Exploring Bubble-Up and Trickle-Down Fashion Theories Book (4/4)

Across my journey into defining what my final project will look like, I had very early on, suggested that I do something through using the concepts of bubbling-up and trickling-down brands to different market levels.

The intention of this was to do it through The Concept of Orange’s lens, which was my Brand Me name that I have established for myself.

In my final major project,

I will be interpreting my bubble-up and trickle-down through my own ways and I will be using them as a placeholder as a demonstration to other brands of the possibilities that could arise if there were to obtain something similar.

In order to do this, I felt it was important for me to research the fashion theories more precisely and look into brands that show examples of how they have trickled-down and also bubbled-up, which in turn has helped develop and strengthen their consumer base.

The following research areas cover what the fashion theories are and some designers who have embodied what it is to do this. These were some of my favourites, alongside my other research I conducted which you can find in my sketchbooks and research files.

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IS BUBBLE-UP AND 4 WHAT TRICKLE-DOWN? TRICKLE-DOWN 5 6 BUBBLE-UP THE PUNK MOVEMENT 7-9 10-11 THE CLASS SYSTEM BRANDS THAT TRICKLE-DOWN CDG PLAY 14-17 18-19 HEAVEN BY MARC JACOBS BRANDS THAT BUBBLE-UP VIVIENNE WESTWOOD 21-23 24-25 CHARLES JEFFREY LOVERBOY VIRGIL ABLOH 26-27 28-29 SUMMARY REFERENCES 30-31 32 IMAGE REFERENCES

Bubble-up and Trickle-down fashion theories play an

important role in analysing styles, but also forecasting trends between different social hierarchy’s. For a long time, people have often made judgements and assumptions on people’s social ranking by what they are wearing, or who they are wearing. It can be quite a sensitive subject for some, and this is where I have researched further into fashion theories on social hierarchy, who wear’s what and why designers decide to design the way they do.

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The Trickle-down fashion theory cements the idea that fashion is in fact a hierarchal system.

Economist Thorstein Veblen determined this factor, where he stated that items of clothing were used by the upper classes in order to separate themselves as the top of society, the elite, and must be different to the classes below them (Pollok, 2018).

Haute Couture and Luxury Designer labels play a huge role at part in trends-trickling down. Due to the new trends and designs that come out every season, lower social classes destine to identify with more affluent fashion labels, which often results in the creation of items being called ‘dupes’ meaning similar but at a much less costly expense, or high street and fast fashion brands can be attacked for outright ‘copying’. Unfortunately, fashion is seen as a method of ‘conspicuous consumption’ (DeLong, n.d.) where individuals purchase to show off their wealth.

With fast fashion brands, they have the ability to take a look, get it signed off and have it in production and online within two weeks. This can be very damaging for luxury designer brands who have put months of work behind their new collections. Fast fashion offers products at a cheaper price point to be inclusive and offer fashion for all, however this is further damaging to the planet due to production and materials being used at mass. There is a lot more as to why fast fashion brands are not the way forward for the planet.

The trickle-down theory can run over more than just clothing, which can include in areas such as accessories and footwear.

The cycle then repeats itself season after season where high street, fast fashion and economy brands copy designs from affluent labels who have heritage and meaning for what they are producing. As mentioned before, lower social classes seek to identify with the upper classes, however, once the affluent see they are being copied or used for inspiration, they stop producing that look and then seek to find a new trend that is unique to them.

Change is brought about when the upper classes again, seek to differentiate themselves from the lower classes. Brands further up in the hierarchy are able to hold more power because if it wasn’t for them, high street and fast fashion would struggle when it comes to designing their own collections. This is more of an advantage for lower hierarchal members, as the upper classes dentine to differentiate themselves.

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The fashion Bubble-up theory is more of a

modern term created by George Field in the 1970’s. This theory suggests that fashion movements and changes can rather start in the subcultures of the lower social classes, in-tern being adopted by the higher class and the mass market (Punk Fashion And The Bubble-Up Theory of Fashion, n.d.).

Typical starting points would be the notion of workwear and using the clothing of labourers as a way of commercialising this. (DeLong, n.d.) reminds us of Coco Chanel’s contribution she played to the world of fashion. Chanel channelled the need for women’s clothing to be functional and comfortable which stemmed from the Second World War and the need for workwear.

For trend-setters such as the upper-class, they will assess what is changing in the world where clothing may represent or be a response to these changes, however with the lowerclass, they seem to take inspiration rather than create original designs.

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This seems to be the way within fashion, that new looks are needed continuously to maintain the excitement and availability for all types of consumers, at any price point and at any market level.

