FASHION FORWARD IN DIVERSITY
Industry is finally figuring out inclusivity — in ways that matter
The fashion industry has become more diverse, more inclusive. More open. It is less them-vs.-you. It is us.
Yes, fashion still has its flaws. Designers often still have tunnel vision. The industry still makes head-smacking gaffes. There are far too many cases of profound insensitivity and cavalier cultural appropriation. (Will those Kardashians ever learn?)
But in the past decade, it has opened its doors to more people of colour, plus-size women, transgender women and those who simply don’t fit the industry’s classic definition of beauty. Most importantly, fashion is talking about diversity in more nuanced ways — and learning from its mistakes.
Two years ago, Brandice Henderson, who describes herself as a “fashion coach,” was having dinner with five designers. They were all up-and-comers, lauded by fashion magazines, who had dressed an assortment of famous women. The scene was typical for New York with one significant exception: All five of designers were black. This is no small thing. Four years ago, five women walked into IMG Models and immediately impressed the company’s president, Ivan Bart. One of them especially stood out. Her name was Ashley Graham and she was plus-sized. But as Bart put it: “A star is a star is a star.” Graham has gone on to become the rare model who is known by name well outside the insulated world of fashion. She is not a plus-size success story; she is, quite simply, a success. This is no small thing, either. In 2017, Vogue ran countless photo stories celebrating Hollywood stars and cultural figures, but it also published visual essays on Latinas in Los Angeles, Alpha Kappa Alpha sorority sisters, lesbian models and black servicewomen. This is significant, too. During the past decade, the New York fashion industry has been in upheaval over the subject of diversity, or the lack of it. The most egregious examples were on the runways: in the mid-2000s, for instance, high-end fashion was for emaciated white teenagers.
There were no editors-in-chief of major fashion publications who were black. The rising generation of designers who had captured the industry’s attention were mostly white — sometimes Asian, but rarely black, Latino or even female. Plus-size women were not even part of the fashion conversation.
In 2007, activist Bethann Hardison organized a town-hall meeting to start a conversation about fashion’s worsening diversity problem. In 2013, she tracked designers’ hiring practices and publicized the results. The lack of inclusiveness was striking. And Hardison unflinchingly called such practices “racist.”
Now, the industry looks significantly different from the days of clone-like waifs and golden-haired muses. There is greater recognition that fashion needs to change.
Last year, after designer Marc Jacobs featured models — many of them white — wearing fanciful dreadlocks in his spring 2017 runway show, social media lit up in anger because of his failure to acknowledge the hairstyle’s history within black communities. Six months later, his fall 2017 show was an ode to hip hop; he cast mostly models of colour and included show notes lauding the influence of black youth.
Fashion has also had several landmark moments: A black man has been appointed editor-inchief of British Vogue and a black woman is at the helm of Teen Vogue. Joan Smalls, who was born in Puerto Rico, became Estée Lauder’s first Latina spokesmodel. French Vogue featured a transgender model on its cover.
There are more models of colour on major runways. A range of designers have included plus-size models and older women in shows and advertising. A more diverse group of designers, including four black men, make up the 10 finalists vying for the CFDA/Vogue Fashion Fund award. Women are also wellrepresented.
“I think fashion is becoming more democratized,” says Henderson — for consumers as well as those hoping for a career in the industry.
As fashion designers unveil their spring 2018 collections over the next few weeks, it will be an opportunity to see whether fashion’s forward trajectory continues or stalls. “There’s a consensus about having an inclusive runway,” says Bart. “I’m hopeful at this stage.”
Bart has been working in fashion for 30 years, and the first model he represented, back in 1986, was a young black woman who was part Russian. When a jewelry company was looking to hire someone “tall, pretty and effervescent,” Bart suggested her. The company hemmed and hawed and “finally said, ‘We’re not looking for black people.’ “I dropped the phone.” He ultimately got her the job after travelling to personally show them her portfolio.
After Hardison’s 2007 town hall, Bart considered his place in the fashion business. As the head of one of the industry’s larger agencies, with a roster including Smalls, Kate Moss and a host of celebrities, he decided to help lead the way.
“I think the industry got lazy,” Bart says. “We’ve got to start telling (clients) what they need. When people say no, we have to tell them why they’re wrong.”
That’s why he decided not to simply target Graham for the plussize market, but for womenswear in general. On the company’s website, she and fellow plus-size models Candice Huffine and Marquita Pring are not segregated in a separate category or called “plussized.” They are simply models.
What the fashion industry does is important to the broader culture, Bart says. He recalled actress Lupita Nyong ’o’s heartfelt speech at a Black Women in Hollywood Luncheon in 2014 about finding validation of her own dark-skinned beauty in the images of Sudaneseborn model Alek Wek, who IMG signed some 20 years ago.
“It’s OK if people are resistant,” Bart says. “They will change if you stay the course.”
The website the Fashion Spot, which tracks diversity on the runway, has tallied about 30 per cent non-white models in recent seasons. There are models in hijabs, models with vitiligo, models with physical disabilities.
The Vogue website has become a more diverse, global experience than the print magazine, speaking to “more people and different people,” says Sally Singer, creative digital director. It even reads as if it is written by a variety of voices that share a common interest, rather than the single voice of print.
The internet is also broadening the ranks of designers. Ten years ago, Henderson founded Harlem’s Fashion Row, a production company aimed at supporting multicultural designers.
Back then, “I could barely count three designers of colour ... getting the attention of the fashion industry,” Henderson says. Today, she can rattle off nearly a dozen. Social media and e-commerce have lowered the barriers to success, making it easier for designers to connect directly with customers.
Designers can market themselves around the globe with a single website and an Instagram account. If an accepting audience isn’t in New York, Los Angeles or a smaller U.S. city, perhaps there’s one in Singapore or Qatar.
“For designers 10 years ago, it was just all about the art. They didn’t want to hear anything business-wise,” Henderson says. “I was different, too. Something in the economy woke us up.”
The fall 2017 advertising campaign for the Calvin Klein 205W39NYC collection by Raf Simons offered a nod toward a diverse Americana.
Top: Models of all sizes were part of designer Prabal Gurung’s fall 2017 show. Centre and above: Models walk the runway as part of Alexander Wang’s fall-winter 2017 collection.