Designers with lived experience of disability say it’s time for the fashion industry to become more inclusive and universal.

The Melbourne-based fashion designer uses her disability experience to help make the industry more accessible.

Rachel Shugg, a wheelchair-bound RMIT graduate, fell in love with the idea of ​​fashion and design without knowing anything about adaptive clothing. However, her knowledge and interest grew as she became “increasingly frustrated” by the lack of fitting clothing for herself and her disabled peers.

Currently a licensed fashion designer whose work focuses on inclusion. jam the labelshe sees herself as responsible for helping “push the industry toward a more inclusive environment.”

“[I] It aims to denounce and normalize the disabled body and the lived experience of disabled people, and hopefully to further innovate accessible design and interdisciplinary practice,” she said. I got

What is accessible fashion?

Accessible fashion stems from the concept of universal design, says Shugg. This concept exists in other fields such as architecture and education, and in fashion refers to designing clothes to suit people of all abilities.

Considering how to change the opening and how to wear it, we have also devised fasteners and magnets.

“It puts people with injuries and disabilities first in its design principles and considerations,” explained Shugg.

The inability to find accessible clothing can have a negative impact on people’s self-esteem and self-confidence.

“That’s what I’ve experienced myself. You’re cut off from your body because this garment, this reflection of society, is telling you that you shouldn’t be here. You’re banished.” I have,” Suge explained.

Through her designs, she hopes to rebuild the positive relationship with clothing and create a connection between clothing and the body so that people with disabilities can feel stylish, confident and comfortable.

Accessible clothing has special design features that make it easy to put on and take off and comfortable to wear.

Magnets are a popular adaptation for regulating the wearer’s level of dexterity and limb fatigue, allowing quick and easy dressing changes.

Bias bindings around the shoulders allow for missing limbs and magnets allow the garment to be closed around the body.

Shugg also uses what she calls the rollback method. It uses a large soft material that wraps around the wheelchair user’s feet to create balance and comfort. This was derived from her personal experience using a wheelchair.

Pleats are also often used in her designs. Pleats allow for greater movement and flexibility, allowing the garment to move with the wearer and return to its original shape without compromising the garment’s structural integrity or exposing the wearer to risk of injury. make it possible.

We consider not only the physical structure, but also sensory issues related to clothing, such as how a particular fabric feels on the skin. Suge said she likes soft materials like wool, silk, and cashmere.

She uses flat seams so there is no chance of irritation or chafing. is.

where is the fashion industry?

The fashion industry is typically not very inclusive. Change is coming, Suge said, albeit slowly.

Fashion advertising campaigns today are diverse, but Shugg says any change must be real and embedded.

“The fashion industry remains highly exclusive, elitist and marginalized, which may reflect social attitudes enforced by the industry’s metaphysical attempts to include diverse voices. think.

“In some cases, I think it can do more harm than good.

Shugg also promotes accessibility in fashion, fast fashionthe design will be mass-produced in a matter of weeks.

Adopting slower design practices will allow people to call out to the industry, she said.

“I think a slow design approach can embrace universal design. [of clothing] Design systematically and for everyone. This kind of empathetic approach can consider the needs and wants of many people, and that’s universal design,” Shugg explained.

Part of that change comes from the participation of diverse groups of people at all levels of the fashion industry. Behind the camera, the board of directors, the design, the manufacturing of the garments, and finally the front of the camera and magazine covers. .

Suge added that broader education is also essential to bring about a more inclusive and slow fashion movement.

“We need to start educating people about marginalized and disabled bodies and create opportunities to listen and learn from those who have experienced this gap in the market due to lack of empathy and exclusion,” she said. .

“Creativity and change are often generated through the collaboration of skills, experiences and talents…Thus bringing together the multidisciplinary paths of diverse experience to unify voices and systematically disrupt the industry.” Aiming at , we can start to see the changes that have long been needed.”

room to fill the gap

Shugg said the response from the disability community to her designs has been “incredible”, highlighting a gap in the market and the need for more accessible styles.

She also wants to increase opportunities for people with disabilities to be employed in the fashion industry and to inform design and construction.

Schugg says that while being at the forefront of change can feel “a little daunting at times,” she hopes her work will inspire other budding designers to consider accessible fashion design. admitted.

“I think the amount of talent, hard work and passion in the future fashion designers I know has the power to push the fashion industry towards a more inclusive and sustainable future,” she said. .

“I want my work to be practical and accessible, but it also serves as a focal point for deeper consideration and thought, ultimately leading to more creative and inclusive work by future fashion designers. promote creative works.

“Being a fashion designer with experience with disabilities is a huge privilege.”