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[soukita]

RICK OWENS AND HIS INFLUENCE ON YOUNG ADULTS AND THEIR FASHION JOURNEYS

The fashion industry is forever evolving, inspiring a new generation of young teens and adults to express their individuality through the language of clothes. In the midst of the fashion industry, many people have shared their love for clothing by designing and creating new pieces that can influence a group of disciples for years to come. Rick Owens and Michèle Lamy are two influential figures who completely changed the fashion industry with their intricate designs and unique silhouettes whilst helping introduce many people, of all different backgrounds, to avant-garde fashion. The fashion industry continues to fluctuate in terms of what is and what is not popular due to the rapidity of trend cycles and the gentrification of fashion. Rick Owens has gained a lot of traction in recent years due to widespread popularity on social media such as TikTok, Instagram and Pinterest. This wide-spread popularity can be attributed to numerous celebrity endorsements and collaborations. I interviewed two Rick Owens enthusiasts: Bailey Anderes and Chase Walker comparing the influence Rick Owens has had on their respective fashion journeys. Walker, a 23 year old reseller from Detroit and Anderes, a 19 year old Fashion Student from New York, both have different journeys in finding their own route in the fashion industry, however they both share a common admiration for the brand. 

When did you first get into the brand Rick Owens?:

Walker: “When I was about 16-17 I saw Kanye wearing this Rick parka and ever since then it’s been on my radar.”

Anderes: “Around sophomore year. So about 4 years ago.”

What inspired you to get into fashion, specifically Rick Owens?:

Walker: “Back in 2016, I was in several online communities, mostly on Reddit and Kanyetothe. This is when we were coming out of the Yeezus era and I saw a lot of affluent people wearing Rick such as A$AP Rocky and Kanye. This era is when a lot of people were getting into Rick because of celebrities. It wasn’t until 2019 that I actually started buying Rick because I had started downsizing by selling my thrifted clothing on Instagram. Then, when COVID happened, I lost my job and used my stimulus checks to invest in my business, importing and dealing with designer goods, mostly Rick.”

Anderes: “I think the dark, drape, and brutal style is super cool. Seeing my dad wear suits early on definitely made me want to look fashionable”.

Do you think the location of where you live affects your fashion sense?

Walker: “Detroit is a fashion desert. Short answer, yes”.

Anderes: “Absolutely. I grew up in Wisconsin. And that’s honestly what pushed me into Instagram and websites, so I began seeing and reading about designers there.”

“One thing about Rick is that it has such longevity because it’s the only brand in the public eye that is “dark wear adjacent”

Rick Owens has gained an insane amount of popularity in the recent months, why do you think that is and do you think gatekeeping the brand has aided its exclusivity?

Walker: “Definitely has to do with the Converse and Birkenstock collab, Rappers like Gunna and Playboi Carti and Tyrone Dylan’s influence on the brand with Kiss Heels and the more glam look also have had a major influence. One thing about Rick is that it has such longevity because it’s the only brand in the public eye that is “dark wear adjacent”.

Anderes: “Yes. Gatekeeping Rick Owens definitely would allow them to be less popular, however with collaborations with Converse and Veja, they end up hitting a lower price tier bracket so it’s more accessible. Also gatekeeping Rick is still a thing, there are a lot of collectors who don’t like how popular it’s getting so they tend to stray away from giving out a lot of info”.

When a brand gets really popular in mainstream media and fashion, it is inevitable that fakes start to appear in the market more frequently. Have you ever bought any fakes?

Walker: I’ve bought so many fakes by accident. I think it’s weird if you wear it. Money is out there, there are very little things you cannot afford when it comes to clothes. If you have $200 but the piece you want is $500, just wait until your next paycheck. Counterfeiters don’t intend to fool the buyers, they are selling to a customer. If you really care about the piece, you’ll look diligently to make sure what you’re buying is real”.

Anderes: “Unbeknownst to me yes, I also was on Canal Street and got a fake Prada hat cause it was funny”.

