METAL Nº38, Autumn/Winter 2017
A single letter along with a punctuation mark and two digits is all there is to the email signature of the
growing
sender: 69, No more, no less. The reply to my earlier enquiry, albeit positive, is just as brief. Yes, we can do an interview and yes, one of the dates I had suggested suited them well. Fast forward
for
the
clothing
line
researching
them
collection, by
that
has not been an easy task. A
–
if
you're
lucky.
And
yet,
69 seems all over the place: there
are
collaborations
with the art world here and
a growing celebrity following
there. Among them are Rihanna, Chloë Sevigny and Erykah Badu
to name but a few. Still, 69 remains
a
brand
is
shy
without
a
face and although its founder not
opinions, behind
to
they
a
veil
voice
–
do
or
their
so
from
a
black
screen. Hence, I will refer to the creative mind behind the line simply as ‘A.’.
But
why
all
this
secrecy? In the 21st century, fashion
heavily
relies
on
having faces. Labels everywhere are
digits
spending to
designers
and
handwriting products.
seven-figure
acquire
No
all
prominent
have
their
over
less
their
money
is
spent on engaging individuals through of
an
models
standard
of
exclusive
circle
determining beauty.
the
They
strut down runways lined with Hollywood’s shot
by
iconic
the
A-list
and
industry’s
photographers.
perpetuating
message
is
are
most
The
that
this enviable world belongs to
p. 50
taking
Every
clothes,
designed
consumer to live in. The good
of shoes or even a fragrance, shoppers can call a tiny part of
this
world
their
own.
As
him
or
the brand quite literally has its
label
placed
on
her, the customer consequently becomes one of its many faces. Consumption liation. is
facilitates
But
not.
No
symbiosis
number
of
affi–
this
suits
and dresses is ever likely to elevate one’s life to the level of
glamour
so
inexhaustibly
portrayed through advertising. This sphere of perfection is, of course, an illusion whose surface
scratched
can
only
–
if
even
ever
be
touched
at all. To put it more simply: these
brands
are
not
for
customers to own; they are for them to desire. “It
is
Then
there
everybody,”
is
A.
69.
tells
me without hesitation when I enquire about the face of their
brand. It cannot, therefore, be any one person, including the
founder and designer. Footage of
their
Autumn/Winter
presentation Fashion
during
Week
New
2016
York
demonstrates
just how seriously they take
this creed: real people, not models,
are
the
showcasing
their
be
or
to
identities
centre
detail,
marketing
Words by Steffen Michels
news? By buying a shirt, a pair
interview
masks
obscuring
individual
from
and
occasional
cleverly
their
a select few. It is not for the
the
denim
wearers’ faces and preventing
Google search brings up a few mentions in fashion magazines
accompanied
fringed
so
founded in 2011. So highly, in fact,
wearing
skirts
through
defining
Anonymity ranks highly on the
and
time,
the
and
streets
have borne even more fruit. A
me to assume. I cannot but laugh in response. This is when we click.
69
2013
same
traditions of gender seems to
greeted by a black screen. “Oh, I am not using it,” they reply, chuckling as if it had been absurd of
For Everybody and Every Body
in
movement away from what were
well be in different galaxies. “I think there is something wrong with your video,” I announce, upon being
priorities
of
the
of Manhattan. Remarkably, this
in cyberspace. With a time difference of nine hours and the Atlantic Ocean between us, we might as
of
love
dresses
other side's answer to my video call. The founder of Los Angeles – based lifestyle brand 69 and I meet
Californian
around
caught our attention with his
two and a half weeks and my eyes are glued to a computer screen as I am patiently awaiting the
list
market
who,
in
is
suit
stage.
it
the
in
the
actual
purposefully just
about
anyone potentially interested in
the
products.
Shirts
and
trousers are tailored to fit people
regardless
physique.
A
of
main
their
criterion
for all fabrics used is how comfortable they would be to wear
and
how
much
movement
they would allow for people of different builds and genders. Despite terms
their
such
dislike
as
for
‘unisex’
and
‘non-gendered’, A.’s creations are neither designed for nor marketed
towards
a
specific
sex. Anything can be worn by
anyone. No matter what gender
one identifies with, everyone falls
into
‘anyone’.
the
69
is
category thus
of
the
tangent to contemporary dis– cussion: the on-going blurring of male and female.
