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All Posts By

Helen Katharine

In Business/ Fashion/ Lifestyle/ Luxury/ Sustainability

Luxury Strategy: Sustainability in the Fashion Industry

The role of sustainability within the fashion industry and the application of sustainable practices within fashion businesses.

Introduction

Within the global fashion industry, concerns about the long-term viability of its current business model and practices have led to a growing focus on the role of sustainability and sustainable practices. This has been driven by a number of factors: the global warming scientific debate; the significant and often detrimental environmental impact of such a large global industry on natural resources; overuse and misuse of these limited natural resources; scandals about some fashion sectors’ exploitation of cheap labour; and changes in customer attitudes and behaviour. The industry has begun to take steps to address these concerns by adopting more sustainable practices (Saner, 2017).

This realisation that the current model is not sustainable has led some brands to take a hard look at their manufacturing processes, supply chains, carbon footprint, waste and recycling, social and economic impact, to find strategic, long-term solutions to these issues. These solutions commit the industry to strategic sustainability planning and sustainable practices.

Such strategic planning will require long-term investment, commitment and technological innovation. This report will examine and evaluate the growing role and importance of sustainability within the fashion industry and explore how some fashion businesses are already applying sustainable practices and innovative solutions to meet these 21st century challenges (Black, 2012, p. 9).

The Context: the global fashion industry ́s impact.

Although the fashion industry had experienced a very challenging year in 2016 in terms of growth, it was still worth an estimated $2.4 trillion in 2016 and accounted for 2 percent of the world ́s Gross Domestic Product (GDP). The industry is also the fifth largest sector in the global economy (Ahmed et al, 2016, p. 6). The economic and social impact of such a huge industrial ecosystem is obvious.

For developed countries where consumers have higher disposable incomes the economic benefits are clear and largely positive. Consumers enjoy access to ever-changing, easily available and cheap apparel which in turn encourages them to spend more. This has clear financial benefits for fashion companies, investors and economies.

In developing countries, however, the picture is mixed. The fashion industry has been accused of taking advantage of these weaker economies to exploit their natural resources, cheap labour markets and lax regulatory systems, to maximise profits. The social and economic benefits for third world countries and their populations from the activities of the fashion industry are debatable. Undoubtedly the fashion industry brings much needed employment, supply chain expertise and investment to these countries but there are also major problems in its exploitation of natural resources and labour markets.

The environmental impact of the fashion industry is also enormous and controversial. The industry is well aware that many of its current business practices have detrimental effects on the environment, deplete natural resources, abuse labour rights and conditions, contribute to poor waste management and add significantly to carbon emissions. The current business model, for example, of fast, cheap throw-away fashion has huge ramifications for cotton production, water usage, use of synthetic chemicals and pesticides, carbon emissions, biodiversity and labour markets in developing countries (Hermes, J, 2014).

Sustainable practices are seen as crucial for the fashion industry to mitigate this global impact. There are emerging strategies across the industry as to how these sustainable practices might be implemented and be effective: energy conservation; investment in technological innovation; internal and external improvements of the supply chain; recycling; educating and changing customer behaviour through more transparency; and resolving the competing interests of the fast fashion business model and sustainability (Black, 2012).

Of course, there will be different strategic directions and competing priorities within different sectors in the industry. But there is a growing consensus that sustainability has a major role to play within the industry and sustainable practices must be adopted.

The next section of this essay will examine the luxury and fast fashion sectors of the fashion business to evaluate their strategies and sustainable practices in responding to the social, economic and environmental effects of their global activities.

The effects of sustainable practices within the luxury and fast fashion businesses, particularly on the supply chain.

The luxury fashion industry ́s business model is based upon making beautifully crafted products from the finest quality materials. But this model has an inherent weakness. If the supply chain of rare, high quality materials, such as leather, silk or cashmere, is disrupted through the predicted effects of climate change, then luxury fashion is particularly vulnerable to changes such as drought and rising sea levels, as it often sources its materials from small-scale farmers in rural and coastal communities. Luxury supply chains are, therefore, most at risk from climate change because of the rarity and scarcity of their materials.