Punks were often seen as delinquent youths who were the failure’s within society and had no hope. They rebelled the social norms set out by their families and communities and instead created their own subculture where they could feel a sense of belonging. Their typical aesthetic included lots of leather, tartan, safety pins, chains, heavy eyeliner and makeup, hair that was spiked up, e.g., mohawk hairstyle. studs and spikes attached to jackets; all in all, a range of added extras that complimented their values and beliefs to rebel and not confirm to the rest of society.

INFLUENCED THE BUBBLE-UP FAS H I O N T H E O R Y

An

obvious example of subculture inspiration and bubbling-up in fashion would be to reference the Punk movement. What seemed a threatening time for conservatives in the 1970’s, was actually a reaction against conformity, capitalism and social institutions enacted by the Punks. “Rebelling against the back-to-earth nature of the hippie movement and the glitter of the disco movement, the punk movement encompassed anti-consumerism, androgynous, sartorial havoc” (Punk Fashion And The Bubble-Up Theory of Fashion, n.d.).

Vivienne Westwood has always been a leader within the luxury designer fashion sector. She is an innovator and trendsetter. A punk herself, worked with the likes of The Sex Pistols and also created items that fellow punks could then use (Summers, n.d.). Although being a luxury designer, not every punk would have been able to create such looks, however due to their personalised aesthetic, they were often able to take their own toll on being individual, whilst also fitting in with the punk community.

Figure 1: Iconic t-shirts of Vivienne Westwood: Two cowboys (1977) and Destroy T-Shirt (1976) from magazinehorse.com

Although not a punk myself or not knowing any, I have always been fascinated by the style.

I can admittedly say that before understanding who the punks were and why they dress the way they do; I have been brought up in a community where we should fear individuals who dress differently to the societal norms that are integrated into us from an early age.

Since studying Fashion Communication and Marketing, across the few years I have read up on different market levels and consumers. No one ever considers punks, suggesting they are an outsider. In my Sociology lessons in sixth form, I was taught that individuals from the punk sub-culture were a nuisance to society and should be feared for they do rebel and don’t conform to societies rules. Only within fashion, have I sensed more of an admiration towards them.

This hasn’t always been a positive thing for punks. Due to their negative connotations, they may often struggle with employment and be given less chances and opportunities because they are seen as ‘different’. Another negative element for punks, are their beliefs being watered down as fashion labels cash in on the punk aesthetic.

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Fashion brands have profited on the punk aesthetic which can in fact be damaging to the beliefs of punks and why they wear what they wear. For example, leather jackets were often customised by punks themselves to convey and show punk messages. High fashion brands have since taken on the likes of the leather jackets, where some elements such as studs and spikes have been removed and then commercialised for wider society. This won’t relate to punks because these designs and reasonings behind such creations don’t match their political and rebellious messages. Both high and low fashion can affect the punk community for items can be sold at much lower price points, essentially devaluing the punks identity and can be left feeling lost compared to a sense of belonging to a specific community/subculture.

Concluding my research on punks, I know that I can continue to admire the punk aesthetic, but in order to use their styles or take inspiration, it should be apparent that my reasonings match their beliefs rather than just using it because it looks ‘cool’. I am more aware when analysing designer’s work that if it has a punk aesthetic, that they are matching their messages and not just profiting off of a different approach.

The punk movement was a real thing in society which cannot be ignored, but in the future should only be used when referencing correctly to their specific values and ideology.

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Social class remains a significant role within

fashion and consumption, despite us being seen as more of a ‘classless’ society during present times. During History and Sociology lessons at school, I learnt about how peoples form of dress is a signifier for an individual’s social ranking, and further, how your social ranking allows you to consume certain products or embody a certain way of life that lower social rankings may not be able to obtain.

I wanted to remind myself of sociological theories surrounding class, which took me back to Karl Marx. He stated that society is divided by two groups, which were the people who owned the means of production and those who do not.

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Sociologist Max Weber developed this further and stated ‘social class refers to a group of people who occupy similar positions of power, prestige, and privileges and share a lifestyle that is a result of their economic rank in society.’ (Medvedev, n.d.). It can be seen that these theories are damaging to social classes as they do not necessarily take into account locations that people reside in and other elements such as gender, age, ethnicity and more which all have significant impacts on peoples socio-economic status.

