Molly Wilson – Molly Wilson's Blog

What is Stealth Wealth? The truth behind the aesthetic

“Everyone wants to be rich!”

Fashion trends go in cycles. Minimalism and maximalism in fashion are polar opposite styles that are constantly battling for the top spot, cycling in and out for decades. Right now, judging by microtrends such as ‘clean girl aesthetic’ and ‘coastal grandmother aesthetic’, it seems that minimalism is firmly in vogue.

Enter ‘Stealth Wealth’, the new buzzword dominating the front page of every fashion publication’s website. You may have seen TikToks on your ‘for you’ page or articles on your Twitter feed teaching you how to dress in the understated, quiet luxury aesthetic of Gwyneth Paltrow at her recent court appearances, or character Shiv `Roy from hit HBO show Succession. But what is stealth wealth and why are we so preoccupied with what the ultra wealthy wear and how they live their lives?

Trend forecaster, Meaghan Smith, explained to me that stealth wealth is “garments that exude wealth and luxury without any flashy, garish elements that people may traditionally associate with the wealthy.” It’s wearing a jumper that, to the untrained eye, doesn’t look special when in reality it’s cashmere and costs £2,000. It’s the elite quietly saying “if you know, you know” through their clothing.

@susanatmac
Did you say quiet luxury outfits? You’re welcome 🍸 #quietluxurystyle #minimalchicstyle #thatgirloutfitinspo #oldmoneyfashion #quietluxury #thatgirlstyle #springoutfits2023
♬ original sound – Sofia Richie Grainge

Stealth wealth style can include neutral colours, business casual pieces such as blazers, loafers, and shirts, and outerwear in quality fabrics such as wool and cashmere. Some popular brands that cater to this minimalist style are The Row, Max Mara, Tom Ford and Ralph Lauren. Most people wouldn’t choose these brands to make their first luxury purchase, perhaps opting for more well-known brands like Louis Vuitton and Chanel, but the affluent do not need to flaunt a monogrammed Neverfull when they can afford a plain white shirt for the same price.

Meaghan believes “these trends may be in response to today’s version of celebrity and essentially they’re ‘advertising’ using the garments they wear. I have noticed that public opinion has shifted towards distaste when celebs flaunt their wealth or misstep with tone-deaf social media posts.” Perhaps the popularity of stealth wealth is a rejection of flex and influencer culture, embracing a more ‘classic’ style as opposed to the extravagance of celebrities such as the Kardashians, who have often come under fire for problematic behaviour.

As previously mentioned, trends come in cycles. This is not the first time maximalist displays of wealth have been seen as excessive and distasteful.

https://twitter.com/KimKardashian/status/1640136383871451137

Perhaps the origins of this trend is the ‘old money’ vs ‘new money’ debate, dating back to the mid-1800s. The American nouveau riche infiltrated English prep schools, ruffling the feathers of the upper classes as they did not approve of their lavish and opulent styles. These prep schools are also the origin of ‘preppy’ style, which has much overlap with stealth wealth.

Preppy style can include varsity jackets and sweatshirts, polo shirts and tennis skirts. Think country clubs, sailing, Oxford and Cambridge and Ivy League colleges, horse riding and skiing. This style has also been making the rounds on TikTok, called ‘old money aesthetic’. Again, this trend strays away from the typical ‘influencer’ look and appreciates preppy and old, heritage fashion houses such as Chanel, Miu Miu, Dior and Ralph Lauren.

Preppy style could mark the beginning of the quiet luxury trend, as Meaghan told me “the ‘old money aesthetic’ plays with this idea too, using more minimal, classy, and sophisticated design choices with a lack of logos.”

@it_.girl
new money<<old money #foryou #dc #viral #oldmoney #newmoney #aesthetic
♬ money money money abba – vivi <3

As seen in comments under this TikTok, such as “old money people are the real rich,” the ‘new money’ aesthetic is not treated as a desirable lifestyle. As Meaghan pointed out, many see today’s celebrities as distasteful for flaunting wealth on social media and label them as problematic. However, this does not take into account that ‘old money’ families can be problematic too.

Old money families’ wealth is often gained from racism. For example, the billionaire Koch family were caught stealing oil from Native American reservations in the late 1980s, which hasn’t stopped Koch Industries from being the second largest privately owned company in the US. Not to mention the Royal Family, who cost the taxpayer £86 million last year and regularly wear stolen jewels from India.

It is undeniable that none of these billionaire dynasties are people of colour, and many of the ‘old money aesthetic’ TikToks only show images of white people. Glamourising the lives of the 1% can diminish these issues, as focussing on aesthetics leaves out important context of how these people gained their wealth.

“Logomania was a huge trend in the 2000s, a time of excess and celebrity”

One example of the style of the elite becoming a trend was the rise of Burberry in the early 2000s. Burberry’s signature check print became synonymous with ‘chav’ in 2002 due to its popularity with streetwear style among the working class in the UK. Burberry began to lean into this popularity by releasing more affordable garments with the check print.

