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”Down with the Ritz - long live the street.”

A critical discourse analysis on the merge of streetwear and high fashion.

Jasmin Juzbasic

Department of Fashion StudiesInstitution of Cultural SciencesLund UniversityMODK63, 15 Credits. Bachelor Thesis, Spring 2017Supervisor: Philip Warkander

Abstract

This study has given insight to the phenomenon of collaborations between high fashion

brands and streetwear brands within the fashion discourse. The study uses journalistic texts

from popular online streetwear magazines as empirical material in order to perform a critical

discourse analysis on the sub-discourses of high fashion and streetwear. By looking at this

phenomenon through the lens of personal branding, class, subcultures and postmodernist

fashion discussions the empirical material has been contextualized to a contemporary fashion

dialogue. In the analysis, I conclude several reasons as to why streetwear has been

popularized and why now is the time to execute these collaborations. This thesis is heavily

influenced by discussing the power of rap superstars and their connection to fashion. This is

coupled with the notion of influencing, where the ”perfect” partner is described, but also the

pitfalls of marketing, branding and popularization and what effect this has on subcultures and

fashion connected to them. The discussion of ”high and low” is followed through the entire

study which is ultimately the most interesting phenomenon, where the conclusion is that

streetwear and high fashion are no longer that different, and the mix between high and low

symbolic values in fashion today is something recurrent.

Keywords: streetwear, high fashion, co-branding, personal branding, collaborations,

subcultures, postfashion

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Table of ContentsAbstract....................................................................................................2

1. Background.......................................................................................4

1.1 Problem Formulation.......................................................................5

1.2 Aim of the Study...............................................................................6

1.3 Research Material, Methodology & Delimitations........................7

1.3.1 Methodology...................................................................................8

1.3.2 Delimitations...................................................................................9

1.4 Previous research............................................................................10

1.4.1 Co-branding.................................................................................10

1.4.2 Influencing & Communication strategy....................................11

2. Theoretical framework..................................................................13

2.1 The Creative Class in a Postfashion Era......................................13

2.2 Subcultures & Capital....................................................................15

2.3 Personal branding & Influencing..................................................16

Thesis Outline........................................................................................17

3. Analysis..............................................................................................19

3.1 2010’s – The age of collaborations.................................................19

3.1.1 Rap turns mainstream.................................................................19

3.1.2 Streetwear in the DNA................................................................21

3.2 – Age of influencing........................................................................24

3.2.1 Supreme x Louis Vuitton............................................................24

3.2.2 Gucci x GucciGhost.....................................................................26

4. Conclusion & Discussion..................................................................29

5. Bibliography......................................................................................32

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1. Background

When asked what ’streetwear’ is, Tommy Hilfiger, a well renowned designer, responded

”The aesthetic has to be a bit sporty, a bit athletic: […] It’s skate and hiphop, but it’s not

exclusively any of these things”. In the same article, Virgil Abloh, designer for OFF-WHITE

said:

100% yes I consider my work ’streetwear’ or any categorization that allows anyone to grasp my point of view

and where it comes from.” It’s these personal opinions and narratives – the history – that make streetwear a ”life

held in common.” […] ’Streetwear’ is an art movement, it’s a way of making things,” […] It’s a rationale

birthed by previous art movements and pop-culture life cycles. 1

Defining streetwear has become a difficult task, maybe because it is constantly redefining

itself, but perhaps also because fashion itself today is a mixing pot of different symbolic

values and cultures that make it hard to distinguish one style from another. But, as the name

implies, streetwear is associated with what you wear on ”the street”, a generic concept that

distinguishes the style from what one wears to the office or formal functions. In this way,

streetwear implies an informality and a more casual appearance.

High fashion on the other hand, according to Oxfords dictionary could simply be put as

”Expensive, fashionable clothes produced by leading fashion houses”. In the simplest form,

this might be true, but high fashion comes with its own complexity:

High fashion is made complex: it is constructed as an object to which simple words cannot be attached, as if

talking about it was impossible, as difficult as describing some intense ineffable feelings.2

High fashion has for many centuries had strong connections to the world of luxury, art, and

leisure that has trickled down from aristocracies of the world, down to the common folk. In

many ways, it still does, but with the deconstruction and democratization of fashion this

might not be true anymore. The reason for this democratization is a few different things, one

being the digitalization, where everyone has access to information quickly. Another is the

expansion of luxury and premium brands, through the introduction of cheaper products with

logos, and global sourcing.3But I would also argue that collaborations between high fashion

1 Complex – Bobby Hundreds ”It’s Not About Clothes” (April 13th 2017)2 Burgin, V. 1986. (p. 142) The End of Art Theory: Criticism and Postmodernity. London: Macmillan3 Kläder, shopping och flärd, Modebranschen i Stockholm 1945-2010, Gråbacke Carina 2015 (p. 200-205)

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and streetwear has opened up new doors for fashion collaborations between brands belonging

to different industry segments.

Lately collaborations between streetwear and high fashion have become more common. This

sparked opinions from consumers and fashion house owners, because it is no longer easy to

distinguish these ’styles’ from each other. The people in the fashion world, that often are up

to date regarding trends and shifts in culture have started to utilize and expand on this

phenomenon. Fashion creators have adapted older marketing techniques to this new

phenomenon in order to increase profit, form interests and drive innovation. Co-branding

between these two camps is increasing at a high rate and with the tools provided by social

media and the impact of influencers it is quickly creating a lane for these collaborative

collections.

How streetwear, high fashion, corporate work and subcultures collaborate and correlate in the

postfashion era – the era that started in the middle of the 20th century when we entered the

postmodern times, is the focal point of this thesis.

1.1 Problem Formulation

Co-branding is a popular strategy that companies use to utilize brand names or products to

reach corporate objectives and transfer positive associations. The main purpose of these

brands is to, through cooperation, increase sales and profit margins in comparison to

competitors. The positive side-effects of this can lead to increased customer loyalty, brand

recognition and increase the brand equity overall.4 Fashion collaborations in comparison with

other types of cooperation do not heavily exchange skills or technology, but rather focus is on

using two (or more) brand images and brand identities in order to create a stronger image and

connect sub-groups for the benefit of both. For high fashion brands that rely heavily on the

concept of consumers’ self-image and expression, the challenge is to remain exclusive,

original and retain high retail prices, which is even more challenging in this era of

democratized fashion.5

4 Mróz-Gorgon, B. (2016) Co-Branding As A Strategy – Fashion Market Perspective: Prestige or Masstige? International Journal of Sales, Retailing & Marketing. 2016, Vol. 5 Issue 4, p 49-59. 11p (April 10th 2017)5 Jemma Oeppen & Ahmad Jamal (2014) Collaborating for success: managerial perspectives on co-branding strategies in the fashion industry, Journal of Marketing Management, 30:9-10, 925-948

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Research shows that the focus of brand managers is to stay relevant in a competitive

environment and borrow beneficiary traits, such as image value from partners, in this fast

changing market. Another important aspect is to keep a positive brand equity through positive

brand associations with celebrities, looks and image. Previous research also suggests that the

luxury brands are the ones that run the highest risks of brand dilution and therefore brand

managers are executing strategies to mitigate the negative impacts that may occur, through

for example limited availability and selective distributing.6

Therefore, this study provides new insight on why luxury brands today are so interested in

collaborating with urban artists, and brands placed lower in the consumer brand hierarchy,

traditionally speaking (streetwear). There is much research on co-branding and cooperative

work in fashion, however there has been little research made in English, and in the ”western

discourse” where streetwear collaborations are in focus.

