I02 - Internet Kids

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referencing the video game titled stardew valley

i thrive in the calmness of stardew valley routines beloved in an 8-bit farm home i never find comfort in routines wake up but the pointless drifting kiss wife no goal waiting, lack of mail-check expectations water crops enhances the mundane no stakes a break from the cook steak swift whiffs of greetings eat steak pressure-cooker meetings full the existential crisis of success thank you stardew valley energy bar gr for being a world that’s mining simple, 8-bit, worth gold ore living in my rich own skin

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reen

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Self written by Rosni Srivastava

Self Love It was a word often heard, One whose meaning it took me a long time to learn.

Self Love It means accepting yourself - flaws and all, It gives you the power to stand better and tall.

Self Love It was not something I could easily accept, Because every time I looked in the mirror, I only saw my deficit.

Self Love I believed that I was not pretty, Because I could not compete with the standards of the society.

Self Love I know internet can be cruel and vile, But for me, it brightened my smile.

Self Love

For me it taught me to celebrate my stretch marks, made me comfortable in my skin.

It taught me how to celebrate myself, make me feel like a win.

Self Love Internet gave me the confidence to not care about others because people will say rude things to you, But you cannot let them through.

Self Love Yes ,the internet also remind us of our flaws, And maybe it is good to sometimes take a pause.

Self Love But the internet made me bold, sure It gave me the power to raise my voice and become something more.

Self Love I could finally understand what it was to love yourself, To look in the mirror and truly see yourself.

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LET’S TALK ABOUT

Casual Instagram

If you've been on Instagram for sometime, you've probably noticed a pattern in the type of content that's shared. Your favorite influencer's dreamy vacation feed may have been replaced with something more intimate and "casual," and your friends may have started posting the most random photos they have in their camera rolls. Nostalgia strikes, transporting you back to the good old days of Instagram. You know when you used to take photos straight from Instagram's camera? When posting was simply about sharing bits of your daily life with the people that you love. That's exactly what Casual Instagram is all about. But what exactly is it? What is the reason behind its comeback? Is it any better than Instagram’s previous era’s?

Casual Instagram refers to sharing more casual, unedited photos of our daily life without feeling obligated to present the perfect version of ourselves or following the standards set by the app prior to this era. It mainly consists of photo dumps, unedited selfies, awkward photos of your friends, food photos, memes, and etc. It naturally contradicts Instagram's previous era since it allows users to show their lives more authentically without adhering to the curated aesthetic that dominates the majority of the app and allows users to share the more « casual » aspects of their lives.

Its recent comeback is mainly due to the pandemic. As Dazed writer Alice Crossley explained in 2020, “with everyone stuck at home with nowhere to go and no one to see, the appetite for glamour and luxury is at an all-time low. In a year of protests and a pandemic, unboxing videos and travel vlogs seemed trivial and exceedingly out of touch”. Nowadays on social media people are striving for relatability and authenticity another reason for such a drastic change in the type of content shared.

Users are now more than ever drawn to people with whom they can connect and despise the dreamy and unrealistic life of influencers.

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While Casual Instagram relieves the toxic pressure to maintain a perfect life on social media, some may argue that it is just as performative as the app's other subcultures. In fact, using the words "casual" and "Instagram" in the same sentence is a contradiction in itself. Posting on Instagram or any other social media platform is a form of performance.

With Casual Instagram, we're still induced to create the perfect scenery of our lives, while making it appear effortless. Casual Instagram's proximity to real life not only blurs the line between what is and isn't real for users, but it also makes them feel even worse about their lives than non-casual Instagram because they are now comparing their daily lives to the lives of the people they see on social media. We also can't ignore the fact that this trend is only accessible to those whose lifestyles are effortlessly photo-worthy and who have the equipment to take their photos.

I'd say I have a rather black-and-white viewpoint on the subject. Casual Instagram, in my opinion, is nothing more than a trend, and even if it is a first step in reducing the pressure on users to post perfect photos, it still adheres to Instagram's curated aesthetic. Obviously there isn’t anything wrong with wanting to follow trends, they simply don’t portray real life authentically. written by Sophia Ymele

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I’M FINE ! I’ M

Interview with Interview SPIDER Spider

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PERFECT M ’ I ! !

D O O G

Could you introduce yourself ?

I’m SPIDER (most people call me jen), I’m 22 years old and I’m an alternative pop artist from Dublin, Ireland. but I live in london now!