However, Burberry’s upper class clientele began turning away from the brand due to its new connotations. This tanked Burberry’s reputation as the wealthy did not want to be associated with the working class. To combat this, in 2006 Burberry removed the check print from much of their clothing and upped prices so working class people could no longer afford the brand. The upper class, despite their aspirational fashion, are often prejudiced against the working class. The reason they wear such luxurious garments isn’t just because they can afford it, but it sets them apart from those who can’t.

Luxury fashion has always been aspirational, and as trend forecaster Meaghan explains, “logomania was a huge trend in the 2000s, a time of excess and celebrity. The new interest in celebrity culture (thanks to rising stars like Paris Hilton and Kim Kardashian) meant that paparazzi were constantly documenting every move and garment.”

The logomania trend began in the 1980s and 90s with the rise of hip-hop culture. Well-known rappers and music artists such as Run DMC and Salt N Pepa wore knock-off clothing covered in logos, such as Louis Vuitton and Gucci monograms. Meaghan told me, “wealth could be easily flaunted by celebs using their garments, and then emulated by the public by wearing the same logos and brands. The boom in celebrity culture shifted public opinion to value status during this period.”

However, the 2008 financial crash shifted public opinion to believe wearing flashy logos was tacky, leading fashion to become more discreet and minimalist. This trend cycled back again in the late 2010s, with celebrities such as Billie Eilish wearing t-shirts and tracksuits covered in Louis Vuitton, Gucci and Fendi logos. Recent world events such as the COVID-19 pandemic once again has shifted public taste, going to show that trends are always in a constant cycle.

Meaghan explains, “the pandemic drove people inside and towards comfort clothing, so now that things are ‘back to normal’ on a wider scale, trends are shifting towards a more ‘put together’, smart-casual dressing style thanks to the newfound desire to be seen after so long in isolation.”

“People may be looking to emulate a more ‘rich’ aesthetic for the purpose of escapism”

This brings us to today, where the prevalence of the stealth wealth trend can be attributed to the popularity of the show Succession. First airing in 2018, Succession shows the lives of a mega rich family who own a media conglomerate. Instagram account, @successionfashion, documents many of the garments and brands worn on the show, where brands such as Ralph Lauren, Tom Ford and Max Mara regularly make an appearance.

Sue, a big fan of Succession, told me, “I love the fashion on Succession, I really like what Shiv wears especially. I’d definitely dress like that if I had a fancy event to go to, but I don’t think I’d wear it everyday as it’s all very expensive and quite formal.” It seems that in everyday life, stealth wealth might still look like you’re trying too hard. As the trend is born from social media, the majority of people joining in are posting their looks on TikTok and Instagram and maybe not wearing it in real life.

More flashy designer clothes do make an appearance on the show, however they signify the character being in crisis – for example, in S3E7 when Kendall wears a large, gold chain and a Gucci outfit. If the characters are not wearing quiet luxury style, they are acting out of character.

Another instance of more identifiable designer being worn on the show is in S4E1 when Greg’s date wears a Burberry check print handbag. The bag is called “ludicrously capacious” and “monstrous” by the rich Roy family, as even though the bag costs over £2,500, the print is too recognisable for their tastes. This scene is a nod to Burberry’s reputation in the early 2000s and highlights the class prejudice that is still prevalent within the upper classes.

Even though the lives of the 1% are unreachable for the majority of us, emulating the style of the wealthy is still a huge trend. Meaghan thinks, “everyone wants to be rich! Wealth is aspirational, which means dressing like the super rich is too. Especially now in a time of financial uncertainty for most, people may be looking to emulate a more ‘rich’ aesthetic for the purpose of escapism, to appear affluent to others or set themselves apart.” Becoming rich will always be an aspiration for many of us, so we try to dress the part.

In order to copy the stealth wealth trend, brands like Uniqlo, COS, Mango and even M&S cater to the minimalist style for a fraction of the price. However, the polyester fabric and messy stitching that’s found in high street brands’ garments will never measure up to the luxury finishes of designer brands. In reality, rich people aren’t going to give a nod of approval your H&M outfit, no matter how ‘old money aesthetic’ it is. The 1% are elite, and they like it that way. Excusing class prejudices allows it to continue, especially as the trend glorifies this divide in wealth and status.

The cost of living crisis has made all of us hyper-aware of our own money, and an aspirational trend of dressing like you’re wealthy lets us pretend we have the generational wealth so many of us could do with right now. Stealth wealth connotes that trying too hard is tacky and reflects similar prejudices against less wealthy people that were seen during Burberry’s boom in the early 2000s and in the 2008 financial crash. It’s exhausting to keep up with these trends, especially when it revolves around something as sensitive as money.

