. Imogen will research the background or history of this issue;

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Research of 11 High-Fashion Brands & 5 High-Street Brands Latest two season's campaign

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Research of 11 High-Fashion Brands & 5 High-Street Brands Latest two season's campaign

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Zara H&M Uniqlo Tommy Hilfiger Calvin Klien

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Pie Chart - Age Spectrum in High-Street Brands' Latest Campaigns

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Pie Chart - Age Spectrum in High-Street Brands' Latest Campaigns

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Celine Saint Laurent Versace Gucci Balenciaga Dior Prada Louis Vuitton Coach Michael Kors Ralph Lauren

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Pie Chart - Age Spectrum in High-Fashion Brands' Latest Campaigns

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Pie Chart - Age Spectrum in High-Fashion Brands' Latest Campaigns

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Diversity Report - Fashion Month Fall 2020

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Diversity Report - Fashion Month Fall 2020

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"Models 50 and over actually got a boost this season. Whereas there were 39 castings for Spring 2020, that number went up to 44 for Fall 2020. Not much of a jump, but hey, it’s something."

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Now that Fashion Month Fall 2020 has wrapped up and the data has been calculated, it's time to face facts. Diversity on the runways is starting to swing the other way. For years we were happy to report that racial inclusivity was trending upward season after season, but sadly, now the trend seems to be backtracking. Is it a fluke? Or maybe it has more to do with the fact that New York Fashion Week was scaled back for Fall 2020?

Regardless, this slide needs to be stopped.

RACE

While the Spring 2020 season was the most racially diverse one ever, Fall 2020 saw a slight drop. From a high of 41.5 percent models of color (out of 7,390 model castings at 215 major shows) to 40.6 percent (out of 6,879 castings across 194 shows). That's a little under 1 percent difference. While we're never happy with a decrease no matter how slight, this is not as devastating as it sounds. To give you some perspective, Fall 2020 still ranks as the second most racially diverse season since we started keeping track with the Spring 2015 season.

The biggest drop came in New York, where racial diversity dipped from 46.8 percent a season ago to 43.6 percent. Milan and Paris' drops were less dramatic (Milan went from 36.8 percent to 36.6 percent; Paris went from 39.9 percent to 39.3 percent). One bright spot was London Fashion Week. Racial diversity across the pond actually soared from 41 percent in Spring 2020 to 43.8 percent for Fall 2020. A little victory we know, but it's still worth celebrating.

TOP MODELS

Another Fall 2020 highlight? The model who racked up the most runway miles by appearing in 38 shows was a woman of color, American model Achenrin Madit who's of South Sudanese descent. But overall, only four women of color, including Madit, landed in the top 10.

U.K. native Lara Mullen came in second with 37 shows. Followed by South Korean superstar Sora Choi, Hannah Motler from the U.K., Denmark's own Josefine Lynderup and Chinese model Tang He, all with 34 shows under their belts. Netherlands native Felice Noordhoff, German model Rachel Marx and French beauty Cyrielle Lalande walked 33 shows apiece. Rounding out the list was Chinese stunner Yilan Hua who walked in 32 shows.

Gender, size and age diversity were once again missing from the top models list.

PLUS-SIZE

Plus-size castings plunged from a high of 86 last season to just 46 for Fall 2020. For those of you without calculators handy, that's a significant 0.49 percentage point difference. As usual, New York was the source of most of the plus-size castings with 27 appearances. London was next with 10 castings. While Paris only had seven, Milan wins the award for least body diversity of the season with a measly pair of plus-size castings.

In the Big Apple, Christian Siriano hired the most non-standard-size models: Marquita Pring, Precious Lee, Sabina Karlsson, Solange van Doorn, Seynabou Cissé, Candice Huffine, Chloé Véro and Ingrid Medeiros. Several other brands enlisted two plus-size models: Tadashi Shoji (Lorena Duran, Michelle Olson), Dennis Basso (Malia Greiner, Angela Riihiluoma), Area (Tehya Elam, Betsy Teske) and Collina Strada (Theresa Chromati, Alva Claire). Marc Jacobs, Oscar de la Renta, Eckhaus Latta, Nicole Miller, Christopher John Rogers, Prabal Gurung, LaQuan Smith, Veronica Beard, Michael Kors Collection and Rag & Bone were each responsible for one plus-size casting. Alexis Ruby, Tess McMillan, Paloma Elsesser, Karlsson, Elam, McMillan, Claire, Huffine, Jill Kortleve, Kortleve, respectively.