And
this
blurring
of
lines is mirrored in the way
we consume. In 2016 when cult
US cosmetics brand, CoverGirl, introduced CoverBoy,
the
then
first
ever
17-year-old
James Charles, it seemed makeup was no longer just a female
affair. Appointing the social media
star
momentous for
years
houses
was
step, by
considered
major
launching
a
foreshadowed fashion
men’s
make-
up lines. One pioneer of this trend was Marc Jacobs, whose eponymous
brand
entered
the
sartorial
change
of
letters next to her feminine figure. an
movie
receive
story
often
more
covered,
made-up
style.
revealing
clothing to a more discreet, and
perhaps most critically a less From
normcore
and minimalism to streetwear, female
fashion
in
the
2010’s
has been less about dressing up
and
dressing. to
more
Women
embrace
trend.
about
simply
have
the
started
‘no
make-up’
Interestingly,
development
has
in-hand
with
men
women
this
gone
hand-
significant
breakthroughs for transgender and
world.
Under
across
Barack
the
Obama’s
presidency, the trans community enjoyed
never-before-seen
recognition
in
the
United
States of America. Despite the country’s
reversing its
current the
former
transgender universally attention
government
progress
of
administration, rights
receiving
than
ever
are
more
before.
Transgender individuals are not only serving in the militaries
of more and more countries, but are given the option of a third gender
in
government-issued
documents by countries ranging from
Australia
and
Germany
to, perhaps more surprisingly, India,
Nepal,
Bangladesh. the is to
Pakistan
entertainment
increasingly transgender
narratives.
and
Simultaneously, industry
opening
talent
Award-winning
up
and ac–
tress Laverne Cox of popular
Netflix show Orange Is the New
Black graced the cover of Time
Magazine in 2014, illustrating the issue’s central theme, The Transgender which
Tipping
appeared
in
Point,
capital
the
reassignment
Tom
Hooper’s
The
Danish Girl marked one of the
and
from
in
around
gender
surgery.
racy
movement
theatres
who was amongst the first to
tight,
the
year,
millions
Elbe, the 1930s Danish painter
most
been
following
of
globe was introduced to Lili
the decade in women’s fashion has
The
audience
date by
elaborate
to
an
to
bring the
endeavours
a
to
transgender
masses,
estimated
backed
budget
of
$15 million and an ambitious Hollywood
cast.
Of
course,
the fashion industry has long picked up on this trend, with
the likes of models Lea T, Hari Nef and Andreja Pejić starring
as the faces of Gucci, Givenchy et al.
Yet
one
would
be
a
fool to believe this newfound inclusiveness is not in one way or another rooted in financial motives. As a result, no one
can guarantee its permanence. 69, in contrast, views people
from a different angle. There is
one
nothing to
to
prove
impress.
and
no
Inclusion
comes naturally and their nondemographic approach to design just
so
happens
to
be
shot
against the backdrop of gender fluidity by coincidence. There can be no doubt that if the
label had launched ten years
earlier, it would have been seen as
considerably
than
it
is
more
now.
radical
Certainly,
there is the advantage of its
thematic overlap with current affairs: 69’s democratic ways are in
relevant,
theory
–
seminal
very
and
–
sellable.
But setting the rhythm comes at a price. Talking to A., it becomes
apparent
that
they
would neither like to see their
brand’s message oversimplified by
the
identity,
question nor
of
would
sexual they
want to risk contributing to the
trivialisation
of
social
justice issues for anyone who does grey and
find
area
themselves between
womanhood.
places
great
in
the
manhood
Therefore,
importance
69
on
having
a
sensitivity
to
all
kinds of groups stigmatised by societal
prejudices.
Perhaps
their most notable effort in
this regard is their outspoken embrace
of
older
customers.
Ageism, A. passionately assures me, is a ‘huge topic’ to them. I get the feeling it might be the biggest one.
69
is
not
a
charity.
They are not in the streets,
campaigning for liberal values nor
are
they
making
clothes
to change the world. They are making them out of necessity.
When the label started off as a response to a magazine feature
exploring the global, unifying presence
of
denim,
it
was
born with the idea to produce
clothes for a new generation: one
that
is
overcoming
stereotypes and collaborating in
ways
previously
imaginable.
This
un–
group
of
people is not bound together by by
sex,
any
race,
other
phenomena; their and
it
access
their
influence
religion,
is
to
united
ability
made
through
the
Internet
and
nor
superficial in
information to
possible
wield
only
technological
revolutions of the ubiquitous social
media.
In the truest sense, it's the first age,
term
generation
hence
to
redefining
‘generation’
Naturally,
individuals
this
must
elude
the
itself.
group
require
of a
uniform representative of its unique status. And since it's
so diverse, what could be more
fitting than something that is barely fitted at all?