What lead you to music ?

Honestly, it was more things that I can probably remember or count. definitely a mixture of things, I don’t come from a musical background but my older brother would watch MTV a lot and I’m pretty sure it was one of the first ways that I was exposed to the concept of pop music and I was insanely obsessed. I grew up as very much an internet kid, and when I found artists like Halsey, Lorde and Taylor Swift and saw how they used music to channel their emotions that really resonated with me and it became something I also wanted to do. I had a lot of big emotions as a pre teen about myself and my identity as a black girl in a predominately white country like ireland, and music became the easiest way for me to channel all of that into something tangible.

Tell me more about your single I’M FINE! I’M GOOD! I’M PERFECT! I’M FINE, IM GOOD, IM PERFECT was essentially me reflecting on the terrible year that I had. I went through a really bad friendship breakup and was working through a lot of feelings surrounding guilt and betrayal and trying to figure out who I was in the abscence of someone who I had grown so much with. And also trying to accept the fact that I might be the villain in someone else’s story which for a people pleaser like me was a situation I always tried to avoid at all costs. but that’s growing up for you and I think the song encompasses all of those feelings of really not knowing yourself anymore but remembering when you used too, painful stuff.

Any inspirations for IFIGIP ?

The inspiration for IFIGIP was literally what I was growing through at the time, everything I write is a direct reflection of whats going on in my brain or subconscious even if I don’t realise it in the moment

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What’s your songwriting process ?

In terms of my songwriting process, I listen to a very specific playlist of songs before I make anything. I feel like I tend to get creatively confused if that makes sense and can make things that don’t actually feel like me - so I find that listening to a very carefully picked playlist of songs that I feel encompass what I want to sound like really helps me stay focused and true to the sonic vision if you can call it that! I normally start with building the beat first. most of the time I get really inspired by whatever drum loop i’ve chosen, and then build the beat around that. The lyrics are always influenced by the energy or vibe of the instrumental too.

Would you like sharing your own experience growing up on the internet with the mag ?

Growing up on the internet quite literally opened me up to a whole new world. I genuinely don’t think I would be the person I am today if I hadn’t spent so much time online. It’s shaped the way I think, the way I create, the way I talk,

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interact. I feel like I’m literally an internet blue print manifested in a human. maybe that’s a bit extreme, but I do love the internet for what it’s given me as a woman who grew up in a relatively small country and didn’t have much representation. I think the internet gave me permission to dream a lot bigger than I would’ve, and to have very strong and unmoving opinions and to be proud of that. every artist who I’ve ever been influenced by, Lorde, Halsey, Conan Gray, Taylor Swift, Grimes - I found them all through the internet and with them a community of people who loved the music just as I did and it gave me a sense of belonging that I really needed when I was younger and I hope that I can give other people that too as an artist.

Any advices for new musicians ?

I think my advice to new artists (I am also very much a new artist so I’m going through all of these things now) would be to always remember that your only competition is yourself. I feel like it’s really easy to get caught up in everyone’s else’s perception of your

success and you will find a lot of people trying to compare you to other artists and you will do the same thing to yourself no matter how hard you try because you’re human. And it’s totally okay to have those moments where you just feel like trash because you feel like someone else is doing better than you - let yourself feel that but not for too long. Remember that you’re only competing against yourself and instead of resenting other people admire them and learn from them and learn to see the infinite value in your art and yourself as a creative. There’s nothing that you lack, you just need to believe in yourself!

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This grotesquely proportioned, inoffensive art style has become pervasive and inescapable to digital visual culture; from website landing pages to loading screens, the style commonly known as Corporate Memphis, has become a favourite of technology corporations for its ability to inspire trust in consumers, stemming from its safe and approachable design. One of the most notable contributors to this movement is Facebook; creating their own stringent brand guidelines for their subset of the style, which they have dubbed “Alegria”, they use the cuteness of the graphics to assuage their platform user’s suspicion and apprehension of the company’s invasive and harmful policies. However, after prolonged exposure to the style, the general public is growing weary of Corporate Memphis’s insincerity and lack of soul, and it is on it’s way to becoming a much ridiculed meme, similar to the likes of the typeface, Comic Sans. Corporate Memphis’s burgeoning status as a meme also reflects the ideas of Walter Benjamin, in that physical mechanical reproduction devalues the uniqueness of art, and how the distillation of this visual style of digital illustration down to a singular style has lead to an overall lack of uniqueness in digital art.

