Fashion Design – Fashion Changes And Cycle

Why Fashion Changes?

French social and cultural historian Daniel Roche has described fashion as dynamic change. Why does fashion change? The answer is probably as simple as the fact that people are constantly engaged in the search for the new, which gradually replaces the old. The basis of fashion as a profession is that it is a reflection of the times in which it is created and worn. Fashion, as popular culture, responds to whatever is new and modern. Individuals in large numbers choose among competing designs that reflect their taste and personality.

The speed at which fashion changes has increased with the boom in technology and communications. The latest fashion trends are transmitted almost instantaneously across the world. This accelerated pace increases the awareness of the latest styles from one fashion capital across the globe thus impacting worldwide changes in fashion.

History shows that fashion evolved from the occurrences in society, until Christian Dior’s New Look in 1947 and subsequent introduction of a new look each season such as the H-Line or the A-Line silhouettes. Fashion was driven by seasonal change as each season required new clothes with new colors, silhouettes and decorative details. Over time, the number of social seasons increased to four or more which led to a continuous flow of new trends. Consumers had less time to assimilate one set of trends before the next one was introduced. This accelerated pace in the search for newness also brought changes in the way the fashion business functioned.

Fashion is noted for its continuous cycle of change and revival, which is something related to the Zeitgeist Theory, a German word meaning “Spirit Of The Times“. Based on the framework developed in 1928 by American economist Paul Nystrom, some examples of fashion reflecting socio-cultural and political effects of zeitgeist are briefly discussed:

Dominating Events: There can be three kinds of dominating events: [1] Significant Events [e.g. simple, non-luxurious clothing during wartime]; [2] Accidental Events of Significance [e.g. discovery of Tutankhamen’s tomb in the 1920s led to motif designs of Ancient Egypt was a major influence on the Art Deco style]; and [3] Art Events [e.g. the close relationship between Pop art and fashion in the 1960s].

Dominating Ideals: Patriotism [e.g. casualwear with army uniform references], Gender Equality [e.g. androgynous fashion], connection between fitness beauty and youthfulness [e.g. activewear, athleisure fashion], Multi-Cultural Society [e.g. co-existence of Western and indigenous fashions at a particular point of time].

Dominating Social Groups: These include people with power, wealth and leadership positions [e.g. celebrities such as cinema stars, sportspersons etc. who are influencers; fashion bloggers and editors as opinion leaders who are highly visible in the entertainment and social media whose personal style and brand endorsements drive fashion].

Dominating Attitude: This includes the need for imitation [e.g. dominance of casual wear in 1990s] and differentiation [e.g. 1980s Punk fashion in London].

Dominating Technology: Technology deeply imprints everyday life in the new millennium [e.g. Artificial Intelligence and “Smart Textiles” in fashion, wearable technology, robotics and automation that drives mass production].

Fashion responds to these factors through change. The process of change is supported by media communication channels including fashion and style magazines, advertising on television and internet. This changing nature of fashion combined with the zeitgeist theory is based on the fact that fashion is never permanent. Those involved with the product development and fashion marketing develop a sense of timing i.e. the ability to understand the speed of acceptance of a particular style by their consumers and how it stimulates buying behavior.

 

Fashion Cycle

Fashion cycle is frequently associated with seasonal trends. In the context of fashion design this may be understood as a dominant look or prevailing style or color that gives rise to a sense of collective dressing at a given time. This may lead to a new silhouette for men or women – this could be the cut of a jacket or the fall of a skirt. Thus being “In Fashion” is temporary. The fashion industry is motivated by commercial interests to encourage seasonal changes. The changes that occur in a particular pattern depicting the time or life span during which fashion exists are expressed through the Fashion Cycle.

The fashion cycle is depicted as a Bell-Shaped Curve encompassing five stages: Introduction, Rise, Peak, Decline, and Rejection. Consumers are exposed every season to a multitude of new styles created by designers and launched by big clothing companies. Some styles are rejected immediately by retail buyers. Consumers accept some styles for a short duration [Fads], and adopt some as a long-term investment [Classic]. Fashion cycle measured through a series of stages according to a timescale.

Stage 1. Introduction: Designers introduce new collections every season which are adopted early by the fashion leaders such as movie stars, athletes, and socialites. At this introductory phase, the new style may be accepted easily or evoke mixed reactions, or may not be accepted by the public.

Stage 2. Rise: This stage shows a rise as the style gains acceptance. When worn by a celebrity, the new style draws the attention of buyers and the public through advertising promotions and media channels. Fashion followers pick up on the style as it gains wider acceptance.

