The wedding of Meghan Markle and Prince Harry was watched by an estimated 47 million in the U.S. and U.K. alone. Her gown has already been dissected by every major newspaper and website the world over. And the wedding filled up Twitter and Facebook’s trending bars all day on May 19, the day of the wedding. It’s the kind of publicity you just can’t buy.
And yet, the impact on Givenchy and Stella McCartney, the two design houses responsible for the Duchess of Sussex’s gowns that day, is likely to be felt for years to come. Same goes for the silhouettes Markle chose to wear, which could more generally affect the bridal market as a whole. One need only look at the “Meghan”-inspired wedding gowns that were announced within hours of the wedding, with the intention to ship in a matter of weeks. The Royal Wedding fury isn’t about to die down any time soon.
PHOTO: BRIAN LAWLESS
Markle leaving her wedding ceremony at Windsor Castle’s St. George’s Chapel, wearing custom Givenchy Haute Couture.
Ever since she and Prince Harry went public with their relationship, Markle has had an effect on retail. Dubbed the “Meghan Effect” (or the “Markle Sparkle”), brands can’t keep the items she wears in stock—whether it’s a Strathberry handbag or a coat from Line The Label. Still, all estimates say that this phenomenon will only be kicked into overdrive with all things wedding related: Ahead of the Royal Wedding, consultancy firm Brand Finance estimated that Markle’s fashion choices for the big day would generate about $212 million in retail and apparel sales.
It’s a staggering number, but one that the data from the big day supports.
Clare Waight Keller, creative director of Givenchy, who designed Markle’s first wedding dress.
According to InfluencerDB, an influencer marketing software, @givenchyofficial got 3002 mentions and generated 12,234,710 likes on Instagram; @stellamccartney, meanwhile, got 1840 mentions and racked up 9,605,198 likes; @clarewaightkeller, 827 times mentions and 8,907,933 likes. By these metrics, the company estimates that Givenchy has earned $2.9 million while Stella McCartney has garnered $2 million just from its coverage on this one social platform.
PHOTO: WPA Pool
Markle in her second wedding dress, designed by Stella McCartney.
In data supplied to Glamour, eBay reported that searches for items related to Meghan Markle rose 146% on May 19 in the U.S. and U.K. (The impact was particularly felt stateside, where U.S.-based shoppers searched for Meghan Markle related items nearly five times more than those across the pond.) On that day, Givenchy was the most searched-for brand on eBay; other fashion labels associated with the Royal Wedding, including Oscar de la Renta (worn by Markle’s mother, Doria Ragland) and Vivienne Westwood (worn by Priyanka Chopra), rounded out the top five.
PHOTO: WPA Pool
A sample of the lace on Markle’s custom Givenchy Haute Couture veil.
Per e-commerce aggregator Lyst, traffic to Stella McCartney dresses increased by 3,000% on May 19, compared to the previous day.
Not only does the data suggest just how fascinated people were with the wedding itself, but also how in-tune they were to its details, taking into account things like who the creative director of Givenchy is, who’s responsible for the mother-of-the-bride look, and even what the protocol was around the bride wearing two dresses to the royal wedding.
PHOTO: WPA Pool
Markle and Prince Harry leaving St. George’s Chapel after their wedding.
“For a design house to create a gown for a royal wedding of this magnitude, it has a phenomenal effect on the brand,” royal wedding expert and British bridal designer Caroline Castigliano tells Glamour. “Look at Alexander McQueen after the marriage of Kate Middleton to Prince William…the gown elevated then little known Sarah Burton [the creative director of Alexander McQueen]…and the brand has gone from strength to strength across the world since.” This type of exposure could have a similar impact on Waight Keller, who, until know, has been little known outside of the fashion world: “While Givenchy is a successful and very famous design house, the creative director [is putting her] stamp on the brand quickly [because of this],” per Castigliano. “LVMH, which owns Givenchy, must be thrilled.”
It’s not just the brands associated with the wedding that will likely see a boost—don’t be surprised if you see bridal trends reminiscent of both of Markle’s wedding dress styles and choice of tiara. (eBay, for instance, saw a 72% increase in searches for tiaras on May 19, compared to a day earlier.)
“When you look back in history at royal weddings, you can see that in the eighties, when Princess Diana married Prince Charles, full dresses with leg-o-mutton sleeves, became very fashionable,” Castigliano shares. Same goes with Princess Margaret’s gown from her 1960 nuptials: “Princess Margaret married in a stunning gown by Norman Hartnell. While a ball gown shape, the gown was classic in styling with a long sleeve and high neckline with a fitted bodice…her gown was iconic and has influenced bridal design for years.”
PHOTO: Bettmann
Princess Margaret wearing Norman Hartnell to marry Antony Armstrong-Jones.
Then, of course, there’s Middleton’s Alexander McQueen wedding dress, which had a huge impact on the bridal trends (and is still inspiring dress styles in 2018)—though, it didn’t happen overnight.