Compared to that of the centuries before us when you had upper-class lords and ladies and ‘commoners’ today, there are other ways of measuring social ranking when it comes to fashion. Conspicuous consumption refers to the physical elements people can obtain, but inconspicuous consumption refers to the idea of taste and knowledge which can be a factor in determining ones position on a hierarchical basis. (Currid-Halkett, 2017) suggests there is a new ‘aspirational class’ signifying their wealth through prizing knowledge and building cultural capital, inferring that spending is carried out more on educational services and ‘human-capital investments’ over material goods.

With prices of higher education rising, fewer people can afford to attend colleges and universities. The upper-class members of society can afford private education, where middle and lower classes cannot obtain this due to education becoming extremely costprohibitive. During a session with Christopher Shannon, he explained that his time studying at Central Saint Martins, was a place where he was surrounded by more upper-class members of societies. Their parents had been successful in things such as inventing products or being celebrities. Social class will always have a relationship with performance and educational success and opportunities. Inconspicuous consumption will aid individuals at maintaining their higher positions as they will naturally surround themselves with like-minded people and will have been exposed to networks of individuals with similar taste and knowledge.

Inconspicuous consumption and conspicuous consumption will naturally go hand-in-hand as wealthier individuals can afford more luxury, quality goods.

In fashion, some argue that upper classes can lead to a fetishization of the working class.

Understanding the bubble-up fashion theory, this is where trends can be taken from subcultural groups predominantly of a workingclass background, and brands will create styles to make profit from this. As clothing can play a role in expressing our identity today, we can easily replicate our place in society. The upperclass destine to alienate the working-class as they are the trend setters, where working classes want to adopt and imitate the trends of the upper classes. They are in a constant over-turn of new styles and imitation games.

As working classes aspire to have upper-class qualities within fashion, they can be seen to obtain more branded clothing adding to a sense of logo-mania, they will exert this and show off their labelled garments. Specifically, luxury designer brands that see this, do not want to associate themselves with the working classes and laboured uniforms, so they do everything in their power to come up with newer designs. As styles such as streetwear which has been inspired by hip-hop and skate cultures etc. luxury streetwear brands want to maintain a more upmarket consumer base, therefore will create unique pieces which are very expensive. (Wong, 2018) suggests that this causes a raise in question as to whether it seems ‘ethically right to increase the prices for once working-class pieces in order to make them more inaccessible to original and less affluent client bases’.

It is a constant battle, and this demonstrates how social hierarchy does in fact still have an impact on consumerism in the twenty first century. Fashion and the labels that you purchase from are identity signifiers into what sort of person you are and your social ranking, alongside taste and knowledge too.

We are still living in a very much judgemental society, where you will be determined by other people’s opinions on many occasions.

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As my proposed area of interest for my final

major project is to explore entering brands into different market levels, the ideas surrounding trickle-down and bubble-up fashion theories are important within my project.

After defining what the fashion theories, trickle-down and bubble- up are, there are also brands that will trickle themselves down in order to have what is called a diffusion line which usually sits at a lower price point than that of their most expensive line or perhaps what they are most well-known for. Diffusion brands are often created when designer labels need to access a wider audience and help the overall label grow. The aim is not to ‘contaminate the exclusivity of the main lines’ but to create these sub-labels which are at lower prices (Salamone, 2021).

The concept of a diffusion line isn’t always long-lived, so for me, it was important to understand which brands have survived and been successful within the launch of their diffusion line; ones that can offer longevity and a history that will continue to remain relevant in future times.

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Rei

Kawakubo, designer of Comme des Garçons has always had a very supreme reputation in the world of luxury fashion, more prominently creating Avant Garde collections that continuously question conventional ideas surrounding beauty and what it is. Focusing on the female body, what is it to be a woman?

Kawakubo does not have one objective answer to these questions and challenges but is rather accepting of many interpretations for the viewer to conclude for themselves. She does not define her label and does not define herself - “not an artist, not a fashion designer” (Gibson, 2019). Focusing on architecture and interiors, Kawakubo merely uses fashion as a tool to convey different notions of beauty, she turns the unconventional into the conventional and the imperfect is the perfect, there is always this juxtaposition and play amongst the opposites.

Comme des Garçons is surrounded by volume, the colour black, proportions and distortions.

It’s about being disruptive around your competitors and leading the way, embodying what it is to be the untouchable.

Not only is Comme des Garçons well renowned, but it is also extremely popular for the sub-brands that it can offer. In other words, having diffusion lines where items for sale are at a much lower price, but still very much relevant to the brand name itself. I wanted to focus on CdG PLAY. Launched in 2002, CdG PLAY is very much still relevant and iconic within fashion 20 years later today in 2022.

