the Millennials The first ones have already reached the age of forty. And they, Y, who were to inherit the fashion, were already old in the eyes of the Zetas who put an end to their aspirations, including their clothes. Of course, a decade from now, Centenary The first batch will be around 35 years old, then they will be more old-fashioned, depending on how age perception progresses among newer generations. In this regard, the clothing industry has done its calculations and knows full well what to expect: in the next 20 years, spending by those over 50 will reach 15 billion euros (according to a study by the consulting company Kantar). It is already known that fashion is actually inherited by those who can afford it.
Numbers have been around for a long time, although they vary between sources and, sometimes, are not easy to find. For example, a highly publicized report from the International Longevity Center Global Alliance caused a stir in 2020 when it revealed that the “shameful marginalization” of older consumers could cost the fashion and beauty industries around €12 billion within two years. It is as if both sectors do not know the purchasing power of this demographic segment, which currently represents between 45% and 50% of the market, ahead of any other segment. A recent survey conducted by the British portal Is this lamb? Regarding the consumption habits of women in their 50s from countries as diverse as Italy, Portugal, Canada, Australia and the United States, it revealed that more than half of them claim to have a greater style awareness now than when they were in their 20s, while 68% say They go shopping at least once a week. However, the numbers – which aren’t as deceiving as cotton – also explain why fashion and cosmetics seem to be shunning gray hair in their messaging: millennials and millennials. Centenary He explains that they share the cake of the luxury products sector, which is worth 200 thousand million euros, as they are creditors of a good percentage of 15% of expenses that could double in 2026. the report Real Luxury Global Consumer Vision 2023 From Altagamma (the pressure group that collects the facts of Italian exceptionalism) prepared by the Boston Consulting Group.
There is another revealing fact that emerges from the abundance of statistical dancing: most of these studies, reports and surveys base their market forecasts on the future, they talk about “in the next decade” or “for this year or that”, that is, when today’s young people will no longer be so young. Thanks to its almost supernatural ability to predict upcoming consumer orders, the fashion industry seems to be thriving more than ever on this wavelength. In October, Blumarine sacked Nicola Brugnano (b. 1990) as creative director, after four years in which he put the brand back on the map of public interest as the main supporter of alive Y2K in the luxury arena. The teenage milen aesthetic has been well-received by celebrities (see Dua Lipa, Kylie Jenner, Hailey Baldwin or Ariana Grande) and, by the way, maximum media attention, but now that the brand’s owner has been teaching since November 2019, Eccellenze Italiane Holding, plans to go public, a change of script has been favored, and is expected to be more profitable economically: his replacement, Walter Chiappone (45), comes from work at Bottega Veneta and Tod’s, lines held by Marco Marchi, CEO of EIH, hopes to honor the company’s “exceptional legacy.” No, she’s not referring to the butterfly tops and low-rise jeans of the past eight seasons.
As with colour, size or gender difference, the problem with fashion with (advancing) age is one of representation: consumers do not see themselves reflected.
At a time of financial uncertainty again (the income data of clothing companies shows the harshness of inflation, with the decline in consumption of clothing and accessories reflected in the current financial year), designers and brands prefer to stop the revolutions of their proposals, hence those collections with high commercial potential seen on the latest platforms. The show, not to mention that it aims to attract young people. This has been noticed since the arrival of Matthieu Blazy at Bottega Veneta and was confirmed at the last Milan Fashion Week with the debut of Sabato de Sarno at Gucci, which removed all traces of magical chaos in one fell swoop. Centenary imposed by his predecessor, Alessandro Michele. The long-awaited return of Phoebe Philo, with her own brand, ended the trend at the end of October. The British creative also took charge of the situation with an exercise Trademarks Explicitly aimed at women 40 and over. This is no longer the norm either: on the catwalk, in catalogs and in advertising campaigns, people under 30 win.
As with colour, size or gender cleavage, the problem with fashion with (advancing) age is one of representation. Older consumers don’t see themselves reflected in the images they display, their method of delivering products is not questioned, and hence they feel frustrated. But that doesn’t mean the company has forgotten about it. Since the famous appearance of the octogenarian Joan Didion in Phoebe Philo’s film Céline, in 2015, it can be said that the clothing industry is no longer afraid of wrinkles again, if ever, no matter how widespread this cult may be among the youth of our time. The sixties of the last century. We currently have women like Charlotte Rampling (Massimo Dutti currently claims to be 77), Maggie Smith (88-year-old Loewe star), and May Musk (Influencer Cosmetics at 75) or Caroline de Maigret (who walked in Chanel haute couture) showed the intergenerational possibilities of groups with different skin and condition. It is true that they are the least, and if they attract attention it is precisely because of their rarity. The exception, which is becoming less plausible in an increasingly aging society – at least in the eyes of the West – is becoming less plausible. Of course, Karl Lagerfeld already said it: fashion has never been democratic. Not for age.
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