Feature and Op-Ed articles

THE CONTROLLED ANARCHY OF JUN TAKAHASHI

Fashion, Features/Op-Ed

“Jun is the only designer from the Ura-Hara scene who knows that true creation comes from and with pain,” Hirakawa

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TOKYO – The offices of Undercover, the cult Japanese fashion brand, are located in the maze of the Upper Harajuku neighborhood of Tokyo. Undercover occupies the entire building, whose front is a repurposed shipping container that floats above ground, a window cut into its front end. On a recent visit in March, just after the end of Tokyo Fashion Week, I found the brand’s operations spilling out in front of the office, where boxes bearing the Undercover logo lay on the ground, its signature motorcycle jackets that retail for thousands of dollars spilling out of them. A middle-aged man with long silver hair wearing a coach’s jacket that said “Undercover Records” on the back milled around the boxes.

EVERYTHING IS MERCH

Culture, Features/Op-Ed

Is Millionaire Speedy a luxury bag or merch? What about the Balenciaga Maxi Pack? Some people’s idea of merch is Trump’s gold high-tops. Merch as a status symbol. Merch as a subgenre. Merch as a style statement. Merch as an identity marker. Merch as something of waning cultural relevance.

Notes on Paris Fashion Week — Men’s A/W’24

Fashion, Features/Op-Ed

Paris met us with rain and a general sense of misery, with Parisians grousing about the upcoming summer Olympics. The cold weather did put a damper on things for the first few days, or maybe it’s just me developing a lack of tolerance for bouncing around Paris like a ping-pong ball. I love fashion shows, but they seem to be less fun with each season. The sense of community is often gone, with too many celebs, influencers, hangers-on, and stans making everything feel like a circus amped to the highest degree.

Op-Ed: What the FarFetch and the Matches Deals Really Mean

Fashion, Features/Op-Ed

Last week marked not but two major fashion e-commerce deals, in which FarFetch and Matches found new owners. FarFetch was bought by Coupang, aka the Amazon of South Korea, and Matches was bought by Frasers, a large British mass market retailer. Both deals were an embarrassment for the luxury e-tailers, valuing them at a fraction of what they were worth not so long ago. In essence, they were rescue operations. This prompted a slew of reflections from the fashion commentariat about the death of luxury e-commerce. This is wishful thinking, of course, but the two deals mark a good time to reflect on what’s going on in the retail segment of the fashion industry.

Op-Ed: Why You Feel Alienated from Luxury Fashion (It’s Not Just the Prices)

Fashion, Features/Op-Ed

Recently I had dinner with a fashion and culture commentator who is based in Asia. He was describing the scene at a party celebrating the newly opened Prada flagship in Shanghai; how the impeccably tasteful shop was filled with young kids with too much money and too little taste, dancing to bad music in celebration of conspicuous consumption. “That’s who buys this stuff,” he concluded. And with this one phrase he got to the crux of why many of you cannot relate to luxury fashion. Simply put, if you are a person of taste, intelligence, in possession of a certain attenuated sensibility, a degree of elegance and sophistication, today you are not luxury fashion’s target audience.

Op-Ed: It’s Time for Governments to Regulate Fast Fashion

Fashion, Features/Op-Ed

Over the past twenty years fast fashion has spurred unbridled consumerism, with disastrous consequences for the environment and human rights. In this time period, companies like Sweden’s H&M and Spain’s Zara have gone from middle-size purveyors of inexpensive clothing to juggernauts that operate thousands of stores across the world. In the last ten years they have been joined by new entrants such as UK’s BooHoo, America’s Fashion Nova, and most notably the Chinese giant Shein, which has undergone explosive growth in the past few years. All efforts to stop them have failed. It is now time for governments to step in and regulate fast fashion the way it has regulated Big Tobacco and the automotive industry.

By pumping out vast amounts of clothing in countries where labor laws are lightly regulated, fast fashion companies have become some of the worst offenders when it comes to sustainability and ethical labor practices. Shein is a particularly egregious example because its operations are centered in China, which allows it to keep its manufacturing practices completely opaque and away from the eyes of Western regulatory agencies.

Meanwhile, on the consumer end, the amount of textile waste generated by the developed world has reached truly staggering amounts. According to the United States Environmental Protection Agency, in 2018 Americans discarded 17 million tons of textiles, most of which came in the form of trashed garments.

Much hand-wringing has been done to lament this sad state of affairs, and much blame has been put on the companies themselves. Fast fashion firms have enabled the shift in consumer mentality that has turned clothes-shopping into an addictive form of entertainment, making disposability the norm. Some of the blame should also fall on fast fashion consumers who treat shopping as a competitive sport, buying and discarding clothes at a historically unprecedented rate. According to a 2019 report by the UN Alliance for Sustainable Fashion, “The average consumer buys 60 percent more pieces of clothing than 15 years ago. Each item is only kept for half as long.”

The Universe of Geoffrey B. Small

Fashion, Features/Op-Ed

Cavarzere is a sleepy Italian town about twenty-two miles southwest of Venice. Until the 1950s its main business was agriculture, but eventually it became a part of the fashion and textile manufacturing powerhouse that the province of Veneto grew into during the second half of the 20th Century, and that is now also dying or being transformed thanks to the two Frenchmen who are keen on buying up as much of Italian manufacturing as possible. 

The Season of Designer Comeback That Wasn’t

Fashion, Features/Op-Ed

This year as sales for many luxury fashion brands have dipped in key markets like China and the US, there has been much talk about fashion finally moving from product-driven, sellable but uninspiring fashion that has brought record profits for the fashion industry, but also made it into a lackluster, uninspiring discipline that by all accounts lacked creativity. To add to fashion’s tarnished image, we have seen appointments and subsequent quick exits of buzzy young designers like Rhuigi Villasenor at Bally and Ludovic de Saint Sernin at Ann Demeulemeester that has shown that hype does not equal talent and discipline required to run a major fashion brand. In such a time of reckoning the industry has two choices – to create excitement by taking creative risks or to seek refuge in bland commerciality. Much to the dismay of many fashion observers, it has chosen the latter.