I was reading a research paper written by Llewellyn Negrin titled “The Paradoxical Nature of Pauperist Style as Haute Couture,” and by haute couture, she wasn’t referring to the highest category of fashion, she was referring to high fashion in general. This paper inspires me to write this newsletter and will quote Llewellyn a lot.
It is clear that many designers are obsessed with rusticity, working-class motifs, and generally, the state of being poor, or in other words, pauperism.
Pauperist elements are often shown through distressing, fraying, or signs of deconstruction and reconstruction. Seen commonly in Vivienne Westwood’s and Zandra Rhodes’ early work; it IS the underlying concept of brands such as Helmut Lang and Martin Margiela or is simply the origin of the now widely popular Boro garments.
Despite each designer’s unique motivation behind this implementation, one noticeable effect brought by this type of clothes is the democratization of fashion, or even déclassé. ‘Pauperist’ fashion helped consolidate the idea that high fashion or luxury fashion doesn’t have to be glamourous or outrageously ornamented, luxury fashion is ultimately the wearer’s taste, and anything can be high fashion if made well.
In Gilles Lipovestsky’s POV, fashion today is less a sign of class and respectability and more an expression of personal taste.
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