“Kate Middleton’s long sleeve, v-neck and lace wedding gown shook the bridal gown retail business where the strapless gown had been the number one seller,” Susan Ashbrook, celebrity product placement guru and author of Will Work for Shoes: The Business Behind Red Carpet Product Placement, tells Glamour.
PHOTO: Chris Jackson
Kate Middleton on her wedding day, wearing custom Alexander McQueen by Sarah Burton.
“We found that trends spotted at Duchess Kate’s wedding, such as long lace sleeves and high-necked bridesmaids dresses, like Pippa’s gown, took a few months to gain popularity,” Lori Conley, Senior Vice President for Merchandising, Design, and Product Development for David’s Bridal, tells Glamour. “Consider the time it takes to plan a wedding. Most brides purchase dresses nine to ten months before the wedding, so newly engaged brides may purchase royal-inspired gowns, however, we may not see the trend showing up at weddings for many months.” It might’ve taken a bit, but Middleton’s dress did have staying power: “Seven years after that wedding we continue to see dominance of several trends evoked by her gown, for example the neckline, deep V, and structured lace.”
The Duchess of Cambridge’s wedding gown also killed the strapless wedding dress trend: Before the 2011 Royal Wedding, 75 percent of the dresses David’s Bridal sold were strapless; nowadays, 65 percent of brides opt for a more covered-up style, whether that’s tank straps or full sleeves… like Kate’s. The bridal retailer is using these learnings to shape its response to this Royal Wedding: “[We] are not replicate Meghan’s dress…[but] we will look to be inspired her gown and create our own interpretations,” says Conley.
Some bridal brands, though, have already doubled down. Morilee, which is designed by Madeline Gardner, started working on its riff on Markle’s wedding dress soon after the wedding, with plans to put it up for sale in the weeks following.
Direct-to-consumer wedding brand Floravere also just released its own Meghan-inspired gown, available to shoppers for $1,475.
“Members of our team were up at 5 a.m. on the West Coast waiting to see what she wore, mimosas may or may not have been involved,” Denise Jin, its co-founder, tells Glamour. “Since then…our collective of designers and artisans have been working around the clock to craft something really beautiful and one-of-a-kind that still captures the best qualities of her dress.”
Floravere isn’t a brand that regularly looks to celebrities for inspiration, but Markle and her dress felt like a unique opportunity, according to Jin.
PHOTO: Komanphotography/Floravere
Floravere’s M Markle dress and veil.
“In a lot of ways, Meghan really stole our hearts because she’s not just a celebrity bride, she’s a trailblazer,” she shared. “We were really inspired by their love story and the way she infused her own identity into the wedding. That ethos and independent spirit is exactly what we love about modern brides and ultimately, those are the women who inspire us and who we design for.”
What drew Floravere to Markle might just get at why this Royal Wedding will be such a retail juggernaut—because of what it and Markle represent.
PHOTO: DOMINIC LIPINSKI
Markle and Prince Harry during their wedding ceremony.
The Duchess of Sussex is very much a new kind of royal: biracial, a self-proclaimed feminist, an activist, a past successful career (in Hollywood, no less)… Because of that and more, she stands for an inclusivity that might make her one of the biggest style influencers in history. “Her subtle taste in all facets of her role as Duchess of Sussex will influence a new generation,” says Ashbrook.
The claims made against Harvey Weinstein alleging the decades-long abuse of women put the spotlight on the #MeToo movement, and opened up a conversation around sexual harassment which has ricocheted across industries, from entertainment to media. It certainly has touched the fashion world, too, as new light is shed on the lack of protections for the young and vulnerable, particularlymodels, who operate within it. And while there has been awareness and small steps for reform in the past year—notably by luxury conglomerates Kering and LVMH, who jointly established a code of standards to protect the well-being of models—not much has changed in the larger picture.
Now the question is: What comes next?
The Model Alliance, a group founded in 2012 by Sara Ziff, founder and executive director, that advocates for models’ rights by supporting legislation (such as the Child Model Labor Bill, passed in New York in 2013) and strategic partnerships (such as one with the Council of Fashion Designers of America (CFDA) to create private changing areas during New York Fashion Week earlier this year), is seeking to address just that with its newly-unveiled RESPECT Program. It’s a legally-binding contract between models, agencies, designers, and publishing companies to hold people accountable at every level of the industry hierarchy for the mistreatment of models; companies who sign on and don’t follow through with the terms outlined in the document would be in breach of contract and subject to legal action, the thought being that the suggested codes of conducts that have been considered the norm haven’t worked.
The RESPECT Program was unveiled last week in an open letter. More than one hundred models showed public support for it, including Karen Elson, Doutzen Kroes, and Edie Campbell. It reads in part:
RESPECT will go beyond addressing specific acts of sexual harassment,and also seek to foster a work environment that is no longer fertileground for abuse.
Every company in our industry says it abhors sexual harassment andwants to protect those at risk of abuse. We believe that if a companyis serious about protecting us, it will be willing to go beyond merepromises to do better and embrace enforceable standards, with realteeth.