The style Corporate Memphis appeared in the late 2010’s, and is primarily seen utilised by large technology corporations, (although the style’s reach is not limited to web, and has been seen featured in print as well). With roots in Modernism, the style could draw parallels to Art. Deco posters from the 1930’s; flat, simplified, geometric graphics have been a staple of graphic design for years, and Corporate Memphis could be seen as a natural progression of preceding styles (Sands, 2021). Looking to the specific subset of Corporate Memphis that Facebook had commissioned Buck Design Agency to create, in order to rehaul Facebook’s animation and illustration ecosystem, they define “Alegria” as a “Scalable system rooted in flat, minimal, geometric shapes.

The figures are abstracted — oversized limbs and non-representational skin colors help them instantly achieve a universal feel” (Buck, 2021).

They claim the name Alegria is “Spanish for ‘joy’ which is apropos — that’s how we felt creating this fun, playful world” (Buck, 2021). Buck’s creative team placed an emphasis on fun, joy, playfulness and universality when creating the branding guidelines for this style.

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tion by Buck Design Company for Facebook. C stra irc u l il

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Fig 1. Aleg ria

With this in mind, it seems that the style was specifically engineered to be as approachable, and “cute” as possible. A sample of the work can be seen in figure 1.

But what is cuteness and why is it important to Facebook that their style, Alegria, is perceived as cute? For context, Cuteness Needed by Mio Bryce “Examines ‘cuteness’ as an effective, powerful communication device” (Bryce, 2006); though cuteness is examined through a different lens in Bryce’s paper, the definition of cuteness and its importance can still be gleaned from the journal, and applied to the case of Alegria’s use of cuteness. In the paper, Bryce writes “‘Cute’ essentially means childlike; it celebrates sweet, innocent, pure, simple, gentle, physical appearances. ‘Cuteness’ has developed into a powerful cultural medium, which has been represented in diverse forms as an effective, powerful communication process in today’s media cultures” (Bryce, 2006).

With these traits that Bryce has outlined in mind, Alegria’s use of formal elements can be examined in terms of how they deliberately draw feelings of cuteness (and therefore innocence, purity, and therefore trustworthiness). Alegria’s use of vibrant color-palettes, gentle, youthful figures, with their noodle-like arms, and infantile, innocent scenes of the figures perpetually running, jumping and playing invokes memories of children, and laterally a childlike cuteness or innocence. This innocence translates to a subconscious feeling of trustworthiness of the platform that hosts these images. Figure 2, taken from Buck’s website highlights the branding guide of Alegria and displays examples; these formal elements in the image, which contribute to the perception of cuteness, from the lively colors of green, pink and blue, to the arbitrary bliss depicted on the figure’s face, to the explosive movement of the figure, all combines to instantly inspire imagery of infantile innocence, and thus trustworthiness.

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Fig 2. Ale gri a

2020 rca Ci

stration by Buck Design Company for Facebook u l . il

This is problematic that Alegria is used by Facebook to evoke images of innocence and trust; the evocation of mental imagery and association to harmless abstractions to obscure intentions and assuage consumer’s natural apprehensions and suspicions has been seen before from big tech companies. Allison Carruth outlines in her paper The Digital Cloud and the Micropolitics of Energy, how big tech companies have successfully integrated environmental terminology into the vocabulary of technology in an effort to associate data servers and digital clouds with natural and wholesome imagery, in an effort to subvert consumer’s attention or consideration from the substantial energy data servers consume, and the consequences it has on the planet and environment. In her paper, Carruth writes “Consider an infographic which depicts the cloud as a verdant island suspended in the air. Commissioned by Microsoft and published on a tech blog, this graphic renders a cell phone as a rectangular mountain meadow and displays bar charts as rays of sunshine, hot air balloons, alpine skis, and rainbows. This floating island image envisions the cloud as “green” by suggesting that cloud computing offers a harmonious marriage between cost savings and energy savings for the companies that move their ostensibly less energy-efficient networks off-site” (Carruth, 2014). A parallel can be drawn to Carruth’s paper; tech companies use of natural vocabulary to prevent users from thinking about the physical and consequential effects of technology, is similar to Facebook’s use of cute visuals creating an impression of harmlessness and trustworthiness around the platform, despite its unethical and violative procedures.

