Whitewash: Fashion Week Runways Lack Minorities

After further review of the recent news from Fashion Weeks spanning from New York to London I have come across numerous blog posts highlighting the absence of colored models—specifically black models—on the runways. Model Tyson Beckfod, who attended several shows during New York Fashion Week, asked “What happened to all the black people on the runway?” He added, “There are no blacks on the cats.”
Beckford had a point. While the president of the Council of Fashion Designers of America, Diane von Furstenberg, sent out a memo to its members encouraging them to create fashion shows “that are truly multicultural” many fashion houses obviously failed to take her suggestion into account even though fashion houses thrive in a market industry driven by globalization and trends. Instead, there were drops of color here and there, with the exception a few shows, the runways were littered with pallid, bony, white androids. According to Women’s Wear Daily, 31 of the 101 Fashion Week shows posted on Style.com had no black models at all while the vast majority of remaining fashion houses that did use black models in their shows only had just one or two, namely Chanel Iman (see left) and Jourdan Dunn. But, if there ever should have been a time to use more people of color on the runway, the time is now.
With popular cultural landscapes well populated with colored actors, musicians, moguls, and even candidates for the American presidency it was surprising to audiences that fashion seemed to be completely whitewashed on this seasons runways. One industry insider argues that the “in look” right now is white: skinny white European girls. But frankly, the idea of associating race with a trend is completely outrageous! Racializing a trend would thwart the beauty and values surrounding such an incredible industry that has built its tenor upon the ideals of diversity, color, and tolerance.
So who should be responsible for taking action? Who is to blame for this sudden runway whiteout? As of now, many are pointing fingers. Some blame modeling agencies for not sending out enough ethnic models to casting calls. Others blame the designer’s casting directors for not hiring models of color. Then there are those who believe the designers are to blame because after all—every detail of a show, down to the race of each model, is meant to embody the designer’s vision of a woman and by default his consumer as well. Some even believe that there is really one person turning the knobs behind this entire scandal: editor in chief of American Vogue, Anna Wintour. Nevertheless, as I mentioned before, in my exploration of the issue within the blogospehere I have come across many differing perspectives in regards to who or what is to blame for the sudden lack of ethnicities, particularly blacks, on the runways during this years Fashion Weeks. The first post, found on Condé Nast’s Portfolio.com, discusses and analyzes why this dramatic change of tide swept the runways this season. Author, Lauren G. Crowe, explores the many possibilities that might have brought about this lack of color by connecting it to the global issues surrounding modern international racism as well as the idea of fashion houses steering away from being deemed an “ethnic label.” The second post I found, titled “Fashion Weeks Runways Were Almost a Total Whitewash,” is published by Jezebel.com. The entry explores the recent phenomena surrounding the lack of ethnicities present on the runways during New York Fashion Week and argues that designers might be at fault for the sudden dearth of ethnic models. Below are the comments I made on their blog entries.

“No Black Models: Who is to Blame?”
Comment:
I really enjoyed reading this post as you have shifted the debate about “who is to blame” beyond the designers, modeling agencies, and casting directors. You begin to associate this runway whiteout with other possibilities like the rise of the “walking ghost” model and even the issues surrounding racism in developing countries where design houses hope to expand. Although there were a handful of colored models that ubiquitously appeared on a variety of runways, for example Chanel Iman, while others graced only a few, such as Jourdan Dunn, it was clear that this years runways zeroed in on the “hot list” of ethnic models. I also thought you made an incredibly interesting point when you illuminated the fear that if designers do in fact employ a larger ratio of ethnic models then they will be considered an “ethnic” designer. I couldn’t agree more that in this day and age, designers want to be accepted by particular demographics of consumers and steer away from others, however, I feel that there must be some way designers can incorporate a wider variety of ethnicities in their models to reflect the reality of the global fashion market.
Nevertheless, I also believe that the entire fashion industry is to blame for both perpetuating and maintaining such a racialized trend for models on the runway. Understandably, designers want to emphasize their garments rather than the model—possibly why the black skinned models might be shunned for their distinct deterrence of attention. Yet, this is not a sufficient argument for designers and the like to make. Ultimately, design, art, and fashion are based in the foundation of diversity and after this years monochromatic runways, I think all those involved in upholding this android model trend will see that they have undermined the goals of their own intention for the creative process and industry as a whole.

“Fashion Week Runways Were Almost A Total Whitewash”
Comment:
Firstly, I would like to thank you for your close attention to this years Fashion Week and the obvious absence of ethic models on the runways. The castings examples were a brilliant idea as they critically highlight the numerical abundance of Caucasian and European models in comparison to other ethnicities. Additionally, I thought the pie charts were also a stark visual example in proving your point. While it is clear that the runways have been clearly “whitewashed” this season, I cannot help but ask, why? In your post you present only two possibilities that might have been responsible for the homogenous runway castings: designers themselves and modeling agencies. I agree that a level of liability must be placed somewhere and that racializing a trend is completely irresponsible of the fashion industry, but I do not think that we can point fingers at fashion designers or modeling agencies alone.
I believe that this whiteout has been an impending, and unfortunate trend. Over the past few years the fashion industry has taken a depressive turn away from health and sexiness toward a kind of heroine chic. This new trend seems to decree an “avant garde” vibe by psychologically distancing audiences from coveted fashions with elements of lifeless, almost robotic, bodies encapsulated in mysteriously beautiful garments. Furthermore, Fashion Weeks shows have also hinted toward the idea of diversity being passé—clearly an artifact of 1970s runways. Surely, one would assume that when CFDA president, Diane Von Furstenberg, encouraged designers to create shows “that are truly multicultural,” designers ought to have considered her proposition as a vital “take notice” that fashion is a billion dollar industry catering to a new multicultural global market.
Ultimately, it seems that although black people have progressed tremendously in the social world, it seems that we still have yet to come so far in our mainstream perceptions and imaginations. I truly enjoyed reading your piece exploring the statistics you provided surrounding this issue and hope to read more of your entries in the future. Finally, let’s hope this pale, bony, emaciated white model trend passes with Milan’s Fashion Week and plaid gowns!

