Wednesday, June 23, 2021

Prabal Gurung’s New Collection Is A Look Back At The Y2K Party Scene

As one of New York Fashion Week’s quintessential designers, Prabal Gurung sure is happy New York City is back in action this summer. 

On Wednesday, the designer unveiled his Resort 2022 collection, offering party dresses reminiscent of the early 2000s that are sure to transport millennials to their senior proms (in the best way possible). All looks were photographed on the streets of New York City’s Chinatown, a nod to Gurung’s early days as a designer, when he lived in the neighborhood. 

“Vibrant and resilient, full of grit and character, my love for New York City continues to grow,” read Gurung’s collection notes. “[Chinatown] is a whole community that shows the great character of New York City, full of true New Yorkers, often overlooked.”

Full of colorblocking and bold monochrome looks, the joyful 35-piece collection is straight out of the early-aughts party scene, complete with giant flower choker necklaces and brooches, asymmetric ruffles, and midriff cut-outs. There are also lace dresses with corset bodices, a regencycore-inspired trend dominating this season, as well as mini body-con dresses with puff sleeves, a statement style that promises to be big this fall. 

Like it or not, the early aughts are back with low-rise jeans, whale tails, trucker hats and even pop-punk accessories after much speculation over Gen Z’s interest in the era of the pink Motorola Razr and heavy lip gloss. And Gurung’s take on early 2000s feminine glam arrives just in time for the resurgence of party dressing post-vaccination (lip gloss optional), with thigh-high slits, voluminous skirts, and loads of color options to paint the streets in blue, pink, black, orange, and purple rounding out the collection.    

The new collection feels particularly important following the impact the coronavirus pandemic has had on both New York and its AAPI communities that have suffered from a dramatic rise in violence in the past year. According to the notes, Gurung was inspired by the wave of social justice movements and youth activism over the past year, which the designer says “shines through with the intention and substance […] that is often lost in fashion.”

The Nepalese-American designer is no stranger to making statements on his collections. In 2017, he showcased a collection full of slogan T-shirts emblazoned with phrases like “We should all be feminists” and “Girls just want to have fundamental rights.” While this time his politics may be portrayed more subtly, this latest collection is a big statement during a time when optimism may be the most valuable currency.

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Meet The 22-Year-Old Vintage Seller ID’ing Your Favorite Sex And The City Looks On TikTok

Olivia Haroutounian knows good vintage. The 22-year-old University of Houston student has been sourcing clothing for as long as she can remember. Her mother, a vintage seller with an eye for ‘70s and ‘80s designers like Norma Kamali and Donna Karan, introduced her to the craft. “I didn’t really like it at first,” Haroutounian tells Refinery29. “She’d take me to estate sales and garage sales and I’d always beg her to take me home.” And yet, by the time she was in her preteen years, Haroutounian was hooked. “I realized that I didn’t like any of the clothes around me, and I had access to all these vintage clothes that didn’t look like anything else out there, so I started collecting,” she says.

During her senior year of high school, she began selling her rare finds online. According to Haroutounian, it was during a closet clean-out that her friends suggested she start a Depop shop to cash in on her hard work. “At the same time, I was racking my brain trying to figure out how I was going to pay for college — my parents didn’t have the money for it,” she says. “I uploaded everything and did surprisingly well.”

It stuck. While pursuing her undergraduate studies and simultaneously working two additional jobs, she built up a following of 30,000 loyal Depop followers. “It got to the point that I was like, Well, I don’t really need to work [the other jobs] anymore,” she says. That’s when she began selling on Depop full-time, sourcing late-’90s-era pieces, like the naked dress Carrie wore in Sex and the City and handbags by designers whose names are likely unfamiliar to even the most knowledgeable of fashion people. 

Eventually, she bid farewell to Depop and launched her own e-commerce site. By the time the burgeoning entrepreneur joined TikTok in January, posting videos in which she dissects SATC fashion wardrobes and personally models the obscure fashions that make up her latest drop, her fate, as not only a successful vintage seller but an up-and-coming social media phenomenon, was sealed. 

