Ingrid Giertz-Mårtenson: Looking into the future - Secrets of the Fashion Forecasting world
VD Swedish Vision AB
My study discusses the importance of textiles and fabrics as part of the phenomenon of fashion forecasting within the international fashion system. The theoretical inspiration in this ethnological study comes from Pierre Bourdieu´s sociology, using as tools some of his concepts like field, capital and habitus.
To meet the growing demand from the ready-to-wear industry for advice regarding fashion and textile trends, the first forecasting agencies were founded in Paris around 1970. Today the major players in the international forecasting field are still found in Paris, but also in London and New York, producing fashion information for a global market. Trend documents regarding styles and fabrics, colour cards, seminars and exhibitions are traditional tools for fashion information. Following the growing demand from the market for constant changes in other ”lifestyle” sectors, such as home furnishing and interior decoration, trend forecasting, specially concerning textile and fabric trends, is now also available for these areas. The prize level for such information is very high and there is a lot of secrecy around this phenomenon within the fashion world. The information is produced one to two years in advance, following the needs of the different sectors of production. Today, however, the market moves much faster: a new style or trend can be developed and produced in a couple of weeks. This creates a problem for the traditional and “orthodox” forecasting agencies who are challenged by several new on-line actors as well as the media. Information from catwalks, trade fairs and other activities is communicated daily to professional customers.
The importance of textiles in this area is of great significance. In earlier studies I have analyzed the general message that is produced in the so called “trend books” from forecasting agencies. In these books information on new textile trends is highlighted through fabric swatches, colour cards and texts. This means that the message is visual, textual as well as tactile for the user. Several questions arise here: to what extent is the textile information in the trend documents of importance for the final message? Can the information regarding the season´s new fabrics, textures and colours be transmitted on web-sites with the same positive result as if you actually look at the colour, touch the finish and feel the quality of the fabric (judging from statements by many of my informants it can not). If not, how will information on fabrics be communicated by forecasters in the future – only through personal visits of designers and buyers to trade fairs and exhibitions? Or will textile and fabric information be the only thing left in trend documents when general forecasting regarding styles, looks and the cut of a garment can be communicated on-line or by fashion and professional magazines? Another important question that needs an answer is how this business picks up and selects trends concerning fabrics and textiles. Is it a result of following commercial and international trends or is there also an interest in promoting national and local textile resources? And is there any concern regarding environmental aspects? These and other questions will be brought up in my study.