My vision on the future of the global fashion industry in 20 years from now.

Ghylne Eijck M2B

Do we have to connect our creativity with the technological aspects?
Will most of the work be taken out of the hands of the fashion individuals, in favor of
modern technology, and if so, what will the implications for expertise and
craftsmanship be? The technology is taking over when it comes to craftsmanship, at
least it starting to look like. Within a period of 10 years from now, a lot of jobs will
disappear. We should not only see the negative side of it. The challenge is that this
will make us realize that we have several qualities and that we can do more than one
specific profession.
The reason that the knowledge from the base of craftsmanship is not trained and
practiced anymore, is due to a drastic change in our technical systems.
Consequently, nowadays, fashion designers dont know anything about fabrics, how
fibers react, or how the textile industry works. In an article in Dezeen Magazine, Li
Edelkoort (2015) explains that education in fashion is very outdated. She thinks that
we should not let ourselves be swept away by the technology. This is unrealistic
because new technology brings the fashion industry to a higher standard when it
comes to innovation in designs and materials. Do we need to learn the base of
craftsmanship at school, or is it more important to broaden our knowledge of the
technological future? It is applicable to prepare children their knowledge in the hi-tech
society of the future from primary school. Economist Andrew McAfee (2015) has a
realistic argument that the education of the primary school should be precisely
adjusted to the The Second Machine Age. For example, The Eliot Innovation School
in Boston has already adapted this knowledge and subjects to learn and think in
algorithms. McAfee and this school are already looking ahead to the future. We need
more educational institutions that deal with the technology. This means that the trick
is to combine craftsmanship with technical influences. According to futurist and trend
analyst Marcel Bullinga (2015) despite these technological advances, the importance
of craftsmanship will not be lost. Machines do their job, but individuals, along with the
creativity they bring, are still invaluable to the industry. This is a good argument
because we need always craftsmanship for certain actions. Another good argument

is that it is difficult to imagine a future without the technological machines; they will be
able to implement techniques that people cannot do.
By working in a different way, we can anticipate ourselves through the technological
changes and therefore create new fashion professions. We must embrace this infinite
world instead of to be regarded as negative. According to Marjolein ten Hoonte
(2015), we only know that the economy immersed in rising lines such that the salary
and functions are getting higher, while you have to wonder in the work of the future
you have to ask yourself if you are productive enough and till when. This is a realistic
view of ten Hoonte, because by here you will look ahead into the future and you're
going to specialize further in your (fashion) qualities. According to Fira Rietveld
(2013), all jobs will disappear and she is quite sceptical about it. Rietveld is of the
opinion that the true future lies in 3D-(bio) printing. For example, in the medical
sector, the first human blood vessels have already been printed. This means that this
innovative development within the medical sector will be detrimental many jobs. This
new innovative development in the medical field can also be applied to the fashion
industry. If it is possible to use human cells, printing silk, cotton and other natural
fibers is sure to be the next step in 3D-(bio) printing for the fashion industry. This is
where we as a society are afraid off. Rietveld has a point that many jobs will be lost
by the technological future, but not all jobs. She looks at it from one perspective and
she does not participate for the society for in the future. Instead we have to find a
solution as society. We have to go to connect with the technological future but do not
have to look at the skeptical way of Rietveld that the technological future takes over
everything.
We also need to remember the functions of the nature according to Craig Wichner
(2015) of Farmland LP. He believes that we should not just depend on the
technology, but we should go back to the basics again and what nature can do for us.
At one point he is right that the functions of nature can do more for us, but on the
other side, we cannot imagine a future without technology and we are dependent on
the technology. Philosopher Julian Baginni (2015) has a realistic argument. He says
there is an idea conceived from the base, so from the craftsmanship with
biotechnology as auxiliary waist. This argument is realistic and answers the question
that we need to connect our creativity with technology aspects. According to lettuce

grower Mark Delissen (2015), are green hands technique hands, we still do need
green hands, but there are more techniques we can rely on. This is true because he
has a realistic view at what technology can do for us and what craftsmanship we
need therefore.
To conclude, the fact is that we must connect our creativity with the technical
aspects. Through the technology there will disappear a lot of jobs, but because of
that, there is an open door to practice our skills from several directions. We as a
society need not be anxious about a technological future but rather embrace. It is
realistic that schools adapt education to the future. Therefore, it is important to learn
and think in algorithms from the primary school. To specialize more, it is important
that we still follow fashion educations. Because we have to educate as professionals,
we will soon be the ones who know in the future how a technological machine works
and how we can improve it in detail. We cant also imagine a future without
technological machinery. In general, we should broaden our knowledge and skills
and not focus on one profession. I also think that the craftsmanship will never go
away and that we must connect with the digital world in order to better digitized
(fashion) future work.

Reference list
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