August 4, 2025 • 32 mins
The fashion industry is a complex ecosystem encompassing everything from design and manufacturing to marketing and retail, with a current estimated global value of $35.2 trillion. We explore the structure, evolution, and key players that transform clothing into a worldwide cultural and economic force.
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Episode Transcript
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Speaker 1 (00:17):
Hey, divas, and welcome to Magnifique, your
favorite fashion industrypodcast.
I'm your host, gabrielle, andtoday we talk about the fashion
industry extensively.
Like, first off, what the heckis it?
What does it encompass?
What are we even talking aboutat this point, you know?
So we have a hefty, a heftyepisode today, so get snuggly.
(00:43):
I say this every episode, butif you're driving, go ahead and
pull over.
We got a long episode and Ineed your full attention right
here, right now.
Obviously, I'm just kidding.
If you're driving, you know twohands, ten and two.
There's a cop behind you.
Speed up, 10 and 2.
(01:05):
There's a cop behind you.
Speed up.
Really, just live your life asthe diva that you are.
Also, I'm kind of in a grumpymood today, so if that comes out
, you're welcome.
That's all I have to say onthat, guys, I also forgot to
tell you that my exclusivesource for this episode is the
Encyclopedia of Clothing andFashion.
I did look up one or two extralittle tidbits that I will let
(01:28):
you know, because I just foundthem from random websites and I
don't know if we can trust thosewebsites, but I chose to the
fashion industry as an umbrella.
Term refers to the entireecosystem that encompasses
fashion, from designing tomarketing, to the large-scale
effects of globalization.
The industry itself is furtherdefined by individuals who
(01:49):
choose to engage with thevarious sectors, though, in
short, it is the business ofmaking and profiting from
clothing and turning apparelinto fashion using one's
preferences and prejudices.
The modern apparel industry hasits hands in the production,
promotion and marketing ofstyles, with its main tool being
desire, Using what consumersdesire to define apparel as
(02:11):
being accepted and celebratedthroughout history.
When consumer desire changes,so must the industry.
How else might brands haveexpanded into fragrance
offerings or home goods, inaddition to their widespread
range of accessories and jewelry?
Consumers drive the business.
This also rings true in theevolution and functionality of
(02:32):
garments.
For example, the crinoline usedto be part of the everyday
dressing, but as separatesbecame more popular and feasible
undergarments, crinoline makersevolved into bra manufacturers.
At current, there are fourlevels to the fashion industry
the primary level, whichincludes textile mills and yarn
makers and just the raw clothingmaterial.
(02:55):
The secondary level, whichencompasses designers,
manufacturers and wholesalers.
The retail level, whichinvolves all points of sales in
stores.
And lastly, the auxiliary level.
This connects all previouslevels through press and
advertisement.
Today we'll discuss levels twothrough four.
(03:16):
The fashion industry saw itsfirst major and modern boom in
the mid to late 19th centurywith the rise of mass-produced
clothing.
Designers like Paul Poiret andCharles Frederick Wirth are said
to be the founding fathers ofmodern fashion.
Wirth pioneered the concept ofParisian couture, putting Paris
on the map internationally as afashion powerhouse.
(03:37):
The industry then sees a shiftto ready-to-wear, mass-produced
garments.
That sparked the Americanized,large-scale garment factories
seen in places like the LowerManhattan and eventually, the
Garment District in New YorkCity, which, if you're
interested, my last episode isall about the garment industry's
rise and fall.
(03:58):
So if you want a little deepdive on that, check it out.
The fashion industry today iscomprised of luxury
conglomerates moving productionto cheap labor countries with
the exclusive intent ofincreasing their bottom line,
which raises a personal questionof mine of if we've lost the
art of garment making, butthat's a deep dive for another
day.
If we've lost the art ofgarment making, but that's a
(04:21):
deep dive for another day.
I mentioned that globalizationis a reason, or a reason that
modern fashion is what it istoday.
While the Western world haspracticed large-scale
globalization since the 16thcentury, with colonization, the
(04:45):
slave trade and the spice trade,it wasn't until the late 20th
century that we uncoveredtechnologies to have end-to-end
coverage all over the world,which is kind of exactly what
globalization means theconnectivity across the globe.
This dramatically changed theway society interacts with
dressing.
In a sense of fashionglobalization means clothing
sold by retailers who caneffectively update inventories,
(05:06):
make deals and coordinateworldwide distribution all
remotely through computertechnology.
Globalization in fashion isalso a feeling of connectedness
and cohesion amongst brands.
Worldwide Marketing campaignsencourage fashion consumption
and even associate it withpleasure.
In tandem, this consumerbehavior is monitored and
(05:28):
measured.
Consumption in our society isnecessary for holding up the
global capitalist economy and,as we know, capitalism is held
up by what Exploitation Oureconomy, specifically the
fashion economy, is dependent onthe use of cheap labor in
poorer countries.
End exploitation Retailcorporations like Nike, express
(05:52):
and the Gap, just to name a few,outsource their manufacturing
through contractors orsubcontractors overseas.
Again, we discussed this alittle bit more in depth in the
garment district episode, justthe rise of offshore production.
But Nike specifically pioneeredthis outsourcing in search of
low-wage employees during theathletic wear boom of the 1980s.
(06:16):
Outsourcing to sweatshops inMexico, china, thailand, romania
, really, just to name a few.
Wages can be as low as 23 centsper hour, which is so crazy
when they're selling theiractual merchandise for 80 plus
bucks.
But don't think the US iscompletely safe from sweatshops.
(06:37):
They do still run Among Us.
For example, prison Labor inLos Angeles makes a lot of
apparel and there do exist somesweatshops still in the New York
City area.
While sweatshops continued todeteriorate in their working
conditions, the US companiescontracting labor refused to
(06:57):
take any responsibility forproviding a decent working
conditions and standards.
That was until 1997, again Nikepioneered, claiming no
responsibility for theseworkspaces because the workers
were independent contractors,therefore not Nike's
responsibility.
This led to the creation ofworker unions like Unite and
(07:18):
began a campaign for laborstandards reform, having
independent monitors in thesegarment factories overseas,
provided by the company.
Globalization can be summed upas the response to technological
advances and an insatiablehunger to be the best capitalist
.
These two things met and formedGreed's final boss, in my
(07:42):
opinion.