Time and time again, TikTok microtrends centre around white people and are less than inclusive. When searching aesthetics like ‘old money’, ‘stealth wealth’, ‘coquette’ and ‘clean girl’ on Pinterest, you’ll notice how few people of colour make an appearance. This is yet again evidence of covert prejudices behind the stealth wealth trend.

Thinking critically about trends can save you from buying a whole new wardrobe just to throw it away in six months. Trends on the Internet pass by so quickly, leading to overconsumption and wastefulness. Perhaps stealth wealth will be all over in a month, and you’ll be able to save your money in this financial crisis.

The Burnout Epidemic

No matter if you’re a university student, a young professional, or have been a working adult for decades, burnout is affecting many of us.

Do you get the Sunday night blues? Hate when people ask how work’s going? Find yourself caring less and less about the quality of your work? You might be experiencing burnout.

You’re not alone, especially as the cost of living crisis may cause you to pick up extra shifts and fear being made redundant, studies show the cost of living crisis is causing 84% of UK workers stress and anxiety.

However, burnout is not just stress. According to the National Library of Medicine, burnout is defined as “a prolonged response to chronic interpersonal stressors on the job.” Symptoms of burnout include “overwhelming exhaustion, feelings of cynicism and detachment from the job, and a sense of ineffectiveness and lack of accomplishment.”

No wonder the new buzzword, quiet quitting, is making the rounds, the act of putting no more effort into your work than is absolutely necessary. Feeling exhausted and cynical and like their work isn’t meaningful is a big reason why quiet quitters are giving up.

Quiet quitting is mostly a Gen Z movement, starting on TikTok. Many feel that they are not given any purposeful tasks and are going unrecognised for their hard work. It is a rebellion against the idea that your worth is defined by your labour and the burnout that is caused by overworking yourself with no achievement to show for it.

“My pay does not match the actual amount of work I do”

I spoke to Gabriel, a 22-year-old support worker, who works with young adults who have learning difficulties and behavioural problems. Gabriel’s responsibilities of helping with personal care and daily activities means his job is very demanding.

Gabriel told me, “I would say I feel stressed almost daily, I often have to pick up slack if our team is understaffed or the staff is untrained, which means I have to work twice as hard.”

“My pay does not match the actual amount of work I do. I take a practical and motivated approach so my clients can achieve the most they can everyday. I have developed a deep relationship with my clients for the 5 years I have been working there, and so my team and I often go above and beyond our duties which is certainly not reflected in our pay.”

Gabriel’s work situation could easily lead to burnout, as he often feels stressed and feels he has to work harder than he is being compensated for. Despite his relationship with his clients, Gabriel could easily begin to not enjoy his job anymore because of this.

It’s not just working Gen Z-ers that are feeling burned out, but university students too. It is no secret that university can be difficult, with piling essays, exams and dissertations looming overhead.

The COVID-19 pandemic caused huge disruptions in education, moving classes online for all students across the country. Many students might feel like there are gaps in their education that make them feel unprepared for university and a huge pressure to perform.

Burnout from work or education can easily affect your quality of life, such as depression, insomnia and a poor diet. Students may also experience poor academic performance and can even feel like they need to drop out.

“some of my friends have to ask for extensions because they’re too stressed to even finish their assignments”

Georgia, a 19-year-old Psychology student, is one of many students that often feel burned out. She told me, “I do feel burned out at uni, especially after an assignment or in exam week. I tend to get headaches and feel very tired, and it makes me feel very unproductive.”

Georgia’s friends are also under the same amount of stress. “Some of my friends have to ask for extensions because they’re too stressed to even finish their assignments.”

“At uni we have weekly wellbeing sessions that we can go to to learn how to take care of our mental health, but I still feel like I don’t have good ways to manage the stress, it only goes away once my work is done. Then, I won’t go out for a few days and that helps me reset.”

A record number of 210,000 students sought mental health support in the year 2020/21, directly coinciding with the pandemic. While it is clear that young people today are more aware of their own mental health and more likely to seek help, stress is something that affects 45% of university students.

Georgia said, “at college I would say lockdown affected my education, but I found out that I liked working from home. At university I like that my exams are online and that I have the option to do lectures online. I think the fact that uni is more independent makes it easier to work online.”

Working from home has become commonplace since the 2020 lockdown, and it looks like it is here to stay. Many jobs are entirely remote, or are remote for a few days a week. The convenience and flexibility that comes with working remotely contributes to higher levels of happiness and productivity, with 56% of employees reporting an increase in happiness levels when working from home.

Hybrid working can bring a better work/life balance, lowers costs for the employer, reduces the need to commute, and gives time to go to appointments, pick kids up from school and exercise without taking time off. Many employees report improved mental health due to these advantages.

