To coincide with Black History month UFN reflects on the experience of African-Americans within the fashion industry. See video interviews of fashion industry professionals who are African-American; and who speak on the fundamental relationship between the press and Fashion Designers from black communities.
The July 2008 issue of Italian Vogue magazine titled “Black Is Beautiful”, was published with pictorial editorials exclusively utilizing black models. This decision was politically motivated by Fashion Editor Ms. Franca Sozzai, as a statement about the publishing industries negligent hiring practices towards fashion models who are people of color. Although this was a noble gesture on the part of the editor, it’s merely a bandage on a more disturbing predicament.
If the fashion industry is to truly resolve this “Black-Out” that’s experienced by fashion models of color, a focus on the relationship between the press and fashion designers from communities of color must be tended to first. The sustainability of apparel companies that are black owned is the real answer to this identity crisis and overall ethnic equality within the fashion industry.
Fashion shows promote style hype to build euphoria around the brands. Fashion Designers may present under either of two fundamental business models. The cost intensive event marketing business model; which is the “One Stop Shop” solution for maximizing marketing value. Or a Designer will choose the party promotion business model; which is most cost effective because the presentation is supplemented as featured entertainment. The party promotion approach certainly has potential, yet it commonly falls short of it's mark as a viable marketing platform.
Most young Designers are hyped into presenting in a party promoter events without clearly understanding the distinction between the two business models and what each offers. Event marketers don’t charge guest entrance fees. They mail out free invites and target key guest that have an influence on marketing and sales. Party promoters depend on ticket sales and this is where the party promoter’s allegiance lies. Party promoters don’t provide a complete marketing package. Therefore all of the fundamental marketing activations and promotional tools that are needed by the Fashion Designers often result in being an after-thought. As much as Party Promoters wish to help Fashion Designers, they are equally as mush of a hindrance to the promotion process. Party promoters often impose ridiculous plans and policies for their events. For example; scheduling runway shows during weeknights after 10pm, high-priced press registration fees, and my favorite — no flash photography during runway presentations; while under poor lighting conditions. Party Promoters only offer an audience, the euphoria and the stage. Generally both the party promoter and the Fashion Designers regard photo and video mediums as an expense rather than an investment. These tools are needed to shape the fashion brand’s message for press relations. And publishers have a discerning taste for quality media materials. The party promotion business model often raises a red flag that suggest that the presenting fashion brands aren’t quite ready for a reciprocal partnership with publishers. Thier marketing budgets aren’t developed enough. Now a day, if fashion marketers don’t walk away from a runway show with media materials in hand, the event effort is simply a waist of time and money. The legitimacy of a fashion show for Fashion Marketers is that it’s truly about establishing a relationship with publications; because you can’t effectively mass market a brand without a harmonious relationship with a publisher. Publishers provide editorials and fashion editorials are the essential tools needed to swoon retail buyers and secure financial investors. Therefore, Fashion Designers from African-American communities who remain perpetually disconnected from the press, will never be regarded as serious contributors to fashion; regardless of how fabulous the design esthetics are. Many Fashion Designers who are African-American suffer from and identity crisis. This disconnect hinders careers, commerce and economic development within black communities. A July 2002 issue of Black Enterprise magazine reports that African-American consumers spend over 100 billion dollars on fashion and style products, yet one percent of this revenue trickles back into African-American communities. Meaning, all of the African-American communities within the US must share that one percent. So as we celebrate and reflect on achievements by African-Americans during Black History Month; let us not forget the present challenges, and the goals we must continue to achieve.
()