As a visual-first generation, people in their late teens and early twenties are developing new layers of visual culture to build community, express their individualism, and push back against the status quo. How is the fashion sector embracing post-ironic and meta-ironic behaviours for Gen Z?
Iris Luz is a photographer and visual artist based in London. Prior to this, she was social media editor at Dazed Beauty and a tech consultant for a plethora of fashion and beauty brands and magazines. These brands include Ssense, Balenciaga, Praying, Miu Miu, and more, for whom she consulted about social media direction, content ideation, and creative collaboration. Iris' overarching focus is on creating a meaningful visual language that explores the complexities and nuances of being human.
Lauren Schiller is the co-founder and creative director of LA-based fashion brand OGBFF.
Bee Beardsworth is a writer, photographer, and creative director based in London with a background in fashion, media, and art. She writes about fashion and beauty through a postmodern lens, with an underlying focus on feminism and queer theory. Beardsworth recently completed a degree in the history of art and visual culture, with a strong focus on femininity and queerness in modernity, internet culture and new media, occulture, and architecture.
Praying has gained a cult following owing to the brand’s ironic digital aesthetic and use of humourous and subversive iconography. With its popularity stemming from sartorial provocation, niche internet culture, and religious decontextualization, what does this say about modern consumer tastes?
At Paris Fashion Week, Coperni took centre stage on social media after spraying model Bella Hadid with a liquid that turned into a dress. Not only is the brand tapping into Gen Z's desire for hype and uniqueness, but its lower price points are making luxury fashion accessible to younger audiences.
Amid a global uptick in digital-first subcultures that channel Y2K aesthetics, Chinese youth are embracing the ‘bad’ taste associated with older, rural, and working-class people in the country. Beyond simply serving as a form of self-expression, what’s behind this tacky nostalgia trip?
Branded merchandise was once solely found at business conventions and in the wardrobes of fervent fans, but it’s enjoying a renaissance as Gen Yers and Zers seek new ways of expressing their identity. What does this resurgence reveal of the shifting nature of consumer-brand relationships?