Recognising this systemic vulnerability has led to a conglomerate like LVMF to critically evaluate its supply chain, both internally and externally. This in turn has meant that its luxury brands have had to build sustainable practices into their strategic planning. The management structure and the resources of such a conglomerate allow it to make these deep and fundamental changes in strategic direction and these sustainable practices are binding for all its brands.

These practices can be summarized under three initiatives: firstly, its Life program which applies sustainable practices across all its activities to reduce its environmental impact, conserve energy and water resources, and protect ecosystems; secondly, its carbon reduction program with investment in renewable energy and an ambitious target of energy reduction by 20% by 2020; thirdly, sustainability at its retail stores by introducing innovative energy saving measures to radically reduce their green house emissions. LVMH is applying both external and internal sustainable initiatives across the conglomerate to ensure these have the maximum impact on its supply chain (LVMH, 2015).

These are very positive initiatives motivated by a strategic acceptance that climate change is a reality and that sustainable practices have a key role to play in protecting LVMH ́s major fashion brands` future and profitability. The company is seeking to future proof its supply chain by building resiliency policies into its sourcing of scarce materials, by reducing its impact on the environment through the adoption of renewable energy systems, by actively protecting water resources rather than polluting or depleting them and by long term investment and innovation in green infrastructure. These internal and external actions are supported by all its luxury brands, its executive and its investors. LVMH has not yet launched a marketing strategy for its customers, emphasising its green credentials. This perhaps points to the still tentative relationship between luxury and eco-fashion and its wealthy customers ́ suspicions about the quality of eco-designs and products.

LVMH has yet to fully embrace eco-friendly luxury products made from sustainable materials and designed by environmentally committed designers, or be fully transparent about its supply chain, but the sustainable practices it has initiated are major steps in the right direction.

Not marketing its good work may be a missed opportunity, as we should not underestimate the influence such a prestigious conglomerate as LVMH has in shaping public opinion and customer attitudes. The ‘Energy P&L’ initiative, for example, implemented by its competitor, Kering Group, does raise public awareness of climate change and encourages other luxury retailers to adopt similar policies. This seems to make marketing sense. Where luxury fashion brands go, others are sure to follow.

The Kering Group has also responded positively to the challenges of maintaining sustainable supply chains. Kering made its first commitment to transparency and sustainability in 2012 when it voluntarily set targets to reduce its carbon footprint, use of hazardous chemicals and police rigorously its sourcing of gold, leather and precious skins.

What led to this change? Kering also saw clearly that its current operational model was unsustainable, given the accelerating effects of global warming and its reliance on high quality raw materials.

In 2016 Kering published its first comprehensive report on its successes and challenges in meeting its ambitious 2012 targets. The picture is mixed on the targets set for sourcing raw materials, emissions and the social impact of its use of natural resources (Abnett, 2016). One headline achievement was its 99 percent success in the reduction of PVC use in its products. Another was 81 percent success in sourcing its paper from certified sustainably managed forests. A 100 percent target of sourcing its gold from verified sources, however, only resulted in a 15 percent success rate.

The challenge of ethically sourcing raw materials is exacerbated when the sources of these materials are in countries with poor or virtually non- existent regulatory or compliance systems. Kering is reliant on co- operation from these countries, their suppliers, their proper management of resources and workers. In these circumstances, enforcing regulations and imposing penalties for non-compliance are often not realistic. Increasing vertical integration, where Kering can locate its operations in Europe is a possible, if more costly, solution.

Targets on carbon emissions, waste and water use were also missed. But again with, for example, carbon emissions, Kering has no control over factories producing raw materials in poorly regulated countries. Its answer is to contribute financially to environmental projects in developing countries to offset this. Kering has, however, predicted huge cost saving over the longer term from improved waste reductions by applying pressure on its suppliers and offering incentives for them to adopt more sustainable practices.

