Launch of TTFGA’s TBC Model Management
While utilitarian in essence, fashion comes off as an industry that is built on outward displays of identity and social-economic status—much like the automobile industry. In a time where social interactions are mostly reduced to grocery runs and often pantless Zoom meetings, the performative aspects from dressing up have been deeply impacted. “An essential part of our identity is rooted in how we relate to the people around us, and how we situate ourselves within the social hierarchy… We dress to tell a story about ourselves and if there’s no one there to hear our narrative, we’ve been put on mute—turned into mere ectoplasm in pajamas,” quips critic Robin Givhan. Beyond psychobehavioral drivers like these, decisions to put consumption on hold are emotionally-laden and economically-driven. As death tolls rise beyond five figures and unemployment rates set to peak in the past three decades, approximately affecting 629,000 lives locally, consumption remains a privilege for some, non-option for most.
As demand takes a setback, supply falters. For a 2.5 trillion dollar industry with the turnaround time equivalent to a whiplash, the sudden halt in momentum has put businesses and the many jobs they’ve created on the line. With global fashion sales expected to dip by 30% (an expected 40% for the luxury sector), it’s not just retail and operational staff who suffer: the heavy reliance of South Asian garment workers for production lines are now left suppliers with cancelled orders. Under unfair “force majeure” clauses, “extraordinary situations” like this pandemic has allowed corporations to forgo their pre-existing orders made, leaving technical workers that form 60% of Bangladeshi factories to face a reality of going unpaid upon being furloughed. As fashion events like the MET Gala get put on hold, corporations that are able to maintain liquidity in the meantime have contributed back to society—from converting factories to produce PPE and sanitizers.
On a local scale, the industry faces a set of intricacies that hit a lot more closer to home that makes statistics a lot more emotional. Compared to the celebratory mood I’ve observed at the first year anniversary of TTFGA’s modelling agency that happened less than two months ago, the industry has been met with radical shifts with consequences that many would have not been able to foresee. With Muslim consumers contributing about 270 billion dollars in 2018 and the modest fashion being a 44 billion dollar industry, the holy month of Ramadan was supposed to be a booming opportunity for designers and retailers alike throughout the period building towards Eid celebration, be it Muslimah fashion or not. Driven by the idea of showcasing financial success while maintaining an overtly pious image, modest fashion has been a successful approach for many designers—in the form or Raya collections that oftentimes playfully reference traditional silhouettes. With at least 80% of purchases being made in-stores, the reliance of brick-and-mortar experiences for a consumer have left retailers, especially those without an e-commerce presence in a state of turmoil. In reference to the closure of Esquel Group, a textile and garments manufacturer that once supplied for Ralph Lauren, the Malaysian Footwear Manufacturers Association reports a grim present for its retailers and manufacturers alike as supply chains for those who outsource their production to China or Korea have been impacted even prior to the outbreak hitting our shores. Footwear and accessories designer Christy Ng has been particularly vocal about the struggle of having rent to pay and mouths to feed in a time when customers have no propensity to support their businesses.
Another elephant to address is also the closure of BluInc Media, a cornerstone in the local publishing industry along with the 20 titles it used to carry. “It is uncertain that we will be able to see any light at the end of the tunnel,” said CEO Datin Azliza Tajuddin, effectively leaving behind a legacy of having launched the careers of hundreds of new talent and keeping the magic of print alive. This phenomena is not uncommon: Condé Nast has struggled for years and continues to do so—having lost $120 million in 2017 and put a few of its titles, including W up for sale. The rats race in competing with more real time, online mediums that feed increasingly lowered attention spans and instant gratification for consumption has been an uphill battle publishing houses across the board. Oftentimes the art of print is only appreciated by those who make it, not dissimilar to drinking one’s own champagne. As magazines connect advertisers and consumers, lowered marketing spend and buying power were the last jabs into their Achilles’ heel. The current reality has enabled us to question why things went south, but more importantly on how we are able to effectively reposition the idea of print as a complement, not a substitute to the current default of digital media.
Albeit realistic about potential losses, designers remain hopeful. With the belief that there will be needs for their offerings in a time of festivities, designers like Behati manage expectations by pushing 60% of their designs for 2021 instead. There has also been an influx of designers standing in solidarity by either contributing proceeds from sales or producing PPE for medical frontliners. Notable examples include joint forces between MODA Malaysia, FashionValet and IMARET that involves a collective of designers sewing batches of PPE from fabric funded by private corporations and the public.
While recognised as the biggest economic contraction since World War II, there seems to be flashes of hope. When WWD first reported that a single Hermès store raked in 2.7 million when it reopened its flagship in Guangzhou, the newly coined ‘revenge shopping’ could indicate a shift in consumer culture, while it remains a mystery on whether the phenomenon will be replicated elsewhere. Although in reference to another form of terrorism, former President Bush urged Americans to go shopping in a Post-9/11 society as an attempt to redistribute the economy, and to signal a form of resilience. For the rest of us, it’s clear that a cash-strapped future will mean bigger efforts required from designers to showcase value and differentiate their offerings to secure our share of wallet. As suggested by New York Times’ Vaness Friedman, there might be a higher awareness among consumers when deciding who to support—larger retailers with higher liquidity they enjoy from scale of economies and diversified finances, or smaller designers and their employees who will directly reap incoming profits.
In the short term, BOF recommends threading promotional techniques with caution, as the constant bombardment of sales may tarnish the customers’ expectations in value and brand perception. A more structured approach towards understanding cash flow through sales and procurement will also allow brand owners to improve cost-efficiency and waste reduction without downsizing or expecting either low or unpaid work from budding talent. As brands like Saint Laurent are reportedly leaving the fashion calendar, there seems to be areas where designers can take notes in. While fashion shows drive high outreach and engagement, it’s also important for designers to reevaluate and compare costs involved in converting said engagements into sales. It was also suggested that brands should tap into current customers by leveraging on brand loyalty, ultimately increasing their depth of buy and ever-evolving perception of the brand. Platforms like Transit Mart have experienced increased engagement upon their transparent discussion about their future endeavors beyond closing their brick-mortar-store. With an influx of talent upon the closure of aforementioned establishments, I also foresee opportunities for brands to leverage on the current pool of talent for more impactful in-house content.
Fashion is often criticised for its frivolity, but its overt, explicit nature in asserting (or purposeful diminishing) our presence helps extend a flight of fantasy that is implicitly rooted in our realities. As life is temporarily put on pause, it’s a difficult pill to swallow: it’s difficult now, but we’ll be able to dream again soon.