It's my understanding thatwithout globalization, slow
fashion would continue todominate for a little while
longer and sweatshop coremerchants such as Shein might
have taken longer to come tofruition.
Speaking of capitalism, theeconomics of fashion can be
broken down into three sectorsProduction, distribution and
(08:04):
consumption.
All three sectors are bothdeeply intertwined and yet
fiercely competitive with eachother.
Consumer demands keep thingsspicy, with retailers and
manufacturers competing forunits sold and at what price
point, and varying styles.
Manufacturing falls into thefirst sector of production.
(08:26):
Companies historically take outsmall-term loans to kick-start
their garment production andgradually pay them off as
retailers purchase goods.
Retailing would make upconsumption and lead consumers
to their purchase stockingstores with items based on the
demand of their targetdemographic Retailing.
(08:46):
Let's expand on that a bit.
Retailing in general refers tothe business of selling goods
and services.
In the chain of command,retailing is the last channel
that connects manufacturers toconsumers.
Retailing accounts for asignificant portion of the
global economy.
In 2002, the top 200 retailersaccounted for $2.14 trillion in
(09:08):
global sales.
Today, the estimated retailvalue is up to $35.2 trillion
globally.
I did take this number from BizPlanner, so if they're lying, I
fear I might be lying, but I'mchoosing to trust them.
This growth is due in largepart to globalization.
With a connected world, theexposure of goods and services
can find people just as quicklyas manufacturers can produce
(09:31):
them.
Walmart is currently theindustry leader in all retail
sales.
Retailers are characterized by amyriad of indicators range of
merchandise, price ofmerchandise and general
assortment levels of customerservice.
But dominating retailers tendto be multi-channeled, offering
more than one specification ofmerchandise, casting the largest
(09:54):
net to have the most consumersever possible.
And while this strategy ringstrue for most retailers, there
are distinct differences in thedefinitions and general
categories of stores.
There are at least seven majorretail categories.
I'll list them off and then wecan go in deeper depth.
(10:15):
So we have the department store, the specialty store, the
category killer, the discountstore, the off-price store, the
outlet store, the boutiques ande-commerce non-retail channels.
Department stores are going tobe the largest in size, as it's
divided into varying sections byproduct type ie electronics or
(10:37):
by brand ie Ralph Lauren.
The department store conceptoriginated in downtown areas of
cities, but as suburban flightcame along, they came to be
located inside malls.
Within the department storeclassification comes two more
specificities, whether thatWhether that department store is
(10:58):
full-line or specialized.
A full-line department storewill resemble a Sears RIP, with
a mix of home appliances andsuch in addition to apparel and
beauty offerings.
A specialized department storewould be just offering apparel,
beauty or jewelry.
As the popularity of the mallscene has declined in recent
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years, so has the success of thedepartment store.
As mentioned RIP Sears,specialty stores carry a more
narrow line of merchandise.
They have a more tailored nicheaesthetic and carry specialty
goods, quote-unquote, usuallyfocusing on one concept or
aesthetic.
(11:42):
Examples of this would beGameStop or a maternity clothing
store.
The stores carry nearlyeverything you need for those
genres, but only carry goodswithin those specific genres or
niches.
Specialty stores will typicallyoffer a higher level of
customer service, withknowledgeable or expert
employees eager to connect withclients.
(12:04):
This umbrella would alsoinclude general clothing stores,
as their specialty would beexclusively providing clothing
Category killers.
Category killers still kind ofconfuse me, but how I understand
it are stores that carry manydifferent assortment of items
and honing in on having lowerthan most pricing.
(12:25):
They have fewer customerservice workers available and at
lower expert levels thanspecialty stores.
An example that I was given inmy encyclopedia would be like a
Lowe's or a Home Depot kind ofthe home improvement stores
where you can find kitchenlighting and couches next to the
snacks just a few aisles down.
I would have thought thatWalmart would be under this
(12:49):
category, because they offergenuinely everything under the
sun, but they are categorized asdiscount stores.
Discount stores offer a largevariety of products with their
main selling point being theirlow, low prices.
The reason most people frequentdiscount stores like Walmart or
Target is because things aregenerally cheaper than anywhere
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else.
They are different fromcategory killers because not
only do discount stores offereveryday brands, but they also
compete by producing their ownstore brand versions of goods at
even lower prices thancompetitors, ie Great Value,
good Gather all that good stuff.
Off-price stores are stores withan inconsistent variety of
(13:33):
goods and varying brand names.
Merchandise is usually acquired, upon opportunity, directly
from manufacturers or retailsduring the off-season, examples
being your TJ Maxx, your Ross,your Marshalls, and usually
found in like a strip mallconcept, and there you can
(13:55):
typically find one or multipleclustered together.
I, for one, am a Marshalls girl, but I feel like there are some
Max and Estes out there.
Let me know which side of therivalry that you're on, even
though I tend to believe thatthey carry the exact same
product across all of thesethree stores.
(14:15):
Next one is outlet stores.
They're pretty similar tooff-price stores in that they
carry other retailers'quote-unquote leftovers, though
this is usually done at aspecific retailer level, with
discounted, irregular oroverstocked pieces for less.
An example of this would be theGap Factory outlet.
(14:36):
The factory portion refers tothe store being
manufacturer-owned.
Outlet stores are typicallyclustered together in a center
or a mall away from other keydepartment stores.
I noticed that you either havethe main OG store closer to you
or you have the outlet versionof the store closer to you.
Rarely ever, if ever, bothBoutiques are the next one, so
(15:01):
they are generally smaller shopsthat feature niche and
top-of-the-line merchandise.
The term boutique is French forlittle shop and was first used
for small stores run by Parisiancouturiers.
Let me know how to say thatword, because I can sound it out
and I can look it up, but Istill don't know.
Examples of large-scaleboutiques include Calvin Klein
(15:24):
and Ralph Lauren, providing aluxury shopping experience and
luxury levels of customerservice, the last one being
non-retail, and e-commerce aregenerally the most mass
appealing retailers in themodern era.
Non-physical retailers utilizetheir convenience to appeal to
customers, and being able toshop from the comfort of your
(15:45):
home may lead to an impulsepurchase, or two or seven.
This shopping option isavailable via catalogs, e-retail
or tv home retailers.
We talked about the consumerside, the capitalist side, of
the fashion industry, but let'slook behind the curtains and
(16:06):
learn about the differentprofessions that can come from
the fashion industry.
