Better Together: Collaboration as a Tool for Inclusivity in Luxury Fashion
The author wearing one of her CJR X Target dresses for her 2021 graduation.
I have always had a soft spot for a good fashion collaboration, and over the past few years, the industry has certainly delivered. As a lover of fashion without the disposable income to buy a closet full of luxury designer goods, collaborative capsule collections offered by more accessible retailers like Target, H&M, and Uniqlo provide a point of entry that is much easier on my wallet than buying high-end ready-to-wear pieces. [1] In May 2021, when Target released its limited-edition collection of dresses designed by Christopher John Rogers, I couldn’t help but get excited. After more than a year spent living through a pandemic – most of it as a master’s student treading the murky waters of virtual learning – the vibrant garments in the collection embodied the lightness and joy that I (and surely all of us) was craving. At 3am on May 16th, I opened the Target website, went straight to the CJR collection page, and added two dresses to my cart. Since I’m based in Canada, where Target does not currently ship, I arranged to send my order to a friend in New York, who then mailed the dresses to me. As I waited for my order to arrive, I felt like I was missing out when I saw folks sharing their CJR x Target looks on social media. At the same time, the sheer number of people who appeared to find joy in this collection made me feel happy; an entire scurry of CJR “squirrels” – as the designer calls those who wear his clothes – emerged online, and once my package arrived, I too could be part of this vibrant community.
The CJR x Target collaboration got me thinking about fashion collaborations on a deeper, more theoretical level. It might seem strange to position a type of marketing strategy as a catalyst for connection, but fashion does have a way of connecting people – just look at the pink pussyhat, which became a unifying symbol of the 2017 Women’s Marches. [2] The CJR x Target collection provides a great blueprint for using collaboration as not only a promotional tool, but as a method for building and growing a community as well. It also shows the ways in which fashion collaborations can a) provide consumers access to fashionable, on-trend designs at reasonable prices, and b) provide designers and brands access to new audiences. In addition, large companies are more likely to have a greater budget to support collaborative projects, which arguably makes it more appealing for designers to join forces with them. It’s clear that these fashion collaborations can be beneficial on multiple levels for all parties involved. With that in mind, it is interesting to think about how those benefits can be gleaned from other models of collaboration that are not so commonly seen in fashion today – namely, collaborations that involve high-end labels or designers partnering with younger brands or emerging talent looking to break into the luxury world. If a collaboration with a store like Target (or H&M or Uniqlo) can bring forth mainstream attention, access to a different audience, and spark a sense of community among consumers, can a collaboration between a luxury fashion veteran and an emerging luxury designer have a similar effect? [3] Beyond that, how might this type of collaboration support togetherness outside of the consumers and instead, within the fashion industry itself? And finally, as fashion collaborations continue to thrive, how can they be utilized to encourage increased diversity and inclusion in an industry that has such a long history of adhering to antiquated norms?
