i-D magazine - The Stereotype issue

-D i-deas, fashion, music, people

THE STEREOTYPE ISSUE ISSUE NO.356

i-D Summer 2019

the stereotype issue In this Stereotype issue, i-D looks in to the potential exploitation of the working class and how this has found its way in to the high end sectors of the fashion industry. Reading an interview from Rosie Feenstra on her views on the past and current position of street style, the questions are then raised on the accessibility of the fashion industry and whether this has changed at all to allow for the classist standpoint of the fashion industry to be left in the past.

To question stereotypes further, this issue questions how useful degrees are for those creatives that are fighting their way to the top. Understanding how degrees aren’t the be all and end all of your career prospects, and the importance of freelancing as a creative at university, we must question the stereotype within the creative field of how discovering what works best for you is the ultimate process to go through.

Alice Dunlop

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Sophie Powles Studying Art History whilst balancing interning at companies such as Sunday Times Style magazine, Sophie knows that her degree is not the be all and end all of her career prospects.

By exploring this at university, Sophie has been able to gain an insight in to something she enjoys studying, all while working when she can.

Martha Wood-Saanoui Venturing down to Brighton from the North to study Graphic Design is dedication to what you love. By doing this Martha has been able to discover all the elements that come with studying Graphics while learning the ins and outs of freelancing - and the potential hassle that might come with this.

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STRE

4 i-D Copyright Martin Parr / Magnum Photos / Rocket Gallery / Instagram @martinparrstudio

EET STYLE ENVY

more inclusive and diverse than ever, with the LGBQT community being represented within designers like Schiaparelli and Gucci, and Black and Asian models being included a range of high end and commercial imagesbut this is still yet to be extended to the working class, a

Flashback to the early noughties and the powerful

culture which is now being exploited, romanticised and

rejection of the Burberry Nova Check is one that is

all of the above in the name of aesthetics (see Yeezy

probably memorable for most - and although some of us

Season 3 for ‘homeless’ inspirations). The generations

might hate to admit it, we are all aware of the reasons

outside of the ever talked about Millennials and Gen Z

we chose to marginalise those who wore it and the class

might still be confused by the shift in dressing within

they belonged to. Many choose to avoid the coined word

mainstream society, but walk around a university campus

of “chav” (standing for Council Houses and Violence for

and the white, middle class students will quickly affirm

those who are a bit behind), but we have all played a

the popularity of this key trend within youth culture.

part in creating this classist view on the working class,

However, this awareness of the working-class culture is

made clearer through their personal style of dressing.

not one to blame on young consumers, this blame must

However, this rejection has now done a full 360 as it’s

be placed within the industry itself which advertises

no secret that the high-end designers and middle-class

ideals and aesthetics that people should live by.

consumerists have now adopted these tracksuits and

For photographers like Paul Reas, who once tried to

prints in to their own wardrobe.

represent the working-class in his imagery like ‘Penrhys

Streetwear is one that began in the roots of rebellion but

Estate’, it’s hard to accept that his work may have laid

has now been adapted in a way that relays a different

foot for this consumerist, idealist perspective to manifest.

feeling. Although it’s understandably hard to restrict a

Having stated himself that realms of working class history

fashion trend to one group of consumers when the world

are appropriated by “making it into entertainment”, it’s

consists of ‘Instagrammable’ looks and locations, this

clear that this exploitative mindset has been in the works

over sharing enters us in to a dangerous field of lack of

for some time. The heavily romanticised years of the 90s

understanding of the cultural roots. Back in 2017, we saw

and 00s displayed trends that were heavily associated

Hetty Douglas, an artist living in South London, mock a

within working-class England and have now since been

set of labourers in their work clothes by stating that they

adopted in to modern day to relay a feeling of misled

‘look like they got 1 GSCE’ that led to a heavy backlash

nostalgia in fashion. The result of this has been attempts

against the privileged artist. This is an almighty example

of representing a time that many long for with shows

of how an artist, who’s Instagram shows a clear love for

like Shane Meadows’ This is England and Ken Loach’s

all things sportswear and cigarettes (ring any bells?),

Sweet Sixteen that shine a profit led perspective on this

representing this disassociation from the problems in

realm of society.

