london calling, it wants its blueprint back

copying can be a superficial understanding of fashion or art, simply jumping on fleeting trends without engaging with the deeper meaning or intention behind them but naturally aesthetics/forms/cliques/cultures evolve through adaptation and reinterpretation. copying, with a twist, can be a way of building upon existing ideas and contributing to the ongoing dialogue within a creative field. hence why I never understood the anger behind being copied when credit is given.

originality and individuality is essential, being unique and expressing own vision is paramount. seeing others blindly imitate feels like a dilution of originality and a threat to a personal identity but sharing and adapting trends can create a sense of community and belonging. people can feel connected to each other by expressing themselves through popular styles, even if they are not the original source.

i understand gatekeeping but i love seeing people involved, i’m in adoration of how many people are discovering fashion through that one couture show that had them in a chokehold. i despise the "are you new here?" mindset, let people learn even if they drop their interests after a while, let people work and explore themselves freely without feeling threatened. People discovering and searching is not a bad trait to scold over, if the community holds intimidation onto every new person that tries to cohabit within a field, will there be any innovation?

discover, search and experiment - about the only path to being personal and falling in love with a hobby.

Second Hand High Fashion, Is the wallet talking?

Written by Matylda Banasiewicz

High fashion has always been associated with luxury, prestige, and exclusivity. However, it also comes with a high price tag, making it inaccessible for many people. Fortunately, there is an alternative to buying brand new high fashion pieces: buying second-hand. 

Whenever the topic of high fashion and designer items comes up in the circle of my close friends and family the question of “Why?” always comes up. Why would I want to obtain something that costs half a month’s wages, why would I bother with waiting months for my purchase instead of entering the nearest retail store and WHY waste time on searching for the ideal garment.

But why wouldn’t you?

To me, the hunt, the search, the time is what makes fashion exciting. The overwhelming excitement and joy that a second hand brings is a story, fate and providence, across all continents, oceans and communities the garment has ended up in my hands.- A high fashion piece bought second hand carrying a story, it might be an unwanted gift, a comely Helmut Lang set that used to be daily work attire for someone, a designer bag bought for a lover just a few years ago. Garments carry history, wherever it is written by the designer or the owner it is detrimental to my “before you buy” guide. When it comes to high fashion brands, there are several that are well-known for their unique and avant-garde designs. Comme des Garçons, Maison Margiela, Rick Owens, and Jil Sander are just a few examples of brands that offer high-quality and innovative designs. By buying second-hand pieces from these brands, we can own a piece of fashion history while also supporting sustainable fashion practices.

Coming to sustainability, it was quite an easy choice for me, being brought up on thrift stores through my community and family, mostly because of financial reasons. Shopping second hand has made me appreciate clothing way past being a well-known brand and having a trendy cut, I needed to have the knowledge of materials and learn to be conscious of my own consumption.

By being thrown into the second hand community so early on, I have never felt a real need to shop retail or brand new- Every time that I would enter a retail store I could see there was nothing that striked my interest, everything organised by colour, size and cut wasn’t bringing me the same joy that thrifting provided to me every single time (even in the times of not finding anything, I was still fulfilled with the journey and the hunt that ended up in me not purchasing anything. 

So, is the wallet talking when it comes to high fashion? With second-hand options available, it doesn't have to be.

are you good enough?

Written by Matylda Banasiewicz

we all should come together and realise that there are no "good" people. none of us are born good, of course there are some objectively terrible and bad people but all of it is mostly contextual. i do really wish that people would liberate themselves from the idea of goodness and purity, dedicating and embracing the idea of moral complexity and allowing yourself to occasionally be the definition of bad, be mean, be the asshole in a situation because most if not all of us are but aren't morally ready to accept the bad counterparts of a human experience. I hate the value system around the arbitrary idea of unexamined "goodness", so set in stone forcing individuals to approach every situation with a standardised ideal of prefixed morality. It often and naturally accrues so much harm and hatred than any alacrity.

