CHAOS IS FASHION IN 2024
According to The Guardian, 2024 will be the year of “curated chaos.” The art of curation that appears authentic is what we seem to be striving to achieve. The effort to exhibit a more subversive, careless attitude has caught on in fashion media. Realism, informality, and authenticity have now become principles by which to create guidelines for marketing.
S/S 24 collections indicated this trend, notably Miu Miu, Bottega Venetta and Balenciaga’s big, open, and overflowing handbags. Miu Miu’s layered, draped and slouched silhouettes from their collection further indicate the rise of an impromptu presentation. Upcoming designers’ and recent graduate’s S/S 24 collections are reflective of this shift toward the popularity of uncontrived and spontaneous looks. i-D noted the London based VeniceW, who’s designs, as they described, were the “antithesis of the contemporary wealth staples.” Designers such as Stockholm based Rave Review were also noted, who “made a strong case for Scandi upcycling,” with patchworking, offcuts, and raw edges. London-based designer Sinead Gorey’s collection designed for the “modern party girl and invoked “Kate Moss’ Glastonbury fits.” “Cool Britannia,” and “club-ready garb,” exemplifying the shift toward stylized chaos.
Recent fashion advertising increasingly featuries celebrities unposed and less stylized, doing everyday chores and Jeurgan Teller’s once offbeat W Magazine covers are becoming more and more in line with the current trends of presenting realism.
Hunger Magazine says that “Fashion in 2024 is all about chaos.” Further, “2024 is going to be the antithesis of microtrends” and this new inclination is “in essence, a big cathartic scream in the face of a hyper-aware, self-conscious existence.” This progression seems to be, in a sense, the ultimate form of fashion marketing and commodification, and we are, arguably, now simply being sold versions of authenticity and realism. However, the collective rejection of the objective to present perfection is promising and suggests an optimistic psychological shift in our understanding and formulation of fashion media.
Article by Alana Courtney-Gleeson, Contributor, PhotoBook Magazine
Tearsheets by Chenglin Qu, Graphic Design Intern, PhotoBook Magazine
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