the class system. This media-focussed representation of

These profit margins that must be adhered to for the

ourselves that is now a must with social media, is a key

gains and successes of fashion retailers play a big part in

tool in leading us all down the same root of romanticising

the blame for this further isolation of the working class,

something we, essentially, don’t understand.

by slowly diminishing and disregarding the roots of what

In the views of the hopeful, fashion is becoming

we now refer to as ‘street style’.

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ALL PHOTOGRAPHY

-MARTIN

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Y IS PROPAGANDA

N PARR

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i-D ROOTED IN STREET STYLE To truly understand the ways in which fashion trends are developed and reach the popularity of cult-following, it’s important to consider the past experiences of the designers behind the logos. Writer Alice Dunlop spoke to Rosie Feenstra, a product copy editor at Matches Fashion, to understand how designer brands have changed over the years, leaning more to street style now more than ever, and the potential reasoning for this.

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Copyright Kim Kardashian / Instagram @kimkardashain Copyright Virgil Abloh / Instagram @virgilabloh Copyright Blondey McCoy / Instagram @blondey

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How you would you describe street style so someone

tity is widely conditioned by social class and our inter-

that doesn’t understand the roots or emergence?

ests and surroundings, especially if one is penalised or

Street style is the antithesis of fashion by a traditional

shunned for their circumstances growing up.

definition. Fashion from the most traditional perspec-

For those who are raised in a ‘working class’ narrative

tive was a celebration and decadent indulgence in what

or at least, unaffected by the classic social norms, it

was considered good taste within a luxury narrative and

a natural result that those who pursue art, design and

this by default is a reflection of attitudes in upper class

fashion as their careers reflect and use what they wore

society. It was a reflection of what the minority can af-

growing up, as key inspirations for their collections. It

ford and therefore constitute what is socially accept-

makes for a more diverse perspective of what one can

able. Streetwear by comparison is a reflection of what

and cannot wear and I think that’s hugely positive. Di-

is available to the masses and considered acceptable

versity is essential for the industry to thrive and for

and embraces on a large scale, initially because of the

those who consume it, to also develop.

scarcity of what is within their budget to afford.

What views do you have on the fashion industry becom-

The origins of streetwear are the product of a uniform

ing more inclusive and accessible?

being developed among certain social class owing to

I think inclusion as a subject is well overdue in fashion

comfort and affordability. Secondly, the uniform element of streetwear can also thought to have originated as a reflection of society’s sporting interests – football, basketball etc. The idea of a team uniform creating a sense of equality, belonging and unity extends beyond an initial team dynamic and moves into its supporters – they feel equally party of the community, sporting or

“The origins of streetwear are the product of a uniform being developed among certain social class”

otherwise, by dressing the same. So much of fashion is

and I’m glad to see the recent shift in the landscape con-

anchored in sub-cultures and dressing a certain way is

cerning race and gender profiles, social class, appear-

the most obvious reflection of this.

ance and aesthetics. To be inclusive is to properly cater

What are your thoughts on the popularity of streetwear

and reflect the reality of a brand’s customer, rather than

within luxury fashion?

selling a false vision of who the customer is, to the au-

Streetwear is the consequence of two factors: question-

thentic customer themselves. Gucci’s past issues with

ing the status quo – changes in social taste are always

Dapper Dan and now the more recent collaborations are

reflected in fashion. The strength and positioning of

an interesting example of this and a prime example of

sneaker culture is the foundation to streetwear as it al-

a luxury fashion house taking ownership of their growth

ready has a cult following from the product whose hype

in understanding the change in social landscape beyond

comes from the brands or celebrities that create them –

their own experiences in luxury Italian fashion.