1.2 Aim of the Study

The aim of this study is to understand how, through a media perspective, collaborations

between the high fashion segment and streetwear brands are facilitated in a contemporary

context. This will assist in explaining why the merge between streetwear and high fashion is

happening today. Specifically, I will investigate how certain influencers and tastemakers

operate to reach their status and how their powers can be used. The key is to understand how

different types of capital is being used today to impact fashion and how brands use this to

execute their business strategy.

Research questions:

- Why are collaborations between streetwear brands and luxury fashion becoming more

common today?

- With streetwear brands increasing in popularity, how do high fashion brands choose

the appropriate partners and influencers, from a media perspective?

The research questions are focal points for the essay and provide a direction of focus for the

research, they should not be seen as separate questions, but are rather intertwined in order to

capture the wide range of the subject.

6 Jemma Oeppen & Ahmad Jamal (2014) Collaborating for success: managerial perspectives on co-branding strategies in the fashion industry, Journal of Marketing Management, 30:9-10, 925-948

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1.3 Research Material, Methodology & Delimitations

The empirical material will focus on journalistic articles online pertaining to these two

collaborations:

Supreme x Louis Vuitton (2016/17)

Gucci x GucciGhost (2016/17)

Journalistic articles that relate to streetwear, will also be selected in order to provide a greater

understanding of the discourses and enhance important discussions on influencing and

culture. These text do not directly relate to the chosen collaborations, but provide helpful

information. These will be titled as ”other” in the bibliography.

This material was chosen because it highlights the contemporary contextual phenomenon that

we are ”in” right now. The collections are similar in many ways but also show two different

ways of combining high and low fashion. Within streetwear there also exists ”niche groups”

or subcultures, these are divided (although not necessarily) through for example geography,

expression forms and pop-culture interests which is where the collaborations differ from each

other. Another aspect where they are different, is that Supreme already is an established

skate-brand, whereas GucciGhost is simply a street-personality and a person, that provides

the research with interesting insight of how to execute different strategies and exemplifies

that all collaborations are not the same. Louis Vuitton and Gucci on the other hand, are

enriched fashion houses that have been at the top of the fashion hierarchy for many decades.

The samples have been gathered from three online ”urban/trendy” magazines; Complex,

Highsnobiety and Hypebeast, to study the media response. All of these have a wide variety of

different articles, surrounding fashion, lifestyle, show business and pop-culture and bring a

diverse although slightly afrocentric however, still representative view of the culture. When

googling ”Streetwear Magazine” on a private web browser (one that is free from data

collection) these three online magazines will be in the top six of the list.

Articles from magazines often tend to be broad, and shallow, it is therefore in the interest of

the study to add depth to the information given. Using articles from different publishers gives

a wider perspective and would also increase validity and give interesting input on how the

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streetwear/fashion discourse is perceived. While it is impossible to be completely unbiased

the thesis will lift both positive and negative occurrences that impact the discourse in order to

achieve some many sided arguments and give a faceted picture of the phenomenon.

1.3.1 Methodology

The thesis will use a qualitative method, which has a focus of understanding phenomenons in

different contexts based on deeper data and more in-depth analysis of empirical material.7

The thesis has its focal point on collecting data through fashion journalism and focuses on

understanding the deeper context of the phenomenon, the problem formulation and data that

relate to my research questions.

This thesis will use critical discourse analysis (CDA) as a tool to interpret the empirical data.

Critical discourse enables us to analyze what is meant by different texts and how they interact

with each other. The purpose is to understand text in relation to different discourses, cultural

structures and processes in relation to power. Texts should be interpreted to their respective

social context, these texts are however shaped by meaning and perspectives and the term

could be employed in the sense of how people communicate.8 Discourses also work

intertextually and lay themselves within webs of political, social and cultural concerns,

however they constantly fight each other over power, where some discourses are more

powerful and control others.9

Critical discourse analysis allows me to analyze the empirical material in relation to the

current fashion discourse, the sub-discourse of streetwear in relation to current events, like

the power of influencers in the subcultures of skate and hip-hop and the age of social media.

The intention is to view text through discourse analysis which will allow me to critically

analyze the discourse and how this type of material influences the world of fashion.

Critique given to the method of critical discourse analysis (CDA) is that it can generalize

phenomenon’s. It lacks a strong connection to theories and philosophy, and this can in itself

create a bias. The researcher’s beliefs are often ideologically biased and leads the researcher

to read into text, rather than out of text. More specifically the researcher should be able to

7 Bryman, A. (2012). Social research methods. (4. ed.) Oxford: Oxford University Press.

8 Fairclough, N. (1999). Critical discourse analysis: the critical study of language. London: Longman.9 Foucault, M. (1980) (p .35) Power/Knowledge: selected interviews and other writings 1972-1977. Edited by C. Gordon. Brighton. Harvester Press.

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read and analyze text in a narrow context, but not neglect the overarching context. The bias

could further be enhanced by the simple fact that the researcher selects texts that will confirm

his or her own theory – confirmation bias. Another critique is that there is much focus on

linguistics, but lack in the research of social theory, in connection to the studies’ subject or

the language itself. Further critique of CDA can be read in Edward Haigs’ (professor in

language and culture at Nagoya University) text ”Some observations on the Critique of

Critical Discourse Analysis”.10 Even though critiques can be raised, I feel that CDA is the

most fitting method to look at texts relating to my subject.

This thesis will look at two discourses, namely the high fashion discourse and the

streetwear discourse to understand the correlation between ”high and low” through the lens

of my theories related to subcultures, postfashion, class, branding and marketing to see how

the opinion is or has changed, potentially creating a new, hybrid discourse which is a merge

of the two.

1.3.2 Delimitations

The fashion world is big, and is invested in many different cultures, therefore this thesis will

limit itself to ”western” fashion, meaning Europe and English-speaking countries. While

many of the subjects brought up here could be applied to for example, the Asian market, there

are different cultural algorithms in place which will not have the room to be brought up

within the scope of this study.

The thesis will not look at the objects itself, but rather what is written about them. The project

will also not look at the design process or the manufacturing aspect of these collections but

rather their symbolic value. This means that some of the aspects about trend and style will be

lost. As well as the material dimensions of the actual design objects. 11

1.4 Previous research

10 Heig, Edward (2008) Some Observations on The Critique of Critical Discourse Analysis11 I previously was going to include the impact of digitalization in the thesis, however my opinion is that digitalization is implicitly a key factor in all of our contemporary phenomenons and that it would divert focus from what the real aim of the study is.

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This thesis consists of several subjects, however the main subject is collaborations within

fashion and especially the mix between high and low in the context of influencers, related to

brand management.

1.4.1 Co-branding

While there is extensive research in the field of co-branding, much is connected to co-

branding in the sense of exchanging technology and skills (for example car manufacturers,

and the development of different computer technology).12

This thesis brings up theories and information closely related to branding and marketing,

which help in explaining the consumerism of today, and the value of fashion and personal

orientation. They are key components in understanding ”the bigger picture” in contrast to the

narrow approach of this thesis.