“I can organise my day better and my stress levels have improved”

Joanna, a 51-year-old bookkeeper, works remotely. She said, “I prefer working from home. We have offices across the country so even before lockdown I was used to connecting with my colleagues on the telephone anyway. I have to do more telephone conversations and Teams meetings, but from a work point of view it hasn’t changed much at all.”

“It’s easy to stay on top of my work and put a load of washing in, or do the hoovering. I can keep my dogs company all day and it’s easy to take them out for a walk at lunchtime which is a great way to break up the day and move around. I can organise my day better, and my stress levels have improved.”

However, Joanna also told me, “my younger colleagues like the social aspect, one of my colleagues is quite junior and it’s easier to ask questions in person than over the phone. The disadvantage is training her remotely has been more difficult. We do still try to get together for a lunch meeting once a week so we can still have face-to-face contact.”

Image by StartupStockPhotos from Pixabay

Despite remote working being more commonplace, there are still many jobs that can only be done in person. Jobs such as bartending, waiting and shopkeeping are all often held by young people. 65% of people aged 16-24 report the inability to work from home, making them the age group with the least amount of home workers.

The leisure and hospitality, retail and healthcare industries are seeing high levels of people quitting their jobs. This ‘Great Resignation’ started in 2021 and is yet another result of burnout from working high-stress jobs with low pay, with many feeling they are treated as expendable and resort to looking for better opportunities.

Many of the benefits of working from home that Joanna described might not be reachable for `Gabriel and Georgia so early in their careers. Perhaps this is why Gen Z are responding by quiet quitting their jobs, as they are not afforded the better work/life balance that comes with remote working.

So, how can you manage stress and prevent burnout? Mind, a mental health charity, suggests some coping mechanisms such as taking short breaks, focussing on life outside of work, and developing end-of-day habits to help switch off from work.

The NHS also recommends maintaining a healthy lifestyle, such as staying physically active and getting enough sleep. Asking for help is another great way to relieve stress, as talking things out with another person can help to find solutions to your problems.

Amidst economic crises, feelings of stress around money, work and the future have skyrocketed. It is important to recognise burnout and be able to deal with it, as it could lead to more severe problems such as depression and anxiety. The NHS and Mind are just a couple of the many resources out there to help you cope with stress.

Crocs are back and cooler than ever

“I love Crocs, I would wear them to the club if I was allowed.”

What’s the first thing that comes to your head when you think of Crocs? Garish, ugly, childish? Or colourful, comfortable, cool? Whether you love them or hate them, it is undeniable that Crocs are having a resurgence.

On 24th November, artist David Hockney wore a pair of bright yellow Crocs to a luncheon with King Charles, who remarked “your yellow galoshes! Beautifully chosen.” Ignoring the use of the word “galoshes” in 2022, this means Crocs officially have the King’s approval. So, can we all agree that Crocs are cool now?

Founded in 2002, Crocs have been around for 20 years. Originally made to be boat shoes, taking inspiration from the shape of clogs, Crocs are practical and durable, prioritising comfort over style. Their comfort comes from the material Croslite, a cross between rubber and plastic.

For many of us, Crocs are a nostalgic reminder of our childhoods, perfect for playing in the garden and decorating with Jibbitz, charms you can stick through the holes in the top of the shoes.

“Crocs were once the shoe for normies, but now everybody is in a Croc.”

However, Crocs have not always been widely loved. Hate website ihatecrocs.com, started in 2007 and updated as recently as 2021, calls them “strange, ugly shoes.” It was frowned upon to wear Crocs in public, a secret you’d keep in your house and pretend you didn’t own.

Croc hater, Daniel, says “I exclusively use Crocs as slip-on garden shoes for picking up dog poop because that’s all they’re worth.” When pressed for an explanation of that bold statement, Daniel said “they’re ugly in my opinion and don’t go with any outfit.”

This scathing Buzzfeed article serves as more evidence of people’s visceral hatred towards Crocs. The reporter condemns Crocs for being “profoundly hideous,” and looking like a “PVC cheese grater.” It is clear that Crocs are a divisive subject, and everyone wants to chime in with their personal opinion. However, the reporter does admit that “Crocs were once the shoe for normies, but now everybody is in a Croc.”

Crocs’ comeback started in 2016, when designer Christopher Kane collaborated with the brand for his Spring/Summer 2017 collection. The Crocs were transformed into marbled, earthy colours, complete with Jibbitz that look like rocks. Since this collection, Crocs have collaborated with countless brands and celebrities. Most notably, Balenciaga created platform Crocs the year after, solidifying the shoe’s place in fashion. Other collaborations include Justin Bieber, Post Malone, SZA and, bizarrely, food brands like KFC and Peeps.

“Part of the charm of Crocs is how casual they are.”

I asked some Croc enthusiasts their opinions on the shoe, and it seems that there are strong opinions on the other side too.