In terms of violative and unethical procedures, Facebook has a long history of problematic missteps; in November 2011, Facebook had to settle FTC privacy charges; “Facebook settled with the Federal Trade Commission in 2011 over charges that it didn't keep its privacy promise to users by allowing private information to be made public without warning.”

(Newcomb, 2018). In July 2014, Facebook engaged in a mood-manipulation experiment on unconsenting users; “Facebook's mood-manipulation experiment in 2014 included more than half a million randomly selected users.

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Facebook altered their news feeds to show more positive or negative posts. The purpose of the study was to show how emotions could spread on social media.

The results were published in the Proceedings of the National Academy of Sciences, kicking off a firestorm of backlash over whether the study was ethical.”

(Newcomb, 2018); in March 2018, it was revealed that Facebook knew about massive data theft and did nothing; Mark Zuckerberg, CEO of Facebook’s response was to post a statement on his Facebook wall, “Expressing partial blame for Facebook’s role in not doing enough to protect user privacy.” (Newcomb, 2018).

These are just a few of Facebook’s wrongdoings over the years; from this brief glimpse at Facebook’s history of unethical business practices, it becomes clear that this is a company that should not be trusted, as Facebook will use every opportunity presented to exploit the platform’s users, even if the practice is outright illegal. This is what makes Facebook’s use of the art style so problematic; it is a manipulative use of visual communication, one that instills a false sense of security and trust in the consumer, and by having users view these Alegria illustrations, associate them with cuteness, and therefore trust, users by proxy end up feeling a sense of trust towards a platform and company that absolutely does not deserve it.

In recent years however, there has been a budding shift in the perception of the Big Tech Art Style; instead of evoking imagery of cuteness, innocence and trust, the public has been perceiving a dissonance between the exploitative policies tech companies employ, and the use of cute innocent graphics for their company imagery. As of late, this dissonance has been spawning memes in the art style of Corporate Memphis, drawing upon the irony of the perceived cuteness of the style in contrast to a morbid or bleak subject matter; much in parallel to the unironic application of Corporate Memphis, where cute imagery is utilised by unethical companies. Figures 3 and 4 are an example of this phenomenon. Figure 3 depicts a rage comic meme being transformed into a Corporate Memphis style figure; it’s humor stems from the meme creator’s frustrations, while also acknowledging that this style is pervasive and inescapable, to the point that the meme itself is converted into the art style the creator hates. Figure 4 depicts the Goya painting, Saturn Devouring His Son, (1819–1823). The bleak subject matter becomes humorous when reimagined in the joyous and vibrant Corporate Memphis style. Memes of this nature mocking the Corporate Memphis style are on the rise; there is even a subreddit (internet forum) dedicated to posting egregious examples of the style called r/fuckalegriaart with almost 5,000 subscribers. It seems that as tech corporations continue to oversaturate the market with this style, the public will become more and more disillusioned and resentful of it and these memes will become more common.

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Fig. 3 Mem e

ate Memp h i rpor s.

C Co

ting conversion of rage comic into style c i p of de

21. a 20 irc i Fig. 4 Saturn Devouring His Son

s. Circa 2021. phi m

he style of Corporate Me t n

This rise in memes in the Big Tech Art Style has been slowly shifting the style from respectable and trendy closer to the territory of mockable and outdated, much alike the once beloved typeface, Comic Sans. Comic Sans had a similar trajectory to Corporate Memphis; in an article titled Will That Big Tech Art Style Become the Comic Sans of Art Styles?, The author, Nisshtha, notes that although “The font gained popularity among the non-designers and got taken up into their documents like homemade flyers, invitations, cards, posters etc.” it was soon “ being discovered in places where it's extremely casual personality did not suit the conveyed message.It was everywhere. This font became a joke and a good meme subject.” (Nishtha, 2021).

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The font, which was initially popular for its fun whimsical design eventually became despised because of its oversaturation and misuse. This is similar to the oversaturation of Corporate Memphis style, as well as the misuse of the joyful tone of the imagery in contrast to the unethical companies that use them the most. Nishtha makes an apt comparison of the font to the art style Corporate Memphis; she writes “Like the font, Corporate Memphis has begun to be discovered in places where its jovial personality doesn’t seem to be the right fit. The intended oversimplification of these illustrations can give a false sense of security and lower the consumers’ guard in situations where they are expected to be more careful. For example, this art style is often strategically placed in exploitative subscription terms, privacy agreements and policy updates. It’s like writing a warning sign in Comic Sans.”