Free the people from shackles of goodness, have the courage to accept that people can be  petty sometimes, hateful, jealous and full of unimaginable hatred and disgust.. acknowledgement of intermittently being a piece of shit is progress, the only hope of becoming.... call it virtuous? the idea of being good is thrown onto people too often, the impulse of being good is not the problem here; the insistence is. 

by all means, compassion is a part of the human experience. PRACTISE it. undertaking acknowledgment of its inconsistency & impossibility contextually. a human abhorrence is as essential as the desire to be good.- which quite simply is an act of self-respect & by consequence as mentioned previously respecting others. 

Scandals VS Irrelevancy

Written by Matylda Banasiewicz

Throughout the years fashion houses and designers have been no stranger to scandals and insensitive remarks, causing outrage and indignation not just within the industry and among fashion-driven individuals. Historically, fashion has always been a controversial industry while sheltered from criticism because of its elitism. In fact, the fashion industry has had its fair share of scandals over the years. But the question is, how do these scandals affect the industry, and what role does relevance play in all of this? While scandals can damage a brand’s reputation and lead to a drop in sales, irrelevancy can be just as damaging. In today’s world, where consumers are more conscious of issues like sustainability, diversity, and inclusivity, brands that fail to address these concerns risk being left behind.

As the world becomes more interconnected and consumers demand more from the brands they buy from, relevance is becoming an increasingly important factor in the success of the fashion industry. Irrelevancy, or the failure of a brand or designer to remain current and connected to their audience, can be just as damaging as a scandal. In today’s fast-paced world, trends and styles can change in an instant, and brands that fail to keep up risk becoming irrelevant. This is particularly true in the age of social media, where consumers have morepower than ever before to shape the industry. One example of a brand that has struggled with both scandals and irrelevancy is Dolce&Gabbana. The brand has faced several controversies over the years, including accusations of cultural insensitivity and allegations of sexual misconduct. However, in recent years, the brand has also struggled with irrelevancy. In 2018, the brand faced backlash for a controversial ad campaign that was seen as tone-deaf and out of touch with modern consumers. The campaign, which featured a Chinese model struggling to eat pizza and pasta with chopsticks, led to a boycott of the brand in China, one of its most important markets.

The incident highlighted the importance of staying relevant and connected to one’s audience in today’s global marketplace. But, did the irrelevancy damage Dolce&Gabanna? Exploring the depths of instagram feeds of influencers, celebrities or even regular people, the house always shows up within their tags. Dolce&Gabanna although being extremely insensitive and controversial still stays relevant, because of it’s elitism and resources to drag everything under the carpet, without holding any accountability. However, it is important to recognize that this is not the case for all brands. In an industry where new designers and brands emerge every day, remaining relevant is crucial. Consumers are actively seeking out brands that align with their values and cater to their desires. They want to support brands that embrace sustainability, inclusivity, and social responsibility. Brands that fail to address these needs risk being left behind, no matter their previous prestige or scandals.

While scandals can generate public outcry and damage a brand’s reputation, irrelevancy can be just as detrimental in today’s fashion landscape. As the industry evolves and consumers become more discerning, relevance plays a vital role in determining a brand’s success. Ignoring current trends, values, and consumer demands can result in losing touch with the audience and ultimately fading into irrelevance. Fashion brands must continually adapt, address societal concerns and remain connected to their audience to thrive in an ever-changing and increasingly conscious market.

style and you

i think that finding your style is not at all susceptible to inspiration from Pinterest or other people, can it then be called property?

the media you consume, movies, photos, art, places, feelings. style is how you treat people, friends, family and above all how you treat yourself. books that you read but could not finish them, this person who you considered "cool" as a kid. all these options and memories that make a person, create you.

if you want to create your style, and dress like you, you first need to get to know yourself.

Quiet Luxury or just another form of privilege?

