See Through Fashion was the theme of The Fair Fashion Fest 2020 in Ghent. This event, from November 26-29, revolved around fair fashion. The urgency of transparency is discussed as a first step to a more sustainable and ethical fashion system. As part of this event, dr. Aurélie Van de Peer interviews dr. Daniëlle Bruggeman about the topic of emotional durability during the Fair Fashion Talks. The talk can be seen here.

Lindy Boerman reflected on this event and created this article within the framework of Culture.Fashion, an open, value driven network that is moving towards a future proof fashion sector in The Netherlands. 

In fashion the ‘we’ is key

In the talk and the publication Dissolving the Ego of Fashion, Bruggeman states that the fashion system operates as a big ego and constantly feeds itself. It is a system of overconsumption, overproduction, inhumane working conditions, and has a throw-away mentality. This ego of fashion is something that needs to be resolved, and she therefore states: ‘We need to go from ego to eco.’

Emotional durability is central in this interview, and here Van de Peer and Bruggeman mention the empirical research of Jonathan Chapman. He notes that emotionally durable design is focused on creating a deep, meaningful and sustainable relationship between human beings and material objects. In relation to fashion, this is about the wearer having a relationship with the garment. Building a bond between those two is essential. Bruggeman highlights an example of this in relation to fashion: Carpet of Life, an initiative who develops old garments into new carpets. This way the clothes get a new life, but at the same time keep the emotional value of the owner.

Not only between the garment and its wearer collaboration is key but also within the making process of the garment. Bruggeman and Van de Peer discuss a shift in focus from designing to making. More and more designers now focus on the design process rather than on a beautiful end product. This requires a different way of thinking and working than before.

This relates to the following questions Van de Peer asks: ‘Can emotional durability exist in the current fashion system?’ Bruggeman mentions that there is a need for another speed and different dynamics. She believes it is important to show the consumer how much time is spent on making a garment, because the consumers have no idea how much time this actually takes. She mentions a designer who is already doing this: Kasia Górniak. She showed the attendants of the Fashion Colloquium: Searching for the New Luxury (2018) the activity of manufacturing a garment on stage. This example shows how important it is to create a connection between designers and consumers.

In the last part of the interview Bruggeman and Van de Peer discuss the importance of education. As a critical fashion student, I find this the most interesting part. The value of working together between student and teacher becomes clear as they highlight the importance of fashion schools facilitating the process of critical reflection on the system, and of students receiving tools for this critical reflection. It is important that the system is not only questioned, but that we also search for alternative approaches in an activistic and/or activating manner.

The time of solely critiquing fashion’s ego is over. We need to come up with alternative systems and approaches, to move towards fashion’s eco. The ‘we’ is key, so let’s do it together.

Also read the reflections (in Dutch) by journalist Sarah Vandoorne about this discussion here.

Want to become part of the Culture.Fashion go to www.culture.fashion and subscribe. Instagram: @culture.fashion.nl