SPRING WEEK 2

Almost-Rich People Problems

Dee Kwong

People familiar with Hermès’ game understand that to be offered a Birkin bag, a status symbol, customers must consistently purchase from Hermès. A quick search on YouTube or TikTok shows hundreds of videos of clients breaking down their journey to get a Birkin bag: silk Hermès scarves, leather Hermès shoes, and porcelain ​​Hermès dishware. 

Just last week, two California residents, Tina Cavalleri and Mark Glinoga, sued Hermès after failing to procure a Birkin bag. In their complaints, they claimed Hermès engages in unethical practices by “tying sales,” breaking antitrust laws.

Let’s break down the legal aspects:  

→ Antitrust: a collection of laws to prevent unjustified monopolies and to promote competition. 

→ Sherman Act: In Section 2, monopolizing any segmentation within trade and commerce is illegal. 

→ Tying: Tying sales occur when the seller requires the purchase of one good to purchase a separate good. Additionally, you must prove the seller uses their monopoly/market power “to gain sales in other markets where it is not dominant and to make it more difficult for rivals in those markets to obtain sales,” FTC writes. 

While certain provisions of the Sherman Act could potentially apply to Hermès' situation, demonstrating (1) a monopoly over luxury handbags and (2) exerting that power to monopolize other product segments will be hard. After all, bags like The Row’s Margaux and Chanel bags exist. However, should the lawsuit proceed, it could trigger significant shifts within the luxury market. Many luxury businesses require such showcases of brand loyalty. Hermès just happens to be the most prevalent. Although I expect this lawsuit to be dismissed, we should question Hermès’ organizational structure as their sales associates do not receive a commission for ‘quota bags’ like the Birkin, potentially encouraging grounds of coercion.  

Both Cavalleri and Glinoga have a long history of shopping at Hermès boutiques. Cavalleri had spent "tens of thousands of dollars" on Hermès before acquiring a Birkin bag. In September 2022, when she inquired about another Birkin, associates told her they were reserved for loyal clients. Eventually, they decided to sue. However, Hermès’ system is often questioned online with annoyance and doubt. A TikToker recounts her experience, spending $500 on a horse keychain—the same amount she paid to save a rescue horse, which she claimed was “better spent.” 

Amid discussions about The Row's phone ban and now Hermès, the notion of entitlement to exclusivity is striking. However, exclusivity serves as a narrative tool for luxury brands. Engaging in the exclusivity game and then seeking to democratize it when it no longer works in your favor is somewhat amusing.

Mulier Redefines Alaïa Legacy 

By Devon Lee 

Azzedine Alaïa is known for challenging conventional notions of femininity by creating attire that exalt the natural curves of the female body with potent precision. A unique mastery of tailoring and draping resulted in silhouettes that are both sensual and sophisticated. His creations were conceived to embolden women through fashion. More than mere garments, they served as declarations of self-assurance and empowerment, enabling women to articulate their identity with elegance and composure. Dare I say that Peter Mulier has surpassed this legacy? 

In his 2024 ready-to-wear collection, Peter Mulier has preserved the integrity of Alaïa’s legacy while infusing it with his own unique flair. From denim pants crafted from yarn to 3D printed belt dresses, his innovative designs redefines the basis of the house’s sophistication. 

The show began with the introduction of intricately looped yarns adorning deconstructed garments, transitioning seamlessly into sculptural coats reminiscent of topiary forms, and reaching its zenith with the display of asymmetrical belt dresses and multi-layered trousers during the finale. What proved most astonishing was not the utilization of 3D printing, but rather the revelation that “everything is made from merino wool” – a fabric known for its temperature-regulating properties and breathability. In conversation with Vogue writer Sarah Mower, Peter Mulier nonchalantly described his technologically and mathematically precise creations as “very simple.” 

At first glance, the collection may seem unassuming, yet upon closer examination, its perfection becomes evident. A modestly daring tease of draped tops cascaded in exact, elegant folds, their asymmetry adding to their allure. Skirts and dresses are expertly draped, enveloping every contour they grace, offering a tantalizing peek of leg and skin. A sleek black jumpsuit appears seamlessly constructed, its halter neckline gathering gracefully in the front while leaving the back daringly exposed. Finally, knitted turtlenecks and tabard sweaters reveal provoking slivers of bare torsos as they pass by. Mulier remarked, “I adore the idea that you're fully covered, yet simultaneously revealing something. It’s…how can you say it properly? It’s less sexualized, but still sensual.” 

This collection redeemed Mulier’s former years of work which struggled faithfully to honor the legacy of Azzedine Alaïa’s archive. This 2024 ready-to-wear reflects Mulier’s successful venture into his own creative domain, all the while upholding the noble objective of crafting an exquisitely designed wardrobe for the contemporary Alaïa woman.

BoHo’s Back: The 20 year trend cycle

By Cassidy Crockett

The 20 year rule. A popular concept in fashion where every 20 years a trend cycle is repeated. We relived the 60s mod, the 70s hippie, the 80s color pop, and most recently the 90s grunge ‘heroin chic’. These popular aesthetics, each one completely replicated (with a slight twist of contemporary) is the epitome of nostalgia. But what happens when each era is repeated? What comes next? 

When Chemena Kamali previewed her Fall 2024 collection for Chloé during Paris fashion week, there was a rush of nostalgia that poured into the room. Boho-Chic was back. From the wedge sandals to the chiffon maxi dresses, each look represented exactly the lore of Boho-Chic. Playful and sexy, feminine and natural. Although elements of the Boho Chic popular aesthetic were incorporated, the overall essence of the fashion was the star of the show. 

What separates a trend like Boho-Chic from other trends, is that it is purely essence based. It is flowy and loose fashion, it catches the eye with its beauty, but focuses its main spotlight on the woman. It gives off a sense of free spiritedness but it is also practical. It highlights femininity, which is the ultimate essence of Chloé. 

In a world of constant danger and destruction, it is clear that fashion is searching for an escape, an outlet of softness and neutrality. We see it in the natural beauty trends, the “quiet-luxury,” sheer clothing highlighting the female form, and raw jewelry. And now we see it within Kamali’s collection. An escape into a world of playfulness and love. 

As trend cycles come to a stage of over repetition, what’s next for us is searching beyond the popular aesthetics and into the essence of trends. What are the emotions and moods that we are craving and how can one create clothing that represents that? There is a longing for undoness and freedom in fashion. People want to escape the constraints of traditional conventions. Which  is exactly why Boho-Chic is back.