Earlier research by various marketing and communication scholars exists, for example John

O’Shaughnessy & Nicholas Jackson O’Shaughnessy in their article ”Marketing, the consumer

society and hedonism” investigates consumers self-concept and expression through luxury

fashion. Margaret Bruce & Christine Kratz bring up important points about exclusivity, and

premium prices in regards to these types of collaborations and Uché Okonkwo in Luxury

fashion branding: Trends, tactics, techniques and Shu-pei Tsai in Impact of personal

orientation on luxury-brand purchase value talk about democratized fashion. Research

regarding status consumption and diverse consumer bases can also be found in Jacqueline K

Eastman, Ronald E. Goldsmith & Leisa Reinecke Flynns work Status consumption in

consumer behavior: Scale development and validation.13

A master thesis by students Cristina Hidalgo Férnandez, Larry Mikano & Tom Vermeersch at

Linnéuniversitetet brings up a similar phenomenon to mine where fast-fashion brands

combine powers with luxury fashion brands. The thesis brings up interesting points on brand

12 Simonin, B. L., J. A. Ruth. 1998. Is a company known by the company it keeps? Assessing the spillover effects of brand alliances on consumer brand attitudes. J. Marketing Res. 35(1) 30–42.13 Eastman, J., Goldsmith, E., & Flynn, L. (1999). Status consumption in consumer behavior: Scale development and validation. Journal of Marketing Theory and Practice, Summer, 41–52 : Tsai, S. (2005). Impact of personal orientation on luxury-brand purchase value. International Journal of Market Research, 47, 177–206. : Okonkwo, U. (2007). Luxury fashion branding: Trends, tactics, techniques. London: Palgrave Macmillan. : Bruce, M., & Kratz, C. (2007). Competitive marketing strategies of luxury fashion companies. In T. Hines & M. Bruce : O’Shaughnessy, J., & O’Shaughnessy, N. J. (2002). Marketing, the consumer society and hedonism. European Journal of Marketing, 36, 524–547. (April 10th 2017)

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extension and brand alliances and how luxury brands use these collaborations to reach a

broader audience and improve their marketing strategies, (bringing up H&M x Karl Lagerfeld

as an example). However their thesis investigates the change of consumerism between

generation X (people born 1980s or before), and generation Y (people born in the 1990s).

Their thesis examines the phenomenon by virtue of quantitative method using face-to-face

surveys to collect data.14

1.4.2 Influencing & Communication strategy

When it comes to influencing and celebrity endorsement there is a scientific article by Angela

Carroll, a business scholar at the University of Leeds Business School. She brings up

interesting research about the development of celebrity endorsement and the relationships

between brands and consumers, but she also talks about fashion collaborations of the

endorsing type in history, like: Audrey Hepburn for Givenchy, Richard Gere for Armani, but

also artists like Madonna that worked with Versace in 2005.15

While the subjects of my thesis is not about celebrity endorsement, it is closely related and

could be seen as an extension of this prior marketing strategy. The Personal Branding

Phenomenon by Montoya & Vandehey (2002) will help distinguish celebrity endorsement

from influencing and further expand this thesis.

These are all subjects that correlate to co-branding and there is, like previously mentioned,

extensive research on this subject. However, there is little-to-none found on how high fashion

collaborate with streetwear which is arguably an opportunity for this thesis to fill the gap and

contribute to fashion and strategic communication research. The claim that I am making is

based on the fact that collaborations of this type are new. Even though there has been

numerous fashion collaborations, none are so heavily connected to subcultures and never

before have they had such impact, from a media perspective, on a large group of members of

our society.

14 Fernández Hidalgo, Christina. Mikano, Larry. Vermeersch, Tom. (2016) The Effect of Co-Branding on the

Fashion Luxury Consumer’s Brand Equity: Comparison between the Generations Y and X. (18 April 2017)

15 Angela Carroll, (2008) Brand communications in fashion categories using celebrity endorsement. Journal of Brand Management 17(2):146-158) (April 10th 2017)

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2. Theoretical framework

This thesis covers a variety of different subjects. Class, postfashion, subcultures and brand

management. The reason being is that fashion studies is a interdisciplinary field of study and

therefore, a handful of different theories regarding these subjects will be used as a

framework and will be applied in the analysis section.

2.1 The Creative Class in a Postfashion Era

Literary scholar and professor Barbara Vinken writes in her book Fashion Zeitgeist, trends

and cycles in the fashion system about the postmodernity in fashion. Fashion was for long

entitled to the aristocracy that constantly tried to reinvent fashion and what it was. Haute

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Couture (high fashion) was seen as the finest form and was leading trend and fashion in

Europe. In the 1970’s the shift in fashion focused to an individual form where the creator no

longer was the ”genius” but fashion became a co-product between the creator and the

consumer and the opinion shifted from the people in power to the people in the streets. Haute

Couture became with the shift from modernity to post-modernity second to prêt-á-porter

(ready-to-wear). The bourgeoisie had entered a competition with the ”outsiders” – me and

you, people on the streets.16

The century of fashion is over: the very idea of Paris fashion is at an end – even an anti-fashion could not save

it. […] fashion now moves ’upwards’, from the street into the salons of haute couture where it is adapted and

imitated. On the one hand, the fashion-buying public has increased; on the other hand, this public no longer

determines trends, but reacts to trends that emerge from subcultures.17

Fashion went from expensive events, like the opera and from the aristocracies’ control to the

people in the streets and subways in, for example, Tokyo, Berlin, New York and London.

This new post-modern fashion has become a mix of high and low. Haute Couture was for the

select few who were able to pay to live in this world of luxury and art.18

The economy of today is in its core a creative economy. Western countries are moving away

from production to knowledge information. According to urban theorist, Richard Florida,

knowledge is the new tool and material and innovation is the new end product, or the new

business model. The creative explosion can be seen in the last 50 years in the United States

where the increase in patents and employment in the creative section is evident.

Infrastructures are being built around these innovative practices.19

The economy today is focused on collaboration, where the company selling the end product

usually is not the producer. Tech companies are a great example of this where companies like

Solectron and Flextronic make parts of almost every electronic product we use, but have we

heard of them? Florida brings up an example of Ralph Lauren and Tommy Hilfiger

productions that are being manufactured at the same place in Israel like the brands Banana

Republic and The Gap. Companies today ”outsource” much of the core work that used to be

16 Vinken, B. (2005). (p. 34-35) Fashion Zeitgeist trends and cycles in the fashion system. Oxford: Berg.17 Ibid (p. 63)18 Ibid (p. 62-63)

19 Florida, R.L. (2006). (p. 74) Den kreativa klassens framväxt. Stockholm: Daidalos.

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independent. Marketing, production, distribution is sourced out and focus is placed on the

creative properties and design instead, to keep the image and to not succumb to economic

pressure. This means that you no longer have to build a business from the ground up, but can

focus on creativity.20 This relates to my study in the sense that influencers today have strong

artistic sides which should be considered in context to the build up of the ”creative class”.

This I believe is connected to the social media landscape of today that allows influencers and

businesses to communicate with consumers and fans through the creative content that is

simulated through Instagram and Twitter.

