Silvana Ramasamy

About Silvana Ramasamy

Posts by Silvana Ramasamy:

People

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Fashion’s success is driven by people, giving this pillar a fundamental role. From the beginning of designing a garment, to the sourcing of materials and finally the consumption of it, people are required every step of the way. People’s relationship to fashion is interchangeable. For some people fashion is a way to express self-image, for others fashion is a product of capitalism and an enabler of cheap labour and exploitation. The inequalities within the industry have been highlighted more than ever the last few generations, as focus has been on consumption and fast fashion. 

Gen Z, making up the members born between 1995-2010, “shaped by the digital age, climate anxiety, a shifting financial landscape, and COVID-19.” (McKninsey & Company 2023) are the current biggest influence on the future. They have shaped the fashion industry as designers as well as consumers. Focused on wellbeing and inclusivity as well as green practises: they are avid consumers, trying to keep up with everchanging trends and their lack of monotony. The importance social media has in their lives has led to a lot of impulse buying, due to effective marketing and comparison. This has made them unethical buyers at times and the core of fashion and over-consumption. However, gen Z are amongst the most politically and socially active. This has made them fight against unjust treatment in third-world countries to make cheap garments for even cheaper labour. Moreover, the trends arising are commonly from earlier decades, which has changed the connotations with second-hand fashion. The suitability of an item is now valued. 

To accommodate for this generation, brands need to have the values that line up with gen Zs way of living. As a generation grown up on the foundation of technology, the use of online shopping is essential. The brand’s purpose needs to align with the production and consumption every step of the way. Authenticity is extremely important to attract gen Z and their access to being connected with anyone at any time with the use of technology means that brands need to have a strong purpose to allow consumers to connect with it. FENTY has led by example, founder Rihanna “pushed the boundary of the makeup industry toward more inclusivity and diversity regardless of complexion and gender” (Johnson, C., & Cindy, J. 2021). The success of the brand has been reflected through the strong values and authenticity that have attracted gen Z and their focus on equality and equity.

Overall, brands need to evolve and change as their customers do. This by taking on key people skills. Communication is by far the most important, being able to listen to each other and work as a team to improve a brand based on the needs of the current social issues.

References:

Djafarova, E., & Bowes, T. (2021). ‘Instagram made Me buy it’: Generation Z impulse purchases in fashion industry. Journal of retailing and consumer services, 59, 102345.

Johnson, C., & Cindy, J. (2021, December). Diversity in Beauty. In Proceedings of the 75th Annual Scientific Meeting & Showcase, New York, NY, USA (pp. 13-15).

McKinsey & Company. (March 20, 2023). “What is Gen Z?”. McKinsey Explainers. 

Turner, A. (2015). Generation Z: Technology and social interest. The journal of individual Psychology, 71(2), 103-113.

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Planet

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The fashion industry has had long lasting effects on the planet, some even deemed as irreversible. The rise in fast fashion and short-lived clothing has led to 92 tonnes of waste produced per year. 

Circular economy has been introduced as a solution for this by making production and consumption less short-lived and thereby circular. This is the opposite to our current linear economy. Circular economy entails transforming the fashion industry; from producing garments from upcycled materials, to looking at consumer behaviour and attitudes towards sustainability. By keeping waste to a minimum, a circular economy would create a chain of long-lasting garments that continue to regenerate. 

The alarming and urgent shift to needing change has led to sustainability being a big topic in most fashion brands. While this acknowledgment is a step forward, brands are still free to dictate what sustainability means for them, which has led to a lot of green washing and false hope. If we continue to produce and consume at the rate we are, by 2050 we will need 3 planets worth of human resources (Rimarcikova 2023).  

The Sustainable Development Goals, adopted by the UN in 2015, are 17 goals set to ensure that by 2030 everyone lives in peace and harmony. A goal set by the UN is “responsible production and consumption” which fashion needs to be responsible for directly. In the last two decades production and consumption have both doubled. This throwaway culture has had serious effects on all aspects environmentally and socially. Pesticides used to help cotton crops grow at a faster rate have been found cancerous; micro plastics released in the sea have emerged in the fish and eventually contaminate food chains. This ripple effect has caused the starting problem of over production and consumption to impact further than just the apparent. However, some brands have adapted the goal of the EU and have been successful. Patrick McDowell is a clear example of this, with clear goals of thoughtfulness in reusing textiles and the importance of afterlife. Done by producing custom pieces and accommodating to each consumer individually. However, brands that have been able to build foundations on these goals are suited for more privileged target audiences, which raises questions as to whether suitability and fashion can both coexist. Suitability can be adapted for fashion brands, but is this sustainable for consumers?

References:

Niinimäki, K., Peters, G., Dahlbo, H., Perry, P., Rissanen, T., & Gwilt, A. (2020). The environmental price of fast fashion. Nature Reviews Earth & Environment, 1(4), 189-200.

Wagner, M. M., & Heinzel, T. (2020). Human perceptions of recycled textiles and circular fashion: A systematic literature review. Sustainability, 12(24), 10599.

Shirvanimoghaddam, K., Motamed, B., Ramakrishna, S., & Naebe, M. (2020). Death by waste: Fashion and textile circular economy case. Science of The Total Environment, 718, 137317.

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My Favourite Brand- Seventh Store

My Favourite Brand- Seventh Store

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One of my favourite brands is Seventh Stores.

The style and emphasis of the brand is simplicity and comfort. Embracing silhouettes and colour palettes with good quality materials to create timeless pieces. 

In contrast to a lot of upcoming fashion brands, where maximalism and being distinct is an important factor to new pieces, Seventh Stores stays true to its original purpose. Continuing to improve and evolve. 

Lounge wear can be fashion, and Seventh Store is the perfect example of that.

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