Author: Kelly WashingtonPage 81As youth trends became increasingly difficult tocapture moving at the speed of light online, brandsresponded with collaborations and campaigns thatwere as clever as they were unexpected - catching thehard-to-impress, newly sophisticated consumer’s eye.The embodiment of this was Georgian designer DemnaGvasalia’s large blue shopper bag, inspired by IKEA’sFrakta bag, that featured in Balenciaga’s Spring/Summer17 Menswear collection. Priced at £1,365 and made ofcalf leather, the bag demanded the internet’s attention.Known for his designs that are unapologetically in tunewith the zeitgeist, Gvasalia’s blue bag repurposed theeveryday and the mundane, playing to the 2010s postironiconline spirit. IKEA also benefited, responding withan iconic move in guerrilla marketing, the furniture storereleased an advert that read ‘how to identify an originalIKEA FRAKTA bag’ followedby ‘SHAKE IT if it rustles, it’sthe real deal’ and ‘PRICE TAGonly $0.99’. Elsewhere, Gucciteamed up with Highsnobiety (asuccessful streetwear site witha cult following) to produce alookbook promoting their graffitiinspiredCruise 2017 collection.Collaborating with snowboarderTrevor Andrew, aka GucciGhost,the luxury brand strived to engagemillennial consumers by blendinghigh fashion with streetwear- undoubtedly the trend thatcharacterised the decade.The rise in luxury streetwear collaborations inmenswear was no coincidence since streetwearspeaks to masculinity and strength - worn like armouron the streets. As much as distinctions between highand low culture were being broken down, streetwearsites and brands did not shake their reputation.As Highsnobiety’s founder David Fischer told TheBusiness of Fashion at the time, they were ‘still beingperceived as a niche website, but 500 impressionsa month is not niche’. Making the collaboration evenmore effective - without its underground reputation,Highsnobiety would not have had the desired effectfor Gucci. It was about playfully mixing and reshapingcultures, styles and brands that both questionedand repurposed the luxury garment as we know it.Kim Jones at Louis Vuitton took this to the nextlevel for his Fall/Winter 2017 menswear collection.A collaboration with Supreme sent models downthe runway sporting LV garments with Supremecross body bags, lanyards, briefcases; you name it.“IF HIGH FASHIONIS MEANT TO SHOCKAND HOLD A MIRRORUP TO SOCIETY -PERHAPS THISIS FASHION IN ITSHIGHEST FORM.”Louis Vuitton had released a collab with the original‘hype brand’, characterised by long-awaited skateweardrops online that sold out in minutes, sported by thelikes of underground provocateur Tyler the Creatorand the Odd Future clan. A purposeful nod to high/low culture blending, Louis Vuitton’s collectionemphasised the hold that the internet had on fashion.No surprise, it worked - the internet went wild.Nothing came as close to post-ironic luxury fashion asGosha Rubchinskiy’s Spring/Summer 2018 Menswearcollaboration with Burberry. Burberry’s past emblazonedon the check print, fraught with meaning that onlyadds to its legacy - like a national flag. Historically,the Burberry trench coat was the uniform of Britishofficers in the First World War, regarded as a token ofthe aspirational middle class in Britain. The check wasiconic and popular. So popular -that it fell victim to the ‘logomania’of the 90s. Burberry (both fakeand real) was suddenly adoptedby the lower middle class and the‘chavs’ in Britain. Football fansin the UK and Eastern Europedonned the print, known as the‘Burberry Lads’. The brand wassynonymous with a chav-focusedmoral panic that consumed Britishmedia in the early noughties.You could be barred from a pubfor wearing the check. Whenthat tabloid picture emergedin 2002 of actress DanniellaWestbrook and her daughterdressed head to toe in the pattern, the brand’s UKsales plummeted. Enter Christopher Bailey to saveBurberry; by embracing and capitalising off the print’subiquity, the company experienced a swift turnaround.Paying homage to the UK’s influence on Russian footballcombined with his love of electronic music, Rubchinskiysent football hooligan and rave-clad models downthe runway in St. Petersburg - and the chav-tasticworking-class youth in Britain were celebrated. Anemblem of British popular culture, once perceivedto be low culture, was repurposed on Rubchinskiy’srunway; creating a high-low culture cocktail of streetstyle and 90s rave aesthetic that had a pervasiveinfluence on fashion and youth in the late 2010s.The effect of social media on fashion during the2010s decade was paramount. Urging luxury to beplayful, daring and bold; brands rewrote the rulebookto appeal to a new internet-savvy generation. If highfashion is meant to shock and hold a mirror up tosociety - perhaps this is fashion in its highest form.
The Miuse EditorialsN o 1Page 822020PHOTOGRAPHY: OLIVER BECKMANN (@MN-CREATIVE).STYLING: MARCELLO BONA.HMUA: SARAH LUCIA RABEL (@NINAKLEINAGENCY) -USING UNITE, NARS AND AUGUSTINUS BADER.MODEL: ANNA VIRZI (@PRESENTMODELMANAGEMENT).
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ISSUE 1 S/S 2020MIUSEMiuse Magazine
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The Sustainability SectionTHE EFFEC
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