One important aspect of this newfound creative social structure is the different social

environments that promotes and encourages creativity in different forms – by virtue of

cultural, technological and economical characteristics. This opens up lanes for different life-

styles and cultural institutions who advance the possibility for these different styles and lines

of business to influence each other which leads to quick sharing of ideas and knowledge. This

social environment creates drive for collaborations between different companies and

businesses that will, according to Florida be a core part of our future economy. 21

The X-person (person of the new generation) is free, where their economic value is connected

to social and cultural lifestyles and where their interests, preferences, and consumption is

connected to their identity. These are not the bourgeoisie, the capitalists or proletarians, but

are rather forming their own class where their value is built by their creative capital. These

people are driven by creative processes whether it is design, teaching or engineering they

constantly want to involve themselves in these operations.22

2.2 Subcultures & Capital

In order to talk about high-and-low the research by Sarah Thornton on subcultures will

complement the rest of the theory as subcultures keep an alternative hierarchy focusing on

gender, age, sexuality and race instead of what is seen as normative: class, income and

occupation. Thornton argues that subcultures usually define themselves by what they dislike,

for example mainstream music and fashion. Subcultures are also taste cultures, which means

they congregate over taste in music, fashion, consumption and media. Together they create

20 Ibid (p. 86)21 Ibid (p. 87)22 Florida, R.L. (2006). (p. 87) Den kreativa klassens framväxt. Stockholm: Daidalos.

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affinities and build common meaning in regards to the values of the culture. The problem and

the fear of these subcultures is the opposite function to the ”trickle down effect”. Instead, the

popularization of their culture, or the unveiling to the mainstream is their biggest threat,

which causes these subcultures to dissipate or take new form through reshaping of its

values.23

High culture on the other hand, value social capital (who you know, and where you have

been) and also economic capital which stands in contrast to the values of the subcultural

groups. Subcultural capital can like other forms of capital be measured, in this case it takes

form of fashionable haircuts and clothing, or any form of ’hip’ collectibles, dance styles or

the ’right’ slang. Unlike other capitals the subcultural capital is not always in correlation with

class, which Thornton means can be explained by public-school educated people adopting

working-class slang in order to escape the parental class. In other words they feed on the

fantasy of classlessness.24

One important function in these subcultures is the media. The fashion system in subcultures

is relative, but to maintain its status there needs to be a disseminator of values to spread the

knowledge. People within these subcultures consume the same type of media in order to keep

distinction from mainstream and it is essential for the creation of their culture.25

Thorntons work could be seen as an extension of Pierre Bourdieu’s theories on forms of

capital. Bourdieu argues that forms of capital guides the ”game” of life and how different

types of capital is practiced in our every day life and acts like a form of validation in different

occasions and also as a form of power. He also argues that this is how the world operates and

how we relate to each other.26

2.3 Personal branding & Influencing

In 2003, the sports company Nike, spent 1.44 Billion € on celebrity endorsements, two of

them being basketball player Michael Jordan, and golfer Tiger Woods. Past research shows

that a pre-requisite for co-branding in relation to celebrities is awareness, and image-23 Thornton, S. (2013). (p. 154-160) Club cultures: music, media and subcultural capital. Cambridge: Polity Press.24 Thornton, S. (2013). (p 154-160) Club cultures: music, media and subcultural capital. Cambridge: Polity Press.25 Ibid (p. 12-20)26 Bourdieu, P. (2004) (p. 15) The forms of capital, in: S. Ball (Ed.) The RoutledgeFalmer Reader in sociology of education, London

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generation, being that celebrities create images in the minds of consumers. In the context of

co-branding, the celebrity does not only promote a product, or a brand, they rather emerge as

a co-brand adding values to themselves but also extending the brand in the calculated

direction depending on what the purpose of the cooperation is. Fashion being one of the

biggest industries in the world, one can imagine the competitiveness and the need for re-

invention and innovation in order to stay relevant in the industry. Celebrity endorsement

therefore becomes a powerful tool for increasing brand equity, and celebrity equity.27

Seeing as collaborations within fashion are becoming more common there is a need of theory

regarding personal brand and influencing. Social media has opened up a possibility for these

”endorsed” celebrities to reach out to audiences which calls for more strategy then before.

Branding is now a major concept within marketing and companies try to make their services

more likeable by building values around them. Creating a bond, from the brand, the product

and the influencer is the biggest purpose and the best outcome of personal branding. The

brand that are the most successful are able to communicate their feelings, ideas and opinions

through the chosen personalities. The aim is to take control over the perception of the

collaborated celebrity in order to strategically reach set goals.28

Montoya & Vandehey talk about three levels of personal branding. The first one being

associated with trend, a short-lived project. Secondly ”the personal brand ” echoed in the

culture” and lastly ”the personal brand that influences trends and is a presence in the larger

culture”. The former can be explained by famous personalities becoming spokespeople for

something else than themselves, while the latter is according to Montoya & Vandehey the

strongest state for a personal brand where they stay relevant even though the trend has

passed.29

27 Diana Seno, Bryan A. Lukas, (2007) "The equity effect of product endorsement by celebrities: A conceptual framework from a co‐branding perspective", European Journal of Marketing, Vol. 41 Issue: 1/2, pp.121-134 (April 10th 2017)28 Montoya, P., & Vandehey, T. (2002). (p.4-10) The personal branding phenomenon: realize greater influence, explosive income growth and rapid career advancement by applying the branding techniques of Michael, Martha & Oprah. Santa Ana, CA: Peter Montoya Inc.

29 Montoya, P., & Vandehey, T. (2002). (p.45-46) The personal branding phenomenon: realize greater influence, explosive income growth and rapid career advancement by applying the branding techniques of Michael, Martha & Oprah. Santa Ana, CA: Peter Montoya Inc.

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This goes hand in hand with marketing – which sole purpose is to send message, to the proper

audience, through multiple channels over a period of time. It is empowered by three different

categories; awareness, affinity and understanding. These three combine to make good

marketing which explains why for example commercials are a certain way.30

What makes marketing different from branding is that marketing gives you the option to buy,

while branding is the same as influencing. Branding is creating an identity and adding value

and emotions to a certain product and creating an affinity ”forcing” us to buy something. This

is reached by a number of different factors, for example, the logo, how ads are written and its

spokepersons/endorsers. A great brand gives the power to influence the audiences decisions,

attitudes and actions.31 The empirical material used in this thesis will put these two

communicative strategies in the light, and will further build understanding in how they

differentiate from each other and how the focus has shifted from one strategy to another.

Thesis Outline

The following chapter will explain and analyze the findings in the empirical material and

provide a result in relation to the research questions. Through the lens of the provided

theories the empirical material will be viewed in the context of the creative class, postfashion,

subcultures and personal branding,

The analysis-chapter is divided into two chapters, but as mentioned earlier, the research

questions should not be seen as separate questions, but rather complementary to each other.

Therefore some sub-chapters could be more descriptive than others in order to grasp the

larger picture of the phenomenon.

30 Ibid (p. 34)31 Ibid (p. 35)

17

3. Analysis

3.1 2010’s – The age of collaborations

The unveiling of the Supreme x Louis Vuitton collection at the end of 2016 caused conflict

but also somewhat solidified streetwear as the new leader in fashion. Alec Leach, writer at

Highsnobiety explained that high fashion and streetwear have been borrowing from each

other for a very long time: ”[Supreme x Louis Vuitton] […] was a gunshot signal that the two

worlds are now one and the same”.32

Luxe brands have for centuries been connected to the upper class, while prêt-á-porter had

relationships to the common folk. In the 2010’s the shift has gone to streetwear, an arena that

rappers/influencers have the strongest connection to. When high fashion brands reach out to 32 Highsnobiety – Alec Leach ”It’s Official: Streetwear and Luxury Fashion Are Now The Same Thing” (April 17th 2017)