First things first, we need tohave an education.
The art of fashion continues tobe a global phenomenon and
there are learning institutesacross the world devoted to
prepare students for a career inthe international fashion
industry, with curriculumexclusively focused on the
(16:27):
industry itself.
The trainings offered rangefrom vocational, creative and
theoretical.
There are institutionsworldwide, with the US being
home to 250 alone.
Worldwide, with the US beinghome to 250 alone, much of the
curriculum is derived from homeeconomics traditions and
offering education levels fromassociates to PhD.
(16:49):
Many institutes are linked toprofessional opportunities,
allowing grads to start workingas soon as they possibly can.
The first institute of its kindin the US is located in New
York City, the Trap Hagen Schoolfostering American fashion.
There exist institutions allover the world, as mentioned,
(17:13):
preparing students for varyingcareers in the fashion industry,
from Sweden, india and, mostnotably, paris, france.
What's the first profession youthink of when you hear fashion?
Fashion designer?
Good choice.
The career of a fashiondesigner is someone who creates
the look from the particularshape, color, fabric choice and
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detailing, all stemming from theinitial idea crafted by the
designer.
There are different levels ofwhat it means to be a fashion
designer, from top Parisiancouturiers to designers working
on ready-to-wear or a stylistwho makes small modifications to
existing pieces.
It's a talent to be able tovisualize how people want to
(17:54):
dress and it plays a huge rolein daily life in dressing.
Charles Frederick Worth isconsidered the first modern-day
couturier.
He opened his Paris house in1846 at the same time as other
profound designers, jean Paquinand Jacques Doucet.
(18:14):
Paris was considered the centerfor international fashion.
However, paris's influence wasso rudely disrupted by World War
II and the Nazi Germanyoccupation of France.
As a result of this hole in thefashion influence market, the
US seized the opportunity togain more recognition.
Claire McCardell created theAmerican look, a pioneer of
(18:38):
America's love for sportswearand athleisure.
Fashion designers throughoutthe mid-20th century used design
rooms in the same manner asEuropean designers utilize an
atelier as a studio and as ashop, though, as New York City
space became increasingly moreexpensive, design rooms became
(18:59):
too costly to maintain and weredownsized for cheaper offshore
productions.
Designers a role of the designeris to work with tech designers
to create what is called a techpack, which is the version of
the design that will be sent tothe manufacturer for the first
samples and, eventually, fullproduction.
Tech designers are responsiblefor annotating every detail of
(19:23):
the garment specs.
Designers each season gothrough the process of
identifying future trends forinspiration.
Many looking to streetwear.
Designers hold much importancein society as they've helped to
popularize trends such as mod,punk, grunge and hip-hop.
Designers rule the world.
(19:43):
So after we have theestablished design and garment,
we need to market it correct.
So the next role I have in thefashion industry is fashion
illustrator.
The role of a fashionillustrator was more prominent
in the 19th century.
Then it was a form of art andadvertising.
Designer Paul Paré was oftencommissioning the work of Paul
(20:04):
Uribe, who was known for thejewel-toned palette usage in his
work.
Fashion illustrators held muchimportance in their prime, with
Vogue exclusively utilizingtheir work from the first
edition in 1892 to mid-centuryeditions in the 1950s.
Famous illustrators includeBernard and Veritas, who had a
(20:27):
close working relationship withgabrielle chanel, famous nazi
renee gruau, who was known forhis work with christian dior,
and more recently, of course,the mind of mark jacobs has
incorporated the work incollaborations with fashion
illustrators, with JulieVerhoeven and Takashi Murakami.
(20:47):
To speak on more modern dayadvertisements, practice
photography has produced some ofthe most creative and
interesting documents of tasteand society over time.
The defining features of fashionphotography is the intent to
convey a fashionable lifestyle,persuading consumers that if
(21:08):
they wear certain clothes or usethese specific products, then
the advertised lifestyle willthen be theirs.
This shift from documentingclothing to selling a specific
lifestyle was most famouslyexemplified by Calvin Klein's
advertisement, in which he soldthe logo and the brand's
identity rather than just a lineof clothing.
(21:29):
Fashion photography reflectswomen's self-image, value,
sexuality and interests, and itstotal success is reliant on the
viewer's buy-in to the offeredlifestyle.
Early fashion photography datesback to the 1850s and 1860s and
was primarily a document ofParisian fashion houses.
(21:50):
The early 20th century saw arise in American fashion
photography.
The European-born Baron Adolphde Maier is credited with
changing fashion photography bycreating a focus on the mood
rather than the exact depictionof clothing.
By creating a focus on the moodrather than the exact depiction
(22:10):
of clothing, vogue magazine in1914 termed his work artistic
photography.
Fashion photography had manyiterations throughout the years,
but it remains the main mode offashion advertisement.
Some of the more affluent orinfluential fashion
photographers remain DeborahTuberville, whose work has
(22:31):
reflected a sense ofpsychological dislocation and
was the first to use overweightand quote-unquote ugly models
which challenged conventionalbeauty standards of the time.
Perhaps the most sought-aftercareer in the fashion industry
is fashion models.
The role of the fashion modelhas evolved significantly since
the 19th century.
It's been transformed from asimple display tool to a central
(22:55):
figure in the fashion industry.
At the start, models were knownas mannequins, serving as
living alternatives to wooden orwicker dummies.
Our boy Charlesworth, againwidely regarded as the founder
of haute couture, was the firstto use models, employing his
wife Marie to do a showcase onhis designs in his salon.
(23:17):
These early models wereconsidered exceptionally
glamorous and were oftentimesfull-time employees who
sometimes even lived at thefashion houses.
They were tasked with modelinggowns in private for customers
and professional buyers, oftenwearing high-necked, long-sleeve
black satin sheaths underneathto better highlight the clothing
(23:40):
.
Over time, the role of themodel became more public and
commercial.
Over time, the role of themodel became more public and
commercial, with Lady DuffGordon pioneering the use of
mannequin parades in London inthe 1890s, where models were
trained to strike poses withoutsmiling, and this practice was
(24:01):
adopted by Parisian couturierslike Paquin and Poiret, who
organized mannequin tours andeven created films for their
fashion parades in the early1900s.
The 1920s saw the establishmentof the first model agency in the
United States, such as JohnPowers Agency in 1923 and Ford
(24:24):
Modeling Agency in 1946.