Its target for the removal of hazardous chemicals was set for 2020, perhaps recognising that the solution to this challenge would only be found in properly funded research into ‘green’ chemicals. The key to solving this problem is innovation, research and investment.

Substantial investment in research and development is needed by the fashion industry as a whole to promote the use of ‘green’ chemicals. The price of these environmentally friendly chemicals must be brought down if they have any chance of being used. Damaging chemicals and pesticides will continue to be used in developing countries where raw materials are outsourced and regulatory controls are lax. Luxury brands can, however, invest more in innovation and research to make better and more efficient technology available to developing countries and thus avoid some of the worst environmental damage. These are internal and external controls which profitable companies can put in place through strategic investment.

The Kering Group, like LVMH, is committed to sustainability because, in its view, it is not an option but a necessity. It has looked at the science and concluded that if its luxury brands are to have a sustainable future, then its business model must be based on sustainable practices (Abnett, 2016, p. 5). The strategic decisions of these large conglomerates will undoubtedly benefit the environment, encourage innovation and contribute to the long-term sustainability of their suppliers and their communities.

If luxury brands ́ vulnerability lies in the perceived fragility of its supply chain to ensure the constant supply of rare materials, the fast fashion sector ́s problems arise paradoxically from its success in ensuring the abundant supply of cotton, which is the basis of the apparel business. This headlong rush for growth, regardless it seems at times of the social, economic and environmental impact such a strategy has, has presented this sector with a sustainability dilemma.

Cotton accounts for 90 percent of all natural fibres used in textiles, and in 40 percent of apparel produced worldwide. The process of growing cotton is water intensive. An estimated 8,000 synthetic chemicals are used globally to turn raw materials into textiles. Seventeen to twenty percent of industrial water pollution comes from the dyeing and treatment of these textiles with many of the chemicals released into freshwater sources (Ditty, 2015, p.12).

The Carbon Trust reports that clothing accounts for around 3% of global CO2 emissions. Roughly half of these emissions happen simply wearing, washing, tumble drying and ironing this clothing. Even after treatment of the wastewater, residual chemicals from the process can still be found in water supplies which are proven to be detrimental to human health and reproductive systems. (Ditty, 2015, p.12).

The textile industry ́s damaging impact on the environment is well understood within the industry and its overuse of water and chemicals is well documented. (Hermes, 2016)

The challenges now are: how does the fast fashion industry reconcile meeting the demands of the mass market for cheap clothing with its responsibilities to the environment and conserving precious natural resources such as water, sustainable agriculture and communities? The way forward is clearly to introduce sustainable practices and long-term strategic change.

A paradigm for such strategic change is the clothing and retail giant, H&M. Given its success in the fast fashion industry, selling more than 550 million garments per year, banking quarterly profits of $412m, this radical shift in strategic direction is remarkable. Its aim is to become completely climate positive by 2040. Its Garment Collection Initiative has collected 39,000 tonnes of clothing since its inception in 2013 and in January 2017 H&M launched its Bring It garment recovery campaign, with the aim of recycling 25,000 tonnes of clothing a year (Mellery-Pratt, 2017).

H&M is not indulging in greenwashing or clever marketing around organic cotton and sustainable materials. It is instituting change across its entire value chain, setting itself strict goals to achieve a 100% circular business model and introducing a Sustainable Impact Partnership Programme to assess the performance of its suppliers. Transparency is also a strategic goal. H&M shares a list containing 98.5% of its first tier suppliers ́ names and addresses (H&M, 2017).

This is systemic change, engaging all layers of management and stakeholders in their mission to be one of the high street ́s most ethical brands. The effects of such a change of mission will have clear benefits for the environment through recycling, better management of its suppliers and more transparency for its key stakeholders, its customers.