“It’s become abundantly clear that sexual harassment doesn’t exist in a vacuum and that the power imbalance between models and agencies and their clients needs to be addressed,” Ziff told Glamour.
To figure out exactly how to do that, Ziff and the Model Alliance held listening sessions with models. “We heard things like, ‘How can we say no to inappropriate demands when we are waiting three to ten months to get paid for a job? What if I’m pressured to pose nude, or to lose weight by my agency or get dropped?’”
The RESPECT Program’s stipulations stem from Ziff’s own experiences, having worked as a model herself.
PHOTO: Patrick McMullan
Ziff backstage at a Cynthia Steffe fashion show in February 2004.
“About a decade ago I brought forward concerns about [photographer] Terry Richardson [after I worked with him] and it fell on deaf ears for the most part,” she tells Glamour. “I didn’t want this to just be a Band-Aid, I wanted this to be meaningful.” Ziff’s story is familiar: Models had accused Richardson, a photographer, of sexual assault and harassment for years, but many brands and publications continued to work with him on high-profile projects. (This includes some work for titles within Condé Nast, which publishes Glamour.) In the wake of Weinstein, though, companies began to distance themselves from him, pledging to stop commissioning his work. In recent months, models have come forward with sexual harassment allegations against other famous photographers, including Mario Testino and Bruce Weber, as well.
Central to the RESPECT Program is that signatories would be required to enlist some kind of independent third party to file complaints, so models wouldn’t feel forced to report bad behavior to the exact people who sign their paychecks. It also would require that models get paid on time for their work, so they don’t become increasingly indebted to their agency (and because of that, ultimately feel unable to report abuses). There would also be a comprehensive training on rights and responsibilities for participants. And, if someone is reported to be a serial sexual predator, anyone who’s signed the RESPECT Program contract would have to stop working with them altogether.
PHOTO: Victor VIRGILE
Ultimately, what would make this program such a big step in the industry is the fact that it’s a legally binding agreement. “[People who sign it] are sending the message, this is not just about platitudes, this is not just a PR move,” she explains. “We’re going to stand by this.”
Ziff has already presented the program to Condé Nast and several modeling agencies. She hopes to see companies ranging from publishers to fashion brands participate, because there’s still a lot of work to be done to prevent sexual harassment in the industry.
“Karl Lagerfeld made those disappointing comments a few weeks ago and a lot of prominent people didn’t take issue with it. It’s more important than ever to draw a line that we are not going to tolerate sexual harassers or enablers.”
Think of fashion and you most likely think of women—the stiletto heels, the supermodels, the feminist-slogan tees. Stereotypical? Yes. But there is some truth to the oft-memed words “Women be shoppin’.” Fashion is fueled by women: We spend, on average, three times what men do on clothing for ourselves and others, according to The NPD Group, a global market research firm—more than $159 billion in 2017. So you’d think the top of the industry would be filled with female designers and executives, right? Sadly, not so.
According to one industry report, fewer than half of leading womenswear brands have a female designer at the helm, while another found that only 14 percent of major brands are run by a female executive. Some recent shakeups at the top have been heartening (Clare Waight Keller took the reins at Givenchy as the first female artistic director in the house’s 66-year history; Stella McCartney gained full control of her eponymous brand), but others were heartbreaking (Phoebe Philo, the designer many women felt understood them the most, stepped down from Céline only to be replaced by a man).
Source: Business of Fashion
To find out what’s holding women back in fashion, Glamour teamed up with the Council of Fashion Designers of America and the consulting firm McKinsey & Company to survey 535 professionals throughout the industry about their ambitions, opportunities, and setbacks. We also sat down with more than two dozen women and men at various levels to go deep on how, if at all, gender has impacted their careers, and to help develop concrete solutions to address inequalities where they exist.
The title of our survey, The Glass Runway, comes from a study about gender inequality in the fashion industry that discusses the language that’s often used to describe designers and their work—men’s designs tend to be praised as innovative and groundbreaking, while women’s are described as practical and wearable—but our survey found the biases go much deeper than words. Despite this, companies that manage to be diverse and inclusive are some of the brightest success stories in fashion and retail right now. Old Navy, for example, is one of the country’s fastest-growing apparel brands among major retailers. President and CEO Sonia Syngal says parent company Gap Inc. has “a culture of equality that’s demonstrated through hard facts.… We have a female founder, we have female leadership representation at every level, and we have equal pay for equal work.” All of which, she says, has freed up time and energy to focus on moving the business forward.In other words, tackling these problems is good for women but also good for business. So first, let’s take a good, hard look at the barriers.
The Awareness Problem
In our interviews, 100 percent of women said that gender inequality is a problem in the industry, compared with less than 50 percent of men. This disconnect, experts told Glamour, may be because a lot of women already do work in fashion. Unlike investment banks or tech firms, where the dearth of women is obvious at a glance, in designer showrooms and studios, women are everywhere. Enrollment at New York’s Fashion Institute of Technology, one of the country’s top fashion schools, was 85 percent female in 2016, and women overwhelmingly fill the entry-level jobs in the industry. One designer recalled that in her program, “there were maybe four male students. But,” she quickly pointed out, “at the top level of the industry there are very few women, and it is noticeable.”