It was during this period thatfashion journalists began to
report on individual models fromthe Paris openings, giving the
new level to celebrity.
However, the paths of thephotographic models and the
catwalk models remained largelyseparate until the 1960s.
After World War II, theprofession gained a new level of
respectability and socialstatus.
(24:45):
While models were initiallyrequired to move kind of
lifelessly, sedately, christianDior's new look in 1947
encouraged more theatricalmovements, a trend that would
accelerate in the 1960s with therise of ready-to-wear fashion,
where models were required todance and act and just be a
(25:08):
clown on the catwalk.
Despite these advances, modelsof color continue to experience
underrepresentation and backlashin the industry.
Let's talk about other forms offashion advertising.
Since the turn of the 20thcentury, fashion advertising has
evolved from simple productpromotion to a sophisticated
(25:30):
tool for shaping cultural valuesand consumer desires.
Initially, advertising reliedon color posters, with examples
publicizing department storesand sewing machines machines.
These early ads did not justsell a product, they also
promoted a lifestyle, hinting atthe leisure time that the
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domesticated woman would receiveby using these products.
It laid the groundwork formodern fashion advertising.
The 20th century marked asignificant shift toward
promoting ready-to-wear fashion.
This impact of the modernistaesthetic and the growing role
(26:11):
of copywriters transformedfashion advertising.
In fact, in the 1920s,commercial artists like Hans
Schlegger created advertisementswith a sense of rhythm and
proportion, using asymmetricallayouts for brands like Weber
and Heilbronner.
By the mid 1950s, the growingmarket of teenagers began to
(26:32):
influence the sexual imagery andadvertisement.
This part gets a little crazy,but we must report on it.
The woman child became a commonmotif in the 1960s, with models
and playful or provocativeposes.
Advertisements for brands likeNeumann clothing also began to
target male consumers by showingmodels as objects of female
(26:55):
desire.
The late 1970s saw a new focuson denim, with brands like
Calvin Klein using suggestiveimagery such as close-ups of
Brooke shields in tight jeans,to promote and fetishize the
contour-hugging look.
Mind you, brooke Shields waslike 14.
Or 12.
(27:16):
Just somewhere not above 18.
I know that much Fashionadvertising comes in all shapes
and sizes and modern fashionadvertising is a little kooky.
I think it's timely to discussthe Sidney Sweeney of it all.
I know it's been having a lotof backlash.
I have many thoughts but if I'mhonest with you, I haven't
(27:36):
looked the most into it.
I just know that it makes mefeel icky.
But let's talk about the peoplewho report on the
advertisements, who report onthe fashion models, who report
on the shows the fashionjournalists.
Before the mid-20th century, theterm fashion journalism was
considered an oxymoron as mostnewspapers played little
(27:58):
attention to the business, newsor sociological implications of
fashion.
This began to change whenfigures like Virginia Pope of
the New York Times, who raisedthe bar by not only reporting on
Paris Haute Couture but alsointroducing live theatrical
fashion presentations to thepublic.
This newfound seriousness incovering fashion as a legitimate
(28:22):
industry was further cementedin 1943 by publicist Eleanor
Lambert, who initiated theconcept of Fashion Week.
She called it Press Week foreditors to attend designer
collections in New York City.
The landscape of fashionjournalism continues to evolve
with the emergence ofinfluential critics and new
(28:43):
media.
Eugenia Shepherd of the NewYork Herald Tribune was one of
the first to make fashionwriting entertaining, famously
sneaking into a Balenciaga showto get immediate coverage and
becoming a celebrity in her ownright.
By the late 1960s, americaneditors started covering
European ready-to-wear shows,expanding the reach to cities
(29:06):
beyond Paris.
By the 21st century, theinternet has revolutionized
fashion journalism, enablingusers to see images and read
reviews of collections withinhours of the runway show,
fundamentally changing how theindustry consumes and
distributes information.
We'd be remissed if we didn'ttalk about our girl Anna
Wintour's famous position thefashion editor.
(29:31):
The fashion editor emerged astastemakers in the early 20th
century with Edna Woolman Chaseof Vogue establishing the role's
importance.
As editor-in-chief from 1914 to1952, chase presided over a
period where fashion magazinesdocumented the style of wealthy
society women and covered bothParisian haute couture and the
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emerging American designer.
She set the stage for latereditors who would shape the
industry In the mid-20th century, a new generation of editors
such as Carmel Weitz of Harper'sBazaar and Diana Freeland of
Vogue.
They began to revolutionize thefashion media.
Freeland, in particular, was avisionary.
(30:14):
She discovered iconicphotographers like Richard
Avedon and Irving Penn andintegrating distinguished
writers and artists into everyissue.
The role of the fashion editorcontinues to evolve with the
rise of ready-to-wear and newmedia.
As Paris Couture's dominancewaned and ready-to-wear
(30:36):
collections became the newtrendsetters, fashion editors'
jobs shifted from reporting onthese seasonal shows in cities
like Paris, milan and London andthey began to play a
significant role in selectingphotographers and models for
their publications, with figureslike Polly Mellon of Vogue
becoming a high-profile star intheir own right In the 21st
(30:57):
century.
Technology has furthertransformed the role.
Today, fashion editors viewcollections online, use
television appearance tocommunicate with their audience
and draw inspiration not onlyfrom the streets but also from
music videos and red carpets.
Our idol, anna Wintour of Vogue, is a prime example of the
modern fashion editor wieldingimmense influence to pronounce
(31:20):
and decree what's new and what'shot and what's next for global
audiences.
What's new and what's hot, andwhat's next for global audiences
?
The modern fashion industry is acomplex ecosystem defined by
dynamic interplay of variousroles and forces.
The industry is so deeplyintertwined, and the journey
(31:44):
from the 19th century couture tothe digitally driven global
market of today highlights anindustry that is always in flux.
Global market of todayhighlights an industry that is
always in flux.
The fashion industry is so vastand complex that I don't even
know if this did it justice, butI sure did try.
So I hope you enjoyed and Ihope you will join us again in
two weeks, for I think it'sVivian Westwood.
But if you enjoyed this episode, I do hope that you'll leave us
(32:07):
a like or subscribe.
Really, just tell all yourfriends about us, please, please
, so much, and I will put thelink to the encyclopedia that I
used down below, as well as mypersonal links, if you want to
keep up with your girl.