Changes in consumers` attitudes towards sustainability, sustainable and ethical practices

We live in an age of instant gratification and fashion immediacy. One of the consequences of discounted, cheap “fast fashion” in wealthier, mature markets is the priority consumers now put on value, on being able to buy more for less. Worldwide, consumers are demanding more ‘fast fashion’ and a greater variety of goods at affordable prices. The fashion industry is responding with ever increasing levels of production to meet this global demand.

Fashion shopping has also become an enjoyable leisure activity, where consumers seek to express themselves through style, colour, design, and to look and feel good. The serious political, social and environmental issues which arise from mass fashion production and consumption are not in the forefront of most consumers ́ minds when they are engaging with their favourite high street brands.

There is evidence, however, that consumer behaviour is changing. The McKinsey Report highlighted this. Brand loyalty is on the wane and consumers are characterised as more unpredictable, demanding and discerning. There is some evidence that consumers are also becoming more aware of sustainable issues, especially among younger consumers. But surveys have also shown that millennial consumers still prioritise “value, quality and image” (Ahmed et al, p. 73).

That’s not to say however, that there are no ethically conscious consumers. In fact Generation Y are leading the way for ethical shopping, and proving that they are becoming more strategic in their purchasing decisions than previous generations. A study published by Choosi in January 2017, found that more than 90% of respondents are considering their environmental and social footprint when making everyday purchasing decisions (Choosi, 2017).

Empowered by technology, Gen Y are making sustainable shopping a way of life, utilising apps such as Good On You, Shop Ethical, DoneGood, and aVoid to ensure they make informed choices. These apps provide real opportunities for savvy marketers promoting their brands` sustainable and ethical practices. The most common reason cited for choosing ethical brands is the human factor, recognising that fashion does not exist in a vacuum: it impacts workers and communities as the Rana Plaza disaster brought tragically home.

These new shifts in consumer behaviour contrast with previous generations where ethical concerns were not important. New data does indicate a trend towards a more ethical consumer, even suggesting that the younger generation are willing to shun brands that are deemed to be unethical.

For brands, predicting these trends in consumer behaviour is vital for their long-term strategy, production methods and supply chain. Brands must align with their customer base, to not only better engage with the more ethical consumer, but also to educate those who are not so aware of the issues. Both brands and retailers need to engage more fully with their consumers by being more transparent and being truly committed to bringing about change (Heinze, 2016). This means deliberately positioning their brands as sustainable and ethical and marketing them as such. Consumers are becoming more aware as well of their power to make a difference and they can punish brands which do not align with their ethical values.

The question then is what motivates consumers to make ethical choices? Consumer attitudes in the past towards sustainable fashion products may have been lukewarm, believing them to be of inferior quality and design. While price and availability do impact the extent to which consumers engage with ethical brands, quality is of utmost importance. (Confino & Muminova, 2011) Ethical clothing which is well designed, using high quality materials, is becoming ‘desirable’ giving rise to several newer, more niche brands like Edun, Suno, Honest By and Bodkin. These brands aim to combine the aesthetic and the sustainable in an affordable range.

A more established brand like Stella McCartney which sources recyclable materials, uses natural raw materials and even uses wind power to generate energy in its UK based studios and offices, has power to influence consumer choice and behavior in a more ethical and sustainable direction. The influence of luxury brands and celebrity endorsement cannot be underestimated. Ralph Lauren has, for example, hired sustainability directors to make changes to its business model and to overhaul its supply chain. Such strategic decisions have an impact on the industry as a whole and on consumer perceptions.

Conclusion: the sustainable model

Fast fashion still, however, poses real challenges for the environment, workers ́ rights and conditions and despite the growing trend in more ethically responsible consumers, many brands will need to undertake radical strategic action. Apparel supply chains must allow for a level of transparency that today’s shopper seeks. Movements such as #whomademyclothes and #showyourlabel demonstrate that consumers are calling for tighter regulation and monitoring, while expecting brands to adopt transparency within their basic marketing model. Smart branding that places sustainability at the core of its identity will allow informed consumers to express their values through their fashion choices, to support brands which are investing in sustainability and to contribute, as fashion stakeholders, to a greener and more sustainable planet.