Lack of senior leaders isn’t the result of some kind of ambition gap, either. At the entry-level stage in their career, women are 17 percent more likely than men to aspire to become top-level executives. But midcareer women hit a wall—and our survey found that, by the time they get to the VP level, men are 20 percent more likely than their female peers to aspire to be a top exec. That’s a tremendous swing.
Source: Glamour x CFDA Glass Runway Survey
Women we spoke to had countless examples of the big and small hurdles they faced. Designer Carly Cushnie, who cofounded Cushnie et Ochs in 2008, recalled reviews that focused as much on her appearance as on the dresses she sent down the runway: “So much of the criticism was like, ‘Oh, you have to look like you wear those clothes. You have to be a certain size.’ Whereas a man can do sexy and it’s genius.” She has also seen how the men-are-brilliant idea affects funding, and recounted her experience walking into a room of male investors who said things like, “So you’re running the company?” and, “There’s nobody else here?” She says, “It’s also harder for women to get financing, to get business loans. A lot of female designers are not looked at in the same regard as a man in terms of being both a designer and a businesswoman.… You’re looked at as more of a risk, especially in an industry that is generally risky for any investor.”
The “How Do You Get Promoted?” Trap
With women feeling so ambitious at the beginning of their career, it’s not surprising that they are also more likely than men to ask for a promotion at junior levels. But as women hit the middle- and upper-management levels, they seem to get discouraged, with women half as likely as men to go for a bigger job. Almost every female interviewee, even those who described themselves as assertive and highly ambitious, said they’d struggled with asking for promotions. Several female industry veterans said they’d felt “lucky” just to be hired or promoted at all.
Part of the challenge: the lack of clarity around what it takes to move up in many companies. After working at a fashion PR agency for several years, said one executive, “I was bringing in new clients and doing the work of a senior person, but I did not receive an increase in pay or a promotion.” A female manager at a menswear brand echoed her complaint: “I always ask for concrete guidance on how to be promoted. I do all those things right, and it makes no difference.” Even with two decades of experience, she says, she hasn’t been able to get clear answers about what it would take to get to the next level and whether her salary is aligned with her job description. “It’s hard to know what is fair if you don’t know [the criteria],” she says. Others said assignments and promotions could seem maddeningly arbitrary. A public relations executive said that as the only woman of color in the room, she was often singled out early in her career for streetwear projects, and while she took advantage of the opportunities, “It’s kind of like, Why do you assume I’m going to know what’s going on in that neighborhood?” she said. “I didn’t grow up there. I grew up upper middle class, but you’re pinpointing me to talk about the street campaign.”
Another retail executive recalled a meeting with a more senior male exec in which he told a room full of mostly female staffers about how he got promoted from an assistant buyer to a buyer role in a year and a half. “He said his boss, who was also a man, liked him and how he’d planned a holiday party,” she recalls. “He was saying this like it was a source of pride or a bragging point. And we were all sitting around with our mouths hanging open because we’d watched our male peers race up the ranks while women at the company were rarely promoted.” They aren’t imagining it: Our survey found that at more junior levels, 25 percent fewer women than men get promoted without asking; by the time they reach management positions, 72 percent fewer women get plucked for a promotion without asking, compared with their male peers.
Source: Glamour x CFDA Glass Runway Survey
Tied to that, of course, is pay: Many women knew they were paid less than their male colleagues. “I always went into [salary talks] with low expectations,” one executive said. Even now, running her own company, another said she has “stress and doubts” when negotiating with clients: “As women, it’s something we have to heal in our programming.”
The Mentorship Gap
Navigating company culture and promotions often comes down to the advice employees are—or aren’t—getting from their superiors. At all levels, men get more feedback than women do on how to advance their careers, our survey found. And although research has found that, since the #MeToo movement, many male managers have stepped back from mentoring women, men in fashion (an industry in which gay men often hold a lot of power) seemed deterred by outdated attitudes: “As a man, I am worried about women being more sensitive and getting offended when I give them feedback, so I do it less often,” said one producer of fashion shows and other events. Disappointingly, this was a sentiment expressed by several male interviewees. Mentorship, however, has been proved time and again to help close the gender gap.
The Work-Life Balance Snag
Studies have found that becoming a parent can sideline a woman’s career and is the biggest factor in gender pay disparities. These trends play out in fashion too. One president at a fashion brand suggested that women were opting out of higher-level positions because of motherhood: “At the VP level, women may decide to lean back and be less inclined to ask for a promotion because they are juggling increased responsibilities at home.” Half of all VPs with children said that motherhood had been an obstacle to getting ahead, and in interviews many women said they waited, or planned on waiting, to have kids until they were in a senior-level position so they wouldn’t be “left behind.” One former retail executive told us that when she got promoted to the VP level, she put off her marriage for a year and didn’t think pregnancy was an option because the job was so demanding.
