When the pandemic hit in March 2020, one of the sectors most affected by the closure of establishments was the creative one, especially those linked directly or indirectly to the fashion industry.
From one day to the next, thousands of people were removed from their jobs indefinitely, entire inventories were closed and, finally, those who were unable to adapt to the new Modus operandi imposed, failed. For those who had any doubts or fears, it was impossible to disassociate, or rather, to disconnect. The internet has never been more present in our lives than it has been in the last three years.
In parallel with this, it was also a great moment for the industry to definitely converge from analog to digital. As the pandemic was understood as something to be dealt with in the medium and long term, major international brands and brands invested heavily in virtual events, including the broadcasting of their fashion shows inside or outside the historically established fashion weeks. Oh, and how can we not say about the glamorous parties organized in the metaverse, with online clothing and unique accessories in NFTs?
In the case of the parades, contrary to the last examples mentioned, the media and part of the press treated the online transmissions of the presentations as if they were revolutionary acts. It is undeniable that all this dynamic has accelerated, but for those who follow, in fact, fashion, the shows have always been virtual, untouchable and unavailable. The vast majority of the population has never walked a runway in their lives.
For me, at least, who was born in the outskirts of São Paulo, fashion has always been unavailable. My only contact with clothing was at the malls. Everything changed when I saw a fashion magazine for the first time - a few years ago, some editorial publications sold issues focused on haute couture seasons, and that's what I'm referring to here. Then, when I had access to the internet, I found a fashion show being broadcast on YouTube. Soon after, I discovered who [Alexander] McQueen, Karl Lagerfeld, Miuccia Prada, Silvia Fendi were... How can I not mention the music videos from Lady Gaga's Monster era? That was my greatest, if not only, contact with that creative side of the industry.
If, on the one hand, I can say that from an early age I had access to the knowledge of what fashion is and how it works, on the other, it is important to stress that this access was always up to page two. There is a narrative managed by the big conglomerates that the fashion world is increasingly inclusive and, in fact, more democratic. This agenda, systematically reproduced by all sectors and fields in the area, aims to get closer - But not much - who they know they engage, as admired and enthusiastic, but who they don't want as customers. After all, luxury still has everything to do with exclusivity, that is, everything that escapes the crowd, thinkers like Lipovetsky and Pastoureau were already pondering.
It is quite common to see parade presentations in public spaces, for example, train stations, the headquarters of progressive and green parties, as well as beaches and popular channels. To what extent can this be considered democratic? Democracy presupposes equality and equity in the participation of something. Of the people who attend the fashion shows, how many of them have access to the products they are viewing or showing? Needless to say, those who are only able to watch online or follow the magazines one or two months after the show. If we point out the conditions imposed on workers, then...
Therefore, the idea that the transmission of virtual parades in non-physical spaces would take place more frequently and would set the tone for the seasons seemed honest. The creative bias was greatly encouraged, in addition, production costs were summarily reduced and there are no comparisons regarding the human cost, which has come to be discussed more than ever. However, with the arrival of vaccines, the so-called “normality” became an obsession - and, from a distant dream, it became real again. Os Fashion films that had become law, they became a complement, an extra grace that only the well-heeled can keep. In fashion and in several other universes, Tête-à-tête - at least for those who can afford to go to fashion shows, showrooms and Re-sees - is very important, even with the costs generated by this.
I would say that the debate about democratization in fashion crosses several fronts, from the production chain to within companies, in leadership positions, as discussed in the previous paragraphs. There are several ways - some more simplistic than others - to deal with this, however, understanding that the people must be at the center of all the issues that involve (and promote) the industry and the best way to start, since it has its demands and particularities that need to be mapped without ignoring the comprehensive intersectionalities. The democratization of fashion cannot end with a fashion show that is broadcast either online or that takes place on a public beach in the Northeast for those who want to see it; the people who participate in this process must be well paid, have their human rights protected and guaranteed, and still actively participate in technical and creative processes.
Thus, with autonomy and willingness, workers must organize themselves so that no right is denied them, in short, hope that is not organized, dies, as the famous professor Paulo Freire said.
João Vitor Araújo is
Born in São Paulo and always willing to critically tell good stories, João Vitor is a journalist, communication consultant and photographer, with fashion and the arts as great guides in his personal and professional life. In fashion, he was a contributor to the magazine ELLE Brasil and the former BYINBY portal, which closed during the pandemic. In addition, he collaborated with the Elastica portal, published by Abril, and has an independent magazine of male portraits, AntroType. As an object of research, João always had the male image, sex, the city and consumption as pillars to be discussed and understood, without involving any taboo. At Complete Magazine, she is a Fashion and Art columnist.
