If the official presentation for a major fashion house’s newest collection happens online with no social media influencers on the front row to post about it or celebrities in attendance to be photographed outside the venue, did the show really happen at all?

A modified version of the classic “If a tree falls in the woods…” proverb which so decreased Bart Simpson to rapturous, empty-headed enlightenment back in 1990, this is a question which conventional wisdom had – until recently – seemingly not felt the need អាសយដ្ឋាន។ Everything, after all, was in its place: recognized designs of what a fashion Week and, subsequently, a fashion show ought to look like seemed sustainable enough, even as the influencer economy at large seemed to be sleepwalking into the era of its inevitable decline.

Yet here we are, in the second month of 2021, just over a year into a global pandemic which has challenged – and, in some cases, completely and absolutely destroyed – so numerous of the customs and protocols we had considered to be unassailable. Coincidentally, we also find ourselves in the midst of what is, by all accounts, the first fully-digital mainstream fashion Week – slightly less than a year because the Fall/Winter 2020 fashion Week in Milan which notoriously became something of a superspreader event.

Image through Flaunter
Of course, it’s not a coincidence at all. The two things are, very obviously, connected: while attempts at socially-distanced fashion Week events were held back in September, the transition to online-only presentations this year is clearly a reaction to the difficulties and failings of those events. In short: we tried. Now, it turns out, we need to try something else.

That being said, the two aren’t so entwined that one can’t – or shouldn’t – exist without the other. and so it begs the question: when the COVID-19 pandemic does draw to an eventual end – and I think “when” rather than “if” is probably a healthier method to this for the sake of everyone’s dwindling mental health – does the age of the digital fashion Week necessarily have to die with it?

Image through London fashion Week
The much more progressive answer, of course, is “No. certainly not.” There are, very clearly, plenty of reasons to keep fashion Week firmly rooted in the realms of the URL for the foreseeable future, with only the bare bones of in-person facilities in place, which have nothing to make with coronavirus specifically. And, of those reasons, the most convincing and many pressing – as it tends to be – is environmental impact.

A report by the fashion tech company ODRE, released what now feels like a lifetime ago, back in 2020, puts the annual carbon footprint of fashion Week into head-spinning perspective. As the sustainability agency Eco Age conveniently and soberingly summarises in their review of the dossier: “the industry emits 241,000 tonnes of CO2 a year just from travel costs connected with the quarterly fashion months.” That is, they note, “equivalent to the annual emissions of a small country, or the electrical power used by 42,000 houses for a whole year,” or – as Alden Wicker composed for a piece on The Cut, aptly titled fashion Week Is Not sustainable – “enough to power Times Square for 58 years.”

Let that sink in. Okay? យល់ព្រម។ now consider that those numbers don’t even take models, influencers or press into account – only purchasers and designers; the bare minimum. The real carbon cost of fashion Week over the course of a year is, it’s safe to assume, considerably higher.

The industry emits 241,000 tonnes of CO2 a year just from travel costs connected with the quarterly fashion months.
Which leads us, conveniently, to another point of interest in terms of taking a progressive method to the industry: fostering inclusivity within, motivating the even more transparency of, and – as an end goal – the democratisation of Fashion.

Digital fashion Week is, necessarily, considerably less exclusive than its in-person counterpart: the only real gatekeeper to experiencing these presentations on the same level as journalists, influencers or celebrities – who, yes, may still have gotten goody bags and fancy invitations because sustainability is a much bigger issue than just travel – is a working Internet connection. While presentations have been live streaming now for some time, it has always been at many a second-tier experience: you could view the action from behind a screen, but you knew that there were people on front row and elsewhere in the room doing much more than just enjoying – that there were people, those on the inside, living it in all its multi-dimensional sensuous glory and with no delays or glitches. There are no bandwidth issues when you’re sitting next to the runway.

These are, to my mind at least, fairly convincing arguments. but they’re arguments as to why digital fashion Week could or ought to stick around post-COVID as part of radការផ្លាស់ប្តូររបស់ iC ical នៅក្នុងឧស្សាហកម្មនេះ។

ដូចជាថាតើពួកគេនឹងធ្វើឬមិនមានអ្វីផ្សេងទៀតដែលជាសំណួរផ្សេងទៀតដែលស្មុគស្មាញ។ មួយសប្តាហ៍ម៉ូត, គឺជាឧស្សាហកម្មខ្នាតតូចនិងសេដ្ឋកិច្ចមីក្រូសម្រាប់ខ្លួនវាទាំងអស់: មានជីវភាពរស់នៅជាពិសេសក្នុងវិស័យបដិសណ្ឋារកិច្ចនិងការធ្វើដំណើរដែលអាចត្រូវបានធ្វើឡើងឬខូចដោយជោគជ័យនៅសប្តាហ៍ម៉ូតដែលទទួលបានជោគជ័យ។ អ្នកណាម្នាក់ដែលបានចូលរួមព្រឹត្តិការណ៍សំខាន់ៗណាមួយដែលអាចប្រាប់អ្នកពីអ្វីដែលវាកំពុងព្យាយាមកក់សណ្ឋាគារឬភោជនីយដ្ឋាននៅពេលដែលម៉ូដចុះមកលើទីក្រុងមួយនៃទីក្រុងមួយនិងប្រជាជននៅខាងក្រៅបរិវេណឧស្សាហកម្ម – ដែលពឹងផ្អែកលើការកើនឡើងសេដ្ឋកិច្ចគួរតែ មិនមែនជាការភ្លេចខ្លួនដែលគេភ្លេចទេ។

រូបភាពតាមរយៈក្រុមហ៊ុន Louis Vuitton
លើសពីនេះទៅទៀតនៅពេលដែល Virgil Abloh បានបញ្ជាក់យ៉ាងច្បាស់ក្នុងអំឡុងពេលនៃការបង្ហាញនៃការដួលរលំនៃការដួលរលំនៃការដួលរលំរបស់គាត់សម្រាប់ក្រុមហ៊ុន Louis Vuitton ម៉ូត – Fital “F” លើគំនិតរបស់អ្នកនៅក្រៅប្រទេសនិងមានមោទនភាពចំពោះអ្នកខាងក្រៅនិងមានមោទនភាពចំពោះអ្នកខាងក្រៅនិងមានមោទនភាពចំពោះអ្នកខាងក្រៅ។ ការថែរក្សាផ្លូវ។ វាជាឥរិយាបថនេះច្រើនជាងអ្វីផ្សេងទៀតដែលនឹងរក្សាព្រឹត្តិការណ៍ឌីជីថលម៉ូតឌីជីថលពីបទដ្ឋាននានានៅពេលដែលយើងផ្លាស់ប្តូរជំហរទៅមុខឬជាធាតុជាក់លាក់នៃឧស្សាហកម្មព្យាយាមបញ្ឈប់ការផ្លាស់ប្តូរដែលមានអត្ថន័យ។

ខណៈពេលដែលគ្មានអ្វីសម្រាប់ការពិតនោះរឿងពីរហាក់ដូចជាកាន់តែច្បាស់ជាងមុន។ ទីមួយនោះមានតែអាកប្បកិរិយានោះទេដែលបានចាក់ឬសគឺយើងទំនងជានឹងឃើញការរំខានជាក់ស្តែងណាមួយចំពោះស្ថានភាពបច្ចុប្បន្ន។ ហើយទីពីរមានសារៈសំខាន់ជាច្រើនគឺចាំបាច់ណាស់ដែលចាំបាច់ដើម្បីឱ្យមានការរំខាន។

រូបភាពតាមរយៈលេខសម្គាល់បន្លិច