McMillan walked the most runways in London, representing Simone Rocha and Tommy Hilfiger. Lee, Parris Goebel, Ruby and Ariish Wol also walked in Tommy Hilfiger's show. Molly Goddard picked Kortleve, Roland Mouret cast Karmi Pinning and 16Arlington enlisted Natalie Nootenboom.

Moving on to Milan, who would've thought it would be Fendi providing both of the city's two castings? Kortleve and Elsesser hit the runway for the Italian brand. In Paris, Kortleve added four more shows to her runway résumé (Mugler, Valentino, Alexander McQueen and Chanel). Elsesser joined Kortleve for Alexander McQueen and also walked in Lanvin's runway show. Wol also walked for Mugler.

The good news? Just like New York, a majority of the plus-size castings in London, Milan and Paris went to women of color.

Becca Thorpe, former model and vice president of Muse Management and founder of Muse's Curve division, sees positive signs despite the decline in representation.

"As part of the push for more inclusive runways, Fall 2020 was a very interesting season. While the numbers in theory were down, there were some major moments that we had not seen before like Jill Kortleve walking in Chanel and Valentino. I believe that European fashion houses are really opening up to more diversity in the market and that the United States will continue to push the boundaries on age, race and size."

TRANSGENDER/NON-BINARY

Gender diversity also dropped during the Fall 2020 season. In Spring 2020, 46 transgender and non-binary models were cast. Compare that to only 21 castings this season.

While Spring 2020 saw 36 appearances or 1.55 percent across 19 shows, for Fall 2020 there were only 10 transgender/non-binary castings or just 0.52 percent across eight shows in New York. That's a little over 1 percent difference. Non-binary model Noah Carlos walked for Self-Portrait, Prabal Gurung and Coach 1941. Transgender model Dara Allen represented Dion Lee and Prabal Gurung. Massima Desire, also transgender, hit the runway for Dion Lee and Eckhaus Latta. Phillipe Blond, who identifies as non-binary, naturally popped up at The Blonds, while transgender model Ariel Nicholson and Richie Moo appeared at Marc Jacobs and Christopher John Rogers, respectively.

When it came to London, non-binary model Richie Shazam and transgender model Maxim Magnus walked for Ashish. Gigi Gorgeous and Nikita Dragun, both transgender, represented Philipp Plein. And in Paris, there were seven castings. Carlos hit the runways of Vivienne Westwood, Mugler and Rick Owens. Magnus was back in action at Ralph & Russo. Transgender models Venus Liuzzo and Dustin Muchuvitz walked for Koché, while Jake Junkins popped up at Ann Demeulemeester.

Racial diversity was also well represented since Allen, Carlos, Shazam, Dragun and Liuzzo are all models of color.

AGE

Models 50 and over actually got a boost this season. Whereas there were 39 castings for Spring 2020, that number went up to 44 for Fall 2020. Not much of a jump, but hey, it's something.

While age representation in New York saw a decline from 15 models in Spring 2020 to only 10 for Fall 2020, both Paris and Milan saw an increase. Paris went from 14 to 22; Milan from three to five. Only London remained unchanged with seven aged model castings.

In New York, Prabal Gurung cast Anh Duong, Collina Strada booked Kathleen McCain Engman, Christopher John Rogers chose Coco Mitchell, The Blonds cast Gloria Trevi, Dennis Basso selected Lisa Rinna. Sylke Golding, the only 50-and-over model to rack up more than one appearance, walked for Nicole Miller and Eckhaus Latta (Eckhaus Latta cast one additional aged model). The other castings came courtesy of Priscavera and Area.

Yasmin Le Bon led the pack in London by walking for Preen by Thornton Bregazzi and Tommy Hilfiger. Cecilia Chancellor also walked for Preen, while both Mouchette Bell and Stefanie Lange represented Emilia Wickstead. And Laine Mullally hit the runway for Richard Malone. Over in Milan, Maye Musk and Ellen von Unwerth represented Philipp Plein, Britta Dion popped up at Arthur Arbesser and Pat Cleveland walked for Laura Biagiotti.

