Where does fashion's democratization leave you?

 Photography Credits: Le Blog de Betty (Betty Autier)

The democratization of fashion has done little to remove the homogeneity that encompasses runways shows, and the groupthink within the industry’s recruits. Instead, the fact that fashion is more accessible today than ever before has turned events like fashion week into media spectacles. Is it fair to say that nothing in fashion is truly exclusive anymore? Earlier this year Shala Monroque’s Garage premiered its Take My Picture docu-film. Having partaken in fashion media relations myself for quite some time, I watched this film with much interest. 

  

Anna Wintour's first ever Vogue cover is said to portray the beginning of fashion's democratization 

The rest of the world might view fashion to be a self-serving force. I have no problem with that, and if you've been exposed to the industry you’d know that when events that shook the world took place, such as the 2009 financial meltdown, fashion remained in its self-serving corner. My concern has more to do with the craze that sweeps across cities during fashion season. Fashion weeks were initially established to allow for the seasonal buying business model to take form. This was back when fashion buyers would buy items from the runway 6 months before they were in season. Then came the globalization of fashion. Stores opened up everywhere from Shanghai to Hong Kong. In trying to remain as exclusive as possible, retailers persuaded fashion houses to add more collections to their calendar years, such as resort, pre-fall, and cruise collections etc. This move allowed for a store in Hong Kong, for example, to have in their inventory an item which had just been revealed, while garnering the store enough time to order new items within season. These pre-collections have also contributed to the democratization of fashion because of the way they generate spin and publicity. Add an increasingly aggressive fast fashion business environment, diffusion lines, collaborative execution models and you have what we have today, a revealingly disjointed structure which is failing to capture what or who is truly influential in the present fashion times. 

TAKE MY PICTURE from GARAGE Magazine on Vimeo.

Democratization begins at an individual level. Being able to write a product review or a blog on something is truly empowering. Being able to fly to Paris to take a snapshot of something that won’t be out for another 6 months is an even more exciting spectacle. But, if 50 000 people show up to do the exact same thing as you, and another million more online watching from their desktops, it’s no longer an event that truly depicts the essence of the craft, it’s a marketing drive! Let’s just rather watch Manchester United vs Arsenal; same idea in terms of ratings, just more unpredictable with regards to the outcome! In closing, I would like to say that the social web is new to all of us. We have seen how a simple Tweet can start an uprising, and how a Facebook post can spark outrage. Fashion is not isolated from these occurrences and it can’t view itself as being any special. In democratizing its presence, fashion has to let go of its homogeneity. Same faces, same designs, same view points. Where has fashion’s democratization left you? It has left me rather isolated.  

Nia Keturah’s Poetic Visualism

When skill and mastery reach a point of mass replication, authenticity is the last distinguishing differentiator. I’m saying this at a time when the word “authenticity” itself is loosely being thrown around. Is music still a “universal language”? Was it ever was? During a discussion with some friends on this topic, I was of the view that music no longer spoke to a universal audience, and that it had succumbed to the creation of niches and target segments; the type of stuff they teach at Business school. But is this a fair assessment of a subject which is constantly evolving? Ever since that exchange with my friends, I have become very selective about what I want to discover. But, I also realized that it wasn't the genre lines that drew me to a listen. I felt that in most cases it was the story; the visual detail that stimulates a repeated fondness of a song or an entire album.

One such musician who possesses such artistry is Nia Keturah. Her ‘poetic visualism’ is revealingly unapologetic and progressive at the same time. But these images she paints through her lyrics are far from being repetitive and monotonous. This is, in my view, something female rap musicians in the industry often struggle with: the ability to give variations in their musical tales. However, Nia Keturah has managed to master this very early in her career. Whether it’s the melodically playful Control, or the delightfully conscious Proper Poppa, her ability to address a broad spectrum of issues without isolating the listener reflects on what I mentioned earlier about authenticity. Po Lil Black Girl is her third and latest offering, and features the works of producer Wino Willy, alongside other notable storytellers such as ABGOHARD on the reflective yet uplifting, Blunt People.