“TikTok has been really great,” she says. In the five months since she launched her page, @reallifeasliv, on the Gen-Z favorite platform, she’s garnered more than 11,000 followers and 129,000 likes. There, she shares everything from the inspiration story behind Norma Kamali’s famous sleeping bag coat to the history of Joey & T, an early-aughts brand founded by two of Britney Spears’ stylists that Paris Hilton famously modeled for. Well, that, and truly every iconic look from SATC

The young entrepreneur absorbs these tidbits of information as if by osmosis, a result of scanning old books and magazines, meticulously studying the archives of Getty Images and Firstview — she started at the oldest runway collection on the stock image site and is now in the process of combing through each one, year by year — and spending countless hours at thrift stores for the last two decades. Her collections benefit from her in-depth research; customers come not only for the goods but the clever captions and their author’s finely honed curatorial skills.  

@reallifeasliv

Some of my favorite finds from my personal collection! What else do y’all want me to talk about? #greenscreen #chanel #fashion

♬ original sound – Olivia Haroutounian

As selling vintage becomes more and more popular, sourcing known brands becomes tenfold more difficult. Haroutounian has come up with a workaround. She focuses on niche brands with hardly any mainstream recognition — designers that she theorizes didn’t find mainstream success because “they were too nice” in an otherwise extremely cut-throat industry. Think: Senegalese Paris-based designer Lamine Badian Kouyate’s Xuly Bët, shuttered East Village label Michael and Hushi, British design duo Antoni & Alison, and other mainstays in the underground ‘90s fashion scene. Haroutounian has recently become “obsessed” with The Virgin Suicides director Sofia Coppola’s long-defunct first label Milk Fed, and she’s been shilling a lot of vintage Anna Sui tees. 

She’s begun sourcing from Europe, where the market isn’t quite as saturated as the U.S. No matter where she’s on the hunt, though, her rule of thumb will always be the one her mom taught her as a budding thrifter: Don’t overlook a single item. “Being at thrift stores all the time with [my mom,] she always told me to really look at everything: Look at the label, feel the piece, and you might surprise yourself,” she recalls. This mentality is what allowed her to notice a dress that happened to be the work of Coty Award winner Giorgio di Sant’ Angelo. She bought the dress for $15. The same one is currently in the collection at The Metropolitan Museum of Art in New York.

Haroutounian’s personal collection also includes a John Lennon and Yoko Ono “War Is Over” shirt from “around 1981” that she scored for $0.25. The same shirt is currently listed on eBay for $1,600. Chanel, Vivienne Westwood, and Chloé pieces — all from the ‘80s, ‘90s, and ‘00s — have also made it into her vintage treasure trove. During an hour-plus long Zoom chat, Haroutounian sat on her bed and played a game of show-and-tell with Refinery29. She trotted out prized possession after prized possession, from ‘90s Prada — “I collect pieces from the spring/summer 1996 collection. Miuccia Prada is a genius,” she says, proffering a mini dress from the collection — to a tent dress from legendary French designer Chantal Thomass, under her first label, Ter et Bantine (Haroutounian likens the aesthetic to the contemporary work of CFDA-winning designer Christopher John Rogers). 

She credits much of her success to people’s interest in lesser-known brands like that of Thomass. It helps that so many people are bored with mainstream fashion right now. “It’s really refreshing to see things that you’ve never really seen before,” Haroutounian explains. These days, with the rise of social media, a lot of what made fashion so interesting — mostly, its ability to showcase a person’s individual characteristics and aesthetic preferences — is gone. On Instagram and TikTok, the most distinctive dressers are the ones copied the quickest, and their once-unique sense of style is replicated in the time it takes to hit share. Fast-fashion brands that spurt out trends twice a week then feed on that, making millions off of a few peoples’ originality. 

Because of the copycat economy, some of fashion’s best-dressed names go to Real Life As Liv for pieces no one’s ever seen before. Rarely does she disappoint. Her followers include model-designer Ella Emhoff (aka Kamala Harris’ step-daughter and the First Daughter of Bushwick), model Gabrielle Richardson, and the famed Miuccia Prada fan account @whatmiuccia. According to Haroutounian, Instagram darling Devon Lee Carlson, who founded the phone case brand Wildflower Cases and is BFFs with Bella Hadid, is a regular customer. 

Next on Haroutounian’s to-do list? A podcast with the obscure designers she stocks at Real Life As Liv. The hope is that by bringing their stories — and clothes! — to the forefront, these sleepy labels can get a second wind with a younger audience that’s desperate for fashion that feels different. “People are actively seeking something new.” In this case, what’s new just happens to be old.

Like what you see? How about some more R29 goodness, right here?