Written by Matylda Banasiewicz

With the rise of a more low-key approach to fashion by exploring premium fabrics and high fashion brands, the term “quiet luxury” can unravel in media often and is inspected by its roots. So, what is “quiet luxury”? A hierarchy covering all things superior, from sports cars to the beauty industry. -Selling an unattainable (for most) product to appealing masses with a thinly reeled marketing ploy. Popularized by TikTok and the recent ski collision trial involving an American actress Gwyneth Paltrow, as well as being a hybrid of another trend “old money”.

The consumer trend that acts as another gateway for masses to own THIS perfected thing and THE perfect thing that becomes irrelevant within a short-lived lapse, to fulfill a temporary void of fitting in on a social scale. This new age minimalism advertised as an investment and a thought out „before you buy” scheme calls for another 2023 consumerist trend. Stealth Wealth, Old Money, Quiet Luxury whichever synonym is coated within the depths of these trends, the discreet wealth has been a thing since the invention of the merchant class. 

The philosophy of “quiet luxury” stands on the basis of “buy high, look low-key” has already aided The Zegna group with a profit of 65 million euro, and with this in mind, is it really quiet? 

Quiet luxury is not real. Luxury is always a display of wealth, even if unintentional and organic. Wealth divides and is never silent and arbitrary. 

Wealthy individuals have the same dressing responsibilities as any other person, some display via flashy logos and an all-over printed monogram whereas some throw on a cashmere sweater and call it a day. Style has always been a gamut across all classes with the major key being that wealth vastly increases one's options and simultaneously removes their obligations. 

Quiet luxury may seem to promote sustainable and ethical fashion practices but the reality is that overconsumption is still a major issue. Despite the focus on longevity and durability, many people who embrace this trend continue to purchase new items at an alarming rate, contributing to the environmental and social problems associated with fast fashion. As well as making a mockery of true minimalism interlinked with longevity and durability.

The focus on exclusivity and minimalism can be limiting and exclusionary, and the emphasis on sustainability and ethical production practices be a form of elitism. While quality materials and expert craftsmanship are certainly important, they should not be the only considerations when it comes to fashion. A more inclusive and diverse approach to fashion is needed in order to fully embrace the creativity and expression that fashion can offer.

Luxury is Luxury.

breaking machinery barriers with oksana lubera

Written by Matylda Banasiewicz

In the realm of fashion design, where creativity knows no bounds, there are always a few trailblazers who stand out for their unique approach and unwavering dedication to pushing the boundaries of traditional design. One such visionary is Oksana Lubera, a renowned NEWBIE fashion designer whose textile work and experimental design choices have captivated the eyes of many. For Lubera, the creative process is an exploration of possibilities and an opportunity to challenge conventional norms. Lubera embraces a fearless attitude of experimentation. She describes her initial design phase as a period of uncertainty, unsure of the exact outcome she wished to achieve. In response to this creative conundrum, Lubera made a decision that would define her design process and set her apart from her contemporaries.

“I wasn’t sure what exactly I wanted my design to look like, and what kind of materials I would want to use,” Lubera explains. “Therefore, I decided to pick a few fabrics within my colour palette(s) and use the robot mood board and a few of the FRUiTS magazine outfit photos as inspiration for manipulating the fabric directly onto a mannequin, and deciding what silhouettes to stick to.” This unconventional approach allowed Lubera to bypass the constraints of predetermined designs and instead let her materials guide her creative journey. By draping fabrics directly onto a mannequin and utilising inspiration from various sources, she could explore the possibilities of each fabric, giving life to new and unexpected forms. Allowing Lubera to bypass the constraints of predetermined designs and instead let her materials guide her creative journey.

By draping fabrics directly onto a mannequin and utilising inspiration from various sources, she could explore the possibilities of each fabric, giving life to new and unexpected forms. But Lubera’s creative process does not end with textiles alone. She also turns to drawing as a means of establishing inspiration for her garment making. One particular instance showcases her resourcefulness and eye for unconventional beauty. While working on a series of photograms, Lubera needed an object that resembled a piece of machinery to imitate a robotic part. Instead of seeking out expensive heavy machinery, she scoured charity shops for a budget-friendly alternative and stumbled upon a silver motorcycle toy.