Whether music is still universal or not, it’s here to stay. It’s through artists like Nia who reinforce the universality of it. We can’t afford to isolate the storytellers, and more importantly, we can’t afford to dilute authenticity. Let’s embrace the last bit of positivity that’s left

phsicsmag (p):Please tell us, what inspired Po Lil Black Girl?

Nia Keturah (NK):I've always wanted to speak to the Kanye line "black female addicted to retail” with an entire record dedicated to exploring materialism in a black girl's world. PLBG was that record. The lightbulb moment was an interview my friend HOA Bossman did about a song we had done together entitled "Paris"…he said something to the effect of "we all know a Paris who has not been to Paris"…the interviewer retorted with "or a Mercedes on the bus or a Diamond with no diamonds." It was such an elegant way to explore the current condition of the black female.

p: When did you touch base with Wino Willy to start working on the project? Take us through some of your in studio experiences.

NK:Willy attends Morehouse and I attended their sister school, Spelman. I met him at a weekly open mic held on campus. Willy is like a brother to me...we disagree, we fight, but we also get very hyped and encouraging. Working with him a blessed yet frustrating process.

p: Po Lil Black Girl is your third body of work. How have you evolved as an artist since the Missed Education of Denise Huxtable (MEDH)?

NK:I've come more into what I know to be my unique sound. As an artist I know what my voice is capable, figuratively. Literally, I understand now more than ever how my voice can penetrate. Comprehending both of these things allows my new records to have a fuller sound.

p: Any exciting new projects we expect from you in the near future?

NK: Look out for something lively very soon.

p: Lastly, do you feel music is still the “universal language” it once was, or are artists better off creating musical niches for themselves?

NK: I think music is the "language of understanding". It gives us windows and doors to other lifestyles. I think it will always possess these doors and windows. Inherently, music is a way to create a niche, but eventually most niches get a window or a door.

this interview will be published in PhsicsMag's 4th annual issue 

How do we brand tradition?

                                                      photography credits: SA brand Okapi

I don’t want to approach this subject from a creative process standpoint. A lot of marketers tend to place tradition at the forefront of their brand communication. A certain French champagne brand has been around since the 1950s, but brands itself around 17^th century ideals. There are many brands which do exactly that, and we've come to accept them. My understanding of what tradition is, is that it is ‘the way in which things are done’, or ‘a certain way of doing things’. A grape cultivator has the objective to cultivate his crop in a manner which best suits his business. The grape cultivator can either choose to stick to an existing method, one which has existed for centuries, or he could ‘innovate’ and begin a new method which he’ll be credited for starting. To my understanding, the former case would be following a particular tradition, and the latter case would be beginning one’s own tradition. Both these scenarios are important to be able to distinguish because of the luxury industry’s present state; be it wines, chocolatiers, hotels, fashion, publishing, any sub-domain of the luxury industry hasn't succeeded yet at effectively defining what tradition is to them. 

Closely positioned alongside tradition is the notion of heritage. This is when a certain tradition is passed on from generation to generation. In this case, the grape cultivator has inherited all of his knowledge and skills application from his ancestry. Heritage is interesting because it’s a broad subject matter. I've encountered brands which define themselves as having an “African heritage” for example. To be fair to those brands, that’s completely acceptable provided that their heritage is in line with what their ideals stand for. Heritage can be overused, or understated. It can also be effectively communicated. But the one thing I've realized with setting heritage as a unique selling point is that its appeal tends to narrow the potentials of a brand. It’s more of a ‘core clientele’ prerequisite. There are brands which balance these two centers very well. But not all brands have a unique attribute to their heritage, and not all brands view tradition as their core differentiator. 

