Humanism
Doing Nothing. Shoji Morimoto Offers Professional Services of Doing Nothing
03 September 2024
Clothes that appear on store shelves seem to materialize out of nowhere. However, this is not a coincidence but rather the result of intensive efforts of marketing and communication departments. Leading figures in major apparel brands have come to understand that their foremost challenge lies in obscuring the actual conditions under which their clothes are produced and blurring their own responsibility. Moreover, it is the incessant introduction of new trends, intrinsic to the dynamics of a capitalist economy, that fuels sales.
The Origins of Fashion: A Historical Perspective
Fashion, as we understand it today, is a comparatively recent concept in the history of human civilization. Gilles Lipovetsky, a renowned French sociologist and philosopher, contends in his book ‘The Empire of Fashion: Dressing Modern Democracy’ that ancient cultures, such as the Greeks and Romans, lacked a distinct notion of fashion, as they did not value novelty for its own sake. To them, continuity and tradition held precedence, ensuring that fashion standards remained consistent. Moreover, there was not a clear distinction between male and female attire up until the medieval period. It was only in the mid-14th century that universal tunics for both genders were supplanted by distinct clothing types. At that juncture, while men transitioned to wearing doublets paired with light breeches, women began donning elongated, form-fitting dresses with lowered necklines.
The Enlightenment introduced a pivotal shift: style became inextricably linked with one’s socioeconomic standing. It was the aristocracy who dictated fashion norms, leaving the lower classes of society to merely mimic, often imperfectly, their fashion choices. The 1950s and 1960s marked another transformative period, with the rise of mass culture aligning with youth-driven fashion trends. Affluence became less of a determinant in fashion choices, replaced instead by a youthful spirit, a trend that remains prevalent today. Lipovetsky aptly illustrates this evolution with a simple observation: whereas young girls once sought to mirror their mothers in dress, today’s mothers aspire to reflect the styles of their daughters.
Capitalism and Fashion
For many individuals, fashion becomes a tool of self-expression. This is particularly true for those who place great emphasis on their individuality, aiming for their external appearance to reflect their inner character. The German sociologist and cultural theorist, Georg Simmel, noted an intriguing duality in fashion: while it facilitates personal individualization, it also provides a means for collective identification and community-building.
Yet, beneath the surface, fashion’s role is more nuanced. Although fashion can accentuate our individual differences, in reality, no one fully owns a singular, personal style. Fashion exists in an intermediary space—it pulls us into embracing broader trends, but simultaneously gives the semblance of individual uniqueness we all perceive within ourselves. The fashion industry adeptly taps into this paradox, capitalizing on it and deftly tying it to consumerism. In doing so, it creates mass-scale artificial needs and reinforces undue surveillance over private lives, which, in the end, curtails our free will.
Simmel also highlighted a particular socio-economic dynamic: the upper classes, with their influential authority and financial prowess, set fashion trends. These trends, over time, permeate the everyday life of the lower socioeconomic groups. However, once these groups adopt this new trend, luxury brand designers recalibrate, introducing an entirely new fashion trend. Viewed sociologically, this cycle suggests that lower economic classes are kept perpetually chasing the present, their financial constraints making them seemingly out of step. This dynamic, despite the growing affordability and accessibility of fashion, perpetuates a class-based disparity in the modern fashion landscape.
The Transience of Fashion Trends
The fashion sector gravitates towards ever-evolving trends. For instance, in 2003, Nike introduced the ‘Mayfly’ shoe, named after the ephemeral insect that survives merely 48 hours. It was pitched as a product designed to endure only 100 kilometers of running before its sole loses its cushioning capability. This episode highlights the absurdities of the fashion industry and starkly exemplifies its paradox: successfully proposing and marketing essentially disposable footwear.
This trend’s fleeting nature propels the industry, simultaneously imposing psychological burdens on individuals. They find themselves constantly having to adapt to evolving standards, from the season’s favored color to fluctuating pant leg widths or novel designs. Consequently, fashion aficionados must invest substantial time, money, and effort to ensure their attire aligns with prevailing aesthetics. As such, fashion not only emerges as an industry adept at exploitation but also as a demanding pursuit for its enthusiasts.
How can one resist the overpowering pull of fashion and its fleeting trends? An alternative might lie in the ‘slow fashion’ movement, advocating for reduced and more rational consumer choices. It challenges the notion—perpetuated by apparel manufacturers—that a mere addition to our wardrobe can substantially elevate our life quality.
In sum, each garment we purchase encapsulates a narrative—from its raw material origins to the labor conditions of its creators. But in the fast-fashion epoch, it is easy to lose sight of these narratives. As consumers, we unwittingly become cogs in an exploitative machinery. While sporting the latest trends may seem like a nod to individuality, it often merely signals submission to a mass culture that elevates consumerism above genuine authenticity.
The contemporary fashion landscape undeniably offers benefits, such as stylistic diversity and widespread access to trendy apparel. However, it is crucial to recognize the considerable costs attached, impacting both our environment and societal well-being. In this context, embracing the spirit of slow fashion is not just a fleeting trend, but a philosophy and a worldview. It calls for conscious awareness of the fashion sector’s true costs. Deliberately reassessing our shopping inclinations and valuing quality over sheer volume might be the antidote to rampant consumerism and a defiance against the manipulative strategies of fashion marketing.
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