Colèchi speaks to Mia Tanguy about the impact that streetwear has had on the fashion world, and how its role has changed over time.
‘Despite the initial cultural influences that birthed streetwear being drained into the mainstream, it isn’t fair to argue that streetwear has no culture. It is to say however that the new culture of streetwear is now based upon symbolic consumption and is a commodity rather than a lifestyle’.
What is the title of your work?
What Does Streetwear Mean in the World of Fashion? Deconstructing the Development From Cultural to Financial Gain.
What was your overarching view of the role of streetwear in the fashion world?
I believe that the culture that birthed streetwear, a movement fuelled by genuineness, cultural subversion and expression, has been lost in its progression over time. Exploring this further, technology and social media were the catalysts in the financial and consumerist shift of streetwear and the marketisation propelled the subculture into the mainstream.
The hype culture and rarity created by minimal drops, combined with a society that is increasingly narcissistic, overstimulated and consumption-driven, created the ideal recipe for financial success in a capitalist society. I argue that streetwear has evolved in relation and response to western society and it is a product and clear demonstration of the behaviour, consumer habits and values of Millennials and Generation Z.
Did the format of your body of work compliment your argument in any way?
My structure was fairly linear to replicate the evolution of streetwear. Therefore my chapter development grows from the birth of streetwear to exploring how the marketisation strategy lent itself to financial success. Placing focus on the marketing framework of streetwear, further chapters hone in on the impact of technology, the re-sell market and branding hype.
I also pay attention to the ever so important consumer. In the current time, there has never been more pressure on the consumer than there is now, and this is with no specific regard to the streetwear industry, but rather the fashion scene as a whole. I delve into the attitudes of streetwear consumers, which includes scrutinising how the consumer now dictates the rules, better referred to as the trickle-up theory.
Did you make any key discoveries on what streetwear means in the world of fashion?
One main discovery was how streetwear has subverted the typical way fashion brands develop and for the first time in fashion history, blurred and arguably destroyed the lines between high culture and low culture. Additionally, streetwear is an umbrella term for a complicated industry with such a culturally rich history. What streetwear is now, hugely based on conspicuous and symbolic consumption, is a direct representation and reflection of current western society.
I revealed a toxic cycle whilst writing my dissertation, with specific regard to the marketisation of streetwear. The drop and hype culture created rarity and with less of this in the world now due to varying factors, including globalisation and mass production, the demand for unique pieces was made higher. Therefore, drops and releases were hugely successful, they created a strong cult-like following which then bled into mainstream society. Releases from original streetwear brands became … larger collections, new brands were developing through social media and the re-sell market changed the game forever; the industry became so diluted and heavily saturated that it is barely recognisable.
What did you conclude from your research on streetwear?
Streetwear can be classified into two categories, the early subcultural elements which were built on self-expression, cultural subversion and DIY culture and secondly, a commercial, money-making machine that began firstly in the late noughties.The term ‘streetwear’ is too broad of a term when referring to the varying elements in its progression and a new, updated term would be greatly beneficial to describe the heavily oversaturated, financial business it now is in contemporary society.
Do you think the discoveries you made are relevant to what might happen to streetwear in fashion in the future?
I don’t think any of the discoveries made … will directly impact the future of fashion as the industry continues to grow exponentially out of my control. Having said that, my discoveries show that the behaviour and consumption habits of consumers have been one of the main factors in contributing to the financial re-structure and cultural sabotage of streetwear. Therefore, I hope that my research shines a light on our western society and habits, making individuals reflect on their experiences with streetwear and view the industry with more knowledge and self-awareness, buying with thought and intention as opposed to conspicuously, causing an indirect impact on the future of fashion.
Does your work as a student have any relevance to the work you are doing now in Brand Development and Creative Direction? If so, how?
Not particularly, but arguably yes. My undergraduate research is hugely reflective of my interests, combining fashion with social structure and the wider world. Fashion explores consumerism, culture and the behaviour of individuals across the industry. So, for me, it’s about finding how your values align concerning those elements within different jobs and sectors. However I have a huge interest in craftsmanship, eco-consciousness and a cynical approach to how much social media impacts the world of fashion – mainly propelling disposable fashion and the instant gratification behavioral traits of consumers. Therefore, I often find myself in a riptide of contradiction and an imbalance of values within finding work. Although, there are so many brands and companies out there that mirror my views and I look forward to what the future has to offer.
