How Does "Shame" Slow And Slow The Fashion Industry?

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There are usually three responses to external accusation that it destroys the ecological environment. First, deny and justify; two, shrink from guilt; three, become a part of the problem solving body.

I personally agree with the third way...

Faced with the challenge of environmental problems, our instinctive first reaction is often: "no, scientists must be mistaken.

And even if it's true, it's none of my business. "

This kind of news often makes us hard to digest, requires great adjustment of mentality, and poses great challenges to the concept of reliance and truth.

In the second step, when we have the opportunity to understand and accept facts and adjust our worldview to adapt, we often feel guilt and shame.

And this reaction is completely normal.

Combined with the new facts and the old world outlook, we can reconsider our own practice and expose ignorance, lack and neglect under the concealment of skill and knowledge, satisfaction and conceit.

Although shame seems normal at this time, this moment is also an important watershed: the best case is that shame is pformed into action (that is, the third way in the aforementioned options); worst case is that old habits are prolonged or even reversed to the first stage - denial.

So how can shame be pformed into action, or even eventually pformed into "pride" of its opposite? Let us suspend ourselves at that moment of shame and find the way that we can change.

The women's clothing Federation of the International Federation of garment manufacturers (ILGWU)

According to the world clothing and shoe net, shame does not necessarily prompt people to take action.

In fact, when we feel ashamed, we often feel compelled to be desperate and angry, making defensive moves or taking others as a target of blame.

During informal and formal discussions with fashion designers, I got a series of explanations that did not promote environmental protection: "our company is too big", "our company is too small", "I have not received enough education in this area", "in fact, it is the responsibility of buyers / chemists / suppliers / legislators".

My research on the integration of fashion and sustainability has gained some conclusions which can ultimately be converted into action in the end.

This means that when facing the needs of sustainable development, individuals want to produce positive results at the very beginning. The most important factor is the experience of playing the role of middleman.

What is more conducive to further promoting sustainable development is immediate action, such as lowering the temperature of the water in the laundry process and washing the links in fashion to play an important role in the environmental impact. Even in a seemingly insignificant way, it is more powerful than just understanding and understanding the role played by individuals in the overall situation and enhancing the value or importance of sustainable development.

Naturally, all these factors are desirable in the process of change, and support each other, but the experience of the middleman still plays a key role.

Promoting sustainable development in fashion system

Similarly, according to my research, in the second stage, that is, being ashamed and restless and stopping, has a lot to do with the constructive way of promoting fashion.

In the history of environmental improvement, "

"And" sustainable development "have always been built as" two rivals ".

This happens at several levels, including language description ("quality" vs. "quantity", process tends to be simplified), experience ("luxury" vs. "frugality"), and aesthetics, of which there are many variations, but because of the environmental fashion trial in the late 1980s and early 90s, the two stereotypes of "refined" vs. "old soil" have continued to this day.

As mentioned earlier, significant progress has been made in the actual purification process over the past 10 years, and the more environmentally friendly fashions are becoming more diverse.

However, there is still a lack of sustainable integration in deeper motivation and fashion behavior.

So far, these changes are obvious.

Larger scale mass market enterprises have taken the lead role, such as the code of conduct and the integration of organic cotton; but at the same time, we seldom hear the high-end.

Companies participate in sustainable development.

The major improvements remain in the process and product itself, eliminating hazardous substances, processes and materials and finding alternative alternatives as the leading strategy.

To sum up, the relationship between fashion and sustainable development is more and more extensive and obvious, but it has not yet affected the core and system of fashion industry.

This is understandable, because a serious discussion on this is very frightening: it will focus on the speed and scale of the fashion industry and examine the business model under a magnifying glass.

The more frightening question, however, is that if the charm of fashion breaks away from the highly abundant material premise, such doubt will not only sneak into the business level, but also point to our love for fashion if fashion is really as superficial as they say. Therefore, when ashamed, the choice of action may be accompanied by deep fear.

What is more serious is that such fear will not only block greater changes, but also take into account the urgency of solving environmental problems. This can also prevent fashion practitioners, including users who are interested in fashion, from fully participating in the reshaping of the core of the fashion industry, which may be the most exciting opportunity.

At this point, we argue that shame plays a bad role in preventing sustainable progress.

More likely, such "shame" must also add the "fear" that fashion industry can not immediately examine itself, that is, fashion really does not have a bright future.

But I would also like to point out that there is another reason for shame and omission: because this is more familiar or even more comfortable to fashion designers, so that shame may be part of fashion construction.

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Photo of the international clothing women workers' Federation about 1940

"Shame" is a part of fashion construction.

The role of shame in fashion seems to appear on two levels: one is ashamed of the fact that the world has blamed the problem on the fashion itself; the two is that it is ashamed of fashion itself.

There is no doubt that for manufacturers and users of fashion products, not enough in sustainable practice may be the cause of shame.

But shame on fashion itself took place before the astonishing environmental problems and the UN Convention of the Rights of the Child.

In the words of Barbara Vinken, "fashion reputation is not good.