Unfortunately, our interviews found these aren’t totally unwarranted fears. “It’s horrible to say, but one of the things we always considered when we were evaluating several candidates for a job offer was whether they were recently married and likely to start having children soon,” admitted a former human resources manager for a fashion brand. “We were much more likely to offer the job to a single woman or a woman who was older; this never, ever came up with men.” Women with children were also often passed over for promotions, she said: “The manager would say, ‘This position requires more time than you’re able to give.’ ” (FYI, it is illegal to discriminate against an employee or prospective employee on the basis of pregnancy—current, past, potential, or intended. If this has happened to you, you may have grounds to file to a complaint with the EEOC or your state employee-rights agency. For info, visit workplacefairness.org.)
Mothers who did manage to make it to the C-suite said they had to make a conscious decision to let go of the inevitable guilt of not being able to give 100 percent at home or work. “I expected the fact that there would be things that fell through the cracks,” said one retail CEO. “Women have been socialized to feel an immense amount of guilt about missing things—we have to stop giving anyone the idea that they have to be perfect.”
PHOTO: Mat Maitland
So How Do We Solve This?
Fashion, says Steven Kolb, president and CEO of the CFDA, needs to push for more gender equality at the top, especially since women are at the core of the business. But he believes the industry is well poised to do so: “We’re a creative industry, and I think creative people have a strong sense of humanity, and you see that in how we interact with each other,” he says. “Now we need to look at how to translate that to more tangible opportunities for women in their careers and in their lives so that they can continue to flourish and grow.” No one is saying it will be easy or that anyone will get it perfect on the first try (no company has nailed it—in fashion or any field). But our survey found there are ways to move the industry forward, and many of them are universal enough for any company—even yours if you don’t work in fashion. Some of the most important steps:
First, recognize the problem. If 100 percent of women say there’s a problem, then guys, it’s time to listen up. Tracking and sharing gender-related metrics is one of the most essential steps a company can take toward creating a more equitable workplace, experts told us. After all, if you don’t know where the problems are (or assume, like many, that you don’t have any), it’s unlikely anything will get fixed. Take the experience of one top retail executive, who recalled ordering a companywide salary review several years ago and was surprised by the sometimes “bizarre” pay gaps between people in similar positions—female employees working in the menswear department were paid higher than their female counterparts in womenswear. The company was able to level the playing field but only once it was armed with the data to do so. A few other companies have helped set the bar for pay transparency and fairness: In 2014, Gap Inc. became the first Fortune 500 company to announce that it had achieved equal pay for equal work (three out of its five brands are led by women). At Tapestry (which owns Coach, Kate Spade, and Stuart Weitzman) chief executive Victor Luis was among the more than 400 to sign the CEO Action for Diversity & Inclusion pledge, promising to make concrete changes in the workplace. Key to these programs is that they’re all ongoing; they aren’t one-and-done solutions to a continuing issue. Tracking metrics helps everyone stay accountable in the long-term.
Make the criteria for success clear. Companies of all sizes can reduce how bias affects promotions and salary negotiations by making compensation and review processes as straightforward and transparent as possible. Larger firms might take a cue from Kering, which owns brands like Gucci and Balenciaga, and have their HR team train managers to prepare for evaluations and share concrete examples of employees’ performance. Even at relatively small companies, several executives said that formalizing evaluations and including more objective criteria has made the process less of a burden over time and given employees and managers the opportunity to have valuable conversations about goal setting and career advancement. It’s also critical to retaining great talent: Women, our survey found, were up to three times more likely than men to say they have considered leaving fashion altogether in order to get better access to leadership roles.
Build mentorship opportunities. Women are more likely than men to say that they never interact with senior leaders. If you’re a senior leader, you can change that! One PR executive said that when she’s hiring new employees, she makes a point of ensuring that women of color in particular are in the candidate pool: “It’s the first group that’s canceled out in terms of consideration.” Having a diverse company also gives her an edge over other, more homogeneous teams; it’s a business decision as much as a matter of principle, she says. “There are different groups of editors to invite, different groups of influencers, different people out there to reach.” In other words, more possible customers.
Many interviewees also shared the advice they give to those who are struggling with asking for a promotion or advocating for themselves: “Nobody else is going to do it for you—it’s you or nobody,” said one. Another said she’s found that sometimes your direct manager isn’t the best person to go to, so it’s worth developing a good rapport with someone up the chain. Finally, one said she tells employees (particularly female ones) not to settle once they’re in a role: “Push yourself and tell [your boss] you’re ready to do something if you want to do it…. Spell it out.”
PHOTO: Mat Maitland
Be an ally. Fashion may celebrate the individual, but no one succeeds without a little help from those around them. In interviews it became clear that both male and female allies can play a role in creating an inclusive workplace. Remember those guys who said they were afraid of how women react to feedback? They might try taking notes from a former boss of Old Navy’s Syngal. When she began managing her peers for the first time, it was, she says, “a big transition.” “I remember one time bursting into tears in my boss’s office and of course being so embarrassed afterward. He just looked at me and said, ‘Women cry and men yell. It’s sort of what we do,’ ” she recalls. “He completely understood the societal behaviors that we all live in, and he was fantastic.” Whether women react with anger or tears at work, they tend to be penalized for it more than men, so leaders who can take both in stride are particularly valuable. Men and women alike also need to be allies by calling out bias where they see it, whether it’s a sexist comment in the boardroom or inappropriate behavior on a photo shoot.