But yeah, I appreciate youlistening and I will see you
(32:28):
next time.
Thank you, bye-bye.
Hey, divas, and welcome to Magnifique, your
favorite fashion industrypodcast.
I'm your host, gabrielle, andtoday we talk about the fashion
industry extensively.
Like, first off, what the heckis it?
What does it encompass?
What are we even talking aboutat this point, you know?
So we have a hefty, a heftyepisode today, so get snuggly.
(00:43):
I say this every episode, butif you're driving, go ahead and
pull over.
We got a long episode and Ineed your full attention right
here, right now.
Obviously, I'm just kidding.
If you're driving, you know twohands, ten and two.
There's a cop behind you.
Speed up, 10 and 2.
(01:05):
There's a cop behind you.
Speed up.
Really, just live your life asthe diva that you are.
Also, I'm kind of in a grumpymood today, so if that comes out
, you're welcome.
That's all I have to say onthat, guys, I also forgot to
tell you that my exclusivesource for this episode is the
Encyclopedia of Clothing andFashion.
I did look up one or two extralittle tidbits that I will let
(01:28):
you know, because I just foundthem from random websites and I
don't know if we can trust thosewebsites, but I chose to the
fashion industry as an umbrella.
Term refers to the entireecosystem that encompasses
fashion, from designing tomarketing, to the large-scale
effects of globalization.
The industry itself is furtherdefined by individuals who
(01:49):
choose to engage with thevarious sectors, though, in
short, it is the business ofmaking and profiting from
clothing and turning apparelinto fashion using one's
preferences and prejudices.
The modern apparel industry hasits hands in the production,
promotion and marketing ofstyles, with its main tool being
desire, Using what consumersdesire to define apparel as
(02:11):
being accepted and celebratedthroughout history.
When consumer desire changes,so must the industry.
How else might brands haveexpanded into fragrance
offerings or home goods, inaddition to their widespread
range of accessories and jewelry?
Consumers drive the business.
This also rings true in theevolution and functionality of
(02:32):
garments.
For example, the crinoline usedto be part of the everyday
dressing, but as separatesbecame more popular and feasible
undergarments, crinoline makersevolved into bra manufacturers.
At current, there are fourlevels to the fashion industry
the primary level, whichincludes textile mills and yarn
makers and just the raw clothingmaterial.
(02:55):
The secondary level, whichencompasses designers,
manufacturers and wholesalers.
The retail level, whichinvolves all points of sales in
stores.
And lastly, the auxiliary level.
This connects all previouslevels through press and
advertisement.
Today we'll discuss levels twothrough four.
(03:16):
The fashion industry saw itsfirst major and modern boom in
the mid to late 19th centurywith the rise of mass-produced
clothing.
Designers like Paul Poiret andCharles Frederick Wirth are said
to be the founding fathers ofmodern fashion.
Wirth pioneered the concept ofParisian couture, putting Paris
on the map internationally as afashion powerhouse.
(03:37):
The industry then sees a shiftto ready-to-wear, mass-produced
garments.
That sparked the Americanized,large-scale garment factories
seen in places like the LowerManhattan and eventually, the
Garment District in New YorkCity, which, if you're
interested, my last episode isall about the garment industry's
rise and fall.
(03:58):
So if you want a little deepdive on that, check it out.
The fashion industry today iscomprised of luxury
conglomerates moving productionto cheap labor countries with
the exclusive intent ofincreasing their bottom line,
which raises a personal questionof mine of if we've lost the
art of garment making, butthat's a deep dive for another
day.
If we've lost the art ofgarment making, but that's a
(04:21):
deep dive for another day.
I mentioned that globalizationis a reason, or a reason that
modern fashion is what it istoday.
While the Western world haspracticed large-scale
globalization since the 16thcentury, with colonization, the
(04:45):
slave trade and the spice trade,it wasn't until the late 20th
century that we uncoveredtechnologies to have end-to-end
coverage all over the world,which is kind of exactly what
globalization means theconnectivity across the globe.
This dramatically changed theway society interacts with
dressing.
In a sense of fashionglobalization means clothing
sold by retailers who caneffectively update inventories,
(05:06):
make deals and coordinateworldwide distribution all
remotely through computertechnology.
Globalization in fashion isalso a feeling of connectedness
and cohesion amongst brands.
Worldwide Marketing campaignsencourage fashion consumption
and even associate it withpleasure.
In tandem, this consumerbehavior is monitored and
(05:28):
measured.
Consumption in our society isnecessary for holding up the
global capitalist economy and,as we know, capitalism is held
up by what Exploitation Oureconomy, specifically the
fashion economy, is dependent onthe use of cheap labor in
poorer countries.
End exploitation Retailcorporations like Nike, express
(05:52):
and the Gap, just to name a few,outsource their manufacturing
through contractors orsubcontractors overseas.
Again, we discussed this alittle bit more in depth in the
garment district episode, justthe rise of offshore production.
But Nike specifically pioneeredthis outsourcing in search of
low-wage employees during theathletic wear boom of the 1980s.
(06:16):
Outsourcing to sweatshops inMexico, china, thailand, romania
, really, just to name a few.
Wages can be as low as 23 centsper hour, which is so crazy
when they're selling theiractual merchandise for 80 plus
bucks.
But don't think the US iscompletely safe from sweatshops.
(06:37):
They do still run Among Us.
For example, prison Labor inLos Angeles makes a lot of
apparel and there do exist somesweatshops still in the New York
City area.
While sweatshops continued todeteriorate in their working
conditions, the US companiescontracting labor refused to
(06:57):
take any responsibility forproviding a decent working
conditions and standards.
That was until 1997, again Nikepioneered, claiming no
responsibility for theseworkspaces because the workers
were independent contractors,therefore not Nike's
responsibility.
This led to the creation ofworker unions like Unite and
(07:18):
began a campaign for laborstandards reform, having
independent monitors in thesegarment factories overseas,
provided by the company.
Globalization can be summed upas the response to technological
advances and an insatiablehunger to be the best capitalist
.
These two things met and formedGreed's final boss, in my
(07:42):
opinion.
It's my understanding thatwithout globalization, slow
fashion would continue todominate for a little while
longer and sweatshop coremerchants such as Shein might
have taken longer to come tofruition.
Speaking of capitalism, theeconomics of fashion can be
broken down into three sectorsProduction, distribution and
(08:04):
consumption.