18

artist personalities like Travis Scott and GucciGhost, it shortens the gap between high fashion

and streetwear, allowing both actors to potentially tap into new markets. The idea of these

newly emerged collaborations like Supreme x Louis Vuitton and Gucci x GucciGhost is to

influence a new crowd to consume their high-end products, a different way of saying ”Hey,

we like the same things you do – we are all the same”. This is proof that we, like Vinken

mentioned, are in a postfashion era where fashion is a co-product between consumers and

creators. People from ”the streets” and people in high fashion, are now collaborating, mixing

their respective symbolic values into one.33

3.1.1 Rap turns mainstream

Some would argue that the reason for the rise of these types of collaborations is because of

the emergence of hip-hop artists in mainstream culture as well as in high fashion. Artists like

Pharrell, Kanye West and Asap Rocky had for years connections with great fashion houses

like Louis Vuitton, Dior and Chanel. But it was not always like this.34Many years ago rap had

not reached the mainstream success and global audiences. Rappers were not getting any

recognition from luxe brands and were often seen in a negative light. An example of this is

the conflict between Frederic Rouzauds’ champagne brand ’Cristal’ and rappers, who after

some rude comments from Rouzaud chose to protest and boycott the brand, taking Jay-Zs’

(rapper, mogul) lead.35

It was Dapper Dan, a man from Harlem, that during the 1980’s created ”pseudo-luxe” pieces

by combining material and clothing from different brands custom made for urban artists, who

opened the eyes of the urban community to higher fashion.36 With the emergence of people

like Dapper Dan one could argue that there was a market for high(er) fashion in the urban

communities. One could also argue that this is proof that a new type of class was emerging in

the streets of New York. The people of Harlem were socioeconomically challenged, but had

during the 1980’s and 1990’s many hip-hop personalities like Cam’ron, Q-Tip, P. Diddy and

Damon Dash, that besides their main profession; music, had developed an expensive taste for

fashion.37 33 Vinken, B. (2005). (p. 34-35) Fashion Zeitgeist trends and cycles in the fashion system. Oxford: Berg.34 Complex – Karizza Sanchez ”How Rappers Became the Most Important Fashion Ambassadors” (April 17th 2017)35 To read more: Today – Associated Press ”Jay-Z launches Cristal bubbly boycott” (May 17th 2017)

36 Ibid37 To read more about Dapper Dan: Messy Nessy Chic – Messynessy ”The 80’s Hip Hop Tailor: Dapper Dan”

19

Harlem has in more recent days also produced iconic superstar figures like Asap Rocky

(rapper, designer, influencer) and Asap Ferg (rapper, designer, fashion and art graduate) and

the entire group/movement named ”Asap Mob”.38 This is strengthened by Floridas theories

on the emergence of a creative class that engage in different creative expressions unrelated to

their economic class. Rap (rhyme-and-poetry) and fashion became Harlems signature brand

and people of the new generation channeled their identity through these creative expressions

which spread to the youth. Harlem’s youth movement today gave birth to internet

phenomenon ”Harlem Shake” once again connected to an art form – dancing.39 These people

also carry a certain subcultural capital as mentioned by Thornton. The Harlem youth

congregate over many of the same interests and channel their creativity outwards which

resulted in the Harlem Shake going mainstream across all media.40

The shift in atitude towards rap did not occur until rap reached mainstream success in the

1990’s through the likes of New Yorkers The Notorious B.I.G and P. Diddy, who could often

be seen in the now classic and colorful Versace shirts. These shirts went from expensive

products to popular bootlegs, which then ironically became an inspiration for a M.I.A x

Versus Versace collection. M.I.A explains:

When I was approached by Versace, it seemed like a good idea to take that and reverse the cycle. Versace

designs have always been bootlegged, now it's Versace bootlegging the bootleg for the bootleggers to bootleg

the bootleg. This is to keep that cycle going.41

Guy Wood, founder of label ”5001 Flavors” explains that high fashion brands finally saw the

marketing opportunity when they realized that these artists could bring 10000’s of people to

their stores.42 Both Dapper Dan, and Wood agree that it was finally Pharrell who really broke

down the wall in 2005 when he made the ”Millionaire” sunglasses collection together with

Louis Vuitton. Wood explains that there was something interesting about Pharrell and his

fluidity, his ability to cross over genres that they liked, hence leading to the collaboration. He

38 To read more about the ”Asap Mob” Complex – Ernest Baker ”Who is Asap Mob?” (April 27th 2017)  39 The Verge – Tim Carmody ”How The Harlem Shake Went From Viral Slideshow To Global Phenomenon” (April 28th 2017)40 Thornton, S. (2013). (p. 154-160) Club cultures: music, media and subcultural capital. Cambridge: Polity Press.41 Huhmagazine – Jack Lowe – ”M.I.A x Versus Versace Collection (May 17th 2017)42 Complex – Karizza Sanchez ”How Rappers Became the Most Important Fashion Ambassadors Ambassadors (April 17th 2017)

20

also claims that it was Pharrell, who then opened the doors for people like Kanye West and

Asap Rocky.43

Designer Alexander Wang commented that ”Hip-hop music, to me, is the most relevant genre

of music right now that speaks to me, and our generation” to him, it is only natural to

collaborate with rappers. ”They are the leaders of this movement” he says in an unspecified

e-mail.44 Alexander Wang who had previously featured artists like Kanye West, Asap Rocky,

Travis Scott, Pusha T and The Weeknd in his ad campaigns.

3.1.2 Streetwear in the DNA

Virgil Abloh extends Yves Saint Laurent’s quote ”Down with the Ritz – Long live the street” from 1968 by saying:45

There was couture. And then there was Yves Saint Laurent. Like, ‘Hey, news flash: No one wears these clothes.’ So here comes ready-to-wear. And now: streetwear. These days a hoodie is pretty much the new suit jacket.46

Today it is hard to miss that streetwear influences the world of high fashion. You can get the

same type sweaters from Stüssy, or Givenchy, white sneakers from Reebok, or Saint Laurent,

although the price tag will be different. Another example is the ”roadman-bag” which for

years used to be the urban travelers favourite accessory. Big enough for a cigarette pack, a

lighter and a water bottle, but not big enough to be a hassle to carry around all day. F/W17

collections now demonstrate a waist/shoulder bag of some form branded in Hermés and

Louis Vuitton. At the same time an employee at Givenchy explains to Highsnobiety reporter

Leach, that ”Streetwear is in the house DNA”.47

Looking around the rest of the F/W17 collections in Paris, I got the overwhelming impression that streetwear is the only style that matters anymore.48

43 Ibid44 Ibid45 Lipovetsky, G., & Sennett, R. (2002) The empire of fashion dressing modern democracy. Princeton: Princeton University Press. (p.92)46 Highsnobiety – Jonathan Sawyer ”Virgil Abloh on Current State of Fashion” (April 18th) 47 Highsnobiety – Alec Leach ”It’s Official: Streetwear and Luxury Fashion Are Now The Same Thing” (April 17th 2017)48 Ibid

21

If a high fashion house like Givenchy explicitly says that streetwear is in their DNA this once

again strengthens Vinkens theory about the postfashion society and further eliminates

questions about an existing divide, and points to, like earlier mentioned, a hybrid discourse.49

When asked if a collaboration between Supreme and Louis Vuitton makes sense in the

current state of fashion, Emma Hope Allwood, fashion editor at Dazed said:

Absolutely. The established hierarchy of fashion doesn’t make sense any more when you can buy a Vetements hoodie at Dover Street Market for an eye-watering amount of money, or when COMME des GARÇONS are backing a brand like Gosha. The old rules don’t apply anymore and this is the definitive proof of that.