Georgia told me Crocs are “class, comfortable, and easy to wear. I think they are cool enough to wear outside the house.” Crocs are meant to be a little ugly, the fact that they clash with your outfit adds to the appeal. Designer Crocs are a more elevated version of the classic, but Georgia believes ” I think designer ones are kind of weird. Part of the charm of Crocs is how casual they are.” Eve agrees, saying “I love Crocs, I would wear them to the club if I was allowed.”

Another Croc wearer, Clare, thinks that “if I had some snazzy personalised ones then I’d wear them out and about – sort of for irony, but then again irony is often a big part of trends and fashion.” The ironic fashion trend is about wearing tacky clothes as a joke to seperate yourself from the mainstream. ‘Dopamine dressing’ is another fashion trend Crocs fit into, celebrating wearing bright clothing that make you feel good.

Designer Crocs may just be a gimmick, but the appeal of a comfortable, colourful shoe is real. In a post-lockdown world where more people than ever are working from home and prioritising comfort, Crocs are a shoe worth investing in. For example, Gabriel has “a pair of fur-lined Crocs and they are amazing. I just wear them as slippers.”

Whatever your opinion is, Crocs are here to stay. The brand has skyrocketed in recent years, achieving record sales up 67% in 2021. A recent collaboration with country singer Luke Combs is being resold on eBay for over $200. So, if you’ve been swayed and want to buy yourself a pair, you’d better get in there quick.

Feature photo by Melike Benli on Pexels

The soft power of South Korea and Japan

How can boybands and video games make a country powerful?

If you were an early 2000s child, you may have grown up playing Pokemon, or remember when everyone at school was talking about the Gangnam Style music video on YouTube.

East Asian pop culture, particularly Japanese and South Korean, has steadily grown in popularity in the West since the 90s. In recent years, however, its relevance has surged.

Squid Game is one of the most-watched shows on Netflix, and K-pop boy group, BTS, is the most streamed group of all time on Spotify, with 16.3 billion plays. Sanrio, the company that created Hello Kitty, make more than $1 billion dollars in sales of merchandise every year and over 100 million households globally watched at least 1 anime title on Netflix in 2020.

These are two separate countries with their own cultures and customs, but have both cracked the code of gaining soft power through the appeal of their pop culture and media.

Soft power, coined by political scientist Joseph Nye, is the concept of co-opting others to get the outcomes you want. Nye believes there are three ways a country can gain soft power – its culture, its political values, and its foreign policies. Japan and South Korea have used their culture to gain global recognition and relevance, boosting their economies. For example, BTS brings an estimated $5 billion to the South Korean economy every year. This would not be possible without their global reach.

“Idols are not just performers, but also influencers and cultural ambassadors.”

The V&A museum is holding an exhibition called Hallyu! The Korean Wave, celebrating pop culture from South Korea. The exhibition includes film, television, K-pop, K-beauty, and fashion. The existence of the exhibition is evidence enough of South Korea’s influence in the West, bringing up interesting points on the soft power South Korea gains through this popularity.

The ‘Gangnam Style’ music video by Psy has reached 4.5 billion views on YouTube. Photo by Molly Wilson

The K-pop section of the exhibition displays music videos and costumes worn by K-pop groups. K-pop group members, known as “idols,” are not just performers, but also influencers and cultural ambassadors. In recent years, K-pop has lead to opportunities such as girl groups, Blackpink and aespa, performing at music festival, Coachella, in 2019 and 2022 respectively.

Costumes worn by aespa in their ‘Next Level’ music video, which has 251 million views. Photo by Molly Wilson

The exhibition mentions that K-pop idols’ reach “extends from in-flight safety videos to meetings with world leaders, all while exemplarily dressed.” In May of 2022, BTS visited the White House to meet with President Joe Biden for a press conference on standing against anti-Asian hate crimes. Using idols to exemplify South Korean culture strengthens South Korea’s appearance on the world stage, as they are more desirable to a younger audience than listening to a world leader.

In addition to South Korea’s soaring appreciation, Japan has also had cultural relevance in the West since the 90s. Successful video game franchises such as Pokemon, Mario Bros, and Tetris have become wildly popular globally, along with anime series such as Attack On Titan, My Hero Academia and Death Note, the latter receiving an English, live-action film.

To gain insight into Japan’s cultural influence on the UK, I spoke to gyaru fashion blogger, Lizzie Bee. Gyaru, literally translating to ‘gal’, is a Japanese fashion subculture originating from 90s Shibuya, recognisable for tanned skin, dramatic eye makeup, highly decorated nails and phone cases, and bleached hair.

“The UK gyaru community has grown tremendously since lockdown.”

