Can I become an aristocrat?
But the family tree is also missing, you can at least look as if you own one: labels such as Armani, Burberry Prorsum or the young Prada line Miu are using labels like Armani, Burberry Prorsum or the young Prada line Miu to make it easier for the new rich to start a life with family crests and wax seals Miu shamelessly out of the upper class moth box this fall.
As far as the eye can see: tweed, checked pattern, velvet, fur and thick blobs that should look as if they were bequeathed to Grandma on her deathbed. The rediscovery of the bourgeoisie, conservative values and the new insistence on custom and tradition thus find their counterpart in fashion.
And the trend is also continuing in the so-called high-street stores H&M, Zara and Mango: They have always been tailoring inexpensively according to what was shown at the shows in Milan and Paris.
This development has often been referred to as the democratization of fashion, because its premise is: "Haute Couture" for everyone! And: you can copy any look. But this fall, the desire for noblesse and money is undermining the principle of cheap copying: If fashion is to show that you are "something better" - how can it also present its own cheap copy at the same time?
The fact that fashion is a game and enables a constant change in one's own identity is nothing new. But the game does not only take place on the horizontal level, i.e. between the subcultures of pop, as demonstrated by designers such as Vivienne Westwood or Alexander McQueen.
The game also works on the vertical plane: between the layers. The high street fashion shops and their newly appointed democratizers like Karl Lagerfeld are increasingly shaking this vertical plane. For example, the mod culture of the sixties in England has a checked pocket square tucked into the military parka at H&M so that it looks a little richer and more distinguished.
And a good tip on the way to wear more "Argyle" this season - the diamond-shaped pattern with which the traditional Burlington store adorns its socks. "Topshop", the British counterpart to H&M, does not even bother with mods and proletarians, but calls its new line "Aristocrats": a crochet throw over a flower blouse becomes the height of comfort. The dream of a wicker chair in an English country house, the crackling fire and knitting in your lap is included.
A strange connection emerges between the aristocracy and the bourgeoisie in this fashion trend: While the nobility has always been able to live out its urge for splendor and without a guilty conscience, the Protestant bourgeoisie, when they had new money, was prescribed ratio. Instead of jewels that lasted for life, the thick coat had to do it.
The result was fabrics such as loden or tweed, which seem to prove simply by color or pattern that their fabric is firm and strong and that it could withstand the weather in the outer Hebrides. In the bourgeoisie, the character of the materials used has always corresponded with the values that were used as a yardstick for one's own life. When the Puritan Benjamin Franklin warned his fellow American citizens: "Time is money", he spoke of every second of life. There is no time to shop while earning money. For that reason alone, the coat has to last a lifetime.
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