By being entirely non-
demographic,
69
is
possibly
the label best suited to dress
p. 51
69
For Everybody and Every Body
this
intrinsically
generation.
diverse
Their
products
enable members of society to
driven world?
to
make
dressed
A:
to stand out from it. Or in
quantities of things. So much
A:
to
with
by
allowing
them
not
other words: they are allowing consumers to be anonymous in a
world obsessed with faces. It almost seems a shame that, as A.
tells
me,
their
dream
is
to retire around 40 and open a
farm sanctuary somewhere in the countryside. the
Frankly,
next
frontier
to
other
species.
An
though, tackle
could easily be the inclusion of
animal
shelter full of pigs, cows and chickens decked in 69 clothing could
be
the
first
step
towards a truly global uniform inclusive of everyone. In fact,
dogs already get to wear the brand – that should do for now. Steffen change
Michels:
is
at
The
the
idea
of
very
core
at
once
of what we understand fashion to
be.
Trends
responsive, paced
and
are
consumable,
ultimately
fast-
born
to
die. You have been clear in the past that you are not designing fashion but simply clothes. Why is that?
A: From the beginning, I was going at my own pace and did
what I felt comfortable doing. Nothing
that
I
designed
For
sure.
We
have
always
had an issue with making mass so, that the brand is trying step
away
from
wholesale
for the most part. The whole
process is very draining and excessive.
There
quantities
of
risk
factor
in
is
such
a
and
it
making
things
large
kind of devalues the products. And then of course, we don't make
profit
because
on
of
wholesale
the
cost
of
materials and labour. We don't use sweatshops; we work with a local factory in LA. People
don't realise that but that's why it's really hard to profit from wholesale. SM:
By
you're exact
staying
anonymous,
actually
opposite
designers
are
of
doing what
doing
the
most
these
days. Whether it's appearing on television or with a celebrity
wearing their clothes to the Met
Gala,
equals
the
the
creative
image
equals
mind
the
brand. What is the identity of
pieces. How does that fit in
I don't pay attention to what's
going on in terms of what to do
using the 69 logo on certain with the concept of anonymity?
next, you know? Therefore, our
A: Well, the logo is just a
out as fashion. Because to me,
do that. It's my brand. It's my
brand
is
automatically
ruled
fashion is trends and we are not about trends. SM: as
I
we
find
know
increasingly People
are
realities
it
that is
waking
of
what
fashion
becoming
out-dated.
up
it
to
the
means
to be a throwaway society. In a
sense,
this
movement
is
a
symbol. And I kind of have to
business. Otherwise, it's just
some random piece of clothing. Personally,
I
really
love
the logo. It's a part of me, without being me. It's my star
sign – which is neither here
nor there – but because it's a
symbol, it could mean whatever you want it to mean.
return to the values of former
SM: Comfort is an established
quantity.
clothes we wear. How important
generations; sustain
a
to
quality
brand
like
Is
it
not
over
hard
to
yours
trait
we
look
for
in
the
is it for a piece of clothing
I
than
think
or
dressed
it's
very
The
best-dressed
people
are
that I see, I still don't even
that clothes are really just
say that every year! I have no
the ones who, in a way, know clothes.
Style
different place.
comes
from
a
A: Yes, totally. I think if I
say
to me, I would go with my first
I
what
you
about
wear.
90%
believe
of
I
would
the
feeling
time.
happy
is
important to a lot of people in any situation. That is what
is so good about this brand. Everything
is
comfortable
and
transitional.
pretty
You
much
can
feel
confident
in
it either at home or if you
had to define what style means
instinct. And that is confidence.
Designing
that
makes
feel
confident.
about that
people
themselves,
true
something
feel
good
makes
But
I
confidence
them
think
comes
from a deeper place.
switch it up a little with a
SM: Definitely. I also believe
the town. You can go to a fancy
permanent.
nice shoe, you can go out on event or dinner. Everything is very transitional.
SM: Which makes me think that having fun in your clothes is really important as well.
confidence is not necessarily It's
something
we
put on in a sense. That doesn't make
it
any
less
real
but
how present it is depends on
the situation you are in. You might have an idea of yourself and feel confident in it, but
SM: Do you have fun producing
And to become more confident
a
with
of
York a
season
we
age
so
that we don't falter so easily.
some
base for 69, with a reputation
by
celebrity
during
Week;
New
meanwhile
earlier,
with
as
become
conflicts.