Lizzie Bee is British and dresses in gyaru style every day. Lizzie explained, “gyaru, for me, is a huge confidence boost. I also love the way gyaru carry themselves; even if they wear clothes that are similar to those in the West, there’s just something about them that makes it different.” Although, Lizzie did mention that wearing gyaru fashion in public isn’t always positive. “If I’m doing a substyle like agejo, I would receive more negative attention.” Agejo is a more glamorous and sexy style of gyaru.

Uploaded image — Lizzie wearing agejo style

Lizzie also spoke to me about the UK gyaru community. She said “the UK gyaru community is ever-changing. Years went by when there were a maximum of 5 of us, but it has grown tremendously since lockdown.” Lizzie thinks the reason why lockdown made the gyaru community grow so much is “because we weren’t allowed to go out, so that gave people the freedom to experiment without worrying about public opinion.”

The Internet is a major factor in how media from all over the world gets shared. This would explain a rise in popularity of Japanese and South Korean pop culture during lockdown, as thanks to Netflix, YouTube, and communities on social media such as TikTok and Twitter, subcultures like gyaru find a Western audience.

“In 2019, Japan made $49.21 billion from tourism.”

Lizzie also said East Asian culture could have such a big fan base in the West because “East Asian culture is just so different from Western culture. Japanese street fashion in particular is so inspiring in the way that they’re not afraid to express themselves.”

Engaging with another country’s pop culture is a form of escapism, and as Japanese culture can often be very different to Western, people romanticise a different way of life. This fascination with the unknown is what appeals to us as foreigners, and benefits Japan as a country as we buy into it. In 2019, Japan made $49.21 billion from tourism, as fans of Japanese culture travel to popular destinations like Tokyo, Kyoto, Osaka and Hokkaido.

South Korea and Japan continue to appear in the media today. ‘Parasite‘, directed by Bong Joon Ho, swept the Oscars in 2020, winning not only Best International Feature Film but Best Picture. The Royal Shakespeare Company have adapted Studio Ghibli film, ‘My Neighbour Totoro‘, at the Barbican Centre. East Asian visibility through the soft power of South Korea and Japan contribute to celebrating different Asian cultures and their economies.

Feature photo by Molly Wilson

Charity shop Chic: Our new relationship with fashion

“I used to buy clothes very often but just don’t have the excess money anymore.”

The cost-of-living crisis is affecting all of us. Energy prices are reaching new heights, food is expensive and we have to be frugal to make ends meet. We are buying less, which extends to fashion. Our relationship with fashion is changing, and the fashion industry is taking a hit. Furthermore, style trends are changing to reflect the new attitude about buying clothes.

Online fast fashion retailer, Boohoo, reported a 10% fall in revenue in the half-year to August 31st 2022. The company’s market value has fallen 87% this year, and many other retailers are reporting the same. Consumers cannot keep up with inflating prices, causing companies to lose profits.

“More recently I find myself only buying from charity shops.”

Photo by Artificial Photography on Unsplash

This is known as stagflation, a portmanteau of “stagnation” and “inflation”. Santander describes it as “a combination of high inflation and economic stagnation. Inflation drives prices up but purchasing power is down.”

Young people, who have a lot of spending power when it comes to high street fashion retailers, are some of the people affected most by the economic crisis. I spoke to some young adults about their relationship with buying fashion and whether they’ve been drawn to different fashion trends as a result of the cost-of-living crisis.

Evie, 20, told me “more recently I find myself only buying from charity shops.”

“I think the styles I’m into right now reflect the change, dark wash jeans and knit jumpers.”

Juliette, also 20, felt the same, saying “I’m not shopping as much as I used to, now I only shop for groceries and uni supplies as I’m worried how much my electricity bills will be in the winter.” Those who would be consumers of high street fashion, buying into current trends, have opted out of the trend cycle in favour of the most affordable option.

“I’ve been really surprised at how much it’s affected me,” said Lucie, 21. “I used to buy clothes very often but just don’t have the excess money any more. My ‘shopping treats’ now are almost completely charity shop items.”

Lucie said her style has changed too. “I think the styles I’m into right now sort of reflect the change, dark wash jeans and knit jumpers.”

Dark colours and knitwear, while always trendy in the winter months, may reflect the way we feel about the cost-of-living crisis. Most of us will be layering up to fight the cold that we can’t afford to stave off and we feel pessimistic about the future which reflects through dark colours.

To get the ‘Charity shop Chic’ look, ransack your local Oxfam for thick knitwear and winter coats in appropriately depressing, dark colours.

The public’s lack of disposable income will change the fashion industry’s marketing strategy, as it’ll take much more for us to part with our money. A focus on sustainable, second-hand fashion can already be seen through eBay’s partnership with Love Island this summer, a departure from their usual partnerships with fast fashion brands.