All three sectors are bothdeeply intertwined and yet
fiercely competitive with eachother.
Consumer demands keep thingsspicy, with retailers and
manufacturers competing forunits sold and at what price
point, and varying styles.
Manufacturing falls into thefirst sector of production.
(08:26):
Companies historically take outsmall-term loans to kick-start
their garment production andgradually pay them off as
retailers purchase goods.
Retailing would make upconsumption and lead consumers
to their purchase stockingstores with items based on the
demand of their targetdemographic Retailing.
(08:46):
Let's expand on that a bit.
Retailing in general refers tothe business of selling goods
and services.
In the chain of command,retailing is the last channel
that connects manufacturers toconsumers.
Retailing accounts for asignificant portion of the
global economy.
In 2002, the top 200 retailersaccounted for $2.14 trillion in
(09:08):
global sales.
Today, the estimated retailvalue is up to $35.2 trillion
globally.
I did take this number from BizPlanner, so if they're lying, I
fear I might be lying, but I'mchoosing to trust them.
This growth is due in largepart to globalization.
With a connected world, theexposure of goods and services
can find people just as quicklyas manufacturers can produce
(09:31):
them.
Walmart is currently theindustry leader in all retail
sales.
Retailers are characterized by amyriad of indicators range of
merchandise, price ofmerchandise and general
assortment levels of customerservice.
But dominating retailers tendto be multi-channeled, offering
more than one specification ofmerchandise, casting the largest
(09:54):
net to have the most consumersever possible.
And while this strategy ringstrue for most retailers, there
are distinct differences in thedefinitions and general
categories of stores.
There are at least seven majorretail categories.
I'll list them off and then wecan go in deeper depth.
(10:15):
So we have the department store, the specialty store, the
category killer, the discountstore, the off-price store, the
outlet store, the boutiques ande-commerce non-retail channels.
Department stores are going tobe the largest in size, as it's
divided into varying sections byproduct type ie electronics or
(10:37):
by brand ie Ralph Lauren.
The department store conceptoriginated in downtown areas of
cities, but as suburban flightcame along, they came to be
located inside malls.
Within the department storeclassification comes two more
specificities, whether thatWhether that department store is
(10:58):
full-line or specialized.
A full-line department storewill resemble a Sears RIP, with
a mix of home appliances andsuch in addition to apparel and
beauty offerings.
A specialized department storewould be just offering apparel,
beauty or jewelry.
As the popularity of the mallscene has declined in recent
(11:22):
years, so has the success of thedepartment store.
As mentioned RIP Sears,specialty stores carry a more
narrow line of merchandise.
They have a more tailored nicheaesthetic and carry specialty
goods, quote-unquote, usuallyfocusing on one concept or
aesthetic.
(11:42):
Examples of this would beGameStop or a maternity clothing
store.
The stores carry nearlyeverything you need for those
genres, but only carry goodswithin those specific genres or
niches.
Specialty stores will typicallyoffer a higher level of
customer service, withknowledgeable or expert
employees eager to connect withclients.
(12:04):
This umbrella would alsoinclude general clothing stores,
as their specialty would beexclusively providing clothing
Category killers.
Category killers still kind ofconfuse me, but how I understand
it are stores that carry manydifferent assortment of items
and honing in on having lowerthan most pricing.
(12:25):
They have fewer customerservice workers available and at
lower expert levels thanspecialty stores.
An example that I was given inmy encyclopedia would be like a
Lowe's or a Home Depot kind ofthe home improvement stores
where you can find kitchenlighting and couches next to the
snacks just a few aisles down.
I would have thought thatWalmart would be under this
(12:49):
category, because they offergenuinely everything under the
sun, but they are categorized asdiscount stores.
Discount stores offer a largevariety of products with their
main selling point being theirlow, low prices.
The reason most people frequentdiscount stores like Walmart or
Target is because things aregenerally cheaper than anywhere
(13:10):
else.
They are different fromcategory killers because not
only do discount stores offereveryday brands, but they also
compete by producing their ownstore brand versions of goods at
even lower prices thancompetitors, ie Great Value,
good Gather all that good stuff.
Off-price stores are stores withan inconsistent variety of
(13:33):
goods and varying brand names.
Merchandise is usually acquired, upon opportunity, directly
from manufacturers or retailsduring the off-season, examples
being your TJ Maxx, your Ross,your Marshalls, and usually
found in like a strip mallconcept, and there you can
(13:55):
typically find one or multipleclustered together.
I, for one, am a Marshalls girl, but I feel like there are some
Max and Estes out there.
Let me know which side of therivalry that you're on, even
though I tend to believe thatthey carry the exact same
product across all of thesethree stores.
(14:15):
Next one is outlet stores.
They're pretty similar tooff-price stores in that they
carry other retailers'quote-unquote leftovers, though
this is usually done at aspecific retailer level, with
discounted, irregular oroverstocked pieces for less.
An example of this would be theGap Factory outlet.
(14:36):
The factory portion refers tothe store being
manufacturer-owned.
Outlet stores are typicallyclustered together in a center
or a mall away from other keydepartment stores.
I noticed that you either havethe main OG store closer to you
or you have the outlet versionof the store closer to you.
Rarely ever, if ever, bothBoutiques are the next one, so
(15:01):
they are generally smaller shopsthat feature niche and
top-of-the-line merchandise.
The term boutique is French forlittle shop and was first used
for small stores run by Parisiancouturiers.
Let me know how to say thatword, because I can sound it out
and I can look it up, but Istill don't know.
Examples of large-scaleboutiques include Calvin Klein
(15:24):
and Ralph Lauren, providing aluxury shopping experience and
luxury levels of customerservice, the last one being
non-retail, and e-commerce aregenerally the most mass
appealing retailers in themodern era.
Non-physical retailers utilizetheir convenience to appeal to
customers, and being able toshop from the comfort of your
(15:45):
home may lead to an impulsepurchase, or two or seven.
This shopping option isavailable via catalogs, e-retail
or tv home retailers.
We talked about the consumerside, the capitalist side, of
the fashion industry, but let'slook behind the curtains and
(16:06):
learn about the differentprofessions that can come from
the fashion industry.
First things first, we need tohave an education.
The art of fashion continues tobe a global phenomenon and
there are learning institutesacross the world devoted to
prepare students for a career inthe international fashion
industry, with curriculumexclusively focused on the
(16:27):
industry itself.
