Fashion as a Social Hyperobject Part II: Organization

Fashion as a Social Hyperobject Part II: Organization

Organization Part I: What is Kaylia? — (The Paradox of Environment) My strategy for implementing a regenerative luxury solution encompasses an entity that I aptly named “The Kaylia Group.” Within The Kaylia Group, three branches intertwine: Kaylia, our bespoke garment service; Bottega Kaylia, a research lab dedicated to regenerative textile development; and The Council on Sustainable Fashion and Design of Grenada, our non-profit organization based in the West Indies. The name Kaylia, derived from my second given name, holds a profound meaning in Arabic, signifying “laurel” or “crown.” Our aim is to evoke a sense of pride, akin to the regal feeling one experiences when wearing a crown, through the Kaylia garment experience. Craftsmanship, environmental and social impact, and a luxurious essence converge to kindle a transformative ardor. Our clients become integral participants in the garment’s narrative, embodying conscious members of the circular economy through our creations. Situated amidst the enchanting foothills of the Italian Alps, in the historic city of Biella, lies Bottega Kaylia — the heart and laboratory of The Kaylia Group. Known as the “Citta Della Lana” or City of Wool, Biella stands as the epicenter of the world’s most exquisite wool and cashmere textiles. Here, we source locally and empower the community through our supply chain, honoring the rich legacy of textile engineering and bespoke craftsmanship that defines Biella. At Bottega Kaylia, we collaborate with generational artisans, breathing life into our garments, conducting pioneering research in textile innovation and environmental sustainability, and fostering an inclusive dialogue that transcends generational and cultural boundaries. The Council on Sustainable Fashion & Design of Grenada (CSFDG), our non-profit organization, is dedicated to nurturing creative talent on the unspoiled island of Grenada. We bridge the gap between Grenada and Biella, Italy, through fashion programs and internships. Classified as a small island developing state (SIDS) by the United Nations due to its unique characteristics — small population, remoteness from international markets, and vulnerability to climate change — Grenada serves as a canvas upon which we weave the threads of sustainable fashion. To fortify our social and environmental initiatives, The Kaylia Group proudly stands as a member of the United Nations Conscious Fashion and Lifestyle Network, with its headquarters nestled atop the hills of Biella — a UNESCO Creative City of Craft & Folk Art. The breathtaking environment encompassing snow-capped Alps, the meandering river Cervo, and the illustrious lanificios profoundly influence the management philosophy of Kaylia. Recognizing nature and craftspeople as key stakeholders in our company, we embrace a management strategy that is complex, circular, and inclusive. To guide our endeavors, we have aligned our sustainability practices with the United Nations Sustainable Development Goals (SDGs), ensuring that each facet of our operations contributes to a more equitable and regenerative world.

While we empower generational artisans and embrace time-honored techniques, we also integrate technological advancements to manifest our vision of holistic sustainable luxury. Innovative textiles, 3-D body scanners for precise measurements, QR codes for product traceability, and blockchain technology for transparent supply chains exemplify our symbiotic relationship with technology. Through this collaborative coexistence of archaic and technological processes, we breathe life into textiles and garments that boast a negligible environmental footprint, aligning with our unwavering commitment to sustainability.

