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What does luxury even mean today? Four fashion insiders weigh in

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What does luxury even mean today? Four fashion insiders weigh in

This story is part of Image’s October Luxury issue, exploring what luxury really means to artists, designers, aestheticians, architects and more.

In the 2005 Chanel miniseries “Signé Chanel,” French filmmaker Loïc Prigent offers an unprecedented inside look at the storied luxury fashion house. In one scene, the film ventures to a farm in rural Paris, home to an elderly woman who, utilizing a handmade loom, was the only one capable of weaving the trim on Chanel jackets at the time. According to the documentary, Chanel sent interns and seamstresses to the farm in many failed attempts to master the woman’s technique — but only her hands were capable of such finesse. This scene comes to mind for Steff Yotka, newly appointed Global Editorial Director for I-D magazine and former head of content at luxury e-commerce platform Ssense (and also my former colleague), when I asked her about the evolution of luxury fashion. “It’s luxurious because every jacket is a piece of art,” says Yotka.

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In the nearly 20 years since Prigent’s Chanel documentary, we’ve entered a totally new luxury landscape. Luxury e-commerce retailers are battling it out — when news broke in March of this year of London retailer Matches closing, its offloaded merchandise from brands like Dries Van Noten and Rick Owens found its way to Walmart marketplace to the surprise (and outrage) of some. Economic uncertainty and inflation have forced luxury’s behemoth parent companies like LVMH and Kering into a juggling act of new creative directors, international expansion, price hikes and excess inventory, while resale sites make maintaining product exclusivity and legitimacy a tough task.

Bottega Veneta Liberta bag in burgundy.

Bottega Veneta Liberta bag in burgundy.

In a saturated market, it’s easy to feel like the days of bespoke craftsmanship and artistry as depicted in Prigent’s film are behind us, replaced with expensive graphic tees, sneakers and more products than we can consume. Once strictly reserved for high-fashion houses and the uber-rich, luxury fashion is more culturally ubiquitous and accessible than ever via social media and resale platforms like the RealReal, Poshmark, eBay, Grailed and Depop. The term “luxury” is actually just as subjective as it is sentimental, and despite economic instability, luxury fashion is simply everywhere today.

Fall/winter 2024 finds us (yes, still) firmly in the “quiet luxury” era, as defined by brands like Khaite, Bottega Veneta and the Row. It got me thinking: What does the word “luxury” even mean? This may seem like a silly question, but at a time of skyrocketing prices, market saturation, widening class disparity, climate change and international tumult, it left me wondering how those within the fashion industry relate to the concept of luxury on a personal level. Does it still sparkle and shine? How does it fit into their daily lives? What does it represent? How do they metabolize the luxury trend cycle?

Beneath the surface, luxury’s long-standing appeal is often about a sense of belonging. Yotka recalls her first luxury fashion purchase: a Spring 2004 Marc by Marc Jacobs T-shirt that she got at the opening of the Bloomingdales in SoHo. “It felt so luxurious because at that time in fashion it was really Marc Jacobs’ world,” she says. “To me, that T-shirt symbolized a whole universe that I wanted to be a part of. Whether it cost $5 or $500, it still would have felt like a luxury.”

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For Guillermo Andrade, founder and designer of cult L.A.-based menswear label 424, a professional player’s edition of soccer cleats was the first item that shaped his personal definition of luxury. “They looked the same as everyone else’s cleats, but they smelled different and when you put them on you felt different,” says Andrade. “They were the first thing I considered to be a luxury, because I didn’t actually need that model of cleat to play soccer, but they were the ones I desired and wanted,” he continues. “To me, that’s the difference between mainstream consumer goods versus luxury goods. The cleats signified something that I wanted to be a part of.”

On an aesthetic level, while logos used to reign, the luxury labels that best capture the zeitgeist today are mastering a more subdued — but, importantly, not boring — design POV informed by personal style. “I think the period that we’re in now is about finding the beauty in everyday things,” says Yotka. “You see it at the Row with the most beautiful trench coat, cashmere sweater or ballet flat. You don’t want to change your whole life or become a different person every day, you want to be a slightly more put-together and fabulous version of who you already are.”

Bottega Veneta Hop bag in black.

Bottega Veneta Hop bag in black.

