Fashion has often been a vehicle for political and social movements, from the punk subculture to Black Lives Matter-inspired collections, but is fashion really a catalyst for societal change? Or does it often end up co-opting social movements without driving substantive action? MA Student, Bethan Gwynne discusses…   

Fashion has always played a pivotal role in cultural and social movements, from the 1970’s rebellious punk subculture to more recent collections inspired by Black Lives Matter, designers have frequently aligned their brands with causes like racial justice, feminism, and environmental sustainability, making bold statements on the runway and through advertising campaigns. Whilst fashion has embraced activism aesthetically, the meaningfulness of the messages that are portrayed is debatable. Moreover, when prominent figures in the fashion industry transgress, the consequences are often fleeting. Cancel culture, which has negatively impacted other industries like entertainment, politics, and sports, does not have the same lasting impact when it concerns to the world of high fashion. Why is this the case? 

Cancel Culture 

Cancel culture, in its essence, is a mechanism for social accountability, often removing public figures from their positions after unethical or offensive behaviour. In fashion, however, its significance can be limited, particularly regarding top-tier designers. For example, John Galliano, once the creative director of Dior, was let go in 2011 after having been discovered making antisemitic remarks. For a short period, Galliano was ostracised from the industry, but he successfully returned to high fashion in 2014 after being appointed as the Creative Director of Maison Margiela. Galliano’s resurgence demonstrates how quickly the fashion world is willing to forgive—especially when creativity and talent are at stake. 

Illustration by Luli Santamaria-Micher, BA (Hons) Fashion Communication student

Similarly, Alexander McQueen faced criticism for insensitive design choices, such as his use of Indigenous motifs which some viewed as appropriative. However, despite the controversies surrounding him, McQueen remains an icon. His posthumous legacy is celebrated, and his transgressions seem to have faded from collective memory. So, why doesn’t cancel culture stick in high fashion? One reason may be the industry’s prioritisation of artistry over accountability. Fashion has long worshiped its “geniuses,” and the allure of creativity often supersedes social outrage. Additionally, the cyclical nature of fashion allows for reinvention and rebranding, effectively enabling those who have been “cancelled” to return to the fold.  

Activism, substantive or simply performative?

Although the fashion industry has been known for its controversial moments, its role as a symbolic participant in social movements is undeniable. Throughout history, it has served as a visual language for resistance. Punk fashion, which manifested as torn clothes, safety pins, and a DIY ethos, symbolised rebellion against authority and capitalism. Similarly, the 1960s counterculture movement saw fashion as a means of rejecting societal norms, with bell-bottoms, tie-dye and unisex clothing, signalling a break from the establishment. In more recent years, fashion has increasingly aligned itself with contemporary causes like the Black Lives Matter movement. Designers such as Pyer Moss, Telfar, and Brother Vellies have created collections that directly address racial injustice, while many brands pledged their support for BLM in the wake of the 2020 protests. But while the visual alignment of fashion with activism is compelling, it raises the question: is this activism substantive or simply performative? 

A key issue is that fashion’s core economic model contradicts its activist messaging. Many high-end brands, though outspoken about sustainability and labour rights, remain part of a capitalist system that thrives on consumerism and exploitation. For example, while brands like  Reformation  and Patagonia champion eco-conscious practices, fast fashion giants like Zara and H&M continue to dominate the market, allegedly profiting from unsustainable practices and exploitative labour conditions.  

Illustration by Luli Santamaria-Micher, BA (Hons) Fashion Communication student

 Sustainable Fashion

However, there are some positive outcomes of fashion’s attempts at activism. The sustainable fashion movement, led by designers like Stella McCartney, has had a meaningful impact on raising awareness about ethical production and consumption. Similarly, runway shows like  Rihanna’s Savage x Fenty, are setting a new standard for inclusivity and diversity particularly regarding body size, gender expression, and ethnicity. But for every positive step forward, the industry continues to lag in some key areas, for example the unstoppable rise of fast fashion means the further exploitation of cheap labour and damaging environmental practices. Fashion’s support of social causes often remains more symbolic than substantive, posing the question of whether the industry can ever go beyond visual activism to effect real-world change. 

Fashion is an undeniably powerful tool for self-expression and cultural commentary, but when it comes to lasting social change, it often falls short. The industry’s short memory of its own transgressors and its ability to commodify social movements without enacting meaningful change exposes a critical paradox.: While fashion can mirror society’s most pressing issues, it frequently prioritises aesthetics over action. Until fashion addresses its own systemic issues—ranging from sustainability to exploitation—its activism will remain more of a visual statement than a catalyst for real progress. 

Words by Bethan Gwynne, MA Fashion Journalism & Editorial Direction student 

Illustrations by Luli Santamaria-Micher, BA (Hons) Fashion Communication & Industry Practice first-year Student