Photographer Julien Boudet answered the same question with:It does make a lot of sense, streetwear is gaining more and more respect/importance in the industry – it’s very interesting to witness! The last couple of years have shown us that streetwear has a huge market that has been growing season after season. It’s also related to the hip-hop scene; all these new rappers becoming more and more involved in fashion, therefore it wasn’t surprising to see Travis Scott attending the show wearing the Supreme x LV pieces. 50

Like Vinken theorizes, the old structures of Parisian fashion disappeared in the 1970’s with

the emergence of prêt-á-porter and fashion has ever since been a combination of high and

low. This ”trend” has continued into the 21st century, but now in a different sense. Not only

do they ”borrow” styles and designs and brand it as their own, but today they rather

collaborate with up-and-coming designers and creative personalities to co-brand, and co-

create new fashion. Postfashion, and postmodernity does not care for class in a traditional

sense, the new age is one of collaboration, and the continuation of the deconstructivist

mindset. The mixing of symbolic values is a strong characteristic of todays fashion

discourse.51

Questions and critique has been raised to Supreme as well, a brand of a culture that has now

become everything that it stood against. A streetwear brand that rose to a billion dollar

industry that fed itself on being a counter-opposite of high culture. Is this the nail in the coffin

for streetwear too? Jian Deleon, editor at Large explained:

That (it) doesn’t mean Supreme is “over.” By all means, they’re just getting started. But they have become ingrained in the very establishment they once stood in contrast to. Maybe that’s a good thing. Maybe it’s not. But what it does mean is there’s now a chance for something new to start among young connoisseurs

49 Vinken, B. (2005). (p. 34-35) Fashion Zeitgeist trends and cycles in the fashion system. Oxford: Berg50 Highsnobiety – Nico Amarca ”Here’s What the Industry Really Thinks About Supreme x Louis Vuitton” (April 19th 2017)51 Vinken, B. (2005). (p. 34-35) Fashion Zeitgeist trends and cycles in the fashion system. Oxford: Berg.

22

of culture seeking to tip the balance between the big brands and the youthful upstarts. Every new religion starts with killing the old gods.52

This is where the phenomenon gets interesting. Streetwear and subcultures have for long been

approaching high fashion and the glamourous art world from a symbolically subordinate

position. Subcultures that usually define themselves in what they do not like often find

themselves in this position where their culture has been usurped through popularization.53

Streetwear is now mainstream and the ”old heads” (people who ”started” or have been

members of a subculture for a long time) are now facing a difficult challenge in redefining

themselves, or subtract to the core values. This can already be seen in brands like Noon

Goons that have started a counterculture, reverting back to the old days of streetwear through

Los Angeles surf, punk and nightlife scene mixed with political topics.54 It is clear that there

exists a complexity between the different fashion discourses and the mix between high and

low.

Here the creative class challenges old class structures. The X-person that Florida

acknowledges has their identity connected to their lifestyle and their social and cultural

interests. These people do not belong to old class structures but thrive on their creative capital

driven by different creative professions or crafts. Within these classes this type of challenge

is encouraged which stimulates collaboration and business possibilities. If the X-person feels

suffocated, they will find a creative solution to solve the problem.55

3.2 – Age of influencing

As the phenomenon grows, in the amount of reach these collaborations have, and also in the

amount of collaborations made, the importance of making the right choice in partnership

becomes high. Not only in the choice of brand the collaborations are made with, but also in

who is going to be used as a spokesperson or influencer. A third factor that comes into play is

also the target audience, and what effect the target audience can have.

3.2.1 Supreme x Louis Vuitton52 Highsnobiety – Chris Danforth ”Supreme x Louis Vuitton: A Triumph or a Nail in the Coffin?” (April 21st 2017) 53 Thornton, S. (2013). (p. 154-160) Club cultures: music, media and subcultural capital. Cambridge: Polity Press.54 Hypebeast – Arthur Bray ”How Surf-Punk Brand Noon Goons Is Bringing Back Counterculture Back Into Streetwear” (April 21st 2017)55 Florida, R.L. (2006). (p. 74) Den kreativa klassens framväxt. Stockholm: Daidalos.

23

I think it’s stupid as s–t […] It solidifies Supreme’s place in fashion, which is so stupid. They started the brand

as a f–k you to fashion, and now they’ve become it. They represent the worst form of street culture […] When

you go into the store, it’s full of a–holes, they vibe you out.56

Alec Leach, writer for Highsnobiety writes about the commercialization of Supreme with the

Louis Vuitton collaboration. He speaks about how Supremes previous approaches to

marketing have been true to the culture. When reminiscing about previous releases he writes:

”Even blockbuster Nike collabs are marketed with some low-key photos of the crew just

hanging out on a street corner somewhere”. Until now, when Cruz Beckham (child to

multimillionaire David and Victoria Beckham) posts an Instagram picture with a box logo

Supreme hoodie with the Louis Vuitton monograms all over it. Leach calls it a ”PR disaster”

for the brand, also pointing to Formula 1 Driver Lewis Hamilton’s instagram post. Hamilton

poses in a ”selfie” with a scarf from the above mentioned collection. In his text, Leach claims

that Hamilton and Cruz Beckham are the ”least Supreme” people you could possibly use to

market the collection.57

Despite the hysteria, hype and consumerist madness surrounding Supreme, it’s an icon of underground culture because it keeps such strict control of its image. Its crew of wayward skaters and don’t-give-a-fuck store guys are one of the few things keeping it on the right side of mainstream; Louis V’s family-friendly, photogenic,

rich and ridiculously famous ambassadors are the worst match possible.58

While I would agree with Leach, this might even be deliberate or a form of compromise

between the two brands. While Supremes target audience have been people with connection

to the subcultures of skate and hip-hop, the Louis Vuitton brand comes with a significantly

higher price-tag and a wealthier target audience. This is a clear representation of a problem

that exists within subcultures connected to fashion, this is one of the fears that subcultures

have, or are exposed to according to Thornton and what eventually causes the individuals of

these subcultures to either abandon, or reconstruct their taste.59 Gully Guy Leo (streetwear

influencer) expressed in an interview with Hypebeast that he ”is getting sick” of seeing

people with the same logo, and that he has recently started to explore other fashion brands. At

56 Highsnobiety – Brian Farmer ”NYC Skaters Feel “Betrayed” & “Exploited” by Supreme’s Louis Vuitton Collection” (May 3rd 2017)57 Highsnobiety – Alec Leach ”Why Cruz Beckham and Lewis Hamilton Are a Disaster for Supreme” (May 3rd 2017)58 Ibid59 Thornton, S. (2013). (p. 154-160) Club cultures: music, media and subcultural capital. Cambridge: Polity Press.

24

the same time mentions that it is difficult to stay unique when the streetwear culture has

grown so big.60

The Supreme customer has changed a lot in the past few years. They’re younger, hungrier and obsessed with

the box logo. Where the brand was once a signifier of clued-up inner city guys, it’s now synonymous with retail

tourists and cash-rich kids fiendishly buying anything that says “Supreme” on it.61

Stavros Karelis, founder of Machine-A expresses in an interview that the current fashion

climate is the perfect for collaborations. He says that the best and safest way for a brand

today to expand to new costumers and tap into new market is through co-branding.

According to him it is a way to give something new and fresh to the existing costumers while

entering a new world, where there are people that traditionally did not buy from you. 62 The

same idea comes to mind when thinking about marketing and branding. If Cruz Beckham and

Hamilton were an example of bad marketing, then there are two good examples of how

Supreme x Louis Vuitton has chosen appropriate partners which will follow below.

