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: Kelly Washington
Page 80
Photographer Campbell Addy
that has flipped ‘cool’ on its head, whose culture is
characterised by the epitome of post-irony: the meme.
The internet ‘meme’, meaning ‘imitation’, represents an
era of oversaturated content online, where everything
and anyone is analysed with immense attention to
detail. Post-irony, the instance in which sincere and
ironic intention becomes confused, began to play out in
fashion in terms of taste. Anything originally dismissed
as ‘uncool’, took on a new meaning. In the early
noughties, young people were adjusting to ‘being seen’
online, and irony was the defence mechanism of choice.
Today, young people possess an armour of confidence
online, they grew up with technology - so are bold and
sincere, or at least they appear to be. It is where fashion
met social media that post-irony took centre stage. For
luxury fashion in the 2010s, this was an opportunity.
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