Fashion brands that have adopted a leaner, more sustainable model have clearly defined social, economic and environmental objectives and a marketing strategy to explain these objectives. Brands embracing this model embed a sustainability and ethical strategy throughout their design and supply chains and work towards vertical integration. This ensures that all their internal and external activities are measured against these three overarching strategic aims.

Sustainable brands know the true costs involved in fashion production. This requires all activities and resources to be accounted for. Such brands systematically measure land usage, water wastage and labour costs, the environmental impact of the use of chemicals in water systems and land, health and safety and working conditions. All of these operations are monitored and properly costed to identify the true cost of these practices in the supply chain. The introduction of a tool like the Higg Index, a standardized supply chain measurement, by the Sustainable Apparel Coalition, will enable consumers to tell at a glance from a garment ́s tags its environmental effects. This will give sustainable products a distinct advantage with the ethical consumer.

For this sustainable model to work all stakeholders must also be involved: management, investors, shareholders, suppliers, workers and customers. The model not only requires personal commitment from all stakeholders but also investment in innovation, big data and a long-term strategy.

At this year ́s Copenhagen Fashion Summit it was agreed that a circular economic model must be adopted, by increasing the volume of textiles collected, reused and recycled by 2020. (Mellery-Pratt, 2017) Such a model, rooted in reuse, will eradicate waste and use the leftovers to create new garments, continuing the life-cycle indefinitely. This initiative should be thoroughly embraced by brands at the forefront of sustainability, in a movement towards slow fashion and quality. A number of Slow Fashion designers are already working to ensure the longevity of their clothing by sourcing high quality fabrics, offering traditional cuts and creating sophisticated, timeless pieces. These sustainable practices signpost the way forward.

References:

Abnett, K (3 May 2016) Kering goes public with sustainability report, revealing progress and pain points. [online] BoF. Available at: https://www.businessoffashion.com/articles/bof-exclusive/bof-exclusive-kering- goes-public-with-sustainability-report-revealing-progress-and-pain- points?utm_source=BoF&utm_campaign=bof-exclusive-kering-goes-public- with-sustainability-report-revealing-progress-and-pain- points&utm_medium=RelatedArticles [Accessed 7 May 2017].

Ahmed, I. Berg, A. Brantbury, L. Saskia, H (December, 2016) The state of fashion 2017 [online] Bof & McKinsey & Company. Available at: file:///C:/Users/user/Downloads/The-state-of-fashion-2017-McK-BoF-report.pdf 2016 [Accessed 5 April 2017].

Black, S. (2012) The Sustainable Fashion Handbook. Thames & Hudson.

Choosi (January 2017) The Choosi Modern Choices Report [online] Choosi Available at: https://www.choosi.com.au/getattachment/Blog/lifestyle/February- 2017/modern-conveniences/modern-choices-report.pdf.aspx [Accessed 19 June 2017].

Confino, J & Muminova, O (12 August 2011) What motivates consumers to make ethically conscious decisions? [online] Available at: https://www.theguardian.com/sustainable-business/motivates-consumers- environmental-ethical-decisions [Accessed 23 September 2017].

Ditty, S (December, 2015) It ́s time for a fashion revolution. White paper: Fashion Revolution. [online] Available at: http://fashionrevolution.org/wp- content/uploads/2015/11/FashRev_Whitepaper_Dec2015_screen.pdf [Accessed 24 May 2017].

H&M (2017) Vision and Strategy [online] H&M. Available at: https://about.hm.com/en/sustainability/vision-and-strategy.html [Accessed 1 June 2017].

