Question:
Discuss about the Fashion Economics for Global Fashion Industry.
The term “fashion” is often used to refer to distinctive trends which are in style and which shows the way in which people around the world dresses. The global fashion industry has a value of about three trillion dollars and it contributes around two percent of the GDP of the world. Over the last few decades the industry has seen tremendous growth in terms of innovations, creativity and revenue generation. Recent events like Globalization and more robust interconnections and trade relations among the different countries in the world also facilitated an acculturation and worldwide sharing of ideas and creativity in the fashion industry (Nenni, Giustiniano & Pirolo, 2013).
The global fashion industry has always been inspired by the culture and traditions of different countries and many designers have always tried to incorporate the traditional patterns and age-old cultural trends of their countries in the fashions which they create. This behavior and trend of carrying forward their traditions by mixing them with new ideas and contemporary fashion have immense implications in the aspects of celebrating the culture of the country and preserving the valuable traditions for the future generations (Crane, 2012).
The essay tries to discuss this aspect of carrying forward the traditions and preserving as well as improvising the cultural trends of different countries and regions though fashion. It takes into account three of the predominant designers from different parts of the globe, experimenting on this aspect and tries to discuss how important cultural and traditional trends are as inspirations for the fashion industry in the world.
Each country or region has some perennial culture and traditional practices which is of immense value to the residents of that place. While tradition of a society refers to the handing down of their own practices and beliefs from generations to generations, culture refers mostly to the manifestations of the arts and art forms, which characterizes the society at that particular point of time. Together they talk about their origin and course of changes of societies and therefore, the respective tradition and culture are precious to the people across the world (McRobbie, 2013).
The fashion industry, dealing with the way people dresses up, is also a manifestation of art and therefore, has been heavily inspired by the indigenous traditions and cultural trends of different parts of the world. Over the years, different eminent fashion designers, both in Australia as well as in other parts of the world have tried to incorporate the traditions of different society, especially the traditional clothing practices, in their own creation, mixing them with their own ideas and contemporary fashion trends (Entwistle, 2015). This in turn also have significant contributions in preserving and carrying forward the traditions of the different regions with time. The blending of the centuries old tradition and culture with the contemporary fashion trends have also encouraged the youth to take interest about their traditions and how they evolved. This in turn has played a significant role in preserving the culture and traditions of different societies to a considerable extent.
There are many designers in the industries, who have been trying to work on preserving the cultural and traditional dressing patterns in different parts of the world and who are doing that quite successfully. The essay takes reference of three of the such eminent designers and it tries to highlight how they are spreading awareness regarding their cultural discourse through their creations.
Hwang Yi-seul, also known as Dew Hwang, is a well-known name in the contemporary fashion world and is Korean by origin. With the notion of keeping Korean culture and traditional way of dressing alive, this 28 years old designer has worked significantly for eight years with the traditional dressing of her country in her creations. This can be seen in her newly launched clothing line Leesle, which is especially created taking inspiration from the Korean traditional dress, the hanbok and is already a huge success itself (Kore.am, 2017).
A hanbok is a traditional Korean dress, which is flowing and characterized by simple lines and vibrancy. This dress has its origin mainly in the Joseon period. Though the dress is still not forgotten by the contemporary Koreans and are widely worn during any kind of traditional celebrations or cultural festivals, hanboks are no longer worn on a regular basis by the modern day Koreans. This is primarily because of the inconvenience of wearing such elaborate clothing in every day work places and problems in commuting and doing other day-to-day activities (Ko, Lee & Whang, 2013)
Hwang Yi-Seul, in her clothing line Leesle, has brought back this traditional hanbok, but with a touch of modernization and her own ideas. Leesle features A-line and empire silhouettes which are similar to the look of a hanbok but are made of denim or mostly cotton or linen and are also not so elaborate as their original counterpart and sport mainly pastel colors. The designer has also incorporated pockets, zippers, buttons and waistbands to make them comfortable as well as trendy and fit for modern day usage. The designer has also kept her creations available at affordable range such that people can easily afford them.
