“Rich-Kid-Goes-Low” Fashion

The fashion industry is facing a wake-up call. Escapism in the form of visuals that scream excess and lavish lifestyle are no longer inspirational. There’s already Instagram for that. Looking poor is the new pretence. Real-life situations, instead of an imaginary land of glitz and glam, is the new lux. And who would know better than a fashion heavyweight such as Gucci, or a rising star like Vetements? The latter’s SS 2018 lookbook features second-handlooking apparel pho- tographed in a working-class environment, reinforced by a casting made up of everyday people as opposed to chiselled models. The former landed itself in hot water after presenting its “Guccify Me!” cruise collection, largely inspired by the counterfeit phenomenon. Besides the tongue-in-cheek “Guccy” T-shirts, the look that turned out to be the biggest headliner of all was one inspired by a creation of 1980s hip-hop tailor Dapper Dan. The Harlem-native was notorious for creating couture-esque looks made for the street, often infusing elements of counterfeit and designer logos in the process. Keeping things closer to home, however, is L A T’s creative director Lautaro Amadeo Tambutto. In his most recently unveiled collection – which he debuted at the White trade fair in Milan – the designer sources inspiration from native-Argentine tribe culture. The result is a collection high on washed-up-looking leather, and easy on tailoring. In keeping with this “from riches to rags” vision, Dutch designer Camiel Fortgens’s SS 2018 offerings may seem like the type of merch one could easily shop at a local thrift store. But when looking past styling tricks, and focusing on individual pieces and use of material instead, it’s craftsmanship that upstages the Salvation Army look. Ka Wa Key designer Key Chow is among the new names embodying this sense of alternative lux. In his latest collection, the UK designer gives a new meaning to the expression “poor taste”. The tastefully poor collection by the menswear talent boasts looks which give off the illusion of plastic-bags-turnedlegit-attire, celebrating both the casual and sartorial staples. Equally representing is Undercover’s Jun Takahashi, whose looks for next season range from style-savvy Japanese railroad worker to 1930s or- phan, in a more polished, rich-kid-goeslow package. Fashion’s change in attitude could reflect the slow death of classicism in society and the industry at-large, with monarchs now seen dating outside their social class, opting for TV actresses instead, and British Vogue’s new editor-in-chief coming from a working-class environment.