It parallels itself with what it is to be luxurious but still accessible and comfortable. Within the sub-brand itself, it has collaborated with the likes of Converse, being its most popular collaboration, alongside the likes of Nike, BAPE, Jordan, Louis Vuitton, and Matt Groening. PLAY is offered throughout and is not linked to any particular seasons. Products within the line include more casual dress such as T-shorts, knits and accessories including shoes, jumpers, purses, perfumes etc. The red heart with two beaming eyes is the iconic logo for CdG PLAY, designed by Polish artist Filip Pagowski, which is often used as applique on these garments. The consumer for CdG play is diverse as it is not gender focussed and can come under menswear, womenswear and childrenswear (Bradley, 2012). Equally most of the styles are gender-neutral, so in a day like today where gender is not always an important factor to some consumers, CdG PLAY can offer items for everyone.

Not only is CdG PLAY used within clothing, but many people all around the world understand and recognise the logo is used for other inspirations, even including nail design art, to which some of my friends have chosen to incorporate into their nails ideas in the past.

This shows just how popular and iconic the CdG PLAY logo is, further supporting the success and relevance the sub-label provides for the world twenty years after its first launch.

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Whilst Rei Kawakubo and Adrian Joffe launched Dover Street Market in 2004, the store plays a vital role for in-store shopping experiences and store model layout. Changing the installations regularly, the Dover Street Market model is one that is worth noting the uniqueness of it. The store seeks to showcase brands that sit alongside Comme des Garçons at the highest levels and moves through the shop floors showing each area of luxury designer and Avant Garde clothing and the services and specific aesthetics they offer.

Despite Dover Street Market having a very selective consumer base, those that are fashion conscious and even the elite who can afford to shop their regularly, CdG PLAY is available and has its own installation within the store.

Again, this strengthens the impact it has on the fashion world and demonstrates its triumph in the fashion sector.

From past research in Dover Street Market, alongside Rei Kawakubo and Adrian Joffe’s determination in making the shopping experience unique and difficult to source items specifically online, this plays a role in the relationship between Dover Street Market and its customers. Despite there being a selection of items on the Dover Street Market website, customers should know that if you go instore, there will be a high chance of items instore that weren’t online. This includes CdG PLAY items. Online, there are items to buy such as varying styled PLAY T-shirts, knitwear items and Converse shoes. During your time in Dover Street Market, you will find more CdG PLAY items that you couldn’t see online. Much with the Dover Street Market Model, it is all about the essence of exclusivity and having a ‘one of a kind’ mindset to items. Despite CdG PLAY retail prices sitting at a significantly lower price point than that of Comme des Garçons garments, the fact it is still available within Dover Street Market, ensures that the sub-level retains that element of exclusivity and doesn’t sit too far away from the main CDG label.

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Overall CdG PLAY conserves the reputation that Comme des Garçons holds and allows consumers to enter the brand at a more affordable price. Consumers are able to buy into the brand and still feel valued and have that connection with the luxury designer world.

Figure 2: Comme des Garçons PLAY products on sale on shop.doverstreetmarket.com

Marc Jacobs came onto the fashion scene

in 1984 when he launched his first collection under his brand (Marc Jacobs, Ready-to-Wear, Shoes - Fashion & Leather Goods, n.d.). He has played a pivotal role in both fashion and beauty since he launched his brand.

Marc Jacobs has regularly participated in fashion weeks, where in his AW 22 collection, he showed 10 looks, continuing with ‘dramatic proportions in sportswear and outerwear’ (Moore, 2022). The article further suggests that the designer has been focusing more on his beauty line and ‘lower priced streetwear line Heaven’ which leads me onto the next diffusion label.

Marc Jacobs is also a well renowned fashion label that has had a strong backbone to the brand. From my previous research into fashion imagery, I have analysed Juergen Teller and the famous Marc Jacobs bag with Victoria Beckham’s legs and feet coming out. This was a successful marketing advertisement as it has been done very subtly with a powerful image.

It doesn’t feel like a marketing material at all, so rather than oversaturating consumers, it rather generates conversations, enticing people into the brand and then investing from it.

For younger Marc Jacobs fans, not everyone can afford ready-to-wear pieces, therefore creating a diffusion line can often bring the level down to the values and interests of a wider consumer base, whilst still maintaining that element of rarity to the brands original label.

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Heaven is Marc Jacobs diffusion line that sells direct-to-consumer collections that is focussed amongst living the teenage dream, being young and created nostalgic memories to childhoods. The collections launched in 2020 and is colourful and naïve ‘making you feel hopeful about the future’(Yotka, 2020).