Perhaps we need a broader scope of assessing a brand’s legitimacy. We cannot only use tradition and heritage to validate the way a brand prices its products. We should also observe other dimensions of that brand. Critical aspects such as the provenance, the product quality, the technical application, material, methodology, design, refinement, and the brand’s core ideals, are just some of the differentiators which could be applicable, along with looking at its tradition. Luxury branding has never been this accessible to so many people. There’s a 2.5 billion middle-to- upper income population globally that’s just waiting to hop onto all things ‘luxury’. They possess the buying power, the tools, and the knowledge. But can they identify with what they’re consuming? Branding ‘tradition’ is like slapping a gold encrusted label onto an empty cardboard box. It’s really easy to be grabbed by the detailing of its packaging, but it’s still empty! 

Brand Constancy in a rapidly changing macro-environment

the below piece was originally published in PhsicsMag's Private issue 

Trading down is an interesting but controversial notion. As you would recall, Aquascutum, the 150 year old British luxury fashion brand, filed for administration in April 2012, which led to the house subsequently being taken over by a Chinese consortium called YGM Trading Ltd for a fee of USD 24 million; shockingly absurd don’t you think? For a brand with that much history and tradition, one which is considered as an icon of British culture? In her Redefining the Luxury Concept working paper, Uché Okonkwo introduces two notions; trading down and trading up. In her argument, taking into account today’s macro influences such as a surge in wealth accumulation and the wide accessibility of upscale retail establishments, Ms Okonkwo points out that “fashion brands are for the mass market, whether they are of high quality or not”, and she goes on further to identify luxury brands as being “for a distinct narrow market and are defined by high quality, differentiation and precision in product design and manufacture”.

               all digital marketing enthusiasts, order the book Luxury Online by Uché Okonkwo

According to Uché Okonkwo, the existence of “mass-premium” branding has created a situation whereby the Marketing Mix of an H&M or a Zara for example, no longer reflect that of a low to mid-range retail establishment. To counter claim her latter observation, one would agree that indeed there has been a blurring-out of the differences in the Marketing Mix between low to mid-range brand and retail establishments with luxury ones, but there hasn't really been an effort by luxury brands to justify their high prices effectively, because Zara, H&M, Uniqlo; all these fast fashion establishments are proving to be more relevant on the high street each day. In trying to understand the trading down concept, and whether it contributed to the likes of Aquascutum’s demise, I would like to introduce the notion of brand constancy.

Unlike Burberry, Aquascutum tended to target older and slightly more sophisticated consumers. Unlike Burberry, Aquascutum didn't really have a consistent communications strategy. Unlike Burberry, Aquascutum didn’t evolve into a web 2.0 luxury brand in time, and looking at the company’s history, its previous owners tried their best to keep it rooted to 19th century British ideals. If trading down caused established makes such as  Aquascutum to go bankrupt then why didn't it happen to the likes of Burberry? Trading down reflects directly on a brand’s constancy because consumers will be loyal to the brands which have been relevant to them throughout. Brands that die-out in the minds of consumers will simply become replaced. I do agree that the “mass-premium” approach is making it easier for high income consumers to trade down, but does this mean that there isn’t a middle segmented consumer base which is willing to trade up anymore?

Private Life: Les Deux

 

the below piece was originally published in PhsicsMag's Private issue 

Danish brands have become renowned for their exceptional dynamism and originality. Over the last five years or so, Copenhagen has become the epicenter of alternative movements. Despite the somewhat ‘anti-establishment’ principles that some of these brands may filter-through, think of brands such as Han Kjobenhavn and Panuu, they still carry with them a very complex value scheme; which if broken down, focuses on discreetness, originality, high quality, functionality, craft and engineering, and more importantly, strong design. One such brand is Les Deux. Established in 2009, L2, as it is also known, has gained the reputation of being a sophisticated yet subtle brand. 

 Les Deux’s “flashy in an underground way” theme is flawlessly executed. This brand represents what it means to be Private. I have come to respect the brand’s communication strategy also. Connecting two contrasting worlds is at the focal point of Les Deux’s communication and brand clarity. With society changing all the time, cultural seclusions have in recent years led to an ‘upspring’ of some sort. The benefactors of these cultural upsprings are brands like Les Deux, which highlight the importance of self-determination in a world which is becoming increasingly cluttered. I find myself being able to relate with what Les Deux stands for!