Do you think the price tag of some of Rick Owens pieces are worth it? In terms of quality and honing your personal style?

Walker: “Short answer: yes, value is a complicated concept. I can buy a Gildan shirt from Walmart and as soon as I walk out the door the value depreciates, however I can buy a piece and as time goes by I can get back the money I paid, or more, if I resell it”.

Anderes: “Retail? No. Resell? Definitely not. You have to be patient to find a good deal nowadays. I used to have a lot of Rick Owens. I collected a lot from SS02 and I was able to pick it up for pretty cheap a few years ago. Now, not so much”.

Rick Owens has created such a big community that truly brings people in the fashion world together. There’s a private discord, accessed only by invite, that allows enthusiasts to have an open discussion with other archivists and devotees to the brand where one is able to chat, share their newest pieces, and oftentimes sell to each other. Owens, a bi-sexual man, has also used the brand as a way to blur the lines of gender steryotypes (creating the famous “KISS Heels” that many hetoro-sexual men are now wearing). I asked Walker if he thought Owens himself has had an influence in breaking these gender norms:

Walker: “Yes but not really. A lot of men who are wearing Kiss heels are some of the most homophobic and bigoted people, but they dont even realize the meaning behind the piece. You cannot look at these muses Rick has and not think this isn’t a little queer. Some people are just so close-minded and blinded by their own delusion that they’ll wear anything hype even if they don’t support it. Rick operates in such a peculiar space, being a designer endorsed by rappers and hype while simultaneously androgyny and femininity”.

Anderes and Walker are both different in age, style and location, however they both share one thing in common and that is their self expression through fashion and their work. Walker a reseller and Anderes a writer both hone their experiences in the fashion industry to continue utilizing their craft in order to evolve.

As fashion keeps evolving, Owen’s brand will too, and currently he is in the midst of releasing another collaboration with Converse. As Anderes said, people are still gatekeeping Rick Owens, but with his continuation of collaborations and releases that appeal to the masses, the brand seems as if it will continue to be a staple on social media and in everyone’s wardrobe.

“Rick operates in such a peculiar space, being a designer endorsed by rappers and hype while simultaneously androgyny and femininity”

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FASHION AND FILM CROSS PATHS IN NANA

Anime has always been a dominating factor in the fashion industry due to its influence on its audience and cult following. On-screen cinema has inspired an array of people to dress similar or spot on to famous characters such as Serena van der Woodsen and Blair Waldorf from Gossip girl. These outfits and characters also transpire into having a lasting effect in cinema i.e. the Academy Award nominated film The Devil Wears Prada. Because these shows and movies have such a large cult following due to their aesthetic and nostalgic attachments, individuals bond themselves to the cinematic art these on-screen displays portray. NANA is the story of Nana Komatsu and Nana Osaki. They first meet on a train to Tokyo and discover that they are the same age.

Both Nana’s have different styles. Nana Komatsu (pictured left) goes by Hatchi and Nana Osaki (pictured right). Hatchi and Nana both have different aesthetics, Nana dresses with a punk rock whilst Hatchi dresses in very girly-esq outfits. They both have different aspirations; Hatchi moves to Tokyo to be with her boyfriend Shoji, and Nana moves to become a famous punk singer.

In NANA, Vivienne Westwood is referenced in almost every episode. You can see almost all of the characters wearing something by the designer, even if it is as small as a pair of earrings.

NANA has had a huge impact on fashion, especially through its resurrection on social media apps i.e. TikTok, Pinterest and Instagram. In summer 2020, because of TikTok, Vivienne Westwood’s pearl choker with her crystal orb logo gained massive popularity, being seen on celebrities and influencers alike. The necklace is detailed as a single strand with pearls and a Westwood orb falling in the middle of the necklace. There is also a three strand version of the necklace. Both these necklaces were featured in NANA. Now, because of its resurrection, it is seen as the It-Girl accessory of 2021 thanks to its popularity on TikTok.

