The Cult of Inclusivity

As the rules of fashion fade a new freedom has emerged, one that champions the individual and advocates a make-it-your-own approach to style. Suddenly, everyone can belong.


By Megan Hayes

“In Paris, the things from Vetements just suddenly made other things look not cool,” says Steele, describing the general reaction to Gvasalia’s first collection. Down his runway came girls (and guys) wearing pieces pulled from the street (hoodies, sneakers, graphic tees) styled with those that referenced recent decades. So slyly had he nuanced the “now” that one found it difficult to distinguish where the catwalk stopped and the crowd of spectators began. And yet, plays with proportion and exaggerations of silhouette imbued it with just enough sophistication to keep it feeling thoughtful, important and charged with a point of view. Steele explains it perfectly. “It's a very striking look. It doesn't look normcore even though it's coming out of ordinary clothes. Part of wanting to look cool is looking like you didn’t pay too much attention to it—you don’t want to look like you’re trying too hard. He’s really put his finger on that beautifully.”


The power now lies in many ways with the customer. The modern woman is an empowered one and the way she dresses is influenced by changes in style and silhouette only the degree she chooses for it to be. Her skirts need not be all one length, she may favor ‘70s blouses at the same time she’s gravitating toward an ‘80s bold-shouldered blazer. She relies on designers to pepper her wardrobe with incredible pieces, but it’s she who owns her style. Does this mean anything goes? Well, not quite. According to Steele, “in fashion it’s never anything goes.”



Here are the pieces you need from the labels doing it best and everything you need to know about them.


By Tatiana Hambro