New York Fashion Week: Simple, Safe, and Comforting?

Eight days.
Eighty designers.
Sixty-five-thousand square-foot tents.
Two hundred and thirty five million dollars in expected revenue for NYC.
It is New York Fashion Week 2008.

This past week the world's greatest fashion designers convened under the gauzy white tents at Bryant Park in New York City to share their ready-to-wear collections for fall 2008. As the country's most prominent celebrities, A-list fashionistas, and renowned editors dressed in their best attire they made their way into the enormous diaphanous tents and secret show locations where the next season of fashion would be unveiled. Although expectations were soaring as attendees took to their seats there was a sudden shock of reality as fashions sauntered down the runways. The entire story of New York fashion week seemed to read: "play it safe." While this tone of security might sound odd for an industry that relies entirely on transformation and new whims--the idea of familiarity was, in fact, appropriate. Considering the struggling economic backdrop New York provided for the collections, designer’s work seemed muted, conservative, and tightly stitched. “With some European fashion houses reporting a 22% increase in prices” paired with the sharp decline in consumer confidence and spending, this is surely not the time for designers or retailers to take fashion risks. So when the first outfit (see right) at Ralph Lauren’s fall 2008 show appeared on the runway—a plain, grays cashmere tank dress—the ensemble said it all. Nevertheless, fashion always manages to stitch in a few alterations.

With the juxtaposition of a wearisome economy and the blossoming of a new year, designers took to paring unlikely pieces and fabrics for their falls lines. Many can agree that most designers were aware of the dubious American market. Take for instance Alexander Wang’s “pretty-tough” girls in their ripped tights (see left) , lean chiffon blouses, and masculine oversize blazers—suggesting a robust yet abating confidence in familiar cuts and comfortable materials. Also, recent CDFA winner Derek Lam conveyed this same sense of concordance with controlled rigorous tailoring layered upon ivory floral sack dresses and black tulle sequined and feathered frocks. Lam describes this unfamiliar mixture as “controlled exuberance.”

Another common trend seen on the runways way the redefinition of classic pieces. When it comes to finding inspiration designers are usually all over the map. But at New York Fashion Week, our nation’s finest kept things pretty close to home. It seems that in a time of economic peril people everywhere are drawn to classic Americana styles because they project a carefree confidence. And so, designers like Michael Kors reached back to the ultra-conservative 1950s and 1960s by pillaging what looked like Jackie Kennedy’s wardrobe for sable coats over cashmere sweaters, delicate sheaths in lilac and olive floral, balmacaans, and camel suits with narrow skirts. Although the collection read a bit, dare I say—“retro,” overall Kors made his fall line seem approachable and not costumey. Donna Karen also adorned the runway with models draped in more conservatively classic pieces inspired by her famous “Seven Easy Pieces” collection that was meant to help women into the boardroom. Karen also focused on structured tailoring, which was represented by suits that paid close attention to the gentle female form. Case in point: a rose cashmere tweed cardigan jacket and a wrap skirt with forgiving curves (see right). Finally, perhaps the biggest risk of the season came from Marc Jacobs himself. The designer, known for his sexually infused collections, surprised his audience by showing a strangely conservative collection of “long, cocoon-shaped pastel coats,” full pants and draped velvet evening gowns—all unlikely choices for Jacobs. It seemed that the entire line maintained a traditionally classic American style concept while infusing a willfully sedate quality. Jacobs deemed his story for fall as “Calm. Glamour. Casual. Beautiful women.” Although this may sound vague, it certainly encapsulated his fall show as well as the indefinite tone his designs seemed to scream as they strolled quietly down the runway. Yet, beyond the archetypal feel to Jacobs’ fall collection and the unexpected soft pastel pallet, it was also clear that Jacobs employed very masculine cuts of the classic clothes. Nevertheless, the Jacobs’ mystique was evidently contagious, as this masculine trend seemed to touch upon the hottest collections at New York Fashion Week.

Finally, one of the most striking trends seen on the runway was the idea of "boy meets girl," where typically feminine cuts take on more masculine shapes and silhouettes. While most argue that Phillip Lim’s collection spoke to his growth and maturity as a designer it was also clear that Lim was presenting a matured femininity by accentuating typical cuts with more masculine touches. Amid Lim’s staple pieces such as mid-calf skirts and silk blouses with suede dusters, Lim proudly uncovered what he calls “the new power suit,” which is a black denim boyfriend blazer over fantastic matching wide leg pants. Presumably channeling his inner Donna Karen, Phillip Lim brought boyfriend to an entirely new level of chic. Like Lim, Calvin Klein’s Francisco Costa has also proven the beauty in masculine tailoring. True to his minimalist style, Costa set an austere mood from which the designer hardly deviated by sending models down the runway in boxy men’s jackets, asymmetrical pieces, and an excess of masculine coats and jackets. Beyond Jacobs’ and Lim’s masculine touches other traces of menswear were spotted all over the runways from socks and heels to mini-boy ties—it seems that menswear for women in back in a very serious way.

Overall, designers seemed to speak to the safety and assurance that fashion can offer with familiar styles, conservative shapes, and less than daunting materials for the fall season. And so, amidst the stark economic backdrop it seemed that designers accepted and appreciated what history offered by telling the story for fall’s fashions in a deceptively simple and simply beautiful way.