Written by Ilman Ramadhanu

The term ‘cheap’ seems to have a negative connotation to it when used to describe something in the fashion industry. As an avid watcher of fashion design competition TV shows, I often hear the judges criticize the contestant for their garment being ‘cheap’.

As opposed to when the term “expensive” is being used, which is usually used as a term of endearment. Though I never really have a clear grasp on the difference between a cheap and an expensive looking garment, when the term ‘cheap’ is used in fashion, there is always a sense of inferiority that follows behind it. 

Fashion’s aversion towards the word ‘cheap’ and the glorification of the word ‘expensive’ seem to take a drastic turn when, in a true twenty-first century fashion, a digital social discourse on Twitter occurred after the news broke that Michael Kors had bought Versace in 2018.  Many argued that by aligning themselves with the Michael Kors’ name, Versace’s name would get devalued given Kors’ history of creating a more budget-friendly diffusion line. Though Versace did the same thing with their sister brand, Versus, many people did not consider Michael Kors as a high-end or luxury brand. It is interesting to see how a value of a brand could be perceived as inferior once it reaches the cheaper end of the consumer.

It’s almost as if the glorification of luxury is encouraged in the fashion industry and it creates this narrative in people’s mind that luxury fashion is far greater, more superior, and even preferable but why?

Trickle Down Effect

In the Oscar-nominated classic, “The Devil Wears Prada”, we saw an exaggeration and dramatization of the highly glamorous world of the fashion industry. There was one scene in the movie where the fierce editor in chief of a major fashion magazine, Miranda Priestley, spewed an iconic monologue about a cerulean blue sweater that the protagonist, Andy (a character who couldn't care less about fashion), was wearing.

Miranda was shown to be slightly offended by Andy’s comment that downplayed the entire fashion industry by calling it “stuff”. She then pointed out how that particular shade of blue was previously used in a collection by Oscar de la Renta and by Yves Saint Laurent before making its way down to the clearance racks where Andy shops.

The monologue suggests that luxury fashion is the gatekeeper of trends in the fashion industry.  In this case, the proof of such a statement is apparent from the use of the cerulean blue color that was first used by a luxury fashion brand and made its way down into the affordable fashion market.

This theory was actually coined by sociologist George Simmel, and known as the trickle-down effect. In the late nineteenth century, where the scent of aristocratic social hierarchy was still pungent, the wealthy would act as a cultural blueprint for the social class below them.

When it comes to fashion, the emphasis was put on the style that the aristocrats wore that trickled down to clothes that the people of lower class wore. In order to differentiate themselves the aristocrats would constantly search for the most innovative design in fashion. This cycle, according to Simmel, is the driving force behind the constant change in the fashion industry.

The most important thing about luxury fashion is that it needs to create a bubble of desirability to be able to survive, like plants that need water; carbon dioxide; and sunlight during the photosynthesis process. Luxury fashion thrives deep within the ocean of exclusivity. This industry hinges on the idea that the less people who have the ability to obtain it, the more exclusive it gets, and therefore the higher the desirability level gets.

It derives its exclusivity from different aspects, by limiting the quantity of the product or creating a facade through the name of brand heritage. Creating an idea in the consumer’s mind that by owning something from luxury brands would mean that they own some precious heirloom that has existed for generations. 

A conscious act to keep luxury fashion desirable could also be seen by the limitation of who could consume luxury fashion. In today’s market, luxury fashion is gearing towards the millennials and Gen Z as their main target consumer. As millennials are starting to reach their prime spending years, this generation is predicted to be the power purchasers of luxury fashion.

While at the same time, luxury fashion entices the Gen Z consumers by including young social media influencers in their campaigns. The Gen Z generation is, however, not as financially stable as its predecessor. Therefore, the product that is being sold towards them is usually limited from the realm of accessible luxury, such as perfume, make up, or accessories.

This limitation could not be justified by pure innocent logic that says those who consume it are simply able to afford it or that it is simply a marketing strategy. By purposefully targeting a demographic who have more disposable income to spend, it is also done in order to maintain the image of economic superiority that luxury represents.  

The last ingredient that luxury fashion needs in the photosynthesis process of creating the air of desirability is the glorification of luxury fashion in the media. In the fictitious fashion world created in The Devil Wears Prada, The turning point for the protagonist, Andy, is when she is dressed up to the nines wearing all designer clothes.

When she comes to work wearing all these fashionable clothes, her boss Miranda suddenly took notice of her. There was even one scene where Emily, the uptight secretary character, was shown shocked at the fact that Andy showed up to work wearing a pair of Chanel boots. 

