MIUSE: ISSUE 1
Miuse Magazine offers an unconventional voice in the fashion industry. Each issue of this biannual publication caters to audiences whose interests exceed the traditional fashion system, shedding light on sustainability initiatives and inspires conscious audiences to make ethical choices – and to redefine what luxury fashion is. Miuse Magazine represents a balance between luxury and pre-owned fashion and aims to redefine this for the contemporary woman. We cater to audiences who value curated content, strive for progression and embrace change. Fashion is a means of visual communication in which pieces are used to convey a message and Miuse looks to re-interpret and communicate the invaluable material history on luxury fashion.
Miuse Magazine offers an unconventional voice in the fashion industry. Each issue of this biannual publication caters to audiences whose interests exceed the traditional fashion system, shedding light on sustainability initiatives and inspires conscious audiences to make ethical choices – and to redefine what luxury fashion is.
Miuse Magazine represents a balance between luxury and pre-owned fashion and aims to redefine this for the contemporary woman. We cater to audiences who value curated content, strive for progression and embrace change. Fashion is a means of visual communication in which pieces are used to convey a message and Miuse looks to re-interpret and communicate the invaluable material history on luxury fashion.
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Author: Chloe Evangelista
Page 141
Image: GETTY IMAGES
At his SS15 Chanel show, Karl Lagerfeld garnered both
praise and criticism for holding a ‘feminist’ protest
reminiscent of the Women’s Liberation Movement.
The runway was filled with models holding placards
that read “Ladies First,” “Women’s Rights Are More
than Alright,” and “History is Her Story” while chanting
through Chanel-branded megaphones. The fauxprotest
was censured as somewhat hypocritical given
Lagerfeld’s publicised body-shaming comments. It
is ironic to hear feminist messages from an industry
known for objectifying women and glorifying a
stereotypical beauty ideal. Thus, it has critical to take
a closer look at whether brands are truly invested in
the cause or just following another passing trend. This
is something Maria Grazia Chiuri has also recently
been accused of doing. Since taking over Dior in 2016,
‘feminist’ statements have been the centrepiece of
Chiuri’s collections. From the SS16 ‘We Should All Be
Feminists’ tee to the FW20 show decorated with giant
signs of the word “Consent,” the fashion industry is
demonstrating an undermining of the important work
of protest by reducing a movement into an aesthetic.
Today, where everybody cares about being ‘woke’
more than ever, the mix of business and ethics seems
to be the new defining trend of success in the industry.
The danger behind this is that being seen to care might
begin and end at that. Brands have become savvier
in marketing to consumers’ social consciousness that
publicly labelling themselves as ‘woke’ can be just as
commercially effective as actually committing to real
change. In the wake of this is a dilution of messages that
promotes more ignorance in the face of critical issues.
Whether it is a Stella McCartney faux-fur coat or a
Dior T-shirt that says “feminism,” clothes do hold a
communicative ability that ignites public discussion.
Fashion can still serve as a meaningful statement for
movements, but if the industry stays irresponsible over
delivering the meaning, it might just end up aligning
itself with the forces that exploit them. And as wearers
of these statements, we are just as accountable.