From my previous research area into Fruits magazine, it is interesting to see how they have collaborated with ‘Heaven’ which is great to see through the lens of new designs, widening the consumer base and gaining new audiences from each collaborators background.

Items from the collections range from $45 to $395 which evidently shoes more accessible price points for items from the designer’s label.

Items include clothing to shoes, to accessories and even things such as books and CD’s. The product range is vast, and the consumer can buy whatever they want, it really isn’t that limited. This sub-label is great for customers like that of Generation-Z for some of them are still in education or haven’t entered their way into work-life yet. Disposable income is a big thing when it comes to investing into the luxury designer world, however ‘Heaven’ allows you to purchase goods that will retain its quality, always be sentimental to the consumer and may be one of their first purchases for the label. This could be the beginning of the early foundations for a trustworthy relationship between the consumer and Marc Jacobs in the future.

In comparison to Comme des Garçons CdG PLAY sub-label, Heaven by Marc Jacobs is still relatively new. Unlike the twenty-year success of PLAY, Heaven may not be around for as long. Time will tell; however, the line is still doing well as Marc Jacobs is setting aside more time to focus on this.

As a Generation-Z member, I thoroughly enjoy looking at these pieces visually and will be considering investing into a piece from the Heaven collection in the near future.

Within my work I love to channel naivety, colourfulness and not feeling the pressure to grow up too quickly and I believe Heaven by Marc Jacobs resonates a lot with me on this level. Heaven is a great example of how luxury designer brands can filter down their label into a more accessible method for gaining newer and younger consumer, whilst still ensuring they feel considered.

Figure 4, 5 & 6: Products on marcjacobs.com (2022)

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Figure 5

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Figure 3: The Marc Jacobs Heaven lookbook photographed by Shoichi Aoki in Tokyo (2020) from vogue.com

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Vivienne

Westwood, punk, new romantic and beyond as described by (V&A · Vivienne Westwood, n.d.). A powerful navigator within high fashion and is famous for her contributions to rebellious aesthetics. She has a strong British identity in her work and mixes this with the French way in solidity of size and proportion (Vivienne Westwood: The Story so Far, n.d.).

More recently, we see Westwood attending protests with her concerns surrounding climate change, but she continues with the running of her other labels and contributing to the world of fashion.

Researching her early career, and highlighting my previous research into the punk movement, Westwood was a supporter of this and would start to create garments in a resistant manner to the rest of society.

In the 1970’s working with Malcom McLaren, they both set up their own boutique which predominantly sold politically graphic T-shirts with things like a safety pin going through the Queen’s lips and a screen-printed image of breasts on the upper half of a T-shirt. For much of society, this would have been inappropriate, but Westwood was finding the glamour from sex, punk and rock’n’roll.

Figure 7: The Ebinum Brothers for Vivienne Westwood, photographed by Tom Marshak (2022) from @viviennewestwood on Instagram

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Figure 8: Elevated platforms (2022) from @viviennewestwood on Instagram

Figure 10:Malcolm McLaren + Vivienne Westwood (n.d.) from nokillmag.com

Vivienne Westwood is a great example of the concept of the bubble-up fashion theory. She has taken a rebellious identity as has provided that for that particular consumer. If all couldn’t afford her pieces, people will interpretate and reference her for inspiration in their aesthetics.

Although Westwood has other lines focusing on accessories and perfumes that do well, her role in mainstream fashion will always be rooted in punk rock.

Figure 9:Vivienne Westwood climate manifesto (2020) from nokillmag.com

As all fashion brands have a responsibility to be transparent and as resourceful as they can, consumers want to know about who is doing what and who isn’t. Despite fast fashion producing an abundance of textile waste, luxury designers must still show what they are aiming for. Vivienne Westwood is a protester when it comes to climate change. (Yi, 2021) highlights Westwood’s pledge to ‘reduce her brands contribution’ to the climate crisis. In SS 2020, her collection consisted of organic materials which were more planet friendly. I think taking responsibility and being aware of what you use, whilst also searching for better alternatives only proves you to be more creative in the sense of adapting to new materials.

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I have referenced Charles Jeffrey and his

brand Loverboy in my previous work. I really enjoy his creations and learning about the values and why he has followed the path for him has been quite inspiring.

Charles Jeffrey Loverboy is essentially an expression of his own emotions, how he sees and feels the world. A lot of this self-expression stemmed from the club culture he found himself in during his studies. Jeffrey set up Loverboy as a club night to support and fund his studies (Cochrane, 2018). Charles Jeffrey Loverboy is a fluid brand, much like Jeffrey himself. He shows the possibilities of others in how wearing womenswear and menswear on the same person, can work and gender shouldn’t even be a question, in the sense that gender-specific clothing, shouldn’t not be worn by all genders. It’s about challenging gender norms and encouraging a free spirit in whoever you want to be.