SM: LA seems a confident city.
recurring
you
used
regular people covering their faces
ourselves
to
Your
hilarious
Fashion
our
brand.
a
your
impersonators
with
is
with
fun
modelled
pretty
job
because
Spring/Summer 2017 collection was
Our
stronger
bit
fringed
denim
masks. They boogied to disco
is
(laughs).
I
idea what it is.
SM: I think it might have less to do with there being a lack of
talent and more with the fact that there are other capital
cities much longer-established in
fashion.
Everything
just
tends to happen in four cities and
that
is
it.
There's
a
of choice because it's relata-
and obviously there is a lot of
denim is a material that makes
fashion week in Berlin as well talent coming out of the city, and the clothes designed there
look very different from what you would see anywhere else.
Yet, Berlin Fashion Week does
not attract a lot of interest and
the
big
industry
names
don't show up. Maybe there just isn't enough space for cities like Berlin and Los Angeles.
this applies to a lot of the
A: Oh yes.
seems
it
can vanish into thin air. A:
asking
what
A: That in a society obsessed
it?
I'm
know
as soon as you enter unknown or uncomfortable territory, it
A: It is.
theme
and it has continued that way.
happy
important to feel comfortable
A: It is everybody. It is the
SM: And yet, you are not shy in
informed by fashion or trends
Oh,
SM:
was
feel
rather
up?
69 if it's not yours?
69 customer, whoever that is.
you
true to yourself, like you are
associate themselves with the group
p. 52
in what is now a consumption-
It also strikes me as a logical for
laid
rather
hometown with
back
than
does
street
couture. not
fashion
the
style Your
associate
way
Paris
and Milan do. Is this why you produce there?
a thing really is beyond me.
This is the celebrity capital of a
the
world,
magical
and
place
on
it's
such
so
many
levels. But as far as making content
and
imaginary
worlds
and such, you would think it would
be
such
a
gateway
for
the fashion industry to have
fun with. In fact, just saying that inspires me to reach out to
LA
Fashion
Week
and
ask
them to let me do something really cool and try and switch things up.
to another city, I would move
in and do something different.
to me you look to be creative in
the
way
themes
like
you
comment
identity
on
and
anonymity. It's not just about these
notions;
playing with them.
it's
about
SM: I tend to think you have have
when
it
a
sense
comes
to
industry in LA has got some work to do. I mean there are tons of brands here and it's not
as
cool.
if
But
Los
Angeles
fashion
week
isn't here
seems to be in the dark ages,
A: Yes, absolutely.
to
69 to that city. The fashion
of
humour
fashion.
Perhaps
that
is
exactly
what they need: someone to step
Let's not try and imitate other places but do our own thing instead.
A: Okay, I will reach out to them! (laughs).
for whatever reason. I really
SM: It would not be the first
Fashion
thing. For example, the way you
don't understand. We have LA York
Week,
Fashion
just
Week.
like But
New
just
from the logo to the events
because
it's
torn, studded, dyed and bedazzled a million times over. By
bringing it back to its unpretentious
roots,
however,
you
are actually using it in the most radical way possible. A: Yes.
been around for ages whereas
any item suits anyone. It seems
because I live here. If I moved
democratic
universal. Yet, jeans have been
world – LA Fashion Week is not
SM:
exchanged
and
SM:
A: I produce everything here
and
effectively demonstrating how
sense. It is durable, versatile
with celebrity – and I think
clothes,
music
ble and just honest. In a way,
time
you've
innovated
some-
use denim is highly original. I
have a feeling it's your fabric
Denim
is,
to
an
extent,
so incredible in that it has
in contrast, designers around the
world
are
cutting-edge
by
trying
to
creating
be
new
fabrics. For instance, a lot is
being done to replace animalderived
materials.
There
now
companies
making
and
mushrooms.
But
not
even
are
vegan
leathers from pineapple leaves you
are
returning to denim and you're making
it
special,
you're just making it good.
A: I mean, I work with what is
available to me and with what
I can afford. For instance, my fault is that I don't use eco-
conscious fabrics or recycled denim
which
cost.
And
do
but
it's
we
embellishing but
honestly
I
would
all
have
with the
love
because done
our
thing
to
of
some
denim that
limits us the most is funding.