Heinze, L. (23 March 2016) The ethical fashion revolution: moving beyond judgement to informed choices. [online] ABC. Available at: www.abc.net.au [Accessed 24 May 2017].
Hermes, J, (6 Oct. 2016) Assessing the environmental effect of the fashion world [online] Environmental Leader. Available at: https://www.environmentalleader.com/2014/10/assessing-the-environmental- impact-of-the-fashion-world/ [Accessed 22 September 2017]

Kering Report, (3 May 2016) Beyond our limits 2012-2016 sustainability targets [online] Available at: http://www.kering.com/sites/default/files/Kering_Sustainability_Targets_Report/ html5/index.html?page=1&noflash [Accessed 24 May 2017].
LVMH (2015) Environmental Report. [online] LVMH. Available
at: https://r.lvmh-static.com/uploads/2016/04/rapport-environnement-2015- va.pdf [Accessed 22 September, 2017]

Mellery-Pratt, R. (11 May 2017) In Copenhagen, Gearing up for a Circular Fashion System [online] BoF. Available at: https://www.businessoffashion.com/articles/intelligence/in-copenhagen-gearing- up-for-a-circular-fashion-system [Accessed 10 June 2017].

Saner, E (25 April 2017) Sustainable style: will Gen Z help the fashion industry clean up its act? [online] The Guardian. Available at: https://www.theguardian.com/world/rana-plaza [Accessed 10 June 2017].
Tungate, M. (2012). Fashion Brands: Branding Style from Armani to Zara. 3rd ed. London and Philadelphia: Kogan Page Limited.

In Business/ Collaborations/ Styling

Styling 101: Building Creative Relationships

There is something special when creative people get together  – Joy Mangano

Relationships are so important. Who you know can have a significant impact on how successful you become, and without connections, your work may not get noticed. Everyone needs a network, and creatives are no exception to this rule.

Relationships are also critical for the creative process, and creativity often a result of collaboration. For this reason, it is extremely important that you connect with people in the industry, or build relationships with other creatives. These connections can be built online, in person, or on the job. Through this creative network you will hear about jobs, exchange industry news or gossip, helping you to grow and improve in your profession.  Being around other likeminded creatives, can often present more opportunities for inspiration or the opportunity to collaborate on projects.

In the past, when I wanted to learn more about the fashion industry I attended conferences not only to expand my expertise and to keep up to date on burning topics in the industry, but also so I could network and introduce myself to as many people as possible. I connected with many stylists and fashion creatives online and with the students of local fashion schools so that I might receive invites to their fashion shows and careers events. I made both friends and contacts this way.

Where to start

My advice to anyone starting out, who needs to build their network, is to look in your local area for anything that relates to your creative passion; this could be a conference, a festival or a Meetup. There are many groups on Facebook for creatives seeking other stylists, makeup artists, photographers for TFP (time for print) collaborations. There are also many other more sophisticated professional networking sites and forums for paid work in the field once you have some experience.

How to make the most of your connections

Once you have established yourself within the creative scene, and made your introductions, it is very important for you connect with people who can help you grow, develop your craft and succeed. You will also want to consider how you can make it mutually beneficial for you and your connections; have you established a lasting relationship with people who can help you and with whom you can also lend a helping hand? Offering to collaborate and supporting others pays dividends, and this will be very useful to you especially if you go on to intern or assist. Lastly you want to meet with these people regularly, to not only be keep in the loop regarding any work or collaboration opportunities that arise, but also so that you continue to learn from them, that you challenge yourself and that they point out areas where you can improve and strengthen your experience.

Always be promoting 

Once you get a foot in the door, make sure to always self promote and tell them your contacts about your accomplishments and successes. Positive visibility goes a long way! Talk about what you are learning, what ideas you have for future work, and ensure to sell yourself to every contact as you would in an interview. Adapt to your audience and highlight anything that shows your passion and enthusiasm for the subject. If you are interested in commercial styling mention celebrity stylists that you love, for fashion editorial mention photographers you would like to work with, magazines or publications that are in-keeping with your values or ambitions, and of course any stylists that inspire you.