The trainings offered rangefrom vocational, creative and
theoretical.
There are institutionsworldwide, with the US being
home to 250 alone.
Worldwide, with the US beinghome to 250 alone, much of the
curriculum is derived from homeeconomics traditions and
offering education levels fromassociates to PhD.
(16:49):
Many institutes are linked toprofessional opportunities,
allowing grads to start workingas soon as they possibly can.
The first institute of its kindin the US is located in New
York City, the Trap Hagen Schoolfostering American fashion.
There exist institutions allover the world, as mentioned,
(17:13):
preparing students for varyingcareers in the fashion industry,
from Sweden, india and, mostnotably, paris, france.
What's the first profession youthink of when you hear fashion?
Fashion designer?
Good choice.
The career of a fashiondesigner is someone who creates
the look from the particularshape, color, fabric choice and
(17:33):
detailing, all stemming from theinitial idea crafted by the
designer.
There are different levels ofwhat it means to be a fashion
designer, from top Parisiancouturiers to designers working
on ready-to-wear or a stylistwho makes small modifications to
existing pieces.
It's a talent to be able tovisualize how people want to
(17:54):
dress and it plays a huge rolein daily life in dressing.
Charles Frederick Worth isconsidered the first modern-day
couturier.
He opened his Paris house in1846 at the same time as other
profound designers, jean Paquinand Jacques Doucet.
(18:14):
Paris was considered the centerfor international fashion.
However, paris's influence wasso rudely disrupted by World War
II and the Nazi Germanyoccupation of France.
As a result of this hole in thefashion influence market, the
US seized the opportunity togain more recognition.
Claire McCardell created theAmerican look, a pioneer of
(18:38):
America's love for sportswearand athleisure.
Fashion designers throughoutthe mid-20th century used design
rooms in the same manner asEuropean designers utilize an
atelier as a studio and as ashop, though, as New York City
space became increasingly moreexpensive, design rooms became
(18:59):
too costly to maintain and weredownsized for cheaper offshore
productions.
Designers a role of the designeris to work with tech designers
to create what is called a techpack, which is the version of
the design that will be sent tothe manufacturer for the first
samples and, eventually, fullproduction.
Tech designers are responsiblefor annotating every detail of
(19:23):
the garment specs.
Designers each season gothrough the process of
identifying future trends forinspiration.
Many looking to streetwear.
Designers hold much importancein society as they've helped to
popularize trends such as mod,punk, grunge and hip-hop.
Designers rule the world.
(19:43):
So after we have theestablished design and garment,
we need to market it correct.
So the next role I have in thefashion industry is fashion
illustrator.
The role of a fashionillustrator was more prominent
in the 19th century.
Then it was a form of art andadvertising.
Designer Paul Paré was oftencommissioning the work of Paul
(20:04):
Uribe, who was known for thejewel-toned palette usage in his
work.
Fashion illustrators held muchimportance in their prime, with
Vogue exclusively utilizingtheir work from the first
edition in 1892 to mid-centuryeditions in the 1950s.
Famous illustrators includeBernard and Veritas, who had a
(20:27):
close working relationship withgabrielle chanel, famous nazi
renee gruau, who was known forhis work with christian dior,
and more recently, of course,the mind of mark jacobs has
incorporated the work incollaborations with fashion
illustrators, with JulieVerhoeven and Takashi Murakami.
(20:47):
To speak on more modern dayadvertisements, practice
photography has produced some ofthe most creative and
interesting documents of tasteand society over time.
The defining features of fashionphotography is the intent to
convey a fashionable lifestyle,persuading consumers that if
(21:08):
they wear certain clothes or usethese specific products, then
the advertised lifestyle willthen be theirs.
This shift from documentingclothing to selling a specific
lifestyle was most famouslyexemplified by Calvin Klein's
advertisement, in which he soldthe logo and the brand's
identity rather than just a lineof clothing.
(21:29):
Fashion photography reflectswomen's self-image, value,
sexuality and interests, and itstotal success is reliant on the
viewer's buy-in to the offeredlifestyle.
Early fashion photography datesback to the 1850s and 1860s and
was primarily a document ofParisian fashion houses.
(21:50):
The early 20th century saw arise in American fashion
photography.
The European-born Baron Adolphde Maier is credited with
changing fashion photography bycreating a focus on the mood
rather than the exact depictionof clothing.
By creating a focus on the moodrather than the exact depiction
(22:10):
of clothing, vogue magazine in1914 termed his work artistic
photography.
Fashion photography had manyiterations throughout the years,
but it remains the main mode offashion advertisement.
Some of the more affluent orinfluential fashion
photographers remain DeborahTuberville, whose work has
(22:31):
reflected a sense ofpsychological dislocation and
was the first to use overweightand quote-unquote ugly models
which challenged conventionalbeauty standards of the time.
Perhaps the most sought-aftercareer in the fashion industry
is fashion models.
The role of the fashion modelhas evolved significantly since
the 19th century.
It's been transformed from asimple display tool to a central
(22:55):
figure in the fashion industry.
At the start, models were knownas mannequins, serving as
living alternatives to wooden orwicker dummies.
Our boy Charlesworth, againwidely regarded as the founder
of haute couture, was the firstto use models, employing his
wife Marie to do a showcase onhis designs in his salon.
(23:17):
These early models wereconsidered exceptionally
glamorous and were oftentimesfull-time employees who
sometimes even lived at thefashion houses.
They were tasked with modelinggowns in private for customers
and professional buyers, oftenwearing high-necked, long-sleeve
black satin sheaths underneathto better highlight the clothing
(23:40):
.
Over time, the role of themodel became more public and
commercial.
Over time, the role of themodel became more public and
commercial, with Lady DuffGordon pioneering the use of
mannequin parades in London inthe 1890s, where models were
trained to strike poses withoutsmiling, and this practice was
(24:01):
adopted by Parisian couturierslike Paquin and Poiret, who
organized mannequin tours andeven created films for their
fashion parades in the early1900s.
The 1920s saw the establishmentof the first model agency in the
United States, such as JohnPowers Agency in 1923 and Ford
(24:24):
Modeling Agency in 1946.
It was during this period thatfashion journalists began to
report on individual models fromthe Paris openings, giving the
new level to celebrity.
