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Bret Easton Ellis says that fashion is too inclusive

Earlier this week, Bret Easton Ellis published an essay opposing diversity, inclusivity and generalized disorder of cancellation in the fashion world. (Appears in the July issue of Vogue Italia is fashion.com/articles/opinion/op-ed-bret-easton-ellis-is-inclusivity-bad-for-fashion“}” href=”https://www.businessoffashion.com/articles/opinion/op-ed-bret-easton-ellis-is-inclusivity-bad-for-fashion” rel=”noopener noreferrer” target=”_blank”>was taken from Business of Fashion.) The "inaccessibility and exclusivity" of fashion in the 90s was its charm, and the world "underlined the superior individuality of the designer and also of the individuality of the models wearing the clothes". Which no longer exists, he writes and in its place is "a culture apparently obsessed with the inclusiveness and the idea of ​​thinking about the group on the individual and enhancing the ideology on the ; aesthetics. "

This comes after Ellis has been the subject of a series of criticisms and criticisms after the release of his new collection of essays, whose title is enchanted white– An average maelstrom that culminated with a painful question and answer in New Yorker . It seems that Ellis has consummated his welcome as a provocateur, because the arrival of this tirade against the great awakening of fashion has made very little noise on the platforms he tries to embellish.

Still, a handful of young fashionistas were discussing on social media (what's good, hf on Twitter!) – perhaps because, like the most diverse and politically stimulated fashion devotees, they were his goal. In general, they argued that the qualities that Ellis detests are what make fashion better (oddly, Ellis loses everything from the diversity of catwalks to live fashion shows in a single big category of "bad guys").

But the most curious thing about Ellis's argument is how completely he misunderstands the current fashion scene. The industry remains insular, exclusive and selective as always: these are the definitions of beauty and luxury that have changed. As The Cut pointed out, models like Ashley Graham and Paloma Elsesser may be larger, but they don't look like the average person. Like the main models that came before them, they are creatures of extreme beauty. ("If everyone is beautiful, then nobody is beautiful," he writes, yet the industry is not dictating that everyone is beautiful, indeed it is often used to say "This person seems more like you it's nice, but they are still better than you, in some small but significant ways. ") Virgil Abloh, Demna Gvasalia and other designers influenced by streetwear are doing non-traditional luxury products in extremely luxurious materials with hoods and sneakers, and if millions of people are attending fashion shows because of social media, it's because (though perversely) they are thirsty to peek into an exclusive and glamorous world .. And! The Gala of the Met's Costume Institute is still by invitation only (Bret Easton Ellis couldn't just buy a ticket if he wanted it) .

If nothing else, the passage of fashion towards diversity and inclusion, while maintaining its aura of inaccessibility, has been one of its most interesting changes in the last decade. (fashion-editor/”}” href=”https://www.washingtonpost.com/graphics/2018/lifestyle/edward-enninful-vogue-fashion-editor/” rel=”noopener noreferrer” target=”_blank”>Robin Givhan brilliantly explained this in a profile by Edward Eninful last year.) The younger generation of fashion fanatics is just as serious about fashion as an institution – they discuss what "real" fashion is, express skepticism towards perceived interlocutors, debates about who really has a couture slant and shade who deserves the main catwalk campaigns. Just take a look at Twitter, Fashion Spot forums or Instagram comments of any brand.

That Ellis no take it could be the most amazing thing of all. His fashion and style references in American Psycho is Less than zeroin particular they were extremely well observed. IS Glamorama, the book referred to in this new essay, may have satirized the fashion industry (to think Zoolander without breaks to laugh), but his understanding of the checks and imbalances of the ego, the money and the brand was blurred for someone who had never worked for a fashion designer or a staff of a fashion magazine. As the type that Ellis wants you to calm down on, he might say: Sad!

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