To start, it’s helpful to examine the types of consumer-facing collaborations that are prevalent in fashion right now. The first is what I will dub the high-low mix – that is your Karl Lagerfeld or Giambattista Valli for H&M, JW Anderson for Uniqlo, and of course, Christopher John Rogers for Target. As noted, these collaborations offer consumers a version of high-end designer goods at lower-than-luxury prices, making them more accessible than straight-off-the-runway looks. Then you have the more out-of-the box collaborations, which extend beyond fashion and into other industries. A few key examples include Thom Browne’s collaboration with Samsung, or Balenciaga’s episode of The Simpsons. The third model, which has become increasingly popular over the last two years, involves luxury labels or designers partnering with other comparable labels or designers who exist on a fairly level playing field within the industry. Back in 2020, for example, Italian designer Miuccia Prada and Belgian designer Raf Simons announced their partnership as co-creative directors of Prada. Versace and Fendi joined forces in 2021, presenting a collaborative collection dubbed the “The Swap,” for which Fendi creative director Kim Jones was tasked with creating a selection of Versace looks, while Donatella Versace designed a lineup of Fendi looks. Earlier that same year, , Gucci “hacked” Balenciaga, resulting in a collection emblazoned with both brands’ logos and imbued with a blend of each house’s iconic design signatures. Gucci also went on to partner with Adidas for its Fall 2022 collection, pairing the sportswear brand’s iconic three stripes with various Gucci motifs. Sometimes, as we saw with the announcement of Yeezy Gap Engineered by Balenciaga, collaborations can be a hybrid of these models. As summed up by researchers SooKyoung Ahn, HaeJung Kim, and Judith A. Forney in a 2010 article published in the Journal of Fashion Marketing and Management, the act of partnering up has allowed brands to “leverage entire fashion business concepts that transform their branding strategy into not only ‘sleeping with the enemies,’ but also ‘talking to strangers’ regardless of product types’.” [4]
Even as new collaborations are announced regularly, it remains quite rare to see an established luxury player release a collection with an emerging, independent designer that does not have the backing of a major conglomerate like LVMH or Kering. However, there are some examples that come to mind, which can provide insight into this partnership model. For instance, in 2021, Italian luxury house Etro partnered with the emerging designer Harris Reed – known for his gender fluid fashions – on a line of limited-edition blouses crafted from deadstock archive fabrics. Speaking of this sartorial union, Reed said in a statement published on Etro’s website, “as a young designer, their support is invaluable and it is a dream come true to collaborate with the fashion house … The patterns and designs were created in my small studio in London, but they were truly brought to life through Etro’s archival fabrics.” This partnership between Etro and Reed reflects several of the aforementioned benefits of collaboration. For instance, the project signifies the coming together of two brands with differing design sensibilities for a collection rooted in shared values. A Vogue article published in November 2021 reveals that Reed sparked the idea for partnership by sending a direct message to Etro’s public relations team. For her part, Veronica Etro, the brand’s creative director of womenswear, told the outlet that she “didn’t have any doubts” about working with Reed, noting, “I think fashion, right now, is in a phase that is not about being self-referential, it’s about really being open to new ideas and new people.” Regarding Reed’s own statements about the project, it seems clear that having the support of the larger brand was integral to bringing the collection life. The sentiments from both designers represent a refreshing willingness to share resources and ideas while also stressing the importance of supporting emerging talent. In addition to fostering a sense of togetherness, both Etro and Harris Reed would have likely reached new markets through their creative union, as fans of both brands would be introduced to the other (if they hadn’t been already). This partnership also illustrates how collaboration can be utilized to support diversity and inclusion within the western fashion industry specifically; Reed himself is a proponent of gender fluidity and gender expression, and that message of inclusivity is woven into the genderless blouses created with Etro. As a whole, this collaboration symbolizes the benefits and opportunities that can emerge from partnerships between established brands and up-and-comers.
Another interesting example of this type of collaboration is evident in the 2010s revival of the Versace diffusion line, Versus Versace. Through that line, Donatella Versace worked with a number of designers, including Christopher Kane, JW Anderson, and most recently Anthony Vaccarello, to present collections that mixed the signature Versace sexiness with each designer’s individual style. It is important to clarify that with the Versus Versace line, the Versace name was always at the center. Unlike the Etro x Harris Reed collection, which was marketed with both names, the Versus collections were just that – Versus Versace collections. However, the appointment of the various designers as creative directors of the Versus brand over the years was well-publicized by fashion media outlets; they weren’t hidden behind the scenes. With that in mind, this example still highlights a commercial alliance between a major player and up-and-coming designers in the luxury space, as Kane, Anderson, and Vaccarello were all brought on during the fairly early stages of their respective careers. In addition, past comments made by Donatella Versace represent a desire to work specifically with young designers and new talent in order to nurture and mentor them as they move forward in the industry. This sort of attitude toward working with up-and-comers reflects a sense of togetherness, as it centralizes support rather than competition or exclusion. Following Vaccarello’s departure from the label in 2016, Donatella reflected on working with him as well as Kane and Anderson, saying in a statement, “In each instance, their time on Versus Versace led to them making a huge advancement in their design career. I appreciated the chance to work with each of these three designers, and I enjoyed seeing what they brought to a brand I truly love. I'm proud that Versus can be such a remarkable global platform for emerging design talent." [5] For reference, Vaccarello went on to helm Saint Laurent, while both other designers have continued to find success in the industry – Kane, with his namesake label and his social media-friendly More Joy collection, and Anderson, with his eponymous label and his position as creative director of Loewe. While it cannot necessarily be argued that their collaborations with Donatella Versace and Versus are solely responsible for their progression in the fashion industry, it is likely that the exposure they gained through working with such a prominent figure was helpful in terms of attention and recognition. Of course, it is important to point out that Kane, Anderson, and Vaccarello are all white men, so where Versace might have succeeded in fostering young talent, she perhaps missed out on the opportunity to use collaborations as a chance to challenge norms and amplify diverse perspectives. This aspect is in contrast to the aforementioned CJR x Target collaboration, as well as the gender fluid Etro x Harris Reed capsule, both of which highlight positive steps toward inclusivity and diversity. Still, the Versus example does highlight the benefit of supporting and fostering a sort of creative camaraderie within the luxury fashion industry.