It's money. That is why a lot of our stuff is very simple,
but it suits us. We are pretty simple be
we
but
more
would
we
would
like
eco-conscious
like
to
do
to
and
crazier
things. But we are limited.
p. 53
69
For Everybody and Every Body
SM: That's interesting because
bites me in the ass. That is
A: I would not say that I have
A:
an
know? Because you can target
them.
we as a society are quite at
I didn't realise you had such interest
in
finding
more
eco-friendly options, which of course is commendable. A:
Yes,
we
are
very
eco-
conscious. As much as we can be. But it is difficult. SM:
And
what
about
other
fabrics? What are the criteria on the materials you use? A:
I
fibres
prefer but
I
to
am
use
not
natural closed
off to the idea of using more
tech-fabrics. We use linen and cotton,
mostly.
But
I
would
love to use some mushrooms and pineapple leaves! (laughs).
SM: I initially thought relying mostly on one fabric was a
demographics
that
one
customer
you
and
then
to you. I understand how that works
for
certain
clothing
lines but for mine, it doesn't at
all.
brand
This
and
is
it's
a
lifestyle
meant
to
be
worn by anyone and everyone. When people interact with it, it's so easy to see how wide
it is because the clothes look good on everybody. It doesn't matter what your body type is. Certain things look better on certain
people
something
but
for
there
everyone
is
with
this brand. As far as who the
Interestingly,
that
is
slightly older than what I was
A: I mean our fans are all over
non-demographic label, who is
twenty
As
far
as
denim
goes,
it
seems like one season it's all about
denim,
going
to
and
there
is
a
cycle to that. Denim is always never
be
going
around.
to
be
There's
a
moment
when it's not around but there are some seasons where it's a statement. A thing. A trend. SM:
So
are
appealing
your
who
is
clothes?
it
that
Obviously,
to
the
buys
you
widest
the place. We have people from to
fifty
but
anyone
under thirty seems to have a hard
time
buying
stuff.
And
it really does depend on the stores that carry the brand and
who they are pushing it to, and a lot of the stores actually
push it to this slightly older, professional woman.
SM: The reason being that this is
where
the
sure.
money
is,
I'm
A: Exactly!
point of the brand. But are you
as
the
whole
able to identify your typical
customer who just so happens to be attracted to the label?
A: I do have an understanding
of who they are, yes. And I try and
broaden
that
demographic
as much as I can by for example having
sales
more
frequently
and making it more attainable, money-wise. being
Let
me
tell
non-demographic
you,
totally
because
like
they're
buzzwords. They just seem kind of trendy to me. And I made up my own term and I really appreciate so
thank
research Because
it
you
and
it's
when
it's
for
doing
honouring
not
just
used
your
that.
about
what sex you are or what race you
are.
That
is
what
the
whole non-demographic thing is
about, you know? It's not even about what species you are.
SM: Have you had a crocodile walk into the store?
that
you
unisex
dislike and
terms
such
non-gendered
as they make a point of the
perceived binary of male and female part
which
of
the
simply
is
not
equation
when
you design clothes. As a man who owns both a skirt and a
dress, however, I am curious to
hear
whether
as
male
and
you
have
a
lot of customers who identify traditionally females.
in the store but lots of dogs I
mean
we
are
design-
ing clothes for kids, for dogs
and really pushing the notion of non-demographic. And also, we make home accessories and fragrances. It's not something
boring like unisex or genderless.
Those
dull to me.
words
are
really
SM: Relating to this, there has
been a lot of progress in recent ple
more
years
to
in
getting
comprehend
complex
peo-
gender
than
what
as
they
might have previously thought. Transgender
rights
became
a
major topic when Barack Obama included
the
trans
community
in his 2015 State of the Union speech;
the
very
first
time
acknowledged in this context.
SM: You have said in the past
is
words
don't
their existence was ever even
possible market because being non-demographic
just
have.
trend when you're trying to do
A:
I
in their forties.
would say they are female and
expecting.
your average customer?
those
And
A: Crocodiles are not allowed
many. The real danger, I im-
the opposite. As a specifically
a lot of them but I do have
most consistent customer is, I
SM:
agine, is being perceived as on
work,
they are going to keep coming
limitation but then I realised it makes 69 a go-to brand for
p. 54
why
purchase
items
attributed
to
Inclusion, it appears, is a requirement for anonymity. If you stand out, you are never going
to blend in. In that sense, a label like yours makes a valuable contribution that goes far beyond making products.
A: Well, thanks! I believe that as well.
SM: Would you say 69 is less
a reaction to societal change than
it
is
a
foreshadowing
of the society we have yet to become?