Photograph by: Theis Bothmann
Models:  Japhet Graham & Laura Lundsgaard 
check out Les Deux's website &  Facebook
download the full PhsicsMag Private here 

Issue Three

PDF version is available free for download here

Private icon: Japanese selvage denim

Hiroki Nakamura & Diane Pernet

 Here's a preview article which focuses on the origins of Japanese selvage denim. Fashion icons such as Hiroki Nakamura, Nigo, Pharrell all subscribe to the true provenance of high quality denim. PhsicsMag's Private issue in the works. Thank you - Tebs

Japanese selvage denim

The Japanese city of Okayama, the capital city of Okayama Prefecture situated about 540 km south west of the country’s capital, is renowned for its mysterious 400 year old castle, which sits on the banks  of the Takahashi River. The fall of the Meiji government and the subsequent post World War II reconstruction meant that Japan’s cities saw rapid economic growth and exponential industrial expansion. Denim production only reached Japan in the 1950s. This was due to a decline in the demand for imported denim from the U.S and Europe, which led to the purchasing of traditional shuttle looms from American denim milling facilities by Japanese denim manufacturers. It’s fair to say that Japanese selvage denim actually originates from the States, well… the technology thereof. 

denim dying process

 A shuttle loom is a piece of machinery that is used in the weaving process of yarn. The first loom was patented by John Kay in 1733, which was known as the Flying Shuttle. Between the 1930s and 1950s, an increase in the demand for denim in America meant that milling facilities had to adapt their machinery to meet the growing demand. A lot of facilities chose to let go of the traditional shuttle looms, which are said to have been inefficient and cumbersome. Letting go of these shuttle looms paved the way for automated projectile looms, which produced in mass, and allowed for an effective economies of scale. Japanese milling facilities bought the shuttle looms at the time. 

shuttle loom

Today, selvage denim is perhaps the most desired denim fabric due to its superior texture and authentic feel. What’s the difference, you may ask? In the weaving process of a traditional shuttle loom, the horizontal edges of the thread loop continuously, without leaving any edges which would have to be stitched once the entire process is complete. This quality feature means that your denims last longer.  Selvedge denim doesn’t fray, nor shrink. The craft element is perhaps the most distinguishing factor behind authentic Japanese selvage denim, one which makes it a Private icon. People who appreciate fine craft understand that we are all connected; whether it’s a selvage denim weaving craftsperson in Okayama or a denim enthusiast in South Africa.

Namedrop: Shruti Parekh & Truth Be Cold

Earlier this year our friends at Ugmonk agreed to collaborate with PhsicsMag on our Namedrop feature. The logistical challenge of arranging a shoot which would take place in the U.S remotely from Europe wasn’t an easy one for me, and it taught me that building strong relationships with people leads to attaining success no matter how ambiguous the situation. Without giving much away, photos from both shoots will be featured in our third annual issue which drops this November. Special thanks to Jeff Sheldon, Shruti & Bharat Parekh, and Truth Be –Tebs

Open publication - Free publishing - More art

Shruti Parekh

Shruti Parekh is an artistic film director from Atlanta. She’s currently based in NYC and has directed some of my favourite music videos to date. Having worked with DD172, she’s currently doing freelance and improving her artistic know-how while growing her network. I had the pleasure of interviewing Shruti late last year and our interview will be published in the third issue of PhsicsMag.


MURS "Remember 2 Forget" from Shruti Parekh on Vimeo.

Truth Be Cold

Truth Be Cold is an Atlanta based musician and one of my personal favourite rappers. He infuses jazzy elements and word play to bring us a timeless appeal to his music. Truth Be has two mixtapes out; Not Your AverageTexas Nigga and A Day In The Life Of A Spacecadet, which are also available for download. My full interview with Truth Be will be available in our next issue along with the shoot.