But it was Paris that really embraced age diversity this season. The only downside is that it was only across five shows. Balenciaga led the charge by hiring Minttu Vesala, Neda Brady, Nina Pohl, Birgitt Doss, Francesca Pia, Karen Boros, Lena Mozer, Manu Burghart, Marisa Chaos and Stephanie Gudra. Lemaire picked Sonia Itchi, Mino Sassy, Amalia Vairelli and Kristina de Coninck. Doss and de Coninck were at Marine Serre. Yolanda Hadid joined her daughters at Off-White and legendary supermodel Helena Christensen walked for Balmain.

While the total is good, the numbers just don't add up when it comes to racial diversity as most 50-and-over models cast were white.

MOST AND LEAST DIVERSE SHOWS

There was a pretty dramatic difference between the most and least diverse shows this season. Claudia Li in New York and Halpern in London each had 83 percent models of color. Two other New York shows, Area and Christopher John Rogers, also impressed with 78 percent models of color and 76 percent models of color, respectively. Rounding out the most diverse list were the Paris-based shows from Ralph & Russo (76 percent models of color), Mugler (73 percent models of color) and Yeezy (67 percent models of color). Iceberg over in Milan also made the cut with 67 percent models of color.

On the flip side, Son Jung Wan from New York managed to hang on to its least diverse show of the season title thanks to only having 6 percent models of color. Vivienne Hu, also out of the Big Apple, had only 13 percent models of color. The rest of the least diverse list was made up of shows from Milan and Paris. Junya Watanabe (15 percent models of color), Celine (19 percent models of color), Cividini (19 percent models of color), Philosophy di Lorenzo Serafini (20 percent models of color), Antonio Marras (20 percent models of color), Marco de Vincenzo (20 percent models of color), Chanel (21 percent models of color) and Anrealage (21 percent models of color).

As always, it's disappointing to see a drop in diversity, no matter how slight. For Fall 2020, the dramatic dip in both size and gender diversity on the runways is most distressing, especially since both categories surged in previous seasons. Bottom line: We're hoping the numbers all go back up for Spring 2021.
Additional reporting by Mark E.

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Report: Racial Diversity Takes a Slight Step Backward, Size and Gender Inclusivity Plummet for Fashion Month Fall 2020

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Now that Fashion Month Fall 2020 has wrapped up and the data has been calculated, it's time to face facts. Diversity on the runways is starting to swing the other way. For years we were happy to report that racial inclusivity was trending upward season after season, but sadly, now the trend seems to be backtracking.

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"As stated, women age 50 and above were the only group that didn’t suffer a loss in cover representation, but they didn’t make any gains. This year’s covers featured 41 (5.5 percent) women in the age group, matching 2018’s number, which itself was only a minor (0.5 percent) improvement over the 5 percent seen in both 2017 and 2016."

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This time last year, we were thrilled to report that diversity on the covers of 51 of the top domestic, international and independent fashion magazines had improved significantly between 2017 and 2018. In 2018, a record 37.7 percent of cover castings went to people of color, up from 32.5 percent the year before. That's a considerable - 5.2 percent - increase. Sadly, from 2018 to 2019 there was no such progress.

In fact, with the exception of age representation, which plateaued, diversity on magazine covers is down across the board.

RACE

Of the 745 cover appearances we reviewed this year - again across 51 leading fashion publications - we found that 275, or 36.9 percent, were people of color, a small but nonetheless disappointing 0.8 percent dip from the aforementioned 37.7 percent seen in 2018.

MOST AND LEAST DIVERSE

Next came Vogue Hong Kong (75 percent, including 54-year-old actress and singer Carina Lau), Porter (67 percent), Vogue Brazil (64 percent, one woman age 50-plus), Vogue Thailand (62 percent) and T: The New York Times Style Magazine (60 percent).

V Magazine (57 percent with one plus-size woman), Vogue U.K. (57 percent with one plus-size woman, one trans woman and four women age 50 or above), Marie Claire U.S. (56 percent) and Vogue Japan (52 percent, one woman above age 50) rounded out the list.