Stage 3. Peak: This stage represents the peak of popularity and is widely adopted across all market levels. It may be in such demand that manufacturers produce adaptations at different price levels. As it reaches saturation point, the fashion leaders discard the style, but majority of consumers continue to accept its adaptations.

Stage 4. Decline: This is the decline stage when the style is over-exposed in an over-saturated market, resulting in consumers becoming tired of it and seeking new styles. It is now worn only by less conscious consumers and therefore the numbers of fashion followers begin to decline. The style may be discounted by retailers as off-season sale or clearing sale.

Stage 5. Rejection: This is the last phase of the cycle. Some consumers have already turned to new styles, thus beginning a new cycle. The rejection or discarding of a style because it is out of fashion, is called Consumer Obsolescence. As consumers are not interested in buying the style any more, manufacturers stop producing and the retailers do not restock the same. It is time for a new cycle to begin.

Cycle Within Cycle

Designers interpret forecast trends in different variations in terms of the silhouette, color, material, trims etc. in order to capitalize on a trend and cater to the demand of a particular style during the popularity and acceptance stage. Each of these variations is like a cycle rotating within a larger cycle – this phenomenon is known as Cycle Within Cycle. An example is denim developed by Levi Strauss during the Gold Rush in California in 1850s and became so popular that it has continued as a fashion staple. Yet there are variations in the cut [baggy, boot leg, straight leg, tapered leg], color [shades of blue and later, other colors], fabric surface treatments [laser-cutting, stone-wash, enzyme-wash, laser-finish etc.], weight of denim [light, medium, heavy] etc. The successful adaptation and adoption of variations of jeans with do-it-yourself versions have been “in” and “out” of fashion.

Classic And Fad

A classic is a style or design that remains popular for an extended period of time. It looks good on just about everyone, has lasting worth and a timeless quality that is largely unaffected by the trends of “in” or “out” of the fashion cycle. A classic is characterized by simplicity of design that has stood the test of time and never becomes obsolete. For example: a pair of jeans, black jacket, classic wool blazer, or a polo shirt. A classic can be heirloom woven or embroidered piece which can be passed on from one generation to another, for example Jamevar Handwoven Shawl, Paithani Weave or Chikankari Embroidered Saree.

Fads are fashions of short duration that peak in popularity due to a fast rate of acceptance by the consumer but have a brief life expectancy with the tendency to become outmoded rapidly. Hence fads are also called “miniature fashions“. They are typically confined to particular social groups, they usually have no forerunner or successor. They tend to begin at lower prices, are not expensive to produce and therefore the market gets saturated easily. Examples are fluorescent colored ripped T-shirts, calf length jeans with turn-up cuffs, parti-colored clothing etc. These products do not have scope for continued growth and quickly fade out.

Theories Of Fashion Change

To understand how new fashion ideas spread and adapted to the taste, lifestyle and budgets of customers, we need to understand the three directional theories of fashion change:

• • Trickle-Down Theory: This theory is based on traditional adaptation in a downward flow. Historically, clothing styles were dictated by the royalty and nobility who were the socially prominent leaders in society by birth, rank and wealth. The elite class differentiated itself through fashion, the lower classes imitated the look, which led to the elite class adopting another look to maintain the social differentiation. These styles spread slowly downwards through the class structures but never reached all levels. In modern times, the new, highly visible class comprises those in positions of power in business, politics and media. There is a directional change in the way in which trend setting fashions from the fashion capitals of Paris, London, Milan and New York are adapted until simpler and more affordable versions of these styles become available to the consumers.

• • Trickle-Up Theory: Based on Reverse Adaptation, the Trickle-up theory of Fashion Change reverses the direction in an upward flow. According to this theory, the social segments with higher status and more power imitate those with lower status. In the 1960s Youth quake decade, the older generation adopted the styles such as bright shirts, polka-dot ties, sportscoats and jeans which had been pioneered by teenagers and the young. Designers and manufacturers found innovative concepts in street style. In the 1990s, street fashion was transported to the high fashion ramp with the transformation of the humble safety pin into a oversized glamourous decorative detail in Gianni Versace’s famous Safety pin Dress.

• • Trickle-Across Theory: This theory is also called the Simultaneous Adoption theory in a horizontal flow. There are many influences and simultaneous ways in which modern communications bring fashion from around the world into the homes almost instantly. Separate markets have developed to cater to different ages, lifestyles and tastes. Designers and brands reach out to their respective target market segments, each with its specific price points. The “Fast Fashion” chains are closer to the target envisioned by the trickle-across theory because of their speed to market, mass production processes that speeded up the process of moving fashion ideas from the runway to the store. This made it possible for different styles to trickle across for wider acceptance at the same time.

 

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