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Adaptive Fashion: Where Clothes and Disability Meet

Lucy Jones Addresses the Lack of Disability Representation in Fashion

The fashion industry has a long history of leaving out marginalized communities. While great strides have been made to make fashion more inclusive, people with disabilities have expressed how their needs aren’t being addressed by the industry. For many, the clothes that are most widely available tend to be inaccessible, thus making them a hassle to put on. In the United States alone, 26% of adults live with a disability, which is about 61 million Americans, according to the Centers for Disease Control (CDC). This percentage is about a quarter of the population, yet they continue to be underrepresented.


Lucy Jones, the CEO of Ffora, has tackled these issues by taking her experiences from the Parsons School of Design to bridge the gaps between accessibility and fashion. Not only does Jones strive for functionality, but she also ensures that these pieces are aesthetically pleasing. As a matter of fact, Jones’ efforts have landed her a spot on the Forbes 30 Under 30 List in 2016.


Ffora (Fashion for All) carries various products such as cup holders, purses, attachment systems for wheelchairs and more. It was refreshing to see models with disabilities painted in a positive light. The photos that Ffora uses for their brand is empowering and doesn’t contribute to society’s stigma towards disabilities. Most companies are simply interested in creating a quick cash grab, however with Ffora, it’s evident that they want to curate a community driven brand to ensure everyone is represented.


Although Jones isn’t disabled, she provides people who use wheelchairs an opportunity to let their voices be heard. When it comes to advocating, it’s important for people to use their privilege to uplift underrepresented voices. On our podcast show, it was commendable how Jones, an able-bodied individual, went out of her way to consult her target demographic. Furthermore, in the interview Jones discussed how a conversation with her cousin who has cerebral palsy changed her way of thinking.


She made note of how difficult it was working with some investors, especially since it’s easy to be blinded by profit when running a company; despite these setbacks, Jones stayed true to Ffora’s main objective. When working with the factories that produce Ffora’s accessories, Jones even encouraged the owner to become more involved because his own father had a disability as well.


However, there is one downside to accessible fashion: since there’s such a niche audience, this makes adaptive wear more expensive. Likewise, since Ffora is still a relatively small company, the prices must be steeper to sustain the business. Jones discusses how an adaptive company must have adaptive prices and while there are consumers who can afford these products, how about the consumers with disabilities who live in poverty? How will they be able to use adaptive clothing?


There seems to be no clear solution, but it goes to show that inclusivity in fashion has been placed in the backburner for far too long, and it must be addressed. Lucy Jones’ work to bring more inclusivity into fashion is admirable, however, greater change can only happen when there is a collective effort. But unfortunately, there are still companies that are reluctant to be a part of that change.



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