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Resale Got A Pandemic Boost — And It’s Not Slowing Down

The resale boom is here, and it’s disrupting the future of fashion. On Wednesday, thredUP, an online consignment and thrift store, released the results of its 2021 Resale Report, conducted in partnership with third-party retail analytics firm GlobalData. After surveying 3,500 U.S. consumers to assess the size of the secondhand market and its environmental and social impact, the ninth annual study found that resale will be one of the pandemic habits that will stick around — with Gen Z at the helm powering its growth. 

The report, sponsored by thredUP, offers a broad perspective on the global secondhand market, its consumers, and potential growth over the next decade. While it’s important to note that it’s in thredUP’s financial interest to present findings about the secondhand market that contribute to its flourishing, a general dearth of data on the global secondhand market makes the report worth examining nonetheless.

According to the report, more than 33 million people bought secondhand for the first time during the pandemic; 76% of those shoppers plan to increase their spending on resale and thrifting in the next five years. What’s more, in five years, the secondhand market will be valued at $77 billion, compared to $36 billion today, according to thredUP’s data. 

While TikTok and Instagram are full of Zara and Shein hauls, according to the report, fast fashion’s growth is expected to flatten out in the next 10 years. By 2030, thredUP estimates that resale will make up 18% of people’s closets, while fast fashion will drop from 16% to 13%. Still, the report found that resale’s biggest closet competitor is actually the “off-price market” — ie. Marshalls and TJMaxx — which the report concludes will grow at a similar rate to resale. 

“Value, as we come into recovery, is the number one consumer preference,” says Karen Clark, VP of Marketing Communications for thredUP. “I think that this disdain for waste has come through after a year of doing more with less. Wasting money is no longer something that most consumers are willing to do.”

She adds that consumers, especially Gen Z, gravitate toward both secondhand and fast fashion because of the thrill of constant shopping at affordable prices. “I think what’s interesting is that fast fashion and thrift have a lot in common, but there are some really meaningful differences,” says Clark. “Thrift, in a lot of ways, is that closet-flipping fun without the environmental hangover.”

It’s no secret that resale and thrifting are championed by Gen Z, a generation that has made its mark for prioritizing diversity, sustainability, and more conscientious shopping. The environmental benefit of secondhand shopping is one of the main reasons why this generation is rapidly embracing it, according to the report. In the United States, 34 billion items of clothing are discarded each year; according to thredUP, 95% of those items could be recycled or reused. 

But Clark says it’s also a concept that both millennials and Gen Z have grown up with, as the lingering impacts of the 2008 economic recession and the boom of the sharing economy have shifted these generations’ expectations of ownership. 

Gen Z in particular is leaning into the moneymaking possibilities of the secondhand market as well. According to the thredUP report, they are 33% more likely than baby boomers to sell their clothes rather than throw them away. They are also 165% more likely than boomers to consider the resale value of their purchases. 

Clark says that, in order for resale to continue to grow, the government needs to get behind circular fashion. “Fashion seems to be missing from the conversation around climate change,” she says. While there have been significant policy pushes toward climate solutions both in the U.S. and abroad — from the Green New Deal stateside to measures like the European Union’s climate deal — there has been little to no movement toward government policy to help improve fashion’s waste problems and reduce the industry’s environmental impact. 

The thredUP report concludes that one good measure would be to offer tax credits for companies and individuals that embrace circular fashion — a solution underscored by the finding that 58% of retail executives said they’d be willing to test circular fashion if there were economic incentives. Meanwhile, 47% of consumers said they’d be willing to shop secondhand if there was no sales tax or they’d receive a tax credit. 

Clark argues that while the resale market is growing, it still has to compete with the financial accessibility of fast fashion in order to occupy more of the space inside people’s closets. “As it becomes easier and easier for consumers to sell clothing, more consumers are selling their clothes, and that’s what’s going to drive the growth of the market,” says Clark. “It has to be easy.”

You can read the full report here.

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#FatBabesInLuxury Is Trending. Here’s What It Means To Plus-Size Creators

In April, Katie Sturino, the founder of beauty brand Megababe and author of Body Talk, and Nicolette Mason, a fashion blogger, were so fed up with luxury fashion’s long-practiced exclusion of anyone above a size 16 — that is, 67% of all women in the U.S. — that they decided to do something about it. For their collective 805,000 Instagram followers, the two launched a social media campaign, #FatBabesInLuxury. Their goal was to start a conversation around the lack of representation — and shoppable clothing options — in the luxury fashion space. Because while plus-size and size-inclusive lines are on the rise, representation in the highest echelons of fashion’s hierarchy remains few and far between. 