I
think
of
it
foreshadowing. the
stage
at
I
more
as
don't
which
a
think
my
brand
open
a
fashion
magazine
and
they still sell you the idea of a world far beyond your reach.
is. That is a good and a bad
A: Yes, it's literally comical.
thing because we are ahead of
how that's still happening. But
thing the
(laughs).
curve
It's
and
that
a
good
means
we
will never be irrelevant. We will
never
go
out
of
style.
But it's a bad thing because not everyone is ready for it. It's about money at that point.
If we were really on trend and relevant, we would be making more profit far
as
money
(laughs). And as goes,
it's
not
about me wanting to be rich, but to
just
do
more
about
being
with
it.
able
Because
what we have done so far is not
even
a
fraction
of
what
I have planned. And it's this way because we are limited to
what we can do. So I'm trying to find a sweet spot where we
can appeal to the fashion of
it all, if that makes sense, because
I'm
really
trying
to be honest and modest with everything.
But
I
personally
It's really weird. I have no clue I wonder when that transition
SM:
And
partly
I
believe
because
the
that
is
fashion
sphere is not quite ready for
radical brands like yours. I
said earlier that fashion as we know it is a little out-dated and I think that is true in
Yesterday Elle
I
was
magazine
and
luxury
looking the
at
Gucci
ad, I think it was a perfume, had Hari Nef in it. But still, Hari
Nef
right?
was
She
a
Tumblr
was
star,
definitely
a
social media darling who came
out really quickly because of
the transgender movement. But now she has become this almost unattainable
celebrity.
So
I
feel like right now anyone can be
a
celebrity
but
they
are
kept at that level rather than taken to the higher tier. Does that make sense? SM:
I'm
elaborate?
not
sure.
Can
you
people advertise your product to the masses as an attainable
thing rather than an unattainable one, a luxury idea. SM:
But
herself
Hari
become
establishment.
Nef
part
of
has
the
A: Yes, she is no longer one of us! (laughs).
SM: She is not struggling.
exclusive.
how
A: No, she is not struggling
Anyone
I think. She just got scooped
That
is
not
our world generally seems to work
anymore,
though.
can do anything – in theory. In an instant, the knowledge of
the
computer
world
unfolds
screens
and
on
we
our
are
all interconnected. Previously
unknown people become YouTube and
sensations,
influencing a whole generation whilst
raking
in
big
money.
Real power is now accessible
by practically anyone, yet you
this
idea
for
of
‘I would love for that to be
my life’. It makes people want something more than what they
have, not being happy with what they have.
readers
and
airbrushed
of
plus-size
Coining in if
celebrities
and
one it
really doesn't matter where she started from. But my point is
it would be so cool if these bigger brands would just start using
regular
people
for
their ads. This is what I do. It's what I really push for. And
it's
important
specific
itself
is
seems
term
for
discriminatory,
dangerous.
69’s
loose
cuts and light fabrics allow for
any
body
shape
to
feel
just right the way it is. What has been the general response from
customers
towards
inclusivity? A:
do
We
are
have
Everyone our
a
this
brand
cult
that
this
brand.
cult
We
following.
is
a
actually
fan
loves
of
it.
And I am not saying that with
any ego. It's just that when I
interact
with
customers,
the joy that's in their faces when they shop with us, when
they try stuff on, they talk about the item they have had forever and always wear. People
talk about us with such joy. It's very real. And I've never
ever heard anyone talk about any other brand like they talk
SM: That must be quite special.
those
is
a
not
of
she
models
models bigger than the average
looking
transgender
now
The
particularly ridiculous to me.
in
whole
universe.
starting to change. The idea
up
but
any
illusion worked. But that is
A:
the
know
from this impossibly glamorous
at all. Who is she with? IMG,
movement
didn't
about ours.
more than one way. It is deeply hierarchical and seeks to be
appealing
different than to be excluded
of
so that it will be appealing
thrive.
be
Stop
brands, I saw some crossovers.
advertising
we still don't have a following line like this would need to
to
SM: I think for a long time
the
A: Ultimately it's having real
that I would think a clothing
it
everyone.
will happen, for example with
think this label is one of the best brands in the world yet
want
because
I
It
like
is!
a
And
it's
mind-fuck
at
our
kind for
sales
of
me
and
popularity. I don't understand what the problem is. Because we are literally a brand for
everybody and how could that
not be appealing to everybody? I think it's just a marketing problem. Our branding is very confusing.
Is
it
Sixty-Nine?