Get behind work-life balance programs. While a bootstrapped operation may not be able to match a billion-dollar brand when it comes to, say, paid parental leave or skills trainings for women in leadership positions, there are other areas where even small companies can excel, like offering flexible work hours to employees and fostering an inclusive environment from the top down. Numerous studies have shown that things like flextime tend to increase productivity and boost companies’ bottom line, yet less than a third of the men and women we surveyed said their companies have any such policies. (It’s also possible that many don’t know about them—employees we surveyed struggled to identify concrete equality initiatives at their companies, and more men than women said their employers had them in place, suggesting leaders need to make their policies much clearer to everyone.)
And while offering things like flextime is a start, Brian McComak, Tapestry’s senior director of inclusion and diversity, says, “It is important for leaders and people managers to demonstrate their support and lead by example.” One fashion-events producer, who has worked for both corporate and boutique firms, said the best experience she’s had has been at a small women-owned-and-run company because motherhood hasn’t felt like a taboo subject to discuss. “The comfort of being able to talk openly and freely about the demands of children has been one of the biggest reasons why I’ve continued working with them and why I feel so happy to be in a place that’s supportive.”
Even if you don’t work in fashion, you interact with the industry in other ways, whether it’s through the clothes you shop for, the magazines you read, or the Instagram accounts you follow. And when more women are involved—not just as workers but as business owners and creative visionaries—we all win. Before Maria Grazia Chiuri took the reins at the house, it would have been tough to imagine a model walking down the Dior runway in a T-shirt reading “We Should All Be Feminists.” Trailblazing women have likewise been behind the push for a more size-inclusive industry (thank Chromat’s Becca McCharen-Tran and powerhouse plus-size modeling agent Susan Georget, among others) and for more awareness of ethics and sustainability (Stella McCartney and Vivienne Westwood, to name two). Independent women-run brands have moved the needle through their designs too: Rosie Assoulin has proved that evening wear can be both whimsical and wearable (and include pockets!), while Rachel Comey has made block heels and wide-leg jeans cool-girl staples. When we support brands like these, we show that women are a priority—and our wardrobes are all the better for it.
Hilary George-Parkin is a journalist in New York City who writes about fashion, culture, and technology.
Among the friends, family, and celebrities that you follow on Instagram, there’s a chance you probably also keep up with at least one influencer, whether it’s Chiara Ferragni or Grumpy Cat. Just a decade ago, “having influence” wasn’t a viable or lucrative conceit—now, “influencer” is a job title in nearlyeveryfield, with some raking in millions of dollars in revenue. (The market as a whole is set to reach up to $10 billion by 2020, according to mediakix.) Within this ever-growing, ever-changing market, there also have been growing niches, bloggers and social media stars focusing on specific topics or lifestyles. The sustainability community has been one of the most noticeable ones—and one that’s banding together to effect lasting change on this burgeoning industry.
“Blogging can be a really isolating experience,” remarks eco fashion blogger and journalist Alden Wicker (also a Glamour.com contributor). That’s why, four years ago, she rounded up the very few bloggers in the fashion sustainability space to create a small network of like-minded women—one that would grow to be 60 members strong, and called the Ethical Writers & Creatives (EWC).
EWC is driven by two admirable goals: to improve the world with their work and to raise standards in the influencer industry. This sector has become something like the Wild West, with no clear-cut rules or guidelines to establish order and ethical conduct (despite the Federal Trade Commission’s best efforts), to prevent people from falsifying images or manipulating data, like follower count—but, united by a shared passion for sustainability and ethical responsibility, this group is trying to combat these practices and to push the community toward more sustainable practices.
EWC does this through meaningful content and reported features (membership at EWC grants you access to resources, like educational workshops and a group Slack channel to ask questions, to write such stories), refusing to take information at face value and questioning everything you’re told even widely-accepted truths (such as the widely-quoted “fact” that fashion is considered the second most polluting industry, which Wicker debunked on her website, EcoCult.) It also instituted a code of ethics that all members must abide by.
“In the mainstream influencer space, there’s a lot of frustration around the lack of standards and rules, like follower- and like-buying, photoshopping, and overall inauthenticity that can make it feel really icky to call yourself an influencer or blogger,” says Wicker, who serves as the president and COO of EWC. “We’ve become the gold standard for ethical and sustainable blogging.”
PHOTO: Courtesy of Ethical Writers & Creatives.
Members of Ethical Writers & Creatives, from left: Alden Wicker, Faye lessler, Kestrel Jenkins, and Elizabeth Stillwell.
“The sustainable fashion industry is evolving so fast, but you can’t manage what you don’t measure,” she continues. “There is so much misinformation out there and because we spread information really fast, it’s important everyone is doing it correctly. The articles we write are incredibly smart, well informed, and educational—much more than the average blogger.”