We'd like to take a minute to spotlight Vogue U.K. and ELLE U.S. Led by Edward Enninful and Nina Garcia, respectively, the two publications featured better across-the-board diversity than most.

Before 2017, Vogue U.K. went 14 years with only six nonwhite solo cover stars; this year it hired 16 out of 28 nonwhite women, not to mention its first (publicly) transgender cover star. (For the mag's full list of accomplishments, see above.)

While only 35 percent of ELLE U.S.'s 2019 cover stars had minority heritage, the magazine did hire women from every diversity category: three age 50 or above, two plus-size and, like Vogue U.K., the mag picked its first transgender cover star.

On the opposite end of the spectrum, two of the publications we reviewed - Vogue Poland and The Gentlewoman - featured not a single person of color. Vogue s Czech Republic (7 percent), Paris (8 percent), Portugal (8 percent), Germany (10 percent) and Turkey (10 percent) also put out startlingly white covers.

Although, to be fair, a handful of the above did make an effort to showcase other forms of diversity. The Gentlewoman hired two 50-plus cover stars, as did Vogue s Portugal, Germany and Czech Republic. And the latter featured trans model Finn Buchanan on its November edition.

What's more, Vogue Portugal actually made history - and headlines - with its April issue, which starred South African model Thando Hopa, the first woman with albinism to appear on the cover of Vogue. The publication also tapped (plus-size) comedian Celeste Barber for its August cover. So, despite its failure at racial inclusion, we can't totally condemn the Suzy Menkes-led mag.

PLUS-SIZE

"Plus-size" women - a group that has been sorely underrepresented on newsstands for years - landed 15 (2.01 percent) cover appearances in 2019, three fewer than the year before (2.42 percent). So body diversity on magazine covers took a slight (0.41 percent) hit.

There is, without question, a lot more work to be done on the size inclusivity front. Still, the magazine industry has made definite strides in the right direction. In 2017, we counted just eight (1.02 percent) non-sample-size cover stars; in 2016, only six (0.88 percent).

As to how these numbers stack up against the most recent runway and ad campaign stats, size representation was up last fashion month from 0.69 percent (50 plus-size castings) in Fall 2019 to 1.16 percent (86 castings) in Spring 2020. Meanwhile, body diversity in the seasonal ads fell from 2.08 percent (11 castings) in Spring 2019 to 1.94 percent (9 castings) in Fall 2019. So, compared to other legs of the fashion industry, fashion publications did well in terms of size inclusion in that they at least passed the 2 percent mark.

Speaking of which: within the category, eight-time Grammy nominee Lizzo racked up the most covers of the year. The "Truth Hurts" singer fronted four titles: Vogue U.K., LOVE, V Magazine and, as mentioned, ELLE U.S. Graham followed with three covers ( Allure, Harper's Bazaar U.K. and ELLE U.S.). Trailing her was McCarthy with two cover appearances ( InStyle and WSJ. Magazine).

Looking at intersectionality, 7 of the 15 size-inclusive covers went to women of color, one to an indigenous Mexican woman over the age of 50 (Mendoza). The year had no openly transgender or non-binary plus-size cover stars.

AGE

As stated, women age 50 and above were the only group that didn't suffer a loss in cover representation, but they didn't make any gains. This year's covers featured 41 (5.5 percent) women in the age group, matching 2018's number, which itself was only a minor (0.5 percent) improvement over the 5 percent seen in both 2017 and 2016.

Put plainly, age diversity on magazine covers stayed mostly static for the fourth year in a row. Even so, women in the 50 and over range continue to land more magazine covers than any category outside of race - another four-year trend.

As is typically the case, this year's magazine covers far outdid the most recent runways and ad campaigns in terms of age representation. (The runways in particular are notoriously age-averse; women age 50 and over are consistently the least-represented group.) Even more discouragingly, we saw little to no progress on the age diversity front in all three arenas.

At the Spring 2020 shows, a total of 39 models (0.53 percent) age 50 and above walked, up from 36 (0.49 percent) the prior season. Fall 2019's campaigns, meanwhile, featured 10 models (2.16 percent) in the age group, down from Spring 2019's 15 (2.84 percent).