(Nishtha, 2021). It’s a very apt comparison to say that Corporate Memphis is heading in the direction of Comic Sans, as users grow tired of the perceived insincerity of the style, and the seeming tone-deafness of it being paired with exploitative policies and unethical business practices.

This forementioned memefication of the Corporate Memphis art style speaks to the lack of soul this distillation of art has brought about. Walter Benjamin asserts that “The aura of a work of art derives from authenticity or uniqueness, (and locale); Benjamin explains that “Even the most perfect reproduction of a work of art is lacking in one element: Its presence in time and space, its unique existence at the place where it happens to be located” (Benjamin, 1935). Despite memes pushing back against Corporate Memphis, it is still currently the most trendy and popular art style, the style that large companies are paying good money to produce, and thus, in an attempt to capture the attention of brands willing to pay for this style, designers and firms have shifted their personal style, uniqueness, and aura to instead align with Corporate Memphis, creating a homogenized style. This homogenized style is mindless, easy to replicate, and mirrors the mechanical reproduction that Walter Benjamin speaks of, which in turn leads to an overall unfortunate lack of uniqueness in art.

To conclude, Corporate Memphis, Alegria, and its counterparts are bad in almost every way. Soulless, insincerence, and decrepit, the public is starting to notice; hopefully this style will be passé soon, and our eyes will be relieved of the perpetual lack of taste it is subject to.

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Works Cited Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” 1935, Bryce, Mio. “Cuteness Needed : The New Language/Communication Device in a Global Society.” International Journal of the Humanities, Vol. 2, Issue 3, 2006, p.2265‐2275.

Carruth, Allison. “The Digital Cloud and the Micropolitics of Energy.” Public Culture, vol. 26, no. 2, 2014, pp. 339–364., Design Company, Buck. “Facebook Alegria.” BUCK Miltner, Kate. The Sage Handbook of Social Media. SAGE Reference, 2018, ““Internet Memes.” Chapter 22. The SAGE handbook of social media.”

Newcomb, Alyssa. “A Timeline of Facebook's Privacy Issues - and Its Responses.”

NBCNews.com, NBCUniversal News Group, 24 Mar. 2018, Nisshtha. “Will That 'Big Tech Art Style' Become the Comic sans of Art Styles?”

Medium, Bootcamp, 14 May 2021,

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Sands, Solar. “Why do "Corporate Art Styles" Feel Fake?” Youtube, February 6, 2021

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Stills from a teenage girl’s tumblr accou

to-hell-with-oblivion: You know what?

I am annoying sometimes.

And that’s okay. It’s not the death sentence I was led to believe. People will love me even if I can’t read their signals sometimes. Not understanding is forgivable. I don’t have to hold myself back so I don’t annoy anyone ever.

The people who love me know I get excited.

And I am still loved. #formyinsecureshawties

164064 notes

garbageater: i am romanticizing my life from now on. I am moving in a week and finally living on my own. I am taking my camera with me wherever. i will daydream and stop carrying the burdens of others. i am finally my own person and i am happy. #ezraspeaks

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45 notes

unt

night-rooms:

tonight feels so fucking sad.

i wish i could be someone else tonight, across the globe. somewhere else. a different language be a beautiful person at a party, dancing , dancing and being wanted by everyone. making love over and over again in a beautiful bedroom and feeling awake and meaningless but it all makes sense. excited for life. im not excited for life anymore right now #personal

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L’influence d’internet dans la mode 2022, l’ère de la communication et de l’information de masse. Que ce soit par les téléphones, les ordinateurs, les télés ou même les frigos connectés, nous avons en permanence accès à Internet. Dans une société capitaliste ou l’accès à Internet se fait de plus en plus tôt, Internet influence et berce notre développement peut être même plus que nos parents. Nous allons aborder aujourd’hui, l’influence d’Internet dans la mode.

En mars 2020, je ne vous l’apprends pas, le corona virus à stopper le monde entier. C’est lors du confinement que la plupart des jeunes et (même les moins jeunes) se sont redécouvert vestimentairement parlant.

L’industrie de la mode qui avait également stoppé son activité n’a cessé de trouver de nouveaux moyens pour faire parvenir les nouvelles tendances et influencer cette redécouverte de soi.