But EWC isn’t only attractive to influencers: It’s bringing in sustainable brands who want to work with them, too.
There have been between 20 to 30 brand partnerships that have been established through EWC in the past two years, according to the group’s marketing director Kaméa Chayne (who’s the curator of ConsciousFashion.co and host of the Green Dreamer podcast), with companies like Delgatto, GrunBag, Jean Franklin, and Threads Worldwide.
One of the biggest projects EWC has worked on has been with DoneGood, a Chrome extension and app that directs consumers toward mission-driven brands, the platform was promoted across multiple influencers’ sites during a two-month-long campaign.
“If you’re in the sustainability space, you can’t help but know about the EWC,” says Cullen Schwarz, co-founder of DoneGood. “EWC has assembled the leaders of the ethical influencer community, making it easy to work with all of them collectively to make a much larger impact.”
With EWC working as a liaison between the brands and influencers, a lot of the guesswork—like figuring out how much to price paid campaigns or sponsored posts—is taken out of the equation. More importantly, the group unifies all members under one pay scale, so that no one is over- or undercharging brands, making it a win-win on both sides. “These small brands know we’re not scamming them out of their money,” Wicker explains, “and on the creative side, they know they’re going to be paid for the work they do.”
PHOTO: Courtesy of Ethical Writers & Creatives.
Current and former members of Ethical Writers & Creatives at the group’s launch event in 2014. From left: Alden Wicker, Emma Grady, Juliette Donatelli, Elizabeth Stilwell.
“This group of knowledgeable women mentored me, and gave me a greater ethical awareness and eco understanding,” says Holly Rose of Leotie Lovely and social media manager for EWC, who joined in 2015. “I’m not really sure what would have happened to me had this group not existed.”
Still, in terms of “improving the world,” particularly in terms of sustainability, there’s a lot that needs to be done. That concept means different things to different people—and for some, it’s become a catch-all word for anything remotely eco- or socially responsible, from supporting local artisans to living a zero-waste lifestyle to veganism. (Differentiating all the companies that market themselves as “sustainable” is something the fashion industryas a wholestruggles with as well.)
“Sometimes there’s tension between members about what it means to be ethical and sustainable, especially between those who are vegan and not vegan, but when I sense tension, that’s when I step in,” Wicker says. “We might disagree on how we’re going to get there—a better world, a better fashion industry—but we have to remember we’re all here because we care so deeply about these issues.”
“The ethical and sustainable fashion movement is so new—it really started in 2013 with the collapse of Rana Plaza, so a lot of us are just writing, watching, and trying to figure out how to best support the movement,” Wicker says. “Many of us aren’t really sure what’s next; we’re trying to figure that out.”
Natalie Kay, founder of the blog Sustainably Chic who joined the EWC two years ago, says long-term change will begin when bigger brands are onboard with the movement: “We can make baby steps, but to get to the masses, companies like Target need to step up to make sustainability more accessible. We need to market to everybody and find a fair price point.”
Each member of EWC might have a slightly different vision or approach to making the industry more sustainable, but they all share the same end goal: “Our motto is collaboration over competition, so we provide a space where we can support each other,” Wicker says. “I never expected the EWC to be this big or important to people, but it’s been an amazing ride and I love every single member.”
For most women, shopping is an activity that hardly requires a second thought: You enter a store or go online, you see what you like, you check out, and you leave. For Sinéad Burke, an academic and fashion writer based in Dublin, Ireland, it’s not that simple.
Burke has achondroplasia, a form of dwarfism shared by between 1 in 15,000 to 40,000 people worldwide. She describes a hypothetical trip to the mall as an ultimately discomforting experience: Standing at three feet, five inches tall, she can’t reach many of the racks where clothes are held without assistance—and when it comes time to try something on, she’s not strong enough to pull the changing room door or curtain closed on her own. (Even then, there aren’t often garments tailored to her proportions in mass brands’ stores to begin with.)
“My experience—and my independence—within that experience, is either based on you helping me or getting assistance from those who work in the shop,” Burke tells Glamour at the Savannah College of Art and Design’s annual SCADstyle conference in April, where she was speaking. “But that takes a huge amount of emotional labor for me as an individual, because I have to deliberately make myself vulnerable. It’s that lack of empathy that’s within the process that disables me and further limits my independence.”
PHOTO: John Phillips
Sinéad Burke at the Business of Fashion Voices conference last fall.
The lack of accessible spaces for people like Burke in clothing stores, as well as other venues, were among the topics she discussed in her popular March 2017 Ted Talk, “Why Design Should Include Everyone.” The presentation, during which Burke describes how disabilities are overlooked in design processes from architecture to fashion, has racked up over 1.2 million views since its publication. Though Burke had established a presence online with her fashion and culture blog, Minnie Mélange, her TedTalk catapulted her to international acclaim as an advocate for inclusive fashion and design: She has since delivered a keynote on fashion and inclusion at the Business of Fashion Voices conference (in November 2017) and was the sole female delegate to represent Ireland at the World Economic Forum in Davos in January 2018.