Feature photo by Fernande De Canne on Unsplash

Analysis: ‘Meet The Queer Mexican-Israeli Model Breaking Boundaries on TikTok’ by Liam Hess, Vogue.com

In this article, Hess skilfully paints a picture of who Hadassah Tirosh, the interviewee, is. Hess begins by describing Tirosh’s style, “sleek silhouettes and bold pops of colour”, to help the reader visualise Tirosh. He also describes her “infectious laugh”, again giving insight into her personality and giving her relatability. The structure of the interview is a narrative style, with a balance between quotes and explanations about Tirosh and her ambitions with TikTok and her modelling career. Hess also gives insight into Tirosh and her fans’ “struggles before settling into their own identities”, again displaying relatability, which is important in a profile piece.

One thing I think Hess could do better is not using so many big words. In Orwell’s Rules, he says “never use a long word where a short one will do”, which Hess breaks with words such as “treatise” and “nascent”. These are not words the public would hear often, making some parts of the article inaccessible and possibly difficult to read. Hess also breaks the rule of “never use a figure of speech which you are used to seeing in print” with “whopping audience” and “primed and ready”. I believe Hess needs to find a balance between complicated and stereotypical wording.

Overall, I enjoyed Hess’ interview, the interviewee was very fascinating and had many interesting things to say and the article was well structured with a clear beginning, middle and end. The subject was the strongest part of the article and small wording issues could be rectified by more precise sub editing.

Latex and Legends: A reflective look at Thierry Mugler Haute Couture F/W 1995

Thierry Mugler’s Haute Couture Fall/Winter 1995 show opens in haunting darkness. Lights flash, underground music thumps as models in angular, all black looks begin the show. The set is minimalist, held in the Cirque d’Hiver for Mugler’s 20th anniversary party. The brand’s signature star logo is lit with neon, casting blues, reds and purples on the hour-long performance.

Performance art is the best way to describe this show, often referred to as the ‘Woodstock of Fashion’. Models are not just models, they are dancers and actors, descending the staircase as if from the heavens. They smoke on stage, a charmingly 90s image, they pull faces, kiss each other. Mugler pushes boundaries of the time with inclusivity, with models of different heights, ages, sizes and races. He also pushes the boundaries of Haute Couture, challenging strict guidelines and filling the collection with fetishistic latex. Mugler celebrates femininity and the female form, using corsets and padding to create exaggerated silhouettes. It is a glamorous affair, tailored jackets and pencil skirts contrasting curves with sharp angles.

In the dawn of the Internet age, Mugler often used his collections to visualise what the future of fashion might look like. Many looks are reminiscent of 60s retro futurism with clean lines and block colours. A model reveals her head-to-toe chrome look by removing a long dress, moving stiffly and robotically, before the collection takes a turn back to softer, feminine looks adorned with flowers, pearls and fur.

It is deliciously camp, male dancers in thongs thrust at the models walking by, before a flamboyant look inspired by a modern-day imagining of Venus takes centre stage. The show is rounded out with a performance by James Brown, the Godfather of Soul, closing the show with a dance party and an appearance from Manfred Thierry Mugler himself. It is rare to see a fashion show with models enjoying themselves, showing their personalities as opposed to seeing the same hard smizes over and over again.

It is no wonder that Mugler is seen as an iconic visionary, pushing boundaries and taking risks in fashion. The Fall/Winter 1995 show combines the ingredients of sexuality, femininity, glamour and futurism to create an unforgettable spectacle. This show is mandatory educational viewing for a retrospective look at one of the most influential designers in the fashion industry and to see how Mugler has left such an impact today.

A Q&A with deaftapes

Theo Power, a first-year Sound Arts student at LCC, has a chilled and laid-back attitude. When I approached him for an interview, I was met with a hearty, rollicking laugh and a simple “yeah, sure.” On stage, however, Theo becomes deaftapes, an alter ego he uses to separate his experimental sounds from his personal life. He kindly agreed to answer some questions I had about his music, slouching on my bed comfortably.

What inspired you to get into music?

“Oooh, so… When I was younger I grew up in a very musical household. Music was constantly playing in the car or on the radio at home, so music has always been a big part of my life. My family were very into rock and metal music. A lot of 90s nu-metal, so groups like Korn and Limp Bizkit, Deftones.”

So you’d say those kinds of bands influence the music that you make now?

“Yeah, 100%, in particular Deftones has a huge influence on the music I make, with the dreamy guitars and vocals. Like on a song like ‘Sextape’, where it feels almost euphoric. I got really into experimental music when I was 13, so lots of weird hip-hop groups and noise music. I thought ‘I really wanna make that’ so I started making ambient, noise music.”

And how would you describe your sound?

“That’s a good question, it’s very difficult. I would say it filters between a genre called power electronics, which is a type of noise music which is very harsh beats, lots of screaming vocals, and ambient, nice soundscapes. I’d say it’s experimental electronic music.”

What’s your process when you’re making a new track?

“Some tracks fall into place, like my track ‘i’ve lost my head’ was just done by accident. I went to a secondhand record shop in my town and picked up these tapes for a pound each. The one I used on that were these Westminster choirs from the 1970s.”