Another icon of success in the fashion industry is the Vietnamese fashion designer Nguy?n Công Trí, who, with his decade long experience in the industry, has garnered immense attention and accolade for his edgy contemporary creations as well as mixing of traditional Vietnamese dressing with his modern pieces of clothing. The designer is mostly known for his experimentation of bringing in the áo dài, the traditional dress of Vietnam, in his clothing lines, but with modern twist (Theculturetrip.com, 2017).
Ao dai, an elaborate gown like dress is essentially a part of the traditional clothing patterns of Vietnam, which originally were worn during the eighteenth century at the courts of the then Nguyen Lords in Vietnam. Over the years the dress has changed substantially from a form of five-paneled aristocratic gown to a tunic like dress and is sported by both men and women (Leshkowich, 2012).
Inspired by the fashion trends of Paris and keeping the idea of preserving the Vietnamese culture through his works, Nguy?n Công Trí, has over the years worked expensively in redesigning the ao dai to give it a modern look, fit for everyday usage by contemporary Vietnamese people as well as people across the world, especially women. The new version of ao dai, as created by him, sports a silky tight fitted look of a tunic, which can be worn over trousers and different reputed fashion magazines have promoted the dress as the contemporary national dress of Vietnam.
This 21 years old fashion designer, from Melbourne, Australia, has already earned immense fame and is venturing in the traditional and aboriginal dressing patterns of Australia with the objective of bringing those trends and clothing styles back with a proper blend of modern trends and convenience (Huffingtonpost.com.au, 2017).
The designer has a unique way of creating style. She customizes each of her creation by sitting with the client multiple times, discussing about the colors, shapes and also about their stories before she puts those ideas on the silk along with a simple but prominent ancestral touch of aboriginal Australian dressing style perfectly blended with the thoughts of the client and the designer herself (Burridge, 2014).
As can be seen from the above discussion, the three designers, along with many others across the world, have been doing commendable and highly appreciable job of keeping traditions alive through their fashion and this definitely has significance in carrying forward the traditions for the future generations. However, while doing this it has to be kept in mind that traditions and culture are of extreme importance and respect to people. Therefore while implementing those in modern day fashion the designers should use them judiciously such that it is not felt by anyone that their traditions have been disrespect, made fun of or have been misused in a humiliating way.
References
Burridge, K. (2014). Encountering Aborigines: a case study: anthropology and the Australian Aboriginal. Elsevier.
Crane, D. (2012). Fashion and its social agendas: Class, gender, and identity in clothing. University of Chicago Press.
Entwistle, J. (2015). The fashioned body: Fashion, dress and social theory. John Wiley & Sons.
Huffingtonpost.com.au. (2017). Aboriginal Storytelling In Fashion: Meet Designer Lyn-Al Young. Huffington Post Australia. Retrieved 22 October 2017, from https://www.huffingtonpost.com.au/2016/07/07/aboriginal-storytelling-in-fashion-meet-designer-lyn-al-young_a_21426153/
Ko, E., Lee, S., & Whang, H. (2013). Authenticity in traditional culture marketing: Consumers’ perceptions of Korean traditional culture. Journal of Global Fashion Marketing, 4(2), 93-111.
Kore.am. (2017). Korean Designer Modernizes Hanbok Into Casual Outfits. Kore Asian Media. Retrieved 22 October 2017, from https://kore.am/korean-designer-modernizes-hanbok-into-casual-outfits/
Leshkowich, A. M. (2012). Finances, Family, Fashion, Fitness, and… Freedom? The Changing Lives of Urban Middle-Class Vietnamese Women. In The Reinvention of Distinction (pp. 95-113). Springer Netherlands.
McRobbie, A. (2013). In the culture society: Art, fashion and popular music. Routledge.
Nenni, M. E., Giustiniano, L., & Pirolo, L. (2013). Demand forecasting in the fashion industry: a review. International Journal of Engineering Business Management, 5, 37.
Theculturetrip.com, I. (2017). 10 Fashion Designers You Need to Know in Vietnam. Culture Trip. Retrieved 22 October 2017, from https://theculturetrip.com/asia/vietnam/articles/10-fashion-designers-you-need-to-know-in-vietnam/
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