La mode s’est manifestée pendant le confinement par l’émergence de TikTok, l’application chinoise anciennement Musically. Grâce à TikTok et au nouveau contenu généré, les jeunes se sont mis à expérimenter différentes esthétiques. On peut voir cela comme une recherche d’appartenance à un groupe alors que nous étions tous isolés. Internet

constituait cette passerelle entre les personnes qui a été rompue lorsque nous ne pouvions plus sortir. Les esthétiques, d’e-girl/e-boy, à indie girl indie boy, soft girl soft boy, il existe une multitude d’esthétiques, tout aussi bien que cela à pousser les gens à vouloir absolument en avoir un et à rentrer dans une casse. Si vous n’arrivez pas à visualiser le concept d’esthétiques, c’est tout simplement un ensemble de codes subtils visuellement plaisant et qui se raccroche à une communauté.

C’est un peu si on dépeignait les Français par le port de la marinière, le pain, le fromage et le vin. Évidemment nous ne sommes pas réduits à ça, mais internet et sa sphère nous y ont bien réduits. Au début les esthétiques représentaient la liberté, le fait d’être hors normes parce que nous l’avons bien vu, une fois le confinement terminé que tout le monde ne s’était pas transformé en e-boy ou en e-girl. Assez décevant, mais le communautarisme des esthétiques à fini par générer une sorte de prison à la créativité, une conformité qui a fini par exploser au visage des concernés.

La bombe qui a explosé à commencer son décompte lorsque les personnes de couleur se sont plains d’un manque de représentation et d’inclusion dans les communautés esthétiques.

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Il est bon de rappeler qu’à cette période-là , le mouvement BLACK LIVES MATTER était dans toutes les conversations et à également participer à une expansion des mentalités et des préjugés sur les e-boy et e-girl. Petit à petit, les créateurs de contenus noirs se sont servis d’Internet et des réseaux sociaux non plus seulement pour faire attendre leurs voix sur l’actualité, mais aussi pour rétablir la représentation dans les medias qui a un rôle majeur dans le développement de l’adolescent.

Disons que 2020 nous a tous replongés (pour ceux qui n’étaient pas) dans les questionnements de l’adolescence. De ce qu’on aime ou qu'on aime pas , de notre perception du monde et de nos corps. La représentation et la diversité des médias permettent à des enfants et adolescents en cours de développement d’être moins dure envers eux même et de se sentir inclus dans la société.L’estime et la reconnaissance de soi en sont améliorée et les répercussions nocives minorées.

Dans la catégorie des répercussions nocive, nous pouvons citer l’utilisation de défrisants pour se rapprocher des cheveux de type a l’utilisation de produits dangereux, toxiques pour s’éclaircir la peau ou encore la consomma-

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tion de thé amincissant pour rentrer dans le stéréotype d’une esthétique. Il est bon de vous rappeler que peu importe votre morphologie poids ou taille, l’idée de l’esthétisme ne se modélisent pas autour de votre apparence, habillez vous comme vous le souhaitez.

Toujours sur l’image de soi, l’émergence des vidéos type « is it a fit or are they just skinny » en est la preuve. Le principe de ses vidéos repose sur une récréation d’un look porté par une célébrité mince par une personne qui ne l’est pas ou pas autant que la dite célébrité. Elles permettent de se rendre compte que dans notre inconscient, la beauté d’un vêtement n’est à son full potentiel que lorsque cela est porté par une personne mince. Heureusement, le mouvement body positive lutte contre ses idées et se propage sur de nombreux réseaux sociaux, notamment TikTok ou les vidéos « is it a fit or are they just skinny » ont émergés. La recherche de son style vestimentaire apporte avec lui son lot de questionnement et d’essai qui aboutissent à une surconsommation de vêtements et à la gentrification des friperies ou des vêtements de seconde main en général.

Que ce soit la fast fashion ou les vêtements de seconde main, une consommation responsable et écologique serait limité et durable dans le temps. La consommation de fast fashion se fait souvent par manque de ressources ou par préjugés, l’impact environnemental de ce type de consommation est aussi polluante qu’une personne qui achète une cinquantaine de vêtements par mois sur vinted par exemple.

La mode est une boucle sans fin ou les styles se recyclent en même temps que les générations et que l’être humain. Est ce qu’un jour la mode ne sera plus un moyen d’expression de soi et perdra toute influence sur le monde ?

écrit par Henriena Mouelle

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