PROPAGANDA ADS

Modern fashion is always evolving, highlighting new trends every season. For an item to be considered “modern fashion,” it must reflect the latest styles the great majority of people are wearing. Since trends constantly change, examples of “modern fashion” change as well; however, despite this constant change in trends, there is a recurring fascination that encompasses many trends dating back to the 1960s. Such fascination is working class culture. Working class culture’s sizable impact on the fashion industry is consistently present on the runway. Oversized t-shirts, destructed clothing, sneakers— all made their appearance on the runway more than a fashion fanatic can count. High fashion has a deep history of utilizing references to working-class and lower-class people without being criticized. However, in a more socially aware world, monetization of these references can reflect another exploitive relationship within the fashion industry. The lower-class adopts a style and high fashion designers use the style as inspiration and elevates it to high class standards.

While finding inspiration is inherently creative, many designers seem to confuse that inspiration with class appropriation. At its core, high fashion stems from authenticity; however, designers taking inspiration from the working class is not only rooted in authenticity. It’s oftentimes rooted in an unfair power dynamic. According to Emma McClendon, assistant curator at the FIT Museum, “People in the upper classes of society feel that they can pick from anything; that everything is available to them, and that there aren’t necessarily consequences” (Garage). This mindset within the upper class creates a different level of injustice. They are concerned with profiting off authentic items, which have their roots in the need of the lower class. One of the biggest trends originating from the lower class is deconstructed or distressed clothing. Rips and tears in clothing signify a struggle. From the lower-class perspective, that struggle symbolizes labor or financial instability . The distressed clothing is an authentic lower-class symbol of work, and designers look to adopt this authentic symbol.

In 2015, Kanye released Season 1 of his Yeezy clothing line. One of his items is his “Destroyed” sweater, a $2,600 oversized knit with holes and tears. In the same collection, there are $415 cut off shorts that feature a rough hem (Bustle). Here, Yeezy adopts this workingclass theme of hard labor and engrains it into their clothing. Yeezy sweaters and shorts are authentically torn and ripped, which should justify their prices. However, this pricing is anything but reasonable considering destructed clothing didn’t originate within this brand. Another popular trend is union clothing. These types of items could be any type of wear that symbolizes a specific worker. 2018 was a big year for a specific type of workwear, specifically high-visibility—or hi-vis— workwear. An example of this type of clothing would be bright colored hazard jackets/vests. This clothing was worn by firefighters, police officers, school guards, and construction workers, representing people who provide a service. They’re worn to prevent accidents in specific work environments. These clothes are protection against hazardous situations. However, in 2018, designers created high-priced hi-vis clothing for its aesthetic value, valuing its bright image.

Burberry popularized this look in London Fashion Week. In 2018, a highlighter orange utility coat was placed under a black longline coat. In 2011, Prada released a Spring collection, featuring a scrub-like top. It was a rich blue V-neck with a large front pocket part of an array of bold and bright pieces. Miuccia Prada described the collection as “minimal baroque” (Vogue). The utility vest and the scrub-like top are designed to look like a uniform for those in this line of work, but they are made for consumers who aren’t in these jobs. They are elevated in a high fashion atmosphere for consumers who are obsessed with authenticity even though these items already have a specified purpose. Furthermore, people in these specific work environments cannot choose whether to wear these specific items. These brands draw their inspiration from people who dress in a matter of necessity and not by choice. Writing: Shelby Wingate Layout: Sydney Burton

CONTENT DIRECTOR: SARAH KATE HATLEY CONTENT ASSISTANT: TANIYA PIERCE PHOTOGRAPHY: ASHLEY MOORE BEAUTY: CARLY JUDENBERG GRAPHICS: ELIZABETH SWANK, SYDNEY BURTON, EMILY ENGLAND, NATALIE GILLIS, SARAH ORJI

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