Tied for third place with two covers each were Céline Dion, 51 ( CR Fashion Book and ELLE U.S.), Cindy Sherman, 65 ( The Gentlewoman and WSJ. Magazine), Demi Moore, 57 ( Harper's Bazaar U.S. and WSJ. Magazine), Julianne Moore, 59 ( InStyle and WSJ. Magazine), Laura Dern, 52 ( InStyle and Vanity Fair) and Sharon Stone, 61 ( Allure and Vogue Portugal).

The rest of the set - which includes legends like Björk, Dolly Parton, Isabella Rossellini, Jane Fonda, Madonna, Margaret Atwood, Miuccia Prada, Pamela Anderson, Salma Hayek, Tilda Swinton and Kris Jenner - landed one cover apiece.

InStyle and Vogue U.K. led in terms of age diversity. Both hired four cover stars age 50 or above: Kidman, Dern, Renée Zellweger and Julianne Moore at InStyle; Madonna, Turlington, Fonda and Hayek at Vogue U.K. WSJ. Magazine, which was responsible for four of last year's 50-and-over cover appearances, again held up its end, casting Sherman, Demi Moore and Julianne Moore. ELLE U.S. also hired three women age 50 or above (Kidman, Dion and Parton) as did W (Angela Bassett once, Kidman twice).

Finally, we'd like to take a moment to acknowledge the stunning lack of racial inclusion within this category. The vast majority - 37 of 41 or 90.2 percent(!) - of 2019's age-inclusive covers went to white women. (Although, to reiterate, Vogue Mexico did feature one nonwhite, plus-size woman over the age of 50, Abigail Mendoza.)

TRANSGENDER/NON-BINARY

From 2018 to 2019, the number of openly male-to-female transgender and non-binary persons featured on covers fell from 10 (1.34 percent) to seven (0.94 percent). As a result, they were the least represented group, as has always been the case with magazine covers.

This decline is all the more striking given that 2018 was something of a landmark season for gender inclusivity - not only did the number of trans and non-binary cover stars reach an all-time high, it more than tripled from the previous year.

Needless to say, while transgender and non-binary representation in the fashion industry has improved in recent years, it remains low across the board: 46 (0.62 percent) of all Spring 2020 runway castings went to "out" trans or non-binary models, down 0.15 percent from the 56 recorded in Fall 2019; six (1.29 percent) Fall 2019 campaign models belonged to the category, up from two (0.38 percent) the season before. Considering the ever-fluctuating numbers, it's difficult to say how much real progress is being made.

But the news isn't all bad: publishers are doing better at addressing tokenism. Whereas back in 2016, four of the year's five gender-inclusive covers featured actress Hari Nef, this year - for the second year in a row - there was no repetition among the cover choices.

Of the publications we reviewed, Dazed was the only title to hire more than one trans or non-binary cover star. The glossy's multi-cover Spring 2019 issue - a celebration of "infinite forms of identity, and the creativity of LGBTQIA+ communities everywhere" - featured model Ariel Nicholson and Euphoria 's Hunter Schafer.

An aside: This year Paper, which in 2018 featured the most trans or non-binary cover stars of any title, also hired two trans women (Schafer and Teddy Quinlivan) albeit for digital covers, which we do not consider in our data.

As for the titles that embraced multiple forms of diversity: Vogue U.K., ELLE U.S. and i-D each hired one trans or non-binary person of color (Cox, Moore and Carlos, respectively).

TOP MODELS

Despite the disappointing declines seen in the categories of race, size and gender diversity and the lack of progress in age inclusivity, 2019's 10 most-booked cover stars were a noticeably more diverse group than those of years past.

Half of the top 10 were women with minority heritage (although two of those five were the admittedly white-passing Hadid sisters). And, in a rare turn of events, one woman over the age of 50 made the cut.

What's more, at the head of the pack were a black woman and a mixed-race woman. South Sudanese-Australian model Adut Akech and Dutch-Palestinian-American model Gigi Hadid racked up the most covers of the year with nine each.

Second place was a four-way tie between South Sudanese model Anok Yai, Bella Hadid, Dutch model Birgit Kos and Russian model Irina Shayk, each of whom landed seven covers. In third place, with six covers apiece, were modeling legend Naomi Campbell (age 49), Nicole Kidman (age 52), American model Rebecca Leigh Longendyke and Dutch model Rianne Van Rompaey.

