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A scene from the first season of HBO. Success It sums up many of the problems the fashion industry has forced upon men in recent years. Kendall Roy, an heir played by Jeremy Strong, is in a meeting to strike a deal with a young tech company. In the car on the way to the startup’s office, the aspiring business savvy man swaps his custom-made dress shoes for a pair of luxury athletic sneakers. But it still doesn’t fit: Surrounded by staff at New Balance, the comfort grows as the season progresses. Yesterday’s Roy found himself buried under sweatshirts, oversized t-shirts, hats and chains, thinking of wearing the streetwear that’s become an alternate symbol of the era. For the viewer, the dress becomes a symbol of all the business opportunities he missed. Online magazine The cut In an article about the series’ costumes, he referred to the scene as “Success is about having lots of money and showing no style”. At the same time, though, online articles have proliferated linking the shoes in question to the online store that sells them.
The relationship between streaming shows and fashion is an inevitable symbiosis, but it’s more recent than it seems. “Television and film are often the starting point for a lot of fashion trends,” says Olly Arnold, fashion director of Luxury Fashion Forum, one of the leading menswear stores. . “It’s not a very obvious phenomenon, but there is no doubt that there is an insidious effect on the way men influence audiovisual content. Fashionable men pay more attention to television and movies.
“Series now are more self-aware than they were 15 years ago,” says fashion specialist Annabelle Vazquez. “Today, the idea that the series could be a platform for selling clothes is clear from the beginning, but I don’t think anyone thought of that in the first episode. Crazy people. Those were more innocent than their business opportunities. Today’s serials have an economic agenda in addition to social and political objectives. They have a job to do besides entertaining people.
It is no coincidence that Vazquez mentioned it. Crazy people For example, when establishing this relationship. In the year Matthew Weiner’s series, which aired between 2007 and 2015, chronicles the expansion of the New York business in the 1960s with characters dressed in American clothing. For men’s clothing, the style was the same Sex and the City: Retro tailoring has coincided with the reinvention and reinterpretation of masculinity. The American store, which supplied 1960s merchandise and went into the archives, encouraged brands such as Brooks Brands to create a commercial collection with the show’s wardrobe team.
Today this practice is at a high level. In the year In 2015, Mr. Porter launched an apparel-related collection. Kingsman (Matthew Vaughan, 2014), a saga of spy films based on Savile Row, London’s tailoring temple. Seven years and two series later, the project is still active. “It was a very innovative brand in this sector, because it launched the ‘wardrobe to collection’ concept, allowing men to buy some of the franchise through the same clothes seen in the 2015 movie. It was a real synergy,” Arnolds pointed out. It’s an important brand for us to grow when a new movie is released. Today, the Kingsman line includes not only its own products, but also from brands with a similar aesthetic: Turnbull & Asser, Cutler & Gross, George Cleverley footwear, Smythson skins or Montblanc stationery.
Action movies are a natural advertising destination for menswear, but also for luxury products. James Bond of He has no time to die (2021) did not remove the Omega watch. Ryan Gosling’s character in the The invisible man (2022) TAG Heuer has never been seen without it. In both cases, the pieces aren’t just wardrobe choices, they’re paid deals: Omega is 007’s official watch, and Gosling is a TAG Heuer ambassador. Both releases were accompanied by limited hours.
But not everything is classicism and variety, despite the influence of the series Peaky Blinders Or like movies Gentlemen (Guy Ritchie, 2019) Market men’s style with capes, three-piece suits and establishments – barbershops, cocktail bars and tailor shops – that could easily have their own illegal boxing club in their backyard. Last September, the luxury company N.Peal published the results of its own study analyzing the impact of the series premiere on Internet fashion searches. For example, searches for “Y2K fashion” increased 18-fold after the second season premiere. Euphoria (HBO)
In turn, the distribution of the fourth season Strange things (Netflix) has tripled the search for scrunchies like the one worn by Eleven in the series. It also drove searches for shearling jackets (99%) and Hawaiian shirts (46%). The monetization style of Netflix’s Teen series has become the gold standard. In addition to the merchandise that the platform sells through its own digital store, Strange things He starred in endless collaborations with brands such as Topman and Pool & Bear or starred in 1980s silhouettes with brands such as Vans, Eastpac and Timex. But the boom in growth coincides with Generation Z’s demand for second-hand clothing stores. Few nostalgias are as powerful as those that one feels for a time before the past.
As luxury brands aspire to win over 15- to 25-year-old customers, showwear has become a tool of mass seduction aimed at that age group. In the first part of Who are we? (HBO and Filmin), the lead role fell to both Jack Dylan Grazer and the printed Raf Simons T-shirt, which attracted the attention of the residents of the most formal American military base in Italy. After each new episode Euphoria, social media users are taking apart the characters’ costumes and identifying the clothes they’re wearing, many of which are from the current season and the season premiere. It is a recent practice. As Vazquez explained, one of the keys Success It was to dress the characters in the most expensive clothes that their real life friends would wear. “They could have gone with vintage or tailored clothing, but they stuck with the big brands,” she says. The same thing happened. White LotusReflecting on the vacationing style of the elite has sparked a lot of analysis.
But even a series of periods Bridgerton (Netflix), a romantic drama set in Georgian England leaves its mark on the streets. Last year, the British Fashion Council, a public body that promotes fashion creation in the United Kingdom, partnered with Netflix to launch a project with new designers based on the Shonda Rhimes series. “This long-term partnership is a testament to fashion’s role in culture and its importance in entertainment and TV,” said Gemma Jeweller, the council’s commercial director. This year, the second edition of the project brought designers like Ifeanyi Okwuadi, who created patterns reminiscent of the Wedgwood crockery seen in the blue tones series.
Part of a generation of British designers who have put their own spin on Victorian design—as shown by recent LVMH prizewinner SS Daly and jeweler Luke Edward Hall—Ifenyi Owadi can also inspire internationally successful historical fiction. Alternative beauty. Even the present is not critical. Last January, actor Kyle MacLachlan wore a Lynchian set design—green carpet and paneled walls, hundreds of midcentury-style chairs—and not only did the crowd witness Miuccia Prada and Raf Simons’ beauty experiments, but Cooper, the character who made MacLachlan famous in Twin Peaks, walked the Prada catwalk when Dell walked the catwalk. behavior. In the age of streaming, even time is not linear: a very Lynchian phenomenon, but also a very common fashion.
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