Is it Six-Nine? Is it Six-Nine US? For me, it would just be
p. 55
69
For Everybody and Every Body
the symbol. I would not call
example
with social media platforms, I
of
it anything. But I have to. And cannot just use 69; I cannot have
the
and
people
I
website
think
label
it's
69.com.
very
special
respond
beautifully.
But
to
the
It's
very
inspiring and it makes it worth
it, you know? I feel like it's making some sort of difference. SM: a
You
are
difference
certainly for
making
your
older
customers. Ageism is thinking of
someone
manner The
based
in
on
elderly
a
prejudiced
their
age.
the
countries
Homophobia are
at
in
the
and
receiving
sadly
A: And regardless of whether
clothes. I think it's all about
brand becoming so big that we
our language to not just make
moment.
learn, they are still people.
need
we have to compromise anything
about dressing people. It's a
which
rise
a
lot
transphobia
more
attention
as well nowadays. But as for ageism, it remains very much
treating
others
based on their age. There is no awareness yet. But I don't see
how it would be any different from having a prejudiced view of
any
other
society.
group
within
different
from
it.
In
racism
or
homophobia. Ironically, brands miss out on a lot of buying power
when
generations. has
69
How
been
them? A:
neglecting
There
potential
successful.
in
is
but
And
older
successful
appealing
a
we
lot
to
more
have
been
ageism
is
a
huge topic to me. More so than
race or sex because much of our
society has a certain view of people who are of a particular
age or above it. People from
generations before us have aged so differently than we will. I
feel like we are this ‘forever young’ the
generation
information
technology
age.
because
age
But
and
it's
of
the so
important to me to appeal to this older generation and to
try and give them a platform because I grew up with people
who were sixty. They were old,
you know? They retire and they don't do anything. Their bodies start
to
weird
even
65
And
she
changing that.
about
SM: It's an issue that people as
aware
of
as
for
For
definitely
still
has
wants
to
work.
She
been looking for a job for two
or three years but she can't get
hired.
She
is
far
more
skilled than a lot of people applying for the same jobs but
they will not hire her because
of her age. That is just so insane.
It's
just
as
insane
as not hiring someone for any
anything
to
towards, being all-inclusive. Given
non-demographic
clothing gains enough momentum cause
in
the
change
a
permanent
industry,
for
shift
what
big
will
labels
and
retailers, both creatively and corporately? A:
Marketing
change.
just
How
has
do
we
to
see
anything? How is it marketed? It's all advertising. Everyone
is making conscious decisions about
how
to
market
things,
and there needs to be a huge shift. There would be no going
back. Glimpses of how fashion has
been
portrayed
in
the
past would become a novelty. I
really
hope
we
are
headed
towards that. The thing is, no
one has been a fan of this. It's like we drank the KoolAid.
Nobody
is
happy
about
how it is. At this point, the fashion
industry
ultimately
isn't run by real people but by
definitely issue.
traction
There
awareness
And
has
of
it
in
it's
just
on
this
been
the
more
past
couple of years. I think there was a documentary on advanced
style that was a big thing for this topic. It was very niche but you could see older people being ‘cool’. I
remember
documentary Bill his
on
there
was
Iris
Cunningham.
photographic
recognised
at
seeing
one
And
work
that
a
Apfel; about
to
stage
was
another
decisive
factor
that is mostly only achieved
through transparency. It would
more expensive. And once people
are really aware of why those cheaper
things
are
cheaper,
they will be so much less appealing. Or at least shoppers
will have a choice. I feel like
in all those department stores or places where things are re-
ally cheap or disposable, there should
be
claimer,
some
just
kind
like
of
on
dis-
ciga-
rettes. “These are the people who made these clothes, these are the wages they received and these are the lives they live”. SM:
I
customers
agree.
make
on
fact.
You
purchase you make. That concept in
itself
is
beyond
many
people, not just with regards
to fashion but with anything you
can
buy.
As
consumers,
we often fail to realise the
impact of our consumption and we
would
do
more educated.
well
to
become
the option. I mean we live in
it's only going to get crazier.
There is only going to be more
information. It's all already
to
brands investing less in cethis-world fashion shows, and investing
more
into
laying
bare their methods of produc-
tion or even in making their pricing
public,
like
Pieters’ Honest By: does.
Bruno
are doing! Starting with how going to make videos of it. To show how we buy our fabrics,
where our stuff is made, who the people are that make our
nice (laughs) but that is not
though, the more you expand, be
more
to
difficult
operate
it
ethically
will
and
authentically. There is a real danger of trivialising issues dealing for
with
example.
race
or
Fashion
gender,
and
the
media are cashing in on those
topics at the moment and sadly this will cause many to develop negative those
feelings
subjects.