Stan Smith, Michael Jordan etc. It’s a natural by-product

Streetwear is a prime example as so many luxury houses

that the clothing that accompanies these cult-followed

have embraced it as a trend and as a serious commodity

pieces become equally popular.

which makes companies successful – Balenciaga’s Triple

Something I think that is important to note here is how

S trainers are a great example as they’re considered just

fashion is a reflection of one’s identity. Personal iden-

as covetable as a luxury handbag.

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In a world where social media is fast becoming a leading platform for advertisement and promotion, young creatives are finding new ways to get a foot in the door. With a little bit of selfpromotion and obvious creative talent, many are finding this way of entering the world of fashion, photography and all the rest through a more technological approach. This, in turn, raises the question on just how useful a degree is when wanting to step in to this field of expertise.

Many see university as a place to learn and develop on those key skills we’re told are oh-so important in the professional worldbut is a degree now just becoming an added extra for your CV? Talking to young creatives who have experienced these emotions during the ever talked about ‘student life’ gives us a better perspective on how this journey can both benefit, but also restrict creativity.

QUESITONING THE CURRICULUM

WHAT COURSE DO YOU CURRENTLY STUDY? Art History but I want to eventually work within the fashion industry.

HOW DO YOU THINK THE CURRENT YOUNG DEMOGRAPHIC OF CREATIVES FEEL TOWARDS STUDYING FOR A CREATIVE ROLE? I think that studying for a creative role is kind of bittersweet – at the end of the day it’s all about luck and being in the right place at the right time when it comes to being hired. It’s hard to stay motivated if you’re maybe not doing a subject that allows you to be creative but I genuinely enjoy the topics surrounding my degree so, yeah as I said, bittersweet.

HAVING INTERNED DURING UNIVERSITY, WHAT HAVE YOU FOUND TO BE MORE USEFUL FOR YOUR FUTURE CAREER PROSPECTSEXPERIENCE OR UNI? I definitely think my internships will be more beneficial, hence why I’ve bunked off uni to fit internships in as I don’t feel guilty- I know they’re more beneficial in the long term.

WITH THE CREATIVE INDUSTRY HAVING SUCH A WIDE SCOPE FOR JOB OPPORTUNITIES, DO YOU THINK GAINING EXPERIENCE COULD BE MORE USEFUL IN UNDERSTANDING WHAT WORKS BEST FOR YOU? 100%. I’ve tried to get as much experience in as many different areas as possible as, even though I know I want to work in fashion, I need to know which area in particular.

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WHAT SUBJECT DO YOU STUDY AT UNIVERSITY AND IN WHAT WAYS DOES UNI ALLOW YOU TO DEVELOP AS A CREATIVE? Graphic Design. It’s allowed me to develop creatively in a way that I wouldn’t have thought initially; despite learning ways in which to develop technical design skills, I have been able to push my limits. It also provides an atmosphere in which I can experiment without the limits that I would have in industry like facilities and budgets.

IS THERE ONE EXAMPLE AS TO HOW UNI MIGHT RESTRICT CREATIVITY? Briefs, definitely. Although my briefs are quite broad – I could spend 3 weeks learning the logistics of something that I will never use again, but other people might, hence why it needs covering. Also, it’s difficult as creative outcomes are subjective – I’ve been told before that my designs all over the place, but I’ve also been told that for that exact reason, my clients come back to me!

WHAT DIFFERENT SKILLS HAVE YOU LEARNT THROUGH FREELANCING THAT YOU HAVE MISSED OUT ON WITHIN YOUR DEGREE? Understanding how to communicate with clients is something they can never teach you at university. Client communication is key when freelancing. Pricing and time management, for example, is something I’ve also learnt outside of university. You can sit up until 6am to finish a deadline for university, but if you’ve got a client calling to see progress, you have to be organised or they will find business elsewhere!

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