Despite the undeniable success of fashion as a social and business phenomenon, it is still regarded as a model of superficiality, frivolity and vanity.

The attitude of philosophers and sociologists towards fashion is nothing more than condemning the attack. At best, it can be regarded as a kind of entertainment with distance.

Numerous documents and reports have been trying to humiliate fashion companies: bad influence on the environment, strengthening people's unrealistic ideals, or simply criticize the desire for fashion.

Since they choose to embark on this career path, fashion practitioners have always been hard to get a serious view of the outside world, and there is no lack of hints or accusations about their frivolity.

At this point, if a fashion practitioner is not accustomed to such shame directly, at least he is accustomed to being unseen, and will accordingly design strategies to distinguish between his life and avoid a direct conflict with his favorite fashion.

Choosing fashion as a profession or main interest always seems to be accompanied by a certain degree -- if it is not stigma -- at least to curb the ongoing conflict within the heart.

In my research, I also talked about the interesting topic of "working status".

On the one hand, professionals are proud of their identity in the fashion industry, cheering for their own creative and perfect fashion proposals, and on the other hand, they also express uncertainty about their own work value.

In fact, according to my personal experience in the field of fashion and my research, fashion designers and other people in the industry even helped shape the superficial image of the fashion industry, such as half joking speech and behavior (example: screaming "Darling"), equate tide research with shopping and so on.

The highly practical knowledge of fashion practice and the lack of formal frameworks such as fashion design techniques can be demonstrated as contributing to the experience of the sense of powerlessness or even stigma of fashion practitioners.

But stigma is also an inherent part of fashion in addition to playing the role of "evil child" in fashion construction.

Throughout the history of fashion, fashion grows and develops by isolating, rejecting and subverting healthy values and the existing power structure.

(example: "heroin fashion", Vivienne Westwood design, underage fashion pornography, making old jeans...

Whether or not it is the "existence reason" of fashion or its main source of innovation, the most effective means of fashion is to associate with marginal people rather than model citizens.

Society needs to put fashion on stigma.

Finally, I want to say that society needs fashion as a "shame".

This is a convenient, quick and delicious field, from love to hate.

Of course, there are other fields that are equally bad or worse than fashion, but fashion is definitely more sexy than the oil industry, for example.

At a personal level, it is also a pleasure to be able to perform poorly in the fashion field where our employees have been so positioned.

In the fashion industry, other rational and well behaved members can "vent" and do stupid things here.

Perhaps it is important to admit that such a "free zone" is also important in our normal life.

We need fashion to be a place where we can do bad things, whether it is personal involvement (such as buying unnecessary things), being shocked, and indulging ourselves in moral justice. In these two situations, we will feel better about ourselves.

Conclusion

In order to get rid of stigma and act in the field of sustainable development, we need support and collective vision for the future.

Drawing on other humiliating areas (such as alcohol withdrawal), sharing shame experiences is an important part of moving forward.

But in the fashion industry, "shame" is often sporadic and lonely, because the fashion industry is made up of strong individuals rather than cohesive groups.

The culture of fashion industry does not always encourage people to share doubts, fears or shortcomings.

There is no easier way to face these problems, and to take risks in such areas as environmental degradation, child labor and over consumption will still be uncomfortable.

I have made a symposium on fashion and sustainability with important participants from different sectors of the fashion industry. I often get feedback from people who appreciate it. They discuss the above questions in the Forum on the basis of their common love for fashion.

During the discussion, participants showed the emotional need for their similar desire to discuss problems.

In fact, it is really touching to witness many people share their concerns and witness the new understanding reached by CSR (corporate social responsibility) manager and fashion designer.

What will be the fashion system that is completely "toxic"? Will there be no elitism, "face value first", environmental destruction, and the Caprice of today's love for fur and the dislike of fur tomorrow? Will there be no experimental spirit? Fashion can never be tame and harmless.

Fashion should always be provocative. We should strive for the innovation and expression of eye drop. We should firmly grasp the magic in fashion.

Fashion is an adventure, and it should be an adventure.

Fashion should be an exploration that we can hardly suppress, and we should always pursue the new culture juxtaposition.

The broad boundaries of fashion, vague definition, include the large-scale fashion show to personal modeling experiments in front of the mirror, from concept proposition to shopping in the value chain and so on.

We can expect that the early development of the theoretical construction of fashion itself and fashion practice will help us to distinguish the complex emotions and characteristics of fashion in the inner and outer world.

It may be very important to split the "shame" into the right place, size and color, and identify which risks may have a place in the fashion industry.

Vestoj is a multi media platform for critical thinking of fashion.

Up to now, its banner includes a yearbook, an online website and a regular Vestoj salon. The theme of its discussion around fashion is "material memory", "shame", "power", "time", "failure" and so on. Its latest theme is "masculinity".

Each Vestoj project reflects and illustrates the contemporaneity's reflection and Practice on the fashion concept and its contribution to the society.

More interesting reports, please pay attention to the world clothing shoes and hats net.