Fashion is essential to Burke: Its communicative powers take on additional meaning in a world that’s quick to pass judgment on her appearance. She also has a lot of fun with it—if you follow her on Instagram, you know she loves to showcase a good look, wearing pieces by Burberry and Delpozo to speaking engagements.
“For me, fashion is not just about buying into a notion or buying something that’s beautiful,” she says. “It’s about confidence and empowerment, but it also facilitates me having to explain myself.”
Burke sees clothing as a tool for combating stranger’s assumptions and biases about her disability: “[S]ometimes, I have to explain that I am older than people think I am, that I am perhaps more sophisticated than people might think I am,” she says, “and when I am dressed the way in which I want to be, I don’t have to explain that.”
In recent years, we’ve seen some brands step up to address the gaping hole in the adaptive clothing market. But Burke takes issue with the function-first approach of many of these collections—”because whilst I want coats to be functional and shoes to be functional, I also want them to be beautiful,” she argues, “and often we forget about those principles about beauty when we are designing for disability. We solely focus on the impairment and making things better.”
Burke says that expanding the current offerings at well-known, established brands to be adaptive is essential to giving customers like her the beautiful garments they deserve. She notes how she’s been approached, “very kindly” by people asking if she’d develop her own fashion line, but she replies: “I’m not a designer. [Creating my own brand] abdicates the responsibility from the fashion industry for providing for me as a customer.”
Burke emphasizes how her disability has no bearing on her sense of style: She’s an adult woman, and she wants access to luxury brands just like everyone else. “As much as we would like to think that we’re not egotistical in our aspiration to have Louis Vuitton or Prada or be embellished by labels, that is part of what we buy into: that history and that legitimacy of the fashion industry,” she says. “We need to step away from this idea that we can create a collection or a line for disabled people, and then create it for everybody else, because it’s further othering the population and segregating us.”
Last fall, Burke gave the keynote address at the 2017 Business of Fashion Voices conference—and she did so outfitted in Burberry. The brand made her a custom trench coat with an asymmetric hem; she gave some input in the design, and Burberry made a few alterations to its existing pattern during fittings. It was a memorable moment for inclusive fashion, in Burke’s experience: “For me, that process was about building a two-way communication system between me and a very heritage, established brand for something as simple as the trench coat,” she remembers. “The question about coming from that dialogue was: How can that insight from me as a disabled consumer impact the design process for ready-to-wear for everybody?”
PHOTO: John Phillips
Burke wearing her custom Burberry coat at the Business of Fashion Voices conference.
True inclusivity, Burke says, comes down to having representation at all levels of the conversation in fashion, from the C-suite executive level at luxury brands down to retail employees. “It’s just about being more empathetic, as trite as that sounds—and in a very busy world, taking that time to think of others and constantly saying, ‘Who is not being accommodated for? And how can I use my power and privilege to bridge that gap?’,” Burke says. “I think for the process to be holistic, the disabled voice has to be participatory from the very beginning.”
The Savannah College of Art and Design paid for the writer’s travel and accommodations for the purposes of writing this story.
The 2018 awards season has already delivered many powerful moments, particularly in light of movements such as #MeToo and Time’s Up. From fashion displays of solidarity to emotionally charged acceptance speeches, inspiration has abounded from the red carpets to the ceremony stages and beyond. The 2018 Grammy Awards continued this long-overdue tide of change, with one moment in particular standing out: Janelle Monae’s gripping speech calling Time’s Up on the music industry.
Monae took the stage to introduce Kesha’s performance of “Praying”—a performance already loaded with meaning, given Kesha’s personal story of survival and resilience in the face of alleged workplace harassment and sexual assault. But Monae’s spoken words were every bit as riveting as the onstage performance that followed, with the artist calling for the waves of change to carry over into the music industry.
“I am proud to stand in solidarity as not just an artist, but a young woman, with my fellow sisters in this room who make up the music industry—artists, writers, assistants, publicists, CEOs, producers, engineers, and women from all sectors of the business,” Monae opened. “We are also daughters, wives, mothers, sisters, and human beings. We come in peace, but we mean business.”
She went on to declare that this movement isn’t going anywhere anytime soon. “To those who would dare try and silence us, we offer you two words: Time’s up,” Monae said. “We say time’s up for pay inequality, discrimination or harassment of any kind, and the abuse of power.” She continued: “It’s not just going on in Hollywood, or in Washington, it’s right here in our industry as well. And just as we have the power to shape culture, we also have the power to undo the culture that does not serve us well. So, let’s work together, women and men, as a united music industry committed to creating more safe work environments, equal pay, and access for all women.”
Monae concluded by calling the “fearless” Kesha, as well as Cyndi Lauper, Camila Cabello, Andra Day, Bebe Rexha, Julia Michaels, and the Resistance Revival Chorus, to the stage for a performance of “Praying” that echoed the sentiments Monae spoke of: solidarity, strength, and, support.