However, the paths of thephotographic models and the
catwalk models remained largelyseparate until the 1960s.
After World War II, theprofession gained a new level of
respectability and socialstatus.
(24:45):
While models were initiallyrequired to move kind of
lifelessly, sedately, christianDior's new look in 1947
encouraged more theatricalmovements, a trend that would
accelerate in the 1960s with therise of ready-to-wear fashion,
where models were required todance and act and just be a
(25:08):
clown on the catwalk.
Despite these advances, modelsof color continue to experience
underrepresentation and backlashin the industry.
Let's talk about other forms offashion advertising.
Since the turn of the 20thcentury, fashion advertising has
evolved from simple productpromotion to a sophisticated
(25:30):
tool for shaping cultural valuesand consumer desires.
Initially, advertising reliedon color posters, with examples
publicizing department storesand sewing machines machines.
These early ads did not justsell a product, they also
promoted a lifestyle, hinting atthe leisure time that the
(25:50):
domesticated woman would receiveby using these products.
It laid the groundwork formodern fashion advertising.
The 20th century marked asignificant shift toward
promoting ready-to-wear fashion.
This impact of the modernistaesthetic and the growing role
(26:11):
of copywriters transformedfashion advertising.
In fact, in the 1920s,commercial artists like Hans
Schlegger created advertisementswith a sense of rhythm and
proportion, using asymmetricallayouts for brands like Weber
and Heilbronner.
By the mid 1950s, the growingmarket of teenagers began to
(26:32):
influence the sexual imagery andadvertisement.
This part gets a little crazy,but we must report on it.
The woman child became a commonmotif in the 1960s, with models
and playful or provocativeposes.
Advertisements for brands likeNeumann clothing also began to
target male consumers by showingmodels as objects of female
(26:55):
desire.
The late 1970s saw a new focuson denim, with brands like
Calvin Klein using suggestiveimagery such as close-ups of
Brooke shields in tight jeans,to promote and fetishize the
contour-hugging look.
Mind you, brooke Shields waslike 14.
Or 12.
(27:16):
Just somewhere not above 18.
I know that much Fashionadvertising comes in all shapes
and sizes and modern fashionadvertising is a little kooky.
I think it's timely to discussthe Sidney Sweeney of it all.
I know it's been having a lotof backlash.
I have many thoughts but if I'mhonest with you, I haven't
(27:36):
looked the most into it.
I just know that it makes mefeel icky.
But let's talk about the peoplewho report on the
advertisements, who report onthe fashion models, who report
on the shows the fashionjournalists.
Before the mid-20th century, theterm fashion journalism was
considered an oxymoron as mostnewspapers played little
(27:58):
attention to the business, newsor sociological implications of
fashion.
This began to change whenfigures like Virginia Pope of
the New York Times, who raisedthe bar by not only reporting on
Paris Haute Couture but alsointroducing live theatrical
fashion presentations to thepublic.
This newfound seriousness incovering fashion as a legitimate
(28:22):
industry was further cementedin 1943 by publicist Eleanor
Lambert, who initiated theconcept of Fashion Week.
She called it Press Week foreditors to attend designer
collections in New York City.
The landscape of fashionjournalism continues to evolve
with the emergence ofinfluential critics and new
(28:43):
media.
Eugenia Shepherd of the NewYork Herald Tribune was one of
the first to make fashionwriting entertaining, famously
sneaking into a Balenciaga showto get immediate coverage and
becoming a celebrity in her ownright.
By the late 1960s, americaneditors started covering
European ready-to-wear shows,expanding the reach to cities
(29:06):
beyond Paris.
By the 21st century, theinternet has revolutionized
fashion journalism, enablingusers to see images and read
reviews of collections withinhours of the runway show,
fundamentally changing how theindustry consumes and
distributes information.
We'd be remissed if we didn'ttalk about our girl Anna
Wintour's famous position thefashion editor.
(29:31):
The fashion editor emerged astastemakers in the early 20th
century with Edna Woolman Chaseof Vogue establishing the role's
importance.
As editor-in-chief from 1914 to1952, chase presided over a
period where fashion magazinesdocumented the style of wealthy
society women and covered bothParisian haute couture and the
(29:52):
emerging American designer.
She set the stage for latereditors who would shape the
industry In the mid-20th century, a new generation of editors
such as Carmel Weitz of Harper'sBazaar and Diana Freeland of
Vogue.
They began to revolutionize thefashion media.
Freeland, in particular, was avisionary.
(30:14):
She discovered iconicphotographers like Richard
Avedon and Irving Penn andintegrating distinguished
writers and artists into everyissue.
The role of the fashion editorcontinues to evolve with the
rise of ready-to-wear and newmedia.
As Paris Couture's dominancewaned and ready-to-wear
(30:36):
collections became the newtrendsetters, fashion editors'
jobs shifted from reporting onthese seasonal shows in cities
like Paris, milan and London andthey began to play a
significant role in selectingphotographers and models for
their publications, with figureslike Polly Mellon of Vogue
becoming a high-profile star intheir own right In the 21st
(30:57):
century.
Technology has furthertransformed the role.
Today, fashion editors viewcollections online, use
television appearance tocommunicate with their audience
and draw inspiration not onlyfrom the streets but also from
music videos and red carpets.
Our idol, anna Wintour of Vogue, is a prime example of the
modern fashion editor wieldingimmense influence to pronounce
(31:20):
and decree what's new and what'shot and what's next for global
audiences.
What's new and what's hot, andwhat's next for global audiences
?
The modern fashion industry is acomplex ecosystem defined by
dynamic interplay of variousroles and forces.
The industry is so deeplyintertwined, and the journey
(31:44):
from the 19th century couture tothe digitally driven global
market of today highlights anindustry that is always in flux.
Global market of todayhighlights an industry that is
always in flux.
The fashion industry is so vastand complex that I don't even
know if this did it justice, butI sure did try.
So I hope you enjoyed and Ihope you will join us again in
two weeks, for I think it'sVivian Westwood.
But if you enjoyed this episode, I do hope that you'll leave us
(32:07):
a like or subscribe.
Really, just tell all yourfriends about us, please, please
, so much, and I will put thelink to the encyclopedia that I
used down below, as well as mypersonal links, if you want to
keep up with your girl.
But yeah, I appreciate youlistening and I will see you
(32:28):
next time.
Thank you, bye-bye.
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