This fine-tuned, everyday uniform approach appeals to Daniel Pacitti, curator with vintage shop 194 Los Angeles and co-founder of the made-in-USA clothing label Cease. “I don’t buy things very often anymore, I think we all buy too much,” says Pacitti. “But I made a new friend in Tokyo recently who has a brand called A.PRESSE, and I bought a hoodie from him. The fit and wash technique is great, and that to me is more luxurious than a Louis Vuitton hoodie.”

Quality still makes a luxury purchase worth it for many, but with so much shopping taking place online, it takes more vigilance to discern a well-made garment. “Nothing is worse than a kid saving up their money to buy something like I did when I was 15, and then getting home and looking in the mirror and it’s a massive letdown,” says Andrade. “I respect people’s money so much, the last thing I want is that ‘Why did I buy this’ feeling.”

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Mina Alyeshmerni, founder of L.A. shop Maimoun — a store that supports emerging designers like SC103, J.Kim and Super Yaya — agrees. “I think luxury is meant to make your life easier, less stressful,” says Alyeshmerni. “I don’t typically associate [luxury] with material things, since I feel strongly that something that is well made and will last you years should be within reach.”

Working in fashion can be especially illuminating, even sobering. “I’ve learned that a lot of luxury isn’t actually luxury,” says Pacitti. “When you learn about manufacturing, you realize that most of it is made at the same place, at the same factory and with the same fabrics, but luxury doesn’t have to be something that’s expensive. I’ve been to places like India where you’ll find someone on the side of the road hand-stitching something. It’s the same level of work as someone in the Dior atelier except their work is on a runway. Some people’s labor is worth more than others.”

“Maybe it’s because of how I grew up, but I f— hate the word ‘luxury,’” says Andrade. “It feels like another tool to keep you down, to remind you what you lack as a person. The ‘You’re not good enough until you buy this thing’ idea. But the thing that keeps me loving what I do for a living is that every now and then you go to a shop and you pick up a product and you’re like, ‘Wow, this is awesome.’ I love how someone’s dream can manifest into a physical product that you can take home. That’s when you truly get to enjoy the craftsmanship, innovation and attention to detail of fashion. All the little quirks that really move you.”

424 Marathon boots, Jess Sasso ceramic.

424 Marathon boots, Jess Sasso ceramic.

It’s precisely those quirks that make luxury a deeply personal topic. In many ways, it’s about reciprocity. How much can your clothing give back to you? How does it carry you through the formative and mundane moments of your life? Defining luxury on your own terms offers the chance to reclaim an often esoteric and cost-prohibitive universe. “True luxury is something that stands the test of your emotional time,” says Yotka, who still wears the Marc by Marc Jacobs T-shirt she bought with her friend because it’s as timeless as it is a holder of memory. “I want your little brother or cousin to try to steal your 424 hoodie,” says Andrade. “Those are the pieces of clothing that I always treasured. The intimate relationship that you have with your clothes is the part I care about.” Alyeshmerni’s first luxury purchase was a pair of tinted Dior sunglasses with rhinestone logos on the arms, but wearing her new Baserange sweater makes her feel like she’s embarking on a relationship with a piece she’ll have in her closet for possibly the rest of her life.

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While often individualistic in its gaze — used to craft one’s own identity — fashion, in all its ubiquity, also represents shared experience, from the initial design inspiration, to the hands that made it, to the dreams and fantasies we project onto our wardrobes, and their ultimate lived experience. In a rhizomatic network of energy exchanges and cues, our clothing is imbued with life from the start. The chance to add to a garment’s story with our own lineage and that of the people we love, regardless of the item’s price or brand, is perhaps the most luxurious of all.

Production assistant: Carmen Madera

Romany Williams is a writer, editor and stylist based on Vancouver Island, Canada. Her collaborators include SSENSE, Atmos, L.A. Times Image and more.

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‘The Invite’ is a marriage comedy with sex and heart

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‘The Invite’ is a marriage comedy with sex and heart
What happens when a simple dinner party goes off the rails? That’s the premise of The Invite, a very good new comedy directed by Olivia Wilde. Wilde also stars alongside Seth Rogen as a couple who invite their neighbors over for a meal, played by Penelope Cruz and Edward Norton. And it’s a heck of a dinner party, full of frank talk about sex and its complications.If you like slightly absurd relationship comedies, check out these episodes:’Mr. & Mrs. Smith’ is a stylish take on spy marriageIn Tina Fey’s ‘The Four Seasons,’ marriage is far from a vacationConnect with Pop Culture Happy Hour:Letterboxd / FacebookOur weekly newsletterSupport Pop Culture Happy Hour+
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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

I met Dan on Hinge.