Organization Part II: Archeofuturism — (The Paradox of Identity/The Paradox of Interconnectedness) The integration of the old and the new, amalgamating tradition and innovation, holds the key to managing organizations faced with the paradoxes of sustainable fashion and effectively combating the climate crisis. This harmonious collaboration finds support in the concept of ‘archeofuturism’. Interestingly, ‘archeofuturism’ was initially formulated by Guillaume Faye, a prominent figure in the right-wing French organization GREC. However, it is intriguing to extract ‘archeofuturism’ from its original context, detached from its associations with neo-liberalism and neo-fascism, to argue for its applicability to sustainable fashion and The Kaylia Group. These entities emerged from the very multiculturalism and globalization that Faye’s concept abhors. The Kaylia Group, as a sustainable fashion organization founded by a Caribbean-American woman, with headquarters in Northern Italy, actively draws upon Italian, French, Caribbean, and American cultures to propel its mission forward. By doing so, I not only propose that archeofuturism can be embraced within a liberal and multicultural framework, but I also assert that archeofuturism supports the notion of fashion as a culture and a social hyperobject. In Faye’s book, “Archeofuturism: European Visions of the Post-catastrophic Age,” he offers a definition for the “archaic mindset” which reveals a troubling legacy of racism, misogyny, and xenophobia associated with global white nationalism. However, when we detach this concept from its association with the nationalist-revolutionary far-right, it offers a coping mechanism to address the impact of the fashion industry and the climate crisis. From a liberal worldview, the “archaic mind-set” can foster egalitarianism and humanism. It entails a return to “primary issues” and pre-industrial methods that have a lesser ecological impact. I concur that adopting an “archaic mind-set” is essential to face the future, but I approach it from a liberal/social perspective, specifically in the context of fashion rather than politics. Furthermore, contrary to Faye’s dismissal of science and technology, I believe that advancements in these fields can aid us in managing the paradoxes presented by sustainable fashion. Combining scientific advancements with an archaic mindset holds the key to navigating the challenges and complexities of sustainability, fostering a harmonious relationship between tradition, innovation, and ecological responsibility. Fashion, as a culture and a social hyperobject, has permeated every facet of life and management. By proposing that “sustainable fashion” itself is a paradox, we come to realize that until we find an alternative for the very concept of ‘fashion,’ we will struggle to truly transform the industry it has engendered.

The economy surrounding fashion, encompassing production and consumption, exists tangibly regardless of the cultural dimension, yet fashion continues to exert its influence over the industry. Fashion as a social hyperobject transcends spatial and temporal limitations, defying specificity and pervading every corner of our collective existence.

In conclusion, the marriage of tradition and innovation, the integration of ancient wisdom and modern technologies, together with an understanding of fashion as a culture and a social hyperobject, are the foundations upon which we can forge a path toward a sustainable future for the fashion industry. By embracing the principles of archeofuturism in a liberal and multicultural context, we can navigate the paradoxes of sustainable fashion and pave the way for transformative change.

Organization Part III: Lipovetsky — Luxury

Individualism permeates the philosophical works of Gilles Lipovetsky, the renowned French thinker. Lipovetsky defines individualism as the profound longing to detach ourselves from tradition and embrace a future centered around personal pleasure. In his seminal work “Le luxe éternel” (2003), Lipovetsky explores the evolution of luxury throughout human history, while “The Empire of Fashion: Dressing Modern Democracy” addresses a central argument: the underestimation of fashion’s pivotal role in society. Lipovetsky argues that the concept of luxury has undergone a profound transformation, shifting from extravagant indulgence to inclusivity and, ultimately, obsolescence. Once relegated to the exclusive realm of royalty, luxury items made from the finest materials were deemed superfluous for everyday life. However, the advent of the Industrial Revolution revolutionized luxury, as mass production made these coveted goods more accessible to the wider population. This accessibility, however, came at the cost of craftsmanship and meticulous quality, ushering in a new form of luxury that sacrificed uniqueness for inclusivity (Cabigiosu, 2020). Building upon Lipovetsky’s perspective, I propose that luxury has transcended from mere indulgence and inclusivity to becoming a necessity. Today, we find ourselves in need of a form of luxury that reverberates with the craftsmanship and commitment to excellence of the past, while simultaneously embracing inclusivity and accessibility. This amalgamation is crucial in addressing the pressing challenges posed by climate change and the detrimental impact of the fashion industry on our environment.

Within “The Empire of Fashion,” Lipovetsky suggests that our contemporary society revolves around fashion’s ever-shifting forms and the pursuit of individual pleasure. This deeply ingrained focus on the “present” and personal satisfaction impedes collective action, rendering it seemingly impossible. Consequently, our inability to act collectively due to fashion’s pervasive influence hinders societal progress, even encroaching upon democratic processes. The intersection of individualism, the realms of fashion, luxury, and consumerism as elucidated by Lipovetsky’s work, provides a conceptual framework for understanding fashion as a social hyperobject — a phenomenon that transcends conventional boundaries and permeates all facets of our lives.