Unfortunately, no transgender, non-binary or plus-size models made the top 10. Still, the increasing popularity of cover stars nearing or above the age of 50 is encouraging.

LOOKING FORWARD

So what does all this mean? It's no secret that the media world is undergoing some major changes. At a time when heavy hitters like Glamour, Teen Vogue and Nylon are ceasing print operations and digital covers - which, as Fashionista explains, "[allow] brands to play with formatting, cast less traditional cover stars and tackle more timely subject matter" - are growing ever more popular, does what we see on the newsstands even carry that much weight?

Whether it does or not, it's unsettling that in 2019 diversity and inclusion appeared to be somewhat less of a priority to publishers than the year before. Still, bright spots like Laverne Cox's Vogue U.K. cover, an age-inclusive most-booked list and the year's many glossy Lizzo sightings give us hope for the coming decade.
With additional reporting by Mark E.

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Report: 2019 Was Not a Good Year for Diversity on Magazine Covers

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This time last year, we were thrilled to report that diversity on the covers of 51 of the top domestic, international and independent fashion magazines had improved significantly between 2017 and 2018. In 2018, a record 37.7 percent of cover castings went to people of color, up from 32.5 percent the year before.

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Finalize 2nd Pitch

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Dec. 9th - 3rd Consultancy and Pitch 2 Beauty in Age(ism)?

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Dec. 9th - 3rd Consultancy and Pitch 2 Beauty in Age(ism)?

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Dec. 9th Consultancy Feedback & 5th Team Meeting

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Dec. 9th Consultancy Feedback & 5th Team Meeting

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Me & Imogen will be working on the curation of our virtual show.
And I will interview my aunt about what fashion means to her, and other questions related to our project.

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Dec. 24th Interview my aunt (Audio in Chinese)

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Dec. 24th Interview my aunt (Audio in Chinese)

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Her Fashion Idol Soong Meiling (Known as Madame Chiang)

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Her Fashion Idol Soong Meiling (Known as Madame Chiang)

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The interview took place at my aunt's apartment, where I visit a lot since I was in primary school. Talking to one of the most important people in my life about what I'm doing and her thoughts of fashion and style is something that connects us more. It is quit interesting that the image of her in my mind just changed a bit. It is also great that to record the interview and I can keep it with me as a precious memory. This part of the project inspired me to record my family and friends more and achieve them.

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Jan. 8th 2021 Translation of the interview 

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Jan. 8th 2021 Translation of the interview 

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A Conversation with my aunt about fashion

Age: 60

Fashion Idol: Soong Mei-ling (Known as Madame Chiang Kai-shek)

Where she shops: Tailor shop mostly.

1. What do you think fashion is?
Aunt: catch up with the trend, in the moment, stylish are the key words of fashion;

2. What fashion means to you?
Aunt: To keep up with the trend is fashion to me. It puts me in a good mood, I will not be comfortable if I look messy and all over the place. People will take me seriously wherever I go.

3. Do you think you are keeping up with the trend?
Aunt: I’m definitely keeping up with the trend, which is Chinese middle-aged and senior people’s trend. I can say that I’m pretty fashionable.

4. Can you Describe your style? Chinese, Korean, Western?
Aunt: The first thing is I’m not buy into the big brands, I like whatever fits me or looks good on me and I describe my style as Chinese middle-aged and senior people’s trend (Refer as CMST below).

5. What are the differences between CMST between young people’s trend?
Aunt: Young people likes to wear casual clothes made out of cheaper materials (something like cotton canvas or poplin or jersey), CMST is something classical, formal ( like Chinese Tunic Suit and Cheongsam). From my perspective, middle-aged and senior people looks ragged in casual clothes made out of cheaper materials.

6. So would you say that your fashion idol is Soong Mei-ling? What do you think about our first-lady Mrs. Peng Liyuan’s style?
Aunt: Yes, Mrs. Soong’s and her sister Mrs. Soong Qing-ling’s style is what I adore. Mrs. Peng’s style is not what I like, and I don’t think I will look good in that style.

7. Can I describe that you are into China vintage (aka. ROC style)?
Aunt: Yes, the China vintage style is more artistic, serious and intellectual, nothing too dramatic.