NANA has truly inspired a lot of people, knowingly or not, to buy many of the exact pieces featured in the show. Because of its affluence and hype, some of these iconic pieces are reselling on the second hand market for astronomically high price points.

With the boom of Westwood’s influence on a newer generation, this makes it somewhat harder to get some iconic pieces due to Nana’s popularity. Because of this, it has caused a lot of fakes to be created via Aliexpress, Dhgate, and eBay to be sold on various reselling apps i.e. Grailed, Heroine and Depop. As a result, it sometimes gets harder to identify the real and authentic piece especially if someone is buying into the brand because of NANA and its symbolic influence it has on the buyer or watcher. It takes away from the brand because it’s turning an iconic brand like Westwood into fast fashion because of the mass produced pieces. In no way is this Westwood’s fault because she supplied products that rose in popularity due to anime, social media and seeing people wearing these pieces. However, if Westwood was to lower her prices and start to mass produce her items, it would take away from the brand’s exclusivity and message. An example of this would be House Of Sunny where they rose to fame due to their infamous David Hockney inspired dress. House of Sunny based themselves upon sustainability and spaced out drops however when the dress started to get popular they started to mass produce items. This also affected the quality of their garments and their dress was now being replicated on AliExpress. Westwood’s jewelry is costume jewelry, so they’re not made out of pearls, diamonds or precious metals. It’s up to you if you want to spend £120 on a MINI BAS RELIEF CHOKER via the official Vivienne Westwood site.

Westwood’s influence on fashion has inspired a generation of young creatives. However, her influence on NANA truly changed the way people correlate animated TV shows into real life outfit and lifestyle inspiration.

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ANTWERP 6: WHERE ARE THEY NOW?

The Royal Academy of Fine Arts in Antwerp, Belgium is home to some of fashion’s most influential designers and artists, ranging from Vincent Van Gogh to Martin Margiela. Between the graduating class of 1980 and 1982, a group of six designers comprised of Dries Van Noten, Ann Demeulemeester, Dirk Van Saene, Walter Van Beirendonck, Dirk Bikkembergs, and Marina Yee all collectively studied under fashion designer Linda Loopa, each of them differentiating themselves from their peers through their creative direction, unique designs, and uncompromising passion for the industry. It was not long after their graduation that each of them developed their individual fashion label, keeping in touch with each other to flesh out new ideas. In 1986, the group jumped into a van and made their way to the British Designer Show in London where artists such as John Galliano and Vivienne Westwood, who were already established in the industry, showcased their work. The group was given a small space on the top floor away from all of the top artists, where buyers were not interested in traveling the length to view the work of the six unknown artists from Antwerp. By day two, they realized that none of the buyers were traveling past the first floor, so they decided to print out flyers and distribute them. That afternoon, a buyer from Barneys went upstairs and was amazed by the group’s designs, since each designer had a unique style and creative vision, and this soon became the collective’s first order. Shortly after, the press caught wind of these six fashion designers from Antwerp, but were not able to pronounce their Belgian names, settling on coining the group the “Antwerp 6”.

Over 30 years have elapsed since the showcase, let’s take a look at where this creative group is now.

Ann Demeulemeester

Born Ann Verhelst, Demeulemeester launched her brand alongside her husband Patrick Robyn. In 1982, she was awarded the Golden Spindle Award (a Belgian prize created by the Belgian government to aid the reawakening of its textile industry). She got her start in fashion through eyewear, showcasing a collection of sunglasses at the British Designer Show. She is now well-known for her military-inspired boots, graphic prints, and grunge/dark themes that are showcased within her designs. Although she left the brand in 2013, she still oversees special projects, such as creating the house’s very first perfume and is currently collaborating with Serax, a Belgian B2B interior design company to create homeware and lighting ranges.