“Partnerships within luxury fashion specifically have the potential to not only provide exposure and support to emerging designers, but to create a more diverse, inclusive, and in turn, more interesting luxury fashion industry, as with the case of Harris Reed and Etro.”
The two case studies explored here are by no means the only instances of this type of collaboration, but they do provide useful insight into how partnerships within luxury fashion specifically have the potential to not only provide exposure and support to emerging designers, but to create a more diverse, inclusive, and in turn, more interesting luxury fashion industry, as with the case of Harris Reed and Etro. For so long, the field of luxury fashion has adhered to antiquated norms of gender, sexuality, beauty, and race, and while the tides appear to be slowly shifting, there is plenty of work still to be done. One way to continue moving forward is through collaborations, especially those that support the creativity of new, independent, and emerging designers. Beyond simply bolstering new talent, partnerships provide opportunities to support diverse perspectives that fall outside the typical western gaze. For instance, you might recall when DSquared presented their Fall/Winter 2015 collection, which was criticized for its derogatory name and for appropriating North American Indigenous dress and culture. Had they used their collection as a chance to work with an emerging Indigenous talent, the outcome would have likely been far different; in that case, a partnership would have showcased the benefits of working together, such as fostering a sense of community with fellow creatives in underrepresented communities.
Overall, these types of collaborations have the potential to break boundaries and let newcomers in (as opposed to having the same white, European male designers shuffle throughout the major legacy houses). Perhaps this type of collaboration can also give young designers the exposure they need within the luxury world to eventually get a seat at the table, allowing them to transform the fabric of the industry. As for well-established designers and legacy brands, collaborations with young designers can help them evolve with the times and embrace new ways of creating.
Notes
[1] I try to avoid fast fashion when possible – I know it is a privilege to be able to do so – but I sometimes make exceptions for pieces I’ll love and wear for a long time.
[2] Nancy L. Malcolm et al., “Unifying yet dividing: voices of pussyhat maker–wearers who participated in the 2017 Women’s Marches.” Fashion and Textiles 7, no. 32 (2020). https://doi.org/10.1186/s40691-020-00218-5
[3] In this article, an “emerging” designer in fashion refers to a designer who has worked in the industry for a few years – either on their own line or for another fashion brand – before gaining widespread attention or recognition. The particular focus here is on emerging designers in the luxury field.
[4] SooKyoung Ahn et al., "Fashion Collaboration Or Collision?" Journal of Fashion Marketing and Management 14, no. 1 (March 2010): 6-20. doi:10.1108/13612021011025401.
[5] Vanessa Friedman, “Anthony Vaccarello Succeeds Hedi Slimane at Yves Saint Laurent,” The New York Times, April 4, 2016, https://www.nytimes.com/2016/04/05/fashion/anthony-vaccarello-yves-saint-laurent.html