For proof, see last year: While 2020 saw wins like Dutch model Jill Kortleve becoming the first plus-size model to walk in a Chanel fashion show in a decade and in Fendi’s history (a title she shared with Paloma Elsesser), as well as Versace sending three curve models down its runway, overall, luxury brands have been slow to accept size inclusivity. According to The Fashion Spot, only 46 plus-size models were selected out of 6,879 models cast for Fall 2020 and 34 (out of 2,293) for Spring 2021 shows during last year’s Fashion Months.

“I love fancy bags, shoes, & clothes (when they’re available in my size),” Sturino wrote on Instagram beneath an image of herself wearing a Lele Sadoughi headband and clutching a Chanel purse. “But it seems like season after season, we see brands like Dior, Louis Vuitton, Chanel working almost exclusively with thin models, influencers & ambassadors, which results in a strong message that plus bodies are NOT included in the vision of luxury.”

Mason took to her own Instagram account. “I believe that representation, to an extent, can shift the way people view themselves — and each other,” she wrote in a concurrent post alongside pictures of her posing with a Louis Vuitton handbag and Miu Miu sunglasses. “That being seen & shown as beautiful, luxurious, worthy of investment — that that helps people see, appreciate, and believe in their own beauty. That they deserve. That they belong. That there is possibility.”

Both then called on their followers to flood the hashtag with images of themselves wearing whatever it is that they deem luxurious. The result? Almost 900 posts, many of which were accompanied by moving personal stories, as well as pleas for representation and inclusivity in designer fashion.

“When I think of #FatBabesInLuxury, I think of access,” says fashion writer and creator Lydia Okello, who posted a photo of themself with body-positive slow-fashion activist Marielle Elizabeth using the hashtag. “I’ve worked in fashion for about 16 years, and I’ve seen the way that fat bodies have been left out.” Moving forward, Okello hopes to see luxury designers finally realize that bigger customers are no less deserving of high-end goods. “We have taste, personality, and style,” they say. According to Okello, being plus-size doesn’t change the underlying desires that keep the wheels of fashion in motion: “We want what everyone wants: to feel beautiful, special, and exciting in our clothes.”

“We are so often denied the finer things in life, or excluded from luxury, that we have to make a freaking hashtag to celebrate when we are able to.”

Lynley Eilers, Plus-size model

Plus-size model Lynley Eilers agrees: “We want access to clothing, like everyone else; access to experiences, like everyone else,” she says. “It’s plain and simple: fat women want what everyone else has — we just want it in our size!” Unfortunately, according to her, fatphobia, as it stands today, is too deeply embedded into society — fashion especially. When one designer comes out with garments for larger customers, it’s cause for celebration — even though it should just be the status quo. “We are so often denied the finer things in life, or excluded from luxury, that we have to make a freaking hashtag to celebrate when we are able to,” Eilers says. 

For influencers Essie Golden and Gregoria Reyes-Lou (Greivy), the hashtag has become an escape from the thousands of luxury ads they’re bombarded with each day, hardly any of which are representative of them or people who look like them. “#FatBabesInLuxury is the representation that I don’t see in the media, but I do see in my everyday life,” Golden tells Refinery29. “I enjoy scrolling through that hashtag and seeing so many beautiful plus-size people looking incredible in their [luxury-to-them] pieces.” According to Greivy, it created a way for people like her to connect and share their love of style that’s elevated. “It’s for people who seek inspiration outside of what society claims a luxurious person should look like and be,” she says.

#FatBabesInLuxury is about more than pressuring designers to make their pieces in larger sizes. It’s a movement geared at pushing the luxury space to include larger bodies in ad campaigns, shows, and editorials. “Our society and the industry doesn’t deem fat women worthy of the finer things,” Eilers says. And they won’t until people get used to seeing designer labels on a full range of bodies. 

“Luxury fashion is selling a visual of someone who they believe is aspirational,” says Sturino, “but only in one form.” This campaign was meant to force luxury brands to see past their old definition of beauty and join the rest of the world. Sounding a brighter note, Sturino says the bulk of society has evolved and is, in many ways, very inclusive. Unfortunately, in the two months since she called on luxury brands to step up for plus-size shoppers, according to Sturino, not one has reached out to the activist to discuss opportunities for change.

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