Charles Jeffrey has taken his own experience and the experiences of other individuals who are part of the LGBTQIA+ community and turned this into high fashion. Loverboy is luxury clothing as offers others to express their emotions through his items. It’s not just about the clothes but knowing that the designer himself has endured challenges surrounding identity, having a louder voice can often help other individuals who have struggled. People will feel safe in who they are. Loverboy offers the sentimental and emotional support to individuals where they might not have this around them.

In my previous research, I often identify with the designer on the meanings and narrative behind his creations.

Colour is another factor in why I am drawn to the brand which is no surprise there. Club culture being definite within his brand image, there is a punk feeling to it too. I like to think back to the punks rebelling against societal norms and think of Charles Jeffrey Loverboy rebelling to cemented views and the ignorance that can be shown to the LGBTQIA+ community. Despite the punks very much offering threatening aesthetics and appearances through colours such as black and red to ward off people, for Loverboy, Jeffrey uses electric colours, bright yellows, reds and digital blues, greens, and all different colours; a celebration of identities and to feel safe in yourself. There is still a lot of darkness to his work, but as interested as I am in colour, for the brand I don’t believe it to be in a negative way, for Jeffrey has continued to create something unique with these darker tones. There is always substance and a narrative behind his methods of storytelling.

Figure 11:Charles Jeffrey with Charlie xcx and Samsung UK (2022) from @_charlesjeffrey on Instagram

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“I decided if ‘streetwear’ was gonna be the sign of the times I was gonna define it rather than be defined by it. I needed to do a show to define what ‘streetwear’ could be, and do it with urgency, you know.” – Virgil Abloh.

The late Virgil Abloh has undoubtedly had a

significant influence on the world of streetwear and what it is.

Researching further into streetwear is another example of the bubble-up fashion theory.

In an article by Hypebeast, they have a whole outline of streetwear, the culture, it’s profitable success and what brands channel the streetwear narratives as well. They state that Streetwear by definition is fashionable, casual clothes, but this doesn’t do justice for the style ‘with its roots in countercultures of the 1980s and 1990s, including graffiti, hip-hop, skat and surf’ (Streetwear History & Definition, n.d.). Streetwear items predominantly include the sale and resale of products in footwear, usually sneakers, alongside T-shirts and more too. Typical Streetwear consumers are 25 and under as this is what it is to be ‘cool’.

Investigating and research the brand OffWhite™ in my first year of university, I understood the now late Abloh had played a significant role in streetwear and its luxury success.

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As resale is a massive sector within Streetwear, the cost of items can fluctuate massively, however depending on the brand and creator, items can retain their price and inflate as time goes on. Resale platform The RealReal note that streetwear brands such as Off-White™, YEEZYM Supreme and Bape sell very fast due to customers viewing these items as investment products for the future (Sawyer, 2019). This supports the notion of Streetwear being an expensive area to commit to.

Being influenced by counterculture, street culture, hi-hop and rap, streetwear is a style that has been inspired by the streets and has been made and transformed into a luxury sector. Virgil Abloh will always be known as a pioneer within this sector, but he also recognised that there would come a time when streetwear would die. The late designer said, “I think that fashion is gonna go away from buying box fresh something; it’ll be like, hey I’m gonna go into my archive” (Allwood, 2019). He understood that there would come a time where brands can no longer survive of redesigning the same T-shirt or hoodie, so having an archive would support the notion of resale, which can further help reduce over production.

Despite may streetwear items being exclusive or one of a kind, there are a lot of brands who rely of selling streetwear, it’s who they are, it’s what their brand is all about.

Hypebeast suggest that there can be four ways of categorising streetwear: Number one, this is brands that are characterised by an accessible price point, comfortable clothing, and authenticity. Brands that would come under this bracket include Supreme and BAPE etc. these also mean that during resale, the value can increase due to the rarity of some items and their popularity.

Number two is sportswear brands that are leading labels that offer pieces such as sneakers that play an important role within streetwear style. Brands within this include the likes of Nike and Adidas which are firm players in the world of streetwear.

Figure 12: Women’s Off-White™ jitney bag (2021) from @off__white on Instagram

The third category are adopted streetwear brands where they merged streetwear styles and trends into their product ranges, however the foundation of their brand isn’t necessarily rooted in streetwear. Brands under this umbrella would be luxury brands and massmarket who want to hop on trends that are popular at those specific times.