Dries Van Noten

Born into a family of tailors, Dries Van Noten is known for intricate cuts and silhouettes. His attention to detail and his knowledge of the importance of tailoring is showcased within his work. His designs have been seen on various influential figures such as Cate Blanchette for the 2008 Academy Awards, Queen Mathilde of Belgium, and Maggie Gyllenhaall. In 2018, Puig, a fashion and fragrance conglomerate (most notably owning Charlotte Tilbury and Jean Paul Gaultier) bought shares of Dries Van Noten to become the majority owner. Noten remains on the brand as a significant minority shareholder and continues his role as Chief Creative Officer and Chairman of the Board.

Dirk Van Saene

Dirk Van Saene is an artist that utilizes his love for painting in every one of his collections by featuring hand-painted clothing and printed reproductions of his work onto fabric to create garments that are truly one of a kind. Van Saene’s sculptures and paintings have been independently showcased at the Gallery Sofie Van de Velde, located in Antwerp. He is currently creating collections under his own name whilst being an instructor for the fashion design program at the Royal Academy of Fine Arts. In collaboration with fellow Antwerp 6 colleague Walter Van Beirendonck, Saene has created and operates a boutique located in Antwerp

Walter Van Beirendonck

Walter Van Beirendonck is the oldest member of Antwerp 6, graduating alongside Martin Margiela, one of fashion’s most influential designers. Beirendonck is the head of the fashion Department at the Royal Academy of Fine Arts, Antwerp. He has created a capsule collection for IKEA and he was the fashion advisor for U2, an Irish rock band from Dublin, featuring Bono, The Edge, Adam Clayton and Larry Mullen Jr., where he created costumes for their 1997 PopMart tour. As a long time professor at the Royal Academy of Fine Arts, he has dedicated most of his career to mentoring young designers and artists such as Raf Simons and Kris Van Assche.

Dirk Bikkembergs

Born in Germany in 1959, Dirk Bikkembergs acquired his reputation as a fashion designer before joining the “Antwerp 6”, winning the Canette d’Or award for the country’s best young fashion designer, leading him to design his first men’s shoe collection (a category that would host some of his most iconic designs). His inspirations from athleticism and loungewear aided him in forming Bikkembergs Sport in 2000, which hosted fashion shows at iconic sports arenas such as Camp Nou (home of F.C. Barcelona). In 2012, Bikkembergs sold his label and was acquired by Zeis Excelsa and shortly after in 2016, British designer Lee Wood was made creative director to aid the growth of the brand.

Marina Yee

The most elusive member of the group, Marina Yee is currently still designing. She founded her label called Marie, however she never showcased any of her designs at the big fashion capitals because she always desired to keep her business small. Much of her work is centered around the thought of being sustainable and her designs focus on upcycling and restoring vintage garments. In 2003, she started her own workshop in the center of Antwerp that repurposes flea market finds into alluring and eye-catching pieces.

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THE REINTRODUCTION OF MARGIELA IN THE 21ST CENTURY

Since his debut, Martin Margiela has been one of the most influential designers of this generation. Inspiring artists such as Raf Simons, Margiela’s influence continues to impact already established and up-in-coming designers. Jean Paul Gaultier’s former prodigé was notably confused with being a part of the Antwerp Six, but this Antwerp graduate made sure to set himself apart from his peers. Founded in 1988 alongside Jenny Meirens, he started his brand with the premise that he wanted his clothes to speak for themselves, without the influence of branding. The four white stitches at the back collar represent practicality and if one wanted, the branding could easily be removed. Debuting his first collection on October 23rd, 1988, guests were seated on wooden benches and white cotton fabric served as the runway. This peculiar makeshift set-up connected to the themes of deconstruction and interpretation that the collection represented. During Paris Fashion Week, fashion houses at the time hosted their shows within the 1st arrondissement however his show took place at the Café De La Gare, located in the 3rd arrondissement. It became a controversial way for Margiela to debut his collection. Creating garments out of vintage clothing was one of the reasons why Margiela is known for his artistry. He questioned the obsolescence of outdated garments and constructed them into something transformative to reveal their inner workings.