Travis Scott and Asap Rocky are arguably the two biggest tastemakers in hip-hop. Nico

Amarca, writer on Highsnobiety writes about rappers and their influence on fashion in an

article named ”Is Travis Scott Rap’s New Fashion King?”. According to him, rappers roles as

tastemakers remains unconquered, for years they have been rapping about glamour and fame,

but now that the realms of streetwear and high fashion have merged, they have even more

power, he claims.63

They have been placed high in the fashion category, because of their high respect granted

through rap and high fashion communities. In a way this is both subcultural capital and social

capital, once again a mix between high and low. They have reached mainstream success,

while still managing to be in contact with the youth and their background. Together they have

shown versatility in both style and as influencers having worked with relatively ”low” brands

like Reebok, Puma, to higher streetwear like, A Bathing Ape and Supreme, to great designers

like Raf Simons, Helmut Lang and fashion power houses like Dior, Louis Vuitton and Saint 60 Hypebeast – Matt Peng ”Leo Mandella Talks Supreme, Gucci, Logos and Mixing Streetwear With High Fashion” (May 3rd 2017)61 Highsnobiety – Alec Leach ”Why Cruz Beckham and Lewis Hamilton Are a Disaster for Supreme” May 3rd 2017)62 Highsnobiety – Nico Amarca ”Here’s What the Industry Really Thinks About Supreme x Louis Vuitton” (April 19th 2017)63 Highsnobiety – Nico Amarca ”Is Travis Scott Rap’s New Fashion King?” (May 3rd 2017)

25

Laurent. Like mentioned in the theory chapter, the third level of personal branding is ”the

personal brand that influences trends and is a presence in the larger culture” which I would

then argue is exactly where Travis Scott and Asap Rocky are, and should prove to be the

ideal partnership for a collaboration like Supreme x Louis Vuitton.64

3.2.2 Gucci x GucciGhost

A collaboration that mixes high and low and that has received positive feedback in contrast to

the Supreme-partnership with Louis Vuitton, is Gucci x GucciGhost. It was in late 2016 when

it was announced that Gucci would collaborate with the former pro snowboarder (now skater,

artist) Trevor Andrew, now known under the name GucciGhost. The name comes from an

outfit he had for Halloween where he cut holes in a Gucci sheet, which later became his

signature when expressing himself through the creative art form - graffiti.

Jack Drummond, writer at Highsnobiety writes that the collection fits perfectly with the

reemergence of doodling, where Gucci even opened their own customization boutique during

the summer of 2016. Drummond continues to explore the spirit of Guccis’ relatively new

creative director Alessandro Michele, who with this collaboration seems to blur the lines of

real and surreal. He continues to add that through the new customization boutique and this

collaboration Michele is opening the doors of Gucci to new customers, to make the label their

own. Expression, individuality and authenticity is what true fashion has at its core and this is

the impression he receives with this collection, this is according to him ”an invitation for all

of us to go and make Gucci our own”.65

You’re crazy. It’s never going to happen. Gucci would never fucking talk to you. They don’t even light their

own cigarettes. You’re going to get sued.66

The quote above is from a short interview with Andrew for Complex, where he explained

what people first told him when he started the GucciGhost project through graffiti. This

would seem like a valid reaction, however this is the type of art big fashion houses are

looking for when trying to market for younger customers, and with social media, reaching out

64 Montoya, P., & Vandehey, T. (2002). (p.4-10) The personal branding phenomenon: realize greater influence, explosive income growth and rapid career advancement by applying the branding techniques of Michael, Martha & Oprah. Santa Ana, CA: Peter Montoya Inc.65 Highsnobiety – Jack Drummond ”We Hung Out With the NYC Artist Who Scrawled Graffiti Across Gucci’s Latest Collaboration” (May 4th 2017)66 Complex – Steve Dool ”GucciGhost on Scamming His Way to a Gucci Collab” (May 4th 2017)

26

has never been easier. This collaboration is also interesting in the sense that it is not an

established brand, but rather a street-persona that was brought in for a collaboration. This is a

great leap forward from previous efforts where for example designer Jeremy Scott simply

”stole” from graffiti culture without sharing profits and giving recognition to the artists.67

This is another suitable example of Vinken’s claim that we are now in the age of postfashion,

but I would argue, in an evolved form. Not only does high fashion draw influences from the

street, but the artists themselves are handpicked and brought into the ”finer room”, which

signals an evolution of the postmodern fashion system as Vinken outlined. I suggest that this

implies that the subcultures are not being ”exploited”, but rather it is a symbolic ”crowning”

of the subcultural artists by the luxe brand, thus giving back credit where it is due.

The Supreme x Louis Vuitton collection and Gucci x GucciGhost are both interesting and

positive, but also complex in their own context. These collaboration is relatively new so there

is no way of telling how the opinion will shift in later years, but it makes me think of the cult

status Helmut Lang and Raf Simons have received in the streetwear discourse. The main

reason designers like Lang and Simons have a cult status is what they stand for. They

represent core ideals of the street and remain consistent, pushing freedom, creativity and

expression forward, making clothes more than clothes and instead serve as a tool of

expression. They survey and redefine the cultural landscape often, but remain loyal to their

ethos. Which is why, to this day Langs and Simons work is still relevant and often referenced

and this is what designers and brands should have in mind when attempting to branch out and

work with others through the collaboration phenomenon.

67 The Fashion Law – ”Jeremy Scott Copes Jimbo Phillips - Part II” (May 4th 2017)

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4. Conclusion & Discussion

This thesis had its starting point in understanding the phenomenon of collaborations in the

fashion world, more specifically collaboration between high fashion and streetwear, but also

in understanding the roles of influencers in the discourses of said fashion. This study has

raised awareness of subcultural impact in the contemporary fashion discourse and how brands

and cultures are impacted by what goes on when a specific collaboration is announced and

formed. This thesis has also explained some of the catalysts to why streetwear has reached

mainstream success and the impact of popularization on streetwear that grew from different

subcultures.

The material, being journalistic texts about streetwear and fashion allowed me to investigate

the fashion discourse and the sub-discourse of streetwear and what is written about them in

the media. More specifically it allowed me to understand why and how the chosen

28

collaborations have been received and put it in context to the chosen theories. It also allowed

me to speculate in what the catalyst for these collaborations was, but also what the perfect

ingredients for a collaboration between high fashion and streetwear is.

The conclusion is that fashion today is an interplay of many different symbolic values, both

high and low. The notion of traditional class, is quickly dissipating and people are being

”measured” in different forms of capital, for example in subcultural capital and social capital

instead. This has given an opportunity to people from socioeconomically challenged places of

the world to get involved and be appreciated within high fashion, that for long has been seen

as something posh and exclusive to them. These types of collaborations also invite youth and

people of less power to influence and spread their expressions on a bigger scale. There will

still always exist divisions and hierarchies between consumers of fashion, where some have

more purchasing powers than others, but these types of collaborations still contribute to

creating an understanding of different cultures and socioeconomic situations.

Within this thesis there was also a chapter on influencing, co-branding and marketing and

how to chose the appropriate partners which proved to be interlinked between both research

questions. In order to successfully market and brand a collaboration between streetwear and

high fashion you need influencers that have both social and subcultural capital, a mix

between high and low. While previously high fashion had been stealing creativity from street

culture, they have now found a way to give back and even uplift creative minds in those

cultures. There is still a hierarchy in place here, but this can be seen as an invitation to share

the ”finer room” by the ones at the top, a move away from a type of totalitarian fashion

ruling.