8. Is television, WeChat, magazines or any social media influencing how you dress?
Aunt: No, I dress however I want to dress, and I don’t care about other people’s thoughts.

9. Do you have any specific fashion pieces or styles you want to try if age isn’t an issue?
Aunt: I do not have anything that I want to try.

10. So age is a factor that influences you.
Aunt: No, age is not a factor that influences me, since I have my own style. I don’t follow my friends choices. For example, the senior ladies in my dance club, they always follow what’s trendy in my community, but I don’t care.

11. What is your styling secret?
Aunt: No more than three color in a look. Always black bottom, black socks/ stockings, and black shoes. Simple scarves with patterned top, patterned scarves with simple top, and they should be tonal.

12. Can I say that scarves or shawls are your statement fashion pieces?
Aunt: Yes.

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Research About Curation in Lock Down Situation

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Research About Curation in Lock Down Situation

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This is a very inspiring documentary series. As the curator of our project, I learnt a some tricks from all four episodes: 1. Narrator is very important, viewers can learn not only the appearance of arts, but also know what's the background story and the philosophy behind it.
Since we have the interview recording, we will use these material to their max. 2. Show a clear process. Where it started, what was the developing process, what were the evidences and how it prospered and moved forward. 3. Stated clear what you want to talk about, so that the viewers can get into the subject with you.

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Series that explores national museum collections at a time of enforced closure.

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Since I'm the curator of our team, I started to look into some online exhibitions and how to curate a show. Something we can achieve with our capability and expertise skills under this pandemic lock down.

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#NEVERBEFORESG

The unprecedented pandemic caused by the Novel Coronavirus, also known as COVID-19, has affected everyone in ways big and small. This pandemic has triggered an abrupt global standstill, with no nation spared including Singapore. As the recovery period appears indefinite, the situation drives us to re-evaluate how we live our lives while transitioning to a "new normal" as the world slowly begins to rebuild itself.

#NEVERBEFORESG addresses the impact of COVID-19 in Singapore and serves as a visual documentation seen through the eyes of 87 creatives. The series of artworks captures the state of mind of the nation and its people, and is charted according to the different phases since the announcement of the Circuit Breaker (distancing) measures in Singapore.

Curated by Yang Derong, and expressed in 9 immersive chapters, this presentation was inspired by the pandemic, which has pushed us to think outside of the norm to continue to be creative and innovative. The artworks and creative expressions share thought-provoking reflections and the myriad of mutual emotions that unveil hopes, fears and anxieties experienced during these challenging times. Presented on an online digital platform, #NEVERBEFORESG brings this creative visual experience to audiences in the comfort of their homes.

Stay Safe + Happy + Sane

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NEVERBEFORESG The unprecedented pandemic caused by the Novel Coronavirus, also known as COVID-19, has affected everyone in ways big and small. This pandemic has triggered an abrupt global standstill, with no nation spared including Singapore.

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In this consultancy we shared our concern about our project.
Here are the notes:
New Age Fashion

Agless Fashion

Rolling Plan in the future

Collage pictures

Fashion and how we exist

What been reading about age

Man and women

What fashion worker is?

To introduce the audience what we are doing?

Talking about aging?

Why we choose this topic and why we

Why older women is excluded in fashion

Talking about seeing up the show

Using the boring ppt format to max

Prezi?

The dynamic of presentation

Creative framework for reflective essay

Teamwork, selecting during & reflecting back

Do not overdo the reflective essay, keep in mind for what’s important.

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I mocked up two color way and the format of our presentation. I mimicked a flow presentation format instead of normal slides. Since Dr. Lezley talked about the dynamic of presentation is really important. So in this format, it will help with the flow of our presentation and it is more playful.

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After I showed the team these two drafts, we decided to go with the lighter color way. It represents playful, celebrating and chilling vibe, which goes with our project's theme.

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1. It's a smart choice to work on Ageism, but it's also an important topic that people should address in our current fashion system.
2. In this ongoing project, we should be able to discover and clarify more of what's the value in this.
3. Who the website is for? we can broaden not only the audiences but also the participants, so that we can discuss more issues in the fashion system.
4.What does dressing your age really mean? Other than age, we can also explore more about body.
5. It's great that even under this circumstances we were very resourceful to make things work, although not the way we expected.
6. Think about how to market this project.