So would you say that every song comes about differently?

“Yeah, sometimes I’ll be on the train and suddenly need to write down an idea or mimic it with my voice, which is bad for the train passengers.”

Last question, where would you like to go with your music in the future?

“I would love to work on either a film or game soundtrack. I’d love to play more gigs, art installations. I want to continue with what I’m doing now, have deaftapes as a solo venture that I can always come back to and see where the rest takes me.”

Susie Bubble: Eclectic, Haphazard and Messy

The year is 2006, and blogging has hit the mainstream, from fashion to food. Enter Susanna Lau, better known by her online alias, Susie Bubble, and her uber-successful fashion blog, Style Bubble. Armed with a colourful, youthful wardrobe of clashing prints, dresses with trainers and an iconic blunt fringe a la Anna Wintour, Susie’s style is still instantly recognisable today. With snappy titles like “Right Hyeres Right Now” and “Polle and Pompula Up Your Life”, Style Bubble was racking up tens of thousands of visitors by 2010.

One of the first bloggers to be invited to fashion week, Susie withstood ridicule from mainstream fashion journalists, drawing parallels to social media influencers at fashion week today. Her unique fashion sense, with a focus on then-indie designers like Molly Goddard and Simone Rocha, caught the lens of street style photographers, allowing her looks to reach an even wider audience. Susie describes her styling method in an interview with Galvan London, “I generally pile it on like a Christmas tree”, and in Red Magazine as “eclectic, haphazard and messy”, a welcomed contrast to the business casual blogger aesthetic of the 2010s. Susie has spoken openly about her struggles in the fashion industry, detailing the “bamboo ceiling” in an article for Vogue and how difficult it is to find Asian representation in fashion, especially other than Chinese or Japanese. Susie shares she’d “gone to Bond Street to attend a press day… only to be told, ‘We’re closed. This event is for press only.’”, immediately feeling “that you’re lesser than your white peers”. Susie has also publicly called out big names in the fashion industry along with early-days blogging peer Bryanboy, such as DJ Michel Gubert, for an infamous racially insensitive Instagram post. Bold and confident, Susie has never been afraid to challenge the status quo.

After the blogging boom of the early 2010s, many of Susie’s blogging peers have dropped off to pursue other careers or switch to social media influencing. Susie still works as a freelance journalist covering international fashion weeks and writing for publications such as The Guardian and Vogue. After the birth of her daughter, Susie has dedicated much of her life to motherhood, stating “I put my daughter Nico’s priorities ahead of anything” in an interview with L’Officiel. To keep up with Susie now, she is still posting her eclectic outfits to Instagram, moving away from Style Bubble and into the social media sphere.

Thames plane was victim of attempted bombing

Metropolitan Police held a press conference at 2:30pm today as part of the investigation of the 23rd November plane crash on the Thames near Rainham Marshes, Essex. Chief Investigator William Stuart and AAIB commissioner Murray Russell revealed that adhesive tape found on the drone debris which caused flight US132’s engine failure matched tape found on an improvised explosive device (IED) found on the shore of Abbots Farm Nature Reserve in Essex. A second IED was found near a footpath on Lookouts Hill near Thamesmead. It is theorised that perpetrators were on nearby Galleons Hill and anyone who may have seen anything suspicious on 23rd November is urged to contact Metropolitan Police on 105.

Chief Investigator William Stuart also disclosed that Essex Police had received a warning phone call at 8am that morning, claiming to be from ‘Mersea Pathfinders’, a protest group against flight paths over areas of natural beauty in Essex. Past protests by Mersea Pathfinders were seemingly peaceful community marches contained to a small area of the village of West Mersea. The call, appearing to have come from Hawaii, was being investigated by global police networks, however direct action was delayed due to the vague nature of the call. Two arrests have been made in East Mersea with charges of possession of explosives, with one more person in questioning for the possession of software and electronic equipment with intent to endanger the safety of an aircraft, a crime with a maximum sentence of five years in prison.

The amateur pipe bomb was found to be made of copper piping purchased in Braintree, Essex. The IEDs have been disabled in a controlled explosion east of Clacton-on-Sea, where the military’s bomb disposal unit detonated the device at 20 metres underwater. According to bomb disposal units, the device was “rudimentary and non-viable”, meaning that if the IED had not become detached during the collision, the plane likely wouldn’t have incurred much further damage.

The next course of action for Metropolitan Police will be to verify statements for a criminal investigation, as in the authority of William Stuart, this incident was “not just an accident.” The motive for the attack is not yet known, however no possibilities, including terrorism, are being ruled out. Security services and the UK Civil Aviation Authority are looking to expand security measures around commercial airports, including testing drone-alert security systems in air traffic zones around north-east Essex, north Kent and south Suffolk.