The portrayal of fashion in media, in reality, is just as heavily saturated with luxury fashion. One topic that constantly pops up when the media is talking about fashion, is a report from fashion week. A report of the latest collection from a fashion brand could feel ubiquitous but it is also understandable why it never loses its allure.

The magic of runway presentation has the power to provoke opinion from its viewer, whether it is an awe of adoration or disapproval. This is why in the portrayal of fashion in media, we often see the term fashion critics or reviews. Luxury fashion also has more freedom with their designs, for example, in the practice of haute couture that is often treated more as an artform rather than wearable fashion. It’s understandable that this realm of fashion is more entertaining to be reported or viewed and read by the readers.

However, we often overlook the fact that the spectacles of runway shows are more so than often only include luxury fashion brands or designers. When affordable brands are participating in a fashion week event and being reported by major fashion publications, they are usually a luxury line from such fast fashion brands or a collaboration with other designers. 

Fast fashion brands also dominate the narrative when the portrayal of fashion in media veers off to the affordable sections. Within the category of shopping guides or best street styles stories, we often see one affordable item pops up which usually comes from fast fashion brands. The existence of it, however, is completely washed out in comparison with the sea of luxury fashion items that they are showing on their page. When items from fast fashion brands are featured in major fashion publications, it comes as no surprise since fast fashion brands are usually owned by large multinational companies that have the means to get their product featured on major fashion magazines. 

The same reason could also be applied to the practice of ‘advertorial’ in printed fashion magazines. Printed fashion magazines have recently been facing a decline due to the emergence of digital influencers, many publishers are forced to resort to advertorial to gain revenues.

Advertorial refers to an advertisement from fashion brands that is packaged in the form of fashion editorial, hence blurring the line between paid product placement from an actual editorial. The clothes that are featured in such advertorial would most likely come from luxury fashion brands.

Nowadays, luxury fashion brands are owned by large merger and acquisitions companies such as LVMH or Kering, who easily have the means to afford a ten page spread on a highly regarded fashion magazine.

Even when fast fashion brands are included, their existence in the spaces provided by these fashion publications are intentionally limited. Unless you have a large multinational company backing you up, it is significantly harder for independent affordable designers or brands that are not practicing in the same way as fast fashion to be included in the portrayal of fashion in media.

Another route option to get your collection featured in a major fashion publication aside from receiving money from large companies is to receive money from another source. Once you do that you could easily feature your collection on Vogue Runway for a minimum purchase of US$ 20,000.

The prominent visibility of luxury fashion in today’s media and the exclusion of affordable independent brands from it would limit the readers’ definition of the term fashion itself, since they are only being exposed to luxury fashion. When in fact fashion could mean many things for different people.

Luxury fashion already has an inherent nature to be perceived as a status symbol, therefore for the reader whose exposure to fashion only comes from luxury, it solidifies a narrative that luxury is the gatekeeper of trend or taste in fashion. That idea might be true to a certain extent given the fact that luxury fashion has more creative control in what they sell.

However, the idea seems unfair when there is an exclusion of non-luxury fashion from the portrayal of fashion in the media.  Though it may not be as strong as it used to be, portrayal of fashion in media through fashion publications still has its reputable influence in the larger scheme of fashion industry, specifically to customer’s purchase behaviour.

By intentionally favoring luxury fashion, fashion publications are painting a picture in their reader’s minds that luxury is something we all must reach and aspire to, which adds more to the desirability aspect of luxury fashion.

So, why is fashion obsessed with wealth?

Fashion’s obsession towards wealth that we see is not technically an obsession but rather a system created in the fashion industry to keep luxury fashion alive. The point of luxury fashion is the creation of desirability and this process is further assisted by the portrayal of fashion in media that constantly favor luxury fashion.

In result, the fashion industry dangles luxury fashion as the highest form of fashion or the gatekeeper of taste. It portrays luxury fashion as something we must achieve or aspire to, but in reality it is only a tool to make us consume more of their luxury items.

The glorification of luxury fashion has also altered our perceptions of what fashion is. As a consumer, it creates this narrative that expensive equals better and cheap equals bad. There is no in between, you either pay more to get a better quality and original design or resort to the affordable option by fast fashion, which presents itself with many inhibitions when one decides to purchase it.

Unless you are actively looking for independent designers or brands that are affordable and carry their business in an ethical manner, it would be hard to find one in the mainstream media. 

Disclaimer: The view expressed on opinion article doesn’t necessarily reflect the opinion of The Finery Report. The opinion belongs to the author of the article

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