The final category is luxury streetwear brands where they ‘blur the lines between original streetwear and luxury fashion; driven by authenticity but conduct their business at higher price ranges. This is where Off-White™ would come in as it is a luxury designer streetwear brand, where not everyone can find this accessible to invest from. The luxury sector of streetwear brands is an example of bubbling-up as they have ensured items are exclusive and rare in some cases.

Figure 13: Virgil Abloh and Benji B photographed by Rob Jones (2021) from @virgilabloh on Instagram

Figure 14: Off-White™ c/o NIKE “Lemonade” AF1 (2021) from @off__white on Instagram

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To summarise this overview into my further research conducted on the bubble-up and trickle-down fashion theories, it is evident that we are surrounded by trends and inspiration every day. It has been insightful for me to look at some successful examples, especially the trickling-down of luxury and avant-garde designers that can offer diffusion lines for a younger consumer base or to simply widen their consumer base. I have been able to identify CdG PLAY as a diffusion line which has withheld its popularity in the fashion sector for twenty years, and also recognise that some diffusion lines are only just starting such as Heaven by Marc Jacobs.

Looking into brands who bubble-up such as the likes of Vivienne Westwood, Charles Jeffrey Loverboy, and Virgil Abloh; they have been creative pioneers in turning what is happening on our streets into luxury designer fashion.

They have demonstrated that these subjects in history and today hold an importance and are valued highly, therefore are able to produce high fashion pieces that hold a level of exclusivity towards them.

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Researching into these areas has helped me understand further of the importance of these theories and how influential it can be. It has demonstrated that class today still plays a factor in our consumption and what people will and won’t necessarily invest in.

I know the research I have undertaken within this overview and further in my sketchbook and research files has had an influence on how I will approach my own trickle-down and bubble-up brands as I can see what has worked and what hasn’t.

Read onto my Journey Book to see how my final project was further developed, influenced, and created.

Allwood, E. H. (2019, December 17). Virgil Abloh: Streetwear? It’s definitely gonna die. Dazed. https://www.dazeddigital.com/fashion/article/47195/1/virgil-abloh-end-of-2010s-interviewdeath-of-streetwear Bradley, L. (2012, May 29). A Guide to Comme des Garçons PLAY. AnOther. https://www.anothermag. com/art-photography/1973/a-guide-to-comme-des-garcons-play Cochrane, L. (2018, January 10). Charles Jeffrey and the designers transforming fashion for a postgender world. The Guardian. https://www.theguardian.com/fashion/2018/jan/10/charles-jef frey-and-the-designers-transforming-fashion-for-a-post-gender-world Currid-Halkett, E. (2017, June 14). The new, subtle ways the rich signal their wealth. https://www.bbc. com/worklife/article/20170614-the-new-subtle-ways-the-rich-signal-their-wealth DeLong, M. R. (n.d.). Theories of Fashion. LoveToKnow. Retrieved 4 May 2022, from https://fashionhistory.lovetoknow.com/fashion-history-eras/theories-fashion Eleanor Gibson. (2019, May 9). Comme des Garçons is ‘nothing about clothes’ says Rei Kawakubo. https://www.dezeen.com/2019/05/09/rei-kawakubo-comme-des-garcons-interview/ Jonathan Sawyer. (2019, August 14). Luxury & Streetwear Dominate the Resale Market in 2019. High snobiety. https://www.highsnobiety.com/p/luxury-streetwear-resale-report-2019/ Julia Yi. (2021, March 2). Vivienne Westwood: From Mother of Punk to Climate Rebel. No Kill Mag. https://www.nokillmag.com/articles/vivienne-westwood-from-mother-of-punk-to-climaterebel/ Lorenzo Salamone. (2021, May 27). What works and what doesn’t with fashion’s diffusion lines. Nss Magazine. https://www.nssmag.com/en/article/26522 Marc Jacobs, ready-to-wear, shoes—Fashion & Leather Goods. (n.d.). LVMH. Retrieved 7 May 2022, from https://www.lvmh.com/houses/fashion-leather-goods/marc-jacobs/ Medvedev, K. (n.d.). Social Class and Clothing. LoveToKnow. Retrieved 10 May 2022, from https://f ashion-history.lovetoknow.com/fashion-history-eras/social-class-clothing Moore, B. (2022, February 18). Marc Jacobs RTW Fall 2022. WWD. https://wwd.com/runway/fall2022/new-york/marc-jacobs/review/

