Hoe een miljoenenindustrie zich het afgelopen jaar heeft moeten aanpassen aan het coronavirus: de mode industrie ontleed
Het afgelopen anderhalf jaar was onze samenleving in de ban van het coronavirus. Dit met desastreuze effecten op verschillende sectoren. De economie lag tijdelijk plat, mensen werden geïsoleerd, distributie kwam in het gedrang… Ook de mode industrie werd getroffen. De sector heeft zichzelf deels in vraag gesteld, en is sneller moeten schakelen op sommige vlakken waaronder e-commerce. Het afgelopen jaar heeft getoond dat de industrie inderdaad snel kan handelen, veranderen en adapteren. Maar of die veranderingen langdurig en duurzaam zijn, zijn de meningen verdeeld. Er wordt al jaren geopperd om een meer duurzamer beleid te voeren, de mode industrie blijft nu eenmaal een van de meest vervuilende sectoren. Verder merken we ook op dat modemerken steeds meer polariseren: enerzijds zijn er de modehuizen die opgekocht worden door luxeconcerns zoals LVMH en Kering, die alleen maar winst willen maken, anderzijds zijn er de kleinere producenten en ontwerpers die actief mee willen werken aan een meer leefbare toekomst voor de sector.
Een overzichtswerk
Deze thesis is een eerste poging om een overzicht te maken van het afgelopen coronajaar in de mode industrie. Aanleiding voor het schrijven van deze thesis was de brief die Dries Van Noten publiceerde in mei 2020, waarin hij pleitte voor een herstructurering van de sector. Het overzicht zelf begint eind december 2019, met de eerste geregistreerde gevallen, en eindigt in mei 2021, met de brief die Dries Van Noten een jaar later publiceerde in Vogue waarin hij reflecteert over het afgelopen jaar. Aan de hand van literatuuronderzoek en kwalitatieve interviews wordt er geprobeerd om de grote evoluties van het afgelopen jaar neer te schrijven en worden er op het einde voorzichtige prognoses gemaakt over hoe de toekomst van de mode wereld eruit kan zien. Uit de geschiedenis is eerder ook al gebleken dat de mode industrie zich opstelt als een bijzonder flexibel gegeven dat creatief omgaat met de obstakels die ze tegen komen. De vraag is echter of ze daar het afgelopen jaar ook in zijn geslaagd.
Opbouw
In een eerste deel wordt er kort gekeken naar de plaats die mode inneemt in de kunstwetenschappen. Specialisten hebben getracht om mode tot een academisch niveau te brengen. Er bestaat echter nog steeds discussie over. Vandaar dat het belangrijk is om de mode binnen dit verhaal duidelijk af te bakenen. Verder is de coronapandemie ook niet de enige crisis die de mode industrie heeft geraakt. In een tweede deel wordt kort gekeken, aan de hand van vier eerdere historische gebeurtenissen, wat de (blijvende) impact is geweest op de mode industrie. Er wordt gekeken naar de pest epidemie van de 17de eeuw, de Spaanse griepepidemie na Wereldoorlog I (en de roaring twenties die eruit volgden), Wereldoorlog II (en de omgang met rantsoenering, productie die stil viel en de luxe kledij die minder in trek was) en de financiële crisis van 2008. Er zal doorheen de thesis ook vaak worden verwezen naar deze vier eerdere gebeurtenissen. Een derde hoofdstuk zal dan gaan over het verloop van de coronapandemie het afgelopen jaar. Deze is chronologisch opgebouwd volgens vier periodes en er zal per periode gekeken worden naar noties zoals de modeweken, de journalistiek maar ook opkomende thema’s zoals creativiteit en duurzaamheid. Ten slotte eindigt het verhaal met enkele conclusies en een vooruitblik naar de toekomst van de modewereld. Hiervoor werd beroep gedaan op enkele experten van de modewereld die kwalitatief bevraagd werden. Onder meer Veerle Windels, Aya Noël, Sonja Noël, Karen Van Godtsenhoven en Eve Demoen leverden een bijdrage.
En de winnaars zijn …
Het afgelopen jaar was bijzonder bewogen. De versnelde digitale groei, de opkomst van duurzaamheid en de niet altijd geslaagde uitingen van creativiteit zijn maar enkele topics die op de kaart werden gezet. De eerste maanden van de epidemie werden, zoals alle andere sectoren, gekenmerkt door chaos. Modeweken werden afgelast, collecties werden geannuleerd en orders werden niet betaald. Er kwamen creatieve oplossingen om ervoor te zorgen dat de industrie niet volledig instortte. De sluitingen van de fabrieken in de Aziatische landen waren een grote klap zowel voor de arbeiders daar, als voor het productieproces waar men soms terugkeerde naar lokale producenten en producten. Er kwamen tijdens die periode dan ook vooral door trial and error, geslaagde maar ook niet geslaagde oplossingen. Hoewel chaos alomtegenwoordig was, viel vooral de solidariteit in die eerste periode op. Grote modehuizen werkten samen om ontsmettingsmiddel, mondmaskers en beschermende pakken lokaal te maken.
Verder was er ook de verdere ontwikkeling van de digitale wereld. E-commerce was al bezig aan een opkomst maar bereikte ongeziene hoogtes het afgelopen jaar. Shows werden live gestreamed en merken probeerden zoveel mogelijk kijkers te lokken door creatief om te gaan met deze digitale wereld. Met die digitalisering kwam ook een schaalvergroting erbij waardoor er ook een nieuw, jonger publiek werd bereikt. Die creativiteit was dan ook vooral op digitaal vlak te merken, het ontwerpproces van de ontwerpers bleef op eenzelfde niveau als ervoor, hoewel er wel enkele uitzonderingen waren. Algemeen kan gesteld worden dat corona niet als inspiratie mocht dienen bij de collecties, toch verschenen er veel mondmaskers op de catwalk.
Duurzaamheid was één van de keywords van het afgelopen jaar. De vraag is echter of het ook blijvend op de agenda zal staan. Op enkel initiatieven na werd er vooral veel gepraat over duurzaamheid maar was er nog weinig actie. In eigen land waren modemerken vaak snel solidair, maar in de Aziatische wereld bleef het moeilijk om de situatie aan te pakken en duurzamer, schoner en minder uitbuitend te maken.
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Videomateriaal
Givhan, Robin en Haley Cohen. “How Coronavirus has shaped the current state of fashion.” via Washington Post Youtube (2020): laatste toegang 9 augustus 2021, https://www.youtube.com/watch?v=r_7eHAwXZGs.
Modemuseum Hasselt en Ingrid Mida. “Behind the Seams.” via Modemuseum Hasselt (2021).
Interviews
Demoen, Eve. Interview door auteur. Schriftelijk. Mechelen, 15 juli, 2021. Noël, Aya. Interview door auteur. Geluidsopname. Mechelen, 23 april, 2021. Noël, Sonja. Interview door auteur. Geluidsopname. Brussel, 30 april, 2021.
Van Godtsenhoven, Karen. Interview door auteur. Geluidsopname. Mechelen, 27 april, 2021. Windels, Veerle. Interview door auteur. Geluidsopname. Mechelen, 22 april, 2021