How
towards
will
you
make sure 69 will not cause any damage?
A: Personally I don't see this
selling
themselves
short
if they only focus on clothing.
idea of what a brand can do.
it to continue to be inspiring
and fun and thoughtful and conscious. So to answer your ques-
tion, we just have to be really aware of where it goes. I will
do my best to be as considerate as possible, to not to trivialise certain topics and definitely to bring more awareness to them instead.
that is quite an old-fashioned
There was a time when designers
just made clothes and that was that. But nowadays, everyone is collaborating and everyone has a message. If you want to be seen
as contemporary, it is crucial
to be out there and to engage consumers in new, original ways.
Essentially, you must give your brand a meaning. I think this is a welcome development.
do with actually being in touch
A:
question.
cannot do anything else.
The
more
internal-
ised they are in your thought
Yes,
absolutely.
Although,
no shame on those who do not or
process, the more you can steer
SM:
against
trivialisation
philosophy of course still works
A:
I
your
brand
towards
working
rather
than going along with it. Yes,
agree.
I
think
we
have been successful with that.
I certainly don't try and push anything down anyone’s throat. I
think
everything
we
have
stood for and responded to has been very fluid. We don't have any ulterior motives.
instance, you made clothes for
speaking
are
breath of fresh air and I want
front of our faces.
Realistically
lifestyle. I feel like brands
SM: I agree. Again, it feels like
goal is just for it to be a
SM: You have been rather active
step is for it to simply be in
clothes. This brand is not just
the goal with this brand. The
at our fingertips and the next
the
change
anything. I mean that would be
with the people or issues in
lebrity designers and out-of-
welcome
in being a multimillionaire or
are casting a vote with every
based
an
enables
that we do. I have no interest
SM: I would say it also has to
decision
to
It
would lose control or feel like
actual
SM:
a
our products are made, we are
Obviously, there is a lot to
there's
a reason for something being
see
be
in
fantastic.
learn from older people.
is
A: Oh my God, that is what we
his life, with a ninety-minute documentary,
try are experiencing moderni-
for be
that
this crazy information age and
sation, as well. Authenticity
sex.
realise
change.
anybody, but something has to
really sad. I think there is
their
to
A: Well, we should at least have
SM: Other aspects of the indus-
or
transparency because consumers
robots. I hope I don't offend
other reason, like their race
then
conscious
want
lives in Florida and she has
this
being
I
to.
energy and is a capable person.
recognising
what they do with their lives
something
awareness
instance, my aunt who is not
SM:
really
it's
bring
just
just
not
to
that
that's
issue with how people age and
are
brand,
Because
does not have to happen. It's
and
is an issue for me and as a
It's
process
really
you brought it up because it
atrophy.
out-dated.
this
it's about bringing awareness
is
And that is what we are working
to
of
there
No one likes to be excluded.
nature
oblivious to the discriminatory
to it. And I'm so happy that
to
not
SM:
all the ways it matters, it's
subjected
or
a non-topic. People are simply
A: There is no difference. And
no
p. 56
racism,
on
are
commonly
especially
seems
in
other
fields,
too.
For
a video project by performance artist
P-Orridge,
Genesis
collaborated
photographic
series
Breyer on
a
called
Together with Erika Zorzi and Matteo
Sangalli
of
Mathery
Studio and you exhibited beach loungers that had been given
your signature denim treatment at the 2016 Berlin Biennale. In
2017, it's no longer enough for a brand to just make clothing. Why do you think this is?
A: Well, you are really limit-
ing yourself if you do. We have always been a lifestyle brand.
It has always been a part of
it
It's
important
all.
A
more
to
have
traditional
best for some but it's nice to have that remix.
A: I'm just crazy and I have too many ideas! SM:
So
since
69
is
already
involved in much more than just making clothes, what's next?
A: We have a solo show at the Museum
of
Contemporary
Art
in August 2018, at the Pacific
Design Centre here in LA. We're going to show exactly what this brand is all about and make a
lot of stuff for it, not just limited
to
clothing.
It's
not
a fashion show; it's a museum. We
will
be
making
furniture
and videos for an installation and that's our actual focus. I have all the ideas for it. It's
really just about getting some renderings the
budget
done, and
figuring
to
see
possible
and
what's
ground
or
started
out
what's
not.
But
we have not officially broken making
anything yet because it's still a year away. We start work in January.
p. 57