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Pollok, S. (2018, September 5). Trickle-up theory: How digital culture is changing the way fashion trends develop. Idealog. https://idealog.co.nz/design/2018/09/trickle-theory-how-digital-cul ture-changing-way-fashion-trends-develop Punk Fashion And The Bubble-Up Theory of Fashion. (n.d.). PERSPEX. Retrieved 4 May 2022, from https://www.per-spex.com/articles/2019/4/21/punk-fashion-and-the-bubble-up-theory-of-fash ion Streetwear History & Definition. (n.d.). Retrieved 10 May 2022, from https://strategyand.hypebeast. com/streetwear-report-history-definition Summers, M. (n.d.). Bubble Up Theory: How Fashion is Screwing the Punks – Novella. Retrieved 4 May 2022, from https://novellamag.com/bubble-up-theory-how-fashion-is-screwing-the- punks/ V&A · Vivienne Westwood: Punk, new romantic and beyond. (n.d.). Victoria and Albert Museum.

Retrieved 8 May 2022, from https://www.vam.ac.uk/articles/vivienne-westwood-punk-new-r omantic-and-beyond Vivienne Westwood: The Story so far. (n.d.). Vivienne Westwood. Retrieved 8 May 2022, from https:// blog.viviennewestwood.com/the-story-so-far/ Wong, M. (2018, May 8). COMMON PEOPLE: THE APPROPRIATION OF CLASS IN FASHION. Miki Wong Design. https://www.mikiwongmeiqi.design/single-post/2016/05/08/a-blank-pagehow-to-make-the-most-of-white-space Yotka, S. (2020, September 10). Marc Jacobs Launches Heaven, a New Collection of Teen Dream Fashion. Vogue. https://www.vogue.com/article/marc-jacobs-heaven

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IMAGE

FIGURE 1: Iconic t-shirts of Vivienne Westwood: Two cowboys (1977) and Destroy T-Shirt (1976) [Photograph]. (2021). https://www.magazinehorse.com/en/vivienne-westwood-75-years- punks-queen-2/ FIGURE 2: Comme des Garçons PLAY products on sale. (2022). https://shop.doverstreetmarket.com/ collections/comme-des-garcons-play FIGURE 3: Aoiki. (2020). The Marc Jacobs Heaven lookbook photographed by Shoichi Aoki in Tokyo.

[Photograph]. Vogue. https://www.vogue.com/article/marc-jacobs-heaven FIGURE 4: Products on marcjacobs.com. (2022). [Photograph]. https://www.marcjacobs.com/default/ heaven/shop/view-all/ FIGURE 5: Products on marcjacobs.com. (2022). [Photograph]. https://www.marcjacobs.com/default/ heaven/shop/view-all/ FIGURE 6: Products on marcjacobs.com. (2022). [Photograph]. https://www.marcjacobs.com/default/ heaven/shop/view-all/ FIGURE 7: Marshak. (2022). The Ebinum Brothers for Vivienne Westwood. [Photograph]. Instagram. https://www.instagram.com/p/CdbRs6nqpOB/ FIGURE 8: Elevated platforms from @viviennewestwood on Instagram. (2022). [Photograph]. Insta gram. https://www.instagram.com/p/CdTf46douPO/ FIGURE 9: Vivienne Westwood Climate Manifesto. (2020). [Photograph]. Nokillmag.com. https:// www.nokillmag.com/articles/vivienne-westwood-from-mother-of-punk-to-climate-rebel/ FIGURE 10: Malcolm McLaren + Vivienne Westwood. [Photograph]. Nokillmag.com. https://www. nokillmag.com/articles/vivienne-westwood-from-mother-of-punk-to-climate-rebel/ FIGURE 11: Charles Jeffrey with Charlie XCX and Samsung UK. (2022). [Photograph]. Instagram. https://www.instagram.com/p/CaufX-sorWH/ FIGURE 12: Women’s Off-White™ jitney bag. (2021). [Photograph]. Instagram. https://www.insta gram.com/p/CWqPG_uqdwp/ FIGURE 13: Jones. (2021). Virgil Abloh and Benji B. [Photograph]. Instagram. https://www.instagram. com/p/CUFVtdJFPpr/ FIGURE 14: Off-White™ c/o NIKE “Lemonade” AF1. (2021). [Photograph]. Instagram. https://www. instagram.com/p/CUYU9TmF7cB/

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HELEENA HOUSTON - 1918689 EXPLORING BUBBLE-UP AND TRICKLE-DOWN FASHION THEORIES AD6606 - BRAND MANAGEMENT