Develop your personal branding

Lastly, use the opportunity of networking to develop your personal branding. Your brand represents what people should know about you, your values, your integrity and your work ethic. Always be ready to pitch your brand should you need to, have your portfolio at hand and make sure to promote your brand and website, whenever an opportunity presents itself.

As a creative, your personal branding is all about you, so make sure people know who you are!!

In Art/ Photography/ Styling

Styling 101: What is Editorial Photography?

“Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” – Coco Chanel

Editorial photography is an art form. It differs from commercial photography or fashion photography in that its purpose is to sell a story as opposed to a product or lifestyle. While there can sometimes be an overlap, editorial is more focused on the concept, and the artistry of telling a story or capturing a specific moment in time.

Commercial photography predominately sells a product and typically puts the emphasis on the product or service in question for promotional or marketing purposes. The styling, lighting, and art direction usually are designed around the merchandise or item to showcase individual designer pieces and highlight the brand. In fashion photography the focus is on the mood and styling of the image, and everything else in the picture is used to convey a trend or lifestyle. The styling, art direction and choice of aesthetics such as set, lighting and props tend to be more conceptual. Often fashion photography images fuse together the worlds of art and commerce, while also highlighting new clothes, a beauty product or accessories in a fantastical manner.

Editorial photography is designed to convey a theme, a mood or feeling, via a story and a highly stylised sequence of images. Editorial photos can document real life issues, events and human interest narratives. They are typically financed by a magazine or publication, and not by an individual advertiser. They can be used to support the written word by lending visual context, or as a standalone visual art piece conceived of perfect shots. Within editorial photography there are several genres including photojournalism, fashion, portrait, sports and landscapes. Fashion editorials often feature as full page or double spreadsheet in a magazine.

Fashion Editorial

Fashion editorial pieces are often considered to be edgy or non traditional. This is often achieved via a combination of intense model poses, non customary lighting and conceptual artistic direction consisting of extreme garment styling, makeup and hair. The choice of shooting location also plays a vital role in creating fashion editorial. While different clothing or looks might be used in each picture of the sequence, each of the chosen elements combine to depict a common visual thread throughout the spread. Fashion editorials can be shot outdoors or in a studio, be simplistic or very rich in colour and backdrop, be minimalistic or lavish in design. What is always common however,  is the level of creativity and use of sharp composition in editorial work,  that lends itself more towards art than either commercial or typical fashion photography.

In Business/ Styling

Styling 101: What’s in my styling kit?

Before anything else, preparation is the key to success – Alexander Graham Bell

What’s in my styling kit? 

First things first, why do you need a kit? When you start working on projects, be it for commercial clients, celebrities or on location, you will always need to have a kit with you. Having a kit always to hand will enable you to make last minute adjustments and alterations while also avoiding any potential wardrobe malfunctions! It is a requirement and therefore I would suggest having it prepped at all times should any last minute jobs arise.

On shoot day, you can expect to have to re-steam, reorganise and reshape your items when styling them on person. One question you should always clarify prior to arriving on set is if there will be access to a steamer or iron and ironing board, at the studio or on location. The production team may have organised for it, but if not it is your responsibility to ensure you have one.

I would recommend to always have the following in a handy lightweight bag, so that you are always prepared and can allow for any last minute inspired changes to the look or fit of the garments. A lot of styling on set or location involves improvisation, so you want to be sure you have everything you need in order to take advantage of any opportunities that arise or ideas that come to mind!

In order to keep all items and your models looking exactly as you planned, your styling bag/ kit should contain:

    • 1 pair sharp scissors
    • 1 lint roller
    • Garment / crocodile clips
    • Razors
    • 1 sewing kit with various thread spoils in 4-5 colours and several needles
    • 1 or 2 tape measures
    • A box of small and large safety pins
    • 2 rolls of double-sided tape
    • Deodorant
    • Makeup remover
    • Makeup sponges
    • Clear bra strap holders
    • Quick Tips instant heel fixers
    • Cotton balls (can be used for stuffing out clothes, bags and shoes)
    • A glasses microfibre wipe
    • Shoe grip pads to prevent shoes from slipping
    • Reusable silicone nipple covers
    • Clear Polish or shoe & purse shine sponges
    • A selection of nude, black and white bras in various sizes in strapless, push up and backless shapes
    • Nude tanga pants
    • Bra fillers i.e. chicken fillets
    • A selection of spaghetti strap vest tops in nude, white and black
    • A silk scarf or piece of fabric to protect clothes from staining and to protect hair and makeup from transferring onto garments
    • Stain remover wipes
    • A selection of tights / hosiery
    • A bumbag or utility bag – this is for you when you need to be handsfree on set
    • A selection of belts
    • A leather belt hole puncher
    • A kimble gun for removing and reattaching price tags
    • Suit bags – for the transport of clothing
    • A selection of practical and attractive buttons
    • Mobile phone and charger
    • Polaroid camera (optional but very useful for test shoots and when preparing looks for a fashion show with the models)

Ensure you know before you arrive how much space you and your team will have and ask what area you can use to hang clothing. If you have a lot of garments to hang, you will need to know that there will be somewhere to hang them. Bringing a foldable rail will be essential if nothing else is available.

Lastly will there be anywhere for your models to change ? If outdoors or on location, you may want to bring some scarves, sheets etc that can be fashioned as a makeshift changing room to give your models some privacy from the crew. Some models are very comfortable stripping off and changing / being fitted on the spot, but if not then you may have an issue when working to get them changed under time constraints. It is therefore always better to plan and have a coverup to hand should it be required.

Following the guidelines above will ensure you have a smooth and stress free shoot day! Good Luck!

PS. Have I missed something? Do you have a top tip that you wish to share? If so, please post your comments below.

In Art/ Business/ Fashion/ Photography/ Styling

Styling 101: What is Fashion Styling?

“Fashion is not art. Never.”  – Jean Paul Gaultier

What is Fashion Styling?

Fashion stylists create looks or images for their brands and clients that allow the muse or model to engage with their intended audience. Fashion styling as a profession, is fast becoming one of the most sought after career paths globally but yet many still don’t know exactly what it entails. It is not just about putting clothes or outfits together!

Fashion styling can be a creative and fun job, but it is also serious and fiercely competitive. It is both a very demanding and rewarding profession. Stylists have to be both collaborators and entrepreneurs, as we work with a team and /or a client to create the work, so good communication and social skills are essential. It is also vital however to have drive and self motivation, as the hours can be long, the planning and preparation stressful, and the day to day mostly autonomous.

What skills do you need to be a stylist?

As a stylist I help brands, photographers and artists put together their visions and strategy to help them achieve business goals; we are visual storytellers. A freelance fashion stylist has to be creative and artistic, while also being very practical and business savvy. A stylist will be required to conduct research, conceptualise, then create work to brief and within budget.

Being successful in this industry requires a real drive and determination; you need to be resourceful, responsible and willing to work hard. We are working B2B with brands, companies, agents and celebrities so professionalism and communication are key. All in all, stylists generally have a very diverse and dynamic skill set. They are essential to the fashion industry and play an integral part in fashion branding, PR and marketing.

What is the main role of a fashion stylist?

Stylists are creative storytellers. As a stylist, I help create narratives and stories about people, events, trends, products or moments in time. The images are created to have an entertainment and artistic value for the mass market and the reader, nevertheless the intention or the ‘story’ is usually to sell a product or concept. We draw on references from history to create context, while also using our creative visionary to predict and interpret future trends. Inspiration can often be found in art, film, music, pop culture so a stylist needs to constantly be absorbing the world around them.

For this reason, it is important for stylists to be knowledgeable about fashion terms, designers and publications. Not also does this make us more creative, but it adds to our expertise, and gives integrity to our personal brand. Being ahead of the competition, helps a stylist constantly refine and develop their brand identity. For each job we need to be able to direct, envisage and interpret a concept, while presenting something new and fresh.