He was also known for using a variety of everyday elements such as duct tape, garment bags, and spray paint to make runway pieces.

The standards in the ‘90s were to have highly influential supermodels to sport your designs and to have frivolous and outgoing runways (i.e. Chanel and Versace). The models Margiela used, however, were friends and strangers he plucked off the streets. He did this because he wanted to show that his clothes can be worn by everyday people and to highlight the house’s main theme of anonymity. Kristina de Coninck, a model who walked for his shows, recalled her experience working for the designer.

“[…]When Martin was casting models, he was always looking for a certain attitude, to let our personality show through. The fall/winter 2000 show was such genius — elegant but done with a sense of humour and attention to the finest detail.”

During his 1995 Spring/Summer show, he had the models wear rhodoïd strips over their eyes, concealing their identity to refocus it onto the clothes. Fashion houses in today’s age have adopted the concept of having models who are descendants of famed moguls within the entertainment industry.

Vogue dubbed Margiela a “Bad Boy” after his 1994 Fall/Winter Show because he refused to show his collection to the press before it hit the stores in September. Margiela’s name itself is extremely common in conversations and themes within the fashion industry, however, there are very few photos of him. Margiela did not want his physical image to speak for his designs, rather, he prioritized the brand being viewed as a collective, not one monolithic image.

In 2002, Diesel acquired Maison Martin Margiela due to financial troubles. During the acquisition, the brand had gone through major shifts in its identity which ultimately resulted in Margiela resigning from his position as creative director in October 2009. After his departure, the house’s anonymous design team who are famed for sporting white lab coats continued to design for the label until John Galliano was appointed creative director in 2014.

John Galliano is a Central Saint Martins graduate who previously designed for big houses such as Givenchy and Dior. Galliano was known for his flamboyant personality, logomania, and interesting designs. Galliano himself was a figurehead, never shying away from the spotlight, walking down the runway dressed in outlandish costumes (i.e. astronaut and sailor). Since Galliano’s takeover of Margiela in 2014, he has shifted the ethos of the brand to focus on refinement, poetry, and storytelling. Although Galliano is known for highlighting these pillars (as seen in Spring/Summer 2022), he has made this once garment and design-focused house into a house that is catered to today’s youth, who are heavily attached to the digital world. John Galliano stated that “The online presence of fashion houses can feel cold, detached, and transactional […] much of our grammar at the Maison is founded in movement: dressing in haste, work in progress, the bourgeois gesture.” Ultimately, the sense of mystery was lost because of Galliano’s identity despite the anonymous approach that the house was founded upon.

The brand also introduced more logomania items and had numerous collaborations. This has strayed away from the brand’s pre-Margiela departure ethos and it spiralled into a mass-consumerism, nonsensical, and somewhat profit-chasing brand. Maison Margiela is known for its collaboration with H&M, Reebok, and Samsung.

Margiela was a minimalist brand based on the bias of deconstruction, intricate designs, and practical wear. Now, it is a part of the public sphere and has been somewhat reduced to their popularized Tabi shoe due to the boom of social media. On TikTok alone, the hashtag “tabi maison margiela” has amassed 219.7M views. A brand that was originally known for going against industry trends, has now turned into the one setting them. Margiela is coined as the founding father of Anti-Fashion, and he’s up there with the greats such as Rei Kawakubo and Issey Miyake. Although Galliano is a talented designer, he tried to establish himself within the Maison in order to not lose all of the brand’s foundation. Galiano has a podcast called “The Memory Of… With John Galliano” where he narrates the collections he creates under the brand, further revealing the mystery of this once tight-lipped brand.

Although Galliano and Margiela are two different designers, they’ve still found a way to be some of fashion’s most reputable figureheads. Galliano may be a change of scene from the original ground built upon the foundation Martin had framed for the past several years.