The Slow Cancellation of the Future: Has Fashion Stopped Evolving?

Dilara Findikoglu SS20

It is the summer of 1989, The Berlin Wall has fallen, the geopolitical turmoil of the Cold War is reaching its final chapter and political scientist Francis Fukuyama is crafting an essay detailing his beliefs that we may have reached “the end of history”.

Fukuyama felt the end of the Cold War represented a clear victory for capitalism and “the end-point of mankind’s ideological evolution”. Although there can be many arguments made to the contrary, arguments which I lack the politically savvy to counter, since this bold statement was made a large proportion of the world has been trapped in the same neoliberal late capitalist system.

In his work 'Capitalist Realism,' Mark Fisher provides insight into how the pervasive sociological and economic framework we currently inhabit influences the art and culture we generate and consume. Capital has become the focal point of our world, emerging as the primary driving force behind artistic creation. The consolidation of power dynamics between capital and the broader cultural landscape has resulted in this stagnant state where material relationships haven’t shifted in the past two to three decades. Over this period, there has been minimal transformation from the macroeconomic history of the 20th century, that was marked by the continual amalgamation of businesses into increasingly expansive financial institutions. Consequently, a select few enterprises have consistently dominated the production and consumption landscape, shaping the majority of our cultural experiences for decades.

In the labyrinth of fashion's complex web, we find ourselves entangled in a narrative that echoes broader societal constraints. Everything about the world of fashion is dictated by the ‘major players’, the big, well-established fashion houses. The ever-looming puppet master of all things fashion that is Bernard Arnault and LVMH being the most pertinent example.

Bernard Arnault

As a lover of fashion, I don’t intend this to be all doom and gloom, nor do I intend it to be an attack on the countless incredibly creative and talented people working at major fashion houses. However, their domination of the industry means it operates predominantly on their terms. In the same way all other aspects of our lives seem to be dictated by the monopolistic powers, fashion is controlled by the major houses. While I recognise the genuine efforts of many to infuse meaning and push boundaries in fashion, the industry's current structure presents significant obstacles to achieving these goals. Despite its outward appearance as a realm fostering new ideas, every facet of the fashion industry is intricately designed to uphold the status quo, making it a laborious task to challenge the systems that control us, in line with the true spirit of artistic expression.

The relentless demands of a rapid product turnaround and the arduous schedules of fashion weeks pose a near insurmountable challenge for small brands. This system, designed with such unforgiving parameters, persists because only brands equipped with substantial resources—hundreds of employees and millions in financial backing—can effectively operate under this overwhelming pressure.

The power relationships in fashion have solidified and the system is set up so those who are on top remain that way and this stifles innovation. This is summed up in a far more eloquent and concise manner than my ramblings in this article by fashion critic Bliss Foster in his video ‘Fashion Designers aren’t designing anymore’. In which he states, “every medium of art has some special curse to it that makes it borderline impossible to do anything artistic or interesting”.

The predicament we find ourselves in by no means results in a total lack of creativity, it’s just the expression of said creativity is being dictated by the desires of a small group of individuals, limiting true artistic freedom.

Many are trying to challenge this. AVAVAV’s SS24 show entitled “No time to Design”, presented a tongue in cheek commentary on the difficulties faced by smaller labels trying to find a footing in the whirlwind that is modern fashion. Many other brands broke off from this fashion month in what can be seen as a rebellion against these ludicrous expectations. Thebe Magugu, AWAKE mode and Dilara Findikoglu all opted to sit this season out.

AVAVAV SS24 "No Time to Design"

The results of this stifling cultural landscape are regurgitation of the familiar. Fisher uses the example of music, stating that if you showed someone from the 60s a “jungle record from 1993” it would have “sounded like something so new that it would have challenged them to rethink what music was”. The same really could not be said if an example of modern music was beamed back in time and played on a radio station in the 90s. This sense of finitude extends to the fashion industry, where trends over the last decade, or even longer, seem to be dominated by a recycling of styles from previous eras.

Expanding on Fisher's thought experiment, we can apply it to the world of fashion. Imagine we take say Comme des Garcons' FW93 “Synergy” collection and showed it to someone from the 1950s or 60s – it would be a mind-blowing, futuristic experience, prompting a complete re-evaluation of their perception of fashion. Yet, the impact would not be remotely comparable if you transported a fashion show from 2023 back to the 1990s. When considering these examples, the cyclicality and lack of true innovation in our contemporary cultural expressions becomes more apparent.

Comme de Garcons FW93 "Synergy"

Again, this is by no means saying that modern designers are offering nothing new, they are, it is simply to show there has been a clear stagnation in cultural evolution.

Some would argue that there has been progress in the level of inclusivity in fashion and art as a whole, but has it really been that dramatic? When looked at with more than a passing glance the lack of diversity in the fashion industry remains as shocking as it always has been. An article in Vogue Business by Amy Francombe entitled “Why are so many creative directors’ white men?” puts this lack of inclusivity into stark perspective. When looking at major fashion conglomerates, there is not a single woman of colour in a creative director role, and at Kering, Puig and Richemont, other than Harris Reed every single one of their creative directors is a white man.

As we reflect on the current state of fashion, it becomes imperative to question whether the industry's creative pulse can truly thrive when dictated by a select few, and whether, in this pursuit of aesthetic expression, we can break free from the shadows of a predetermined narrative. Although the situation seems hopeless, we can find solace in the countless independent designers navigating the turbulent waters of modern fashion. A beacon of hope showcasing true genius at every level and in every aspect and discipline. A testament to the enduring spirit that continues to inspire and keep us enthralled in this magical, vibrant but imperfect world.