What this means is that fashion is being even more deconstructed. Collaborations like this

break down barriers regarding economic class and race and open up for even more

understanding and diversity. Collaboration like this also prove that fashion is aware of what

is mainstream and what the general crowd is ”into” and are interested in capitalizing on it,

which any company should be. However, this does obviously come with some complications.

While these fashion houses are capitalizing on the creativity and expressivity of subcultures,

they are (subcultures) losing their own capital. This can be seen in for example celebrities

wearing streetwear brands, long lines of people outside of stores and online shops selling out

all their clothing within mere minutes. Popularization has always been the biggest fear of

29

subcultures and the only ones benefitting from it are the companies which then would lead to

a rift between the community and the brand.

While collaborations have existed for a period of time, it is noticeably happening more

frequently right now. Therefore there is a big opportunity for research to be done in extension

to this thesis that would grab different aspects and angles to this phenomenon which were not

possible in this thesis.

Interesting future research would be collaborations between brands in the same hierarchy and

what cultural impact that would have. Further research on the impact of cultures themselves

on contemporary fashion and streetwear fashion can prove to give a better understanding on

this phenomenon as streetwear brands exist in different parts of the world where different

brands are in focus. This comes hand in hand with different subcultures as well. This thesis

focused on the most ”mainstream subcultures”, the hip-hop and skate scene which provided

me with certain information only relevant to them. It would be possible to investigate other

subcultures like punk, surf and for example ”hipsters” to understand their relation to fashion

in the contemporary society.

Through the material this thesis also proved that streetwear now exists in every high fashion

house, like Leach explored when he visited some of the high fashion houses.68This is then

arguably what people would call prêt-á-porter, which goes hand in hand with some of the

delimitations of this thesis. Like mentioned early in the thesis it is hard to label streetwear

and differentiate it from other similar styles, therefore future research on the material itself

(design, construction) in the contemporary streetwear discourse in relation to other styles

would be beneficiary to understand the greater picture. This is, however the great divide

within fashion studies, seeing as it is a multidisciplinary field and should arguably take

different methods into account in order to contextualize interesting phenomenon’s and

improve validity.

68 Highsnobiety – Alec Leach ”It’s Official: Streetwear and Luxury Fashion Are Now The Same Thing” (April 17th 2017)

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Heig, Edward (2008) Some Observations on The Critique of Critical Discourse Analysis (April 25th)https://www.lang.nagoya-u.ac.jp/proj/genbunronshu/25-2/haig.pdf

Jemma Oeppen & Ahmad Jamal (2014) Collaborating for success: managerial perspectives on co-branding strategies in the fashion industry, Journal of Marketing Management, 30:9-10, 925-948 (April 10th 2017)Doi: 10.1080/0267257X.2014.934905

Mróz-Gorgon, B. (2016) Co-Branding As A Strategy – Fashion Market Perspective: Prestige or Masstige? International Journal of Sales, Retailing & Marketing. 2016, Vol. 5 Issue 4, p 49-59. 11p (April 10th 2017)ISSN: 2045-810X

O’Shaughnessy, J., & O’Shaughnessy, N. J. (2002). Marketing, the consumer society and hedonism. European Journal of Marketing, 36, 524–547. (April 10th 2017)

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Doi:10.1108/03090560210422871

Simonin, B. L., J. A. Ruth. 1998. Is a company known by the company it keeps? Assessing the spillover effects of brand alliances on consumer brand attitudes. J. Marketing Res. 35(1) 30–42. (April 10th 2017)https://archive.ama.org/archive/ResourceLibrary/JournalofMarketingResearch%28JMR%29/documents/228139.pdf

Tsai, S. (2005). Impact of personal orientation on luxury-brand purchase value. International Journal of Market Research, 47, 177–206. (April 10th 2017)Doi: 10.1180/10669605560210422870

Empirical MaterialComplex

GucciGhost on Scamming His Way to a Gucci Collab (May 4th 2017)http://www.complex.com/style/2016/09/gucci-ghost-trevor-andrew

How Rappers Became the Most Important Fashion Ambassadors (April 17th 2017) http://www.complex.com/style/2016/08/rappers-as-new-fashion-ambassadors

It’s Not About Clothes (April 13th 2017) http://www.complex.com/style/2017/02/what-is-streetwear-by-bobby-hundreds

Who is Asap Mob? (April 27th 2017)http://www.complex.com/music/2012/01/who-is-asap-mob/3Highsnobiety

Here’s What the Industry Really Thinks About Supreme x Louis Vuitton (April 19th 2017)http://www.highsnobiety.com/2017/01/24/supreme-louis-vuitton-reactions/

Is Travis Scott Rap’s New Fashion King? (May 3rd 2017)http://www.highsnobiety.com/2017/01/30/travis-scott-fashion-muse/

It’s Official: Streetwear and Luxury Fashion Are Now The Same Thing (April 17th 2017)http://www.highsnobiety.com/2017/02/08/luxury-streetwear-fashion-trend/

NYC Skaters Feel “Betrayed” & “Exploited” by Supreme’s Louis Vuitton Collection (May 3rd 2017)http://www.highsnobiety.com/2017/02/27/supreme-louis-vuitton-skaters/

Supreme x Louis Vuitton: A Triumph or a Nail in the Coffin? (April 21st 2017) http://www.highsnobiety.com/2017/01/20/louis-vuitton-supreme-debate/

Virgil Abloh on Current State of Fashion (April 18th) http://www.highsnobiety.com/2016/08/01/virgil-abloh-fashion-interview/

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We Hung Out With the NYC Artist Who Scrawled Graffiti Across Gucci’s Latest Collaboration (May 4th 2017)http://www.highsnobiety.com/2016/10/04/gucci-guccighost-interview-berlin/

Why Cruz Beckham and Lewis Hamilton Are a Disaster for Supreme (May 3rd 2017)http://www.highsnobiety.com/2017/01/31/supreme-louis-vuitton-cruz-beckham/

Hypebeast

How Surf-Punk Brand Noon Goons Is Bringing Back Counterculture Back Into Streetwear (April 21st 2017) https://hypebeast.com/2017/4/noon-goons-rick-klotz-freshjive

Leo Mandella Talks Supreme, Gucci, Logos and Mixing Streetwear With High Fashion (May 3rd 2017)https://hypebeast.com/2017/3/leo-mandella-gullyguyleo-supreme-gucci-logo-interview

Other

Huhmagazine –”M.I.A x Versus Versace Collection http://www.huhmagazine.co.uk/5762/m.i.a.-x-versus-versace-collection

Messy Nessy Chic - The 80’s Hip Hop Tailor: Dapper Dan (April 20th 2017) http://www.messynessychic.com/2013/04/30/the-harlem-hip-hop-tailor-dapper-dan/

The Fashion Law - Jeremy Scott Copes Jimbo Phillips - Part II (May 4th 2017)http://www.thefashionlaw.com/home/jeremy-scott-copies-jimbo-phillips-part-ii?rq=jeremy%20scott

The Verge - How the harlem shake went from viral slideshow to global phenomenon (April 28th 2017)https://www.theverge.com/2013/2/18/4000068/how-the-harlem-shake-went-from-viral-sideshow-to-global-phenomenon

Today – Jay-Z launches Cristal bubbly boycotthttp://www.today.com/id/13350034/ns/today-today_entertainment/t/jay-z-launches-cristal-bubbly-boycott/

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