Taking the toy apart, Lubera examined its separate pieces to create intriguing photograms. She was enamoured with the metallic look, which gave the toy motorcycle the appearance of real metal, despite being a plastic replica. Decided to sketch the toy piece, aiming to capture the essence of machinery and explore how to replicate its colour in her garment pieces. Through her life drawing of the metal motorcycle toy, Lubera delved deeper into the intricacies of machinery design and sought to incorporate its essence into her own creations. Oksana Lubera’s dedication to pushing boundaries in fashion design is evident in her innovative textile experimentation and inspirational drawing practices. Her willingness to embrace uncertainty and take risks has led to the creation of garments that challenge conventional norms and ignite the imagination of those who encounter her work.

As Lubera continues her journey as a fashion designer, I eagerly anticipate her future creations. With her unwavering commitment to exploring new possibilities and her ability to find inspiration in the unexpected, there is no doubt that Oksana Lubera will continue to leave an indelible mark on the world of fashion.

transcending musical boundaries: in conversation with patryk jankiewicz

Written by Matylda Banasiewicz

MB: Can you talk about your background and what initially drew you to the world of digital art and 3D visualization?

PJ: I used to watch a lot of videos on youtube all the way back in 2012/13 and at the time I was fascinated with how people made 3D intros, so i researched it a bit and found a bunch of tutorials for CINEMA4D, I downloaded the trial and it really drew me in, but obviously being very young at the time, I never really thought of it as a career path, just a fun thing to do in my free time. Skipping ahead in the timeline to May 2021, I was in a collective called “blur” at the time and somebody (now a very good friend of mine) asked if anybody does 3D visuals in the group chat and I had some previous experience from making intros and modelling so I said I could get involved. I downloaded blender and made my first visualizer after about a week of using it and it’s been history ever since.

MB: I heard the new single that you produced along with your own visuals, it’s a great piece. Could you walk us through your process of creating a single?

PJ: Thank you! I really appreciate it. My music is very emotionally driven, so when making a single I either go through my beat folders to find what matches my current vibe or if I can’t find anything I just make a beat on the spot. With my most recent single, the instrumental was made about a month before laying down vocals on it.

MB: With being passionate about your own career, how does your work as a musician influence your approach to creating visuals, and vice versa?

PJ: I just always think. Whenever I make a song I can already see the visual in my head, I can’t create a song without thinking of what it’s going to look like, I think the visual part of music is just as important as the song itself. It enhances the listening experience and shows a different side of what the artist could have wanted to portray through their art, at the same time a lot of art, including my newest visualizer is left up to interpretation, I have an entire story behind it, but I still want people to make their own version of what they see, I think it’s very important, definitely opens your mind.

MB: Can you discuss any particularly memorable projects or collaborations you’ve worked on with musicians, and what made them stand out to you?

PJ: my biggest collaborations to date would have to be the instrumentals I made with producer “ninetyniiine” who has worked with various artists I listen to, such as “Yeat”, “Midwxst”, “Summrs”, “Iayze”, etc... The reason they stand out to me is because those collabs give me a lot of opportunities to get my name out in the industry, I have been holding onto them for now, but I do plan on eventually making a folder with all of them to send out to artists and who knows, maybe a couple of them might end up being used by the people I would love to work with one day.

MB: Can you discuss any advice you have for emerging digital artists looking to break into the music industry and collaborate with musicians?

PJ: When I first started making music and visuals I didn't have that many friends that would also do those things so it was quite difficult to collaborate, but a great way to get your name out there is offering to work with people similar size to you, most people who make music have friends who also make music and so on, the more people you know, the more connections you can get. The best place to meet like-minded people has to be discord only because of how many niche communities you can find, there are always people wanting to collaborate and the more music or visuals or whatever you want to create you make, the more people are going to see it and eventually you'll find that people also want to collaborate with you.

The key is to be consistent.

MB: Finally, looking back on the early days of your career, is there anything you wish you had known or done differently?

PJ: i just wish I understood the importance of being around like-minded people and sharing your work and experiences with them.