He lives in Woodland Hills, and I live in Venice. In Los Angeles, this is considered a long-distance relationship. In another city it might be nothing. Here, it’s a factor.

But I believe that with the right person, you can make anything work, so I stay open. I’m a native New Yorker, and if I were living in Brooklyn and a guy lived on the Upper West Side, that would be a 45-minute subway ride, which is truly nothing in New York. So with that same logic, I try to have flexibility with men in L.A.

When we started planning our first date, Dan suggested three options: a hike on mushrooms, a wine tasting or a walk on the beach.

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A hike on mushrooms is something I’d only do with someone I already trust, not someone I just met online. I don’t do first-date hikes because I don’t like feeling trapped if the guy’s a dud. So I chose the wine tasting.

Then I learned the wine tasting was in West Hills.

On a Friday night, driving there from Venice would be insane. So I said I didn’t want to meet there because of the traffic. He suggested Malibu. That was also not ideal on a Friday.

I was getting annoyed — this was a pink flag because in my dating world, the guy is supposed to come to the woman’s neighborhood in the early days. I’ve gone out with plenty of men from the Valley who effortlessly suggested they come to me. It’s not rare or impossible.

I suggested he come to the Westside. I didn’t specifically say Venice, and in hindsight, I probably should have. He landed on Brentwood, which was manageable for both of us. On our first date, we met at an Irish pub on Wilshire Boulevard. He was cuter and more interesting than I had expected, and with the Guinness flowing, we had fun.

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When I got home, he texted me: “Well, I like you 🙂 Less the tik tok and the lack of rock music in your life, but it’s not a deal breaker — there are other qualities 🙂 What are your thoughts?”

I noticed the slight negativity but was mostly dazzled that a man texted immediately after the date to say he liked me. In the modern dating economy, this felt rare.

The next day, both of our evening plans fell through, so we made a last-minute date. The wine tasting he originally suggested still sounded like fun, and although it meant me driving to the Valley, I was up for it now that we’d met.

We sipped flights at Malibu Wines & Beer Garden in its airy, romantic courtyard and played a flirty version of Truth or Dare. Halfway through, he dared me to kiss him.

We ended with sushi on Ventura Boulevard and a short make-out session in his car. He invited me to Thanksgiving at his uncle’s, which felt too soon, but also sweet.

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After the second date, he texted and said he had his kids that week and was also hosting an event on Thursday, so his only day to meet was Wednesday. I said great.

On Tuesday night, he checked if we were still on, and I said yes.

Then he texted: “I’m flexible on time but not on location. I have a big event on Thursday, hopefully you can come to me again.”

My stomach tightened. This again?

So I texted back: “I drove to you last time, which was a bit of an exception for me especially in the early days, but the wine tasting location sounded special. Usually guys come to my area. How about we switch it up this time?”

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He replied: “I appreciate the effort! Because of my event, I’d rather be close to a computer just if needed … Here is what i offer:
— I’ll come to your area anytime next week/end
— Lunch/dinner on me
I want to continue where we stopped last time 😉 No pressure of course, but let’s snuggle”

I responded: “Ok let’s meet next week. Snuggles sound nice … let’s see what happens …”

Then he wrote: “So I won’t see you tomorrow?”

I replied: “Unless you wanna come to me and bring your laptop along, let’s rain check until you have more flexibility.”

He said: “Dang, you are hard. I’ll let you know tomorrow around midday if it’s ok.”

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And then — surprise — he decided to come.

He drove to Venice for a 5 p.m. date. He said his ETA was 5 p.m., and it ended up being 5:25 p.m., typical 405 Freeway.

When he showed up, he was in a cranky mood. On our way to KazuNori in Marina del Rey, I thanked him for picking me up and told him I think it’s hot when the guy comes to the girl.

“You’re just saying that because you want me to come to you more,” he said, not playfully, but aggressively.

That was basically the end for me. But there I was, in his car, heading to dinner. So I stayed pleasant and tried to make the best of it.

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I shared that in the early stages of dating, I find it’s good etiquette for the guy to come to the woman’s neighborhood. He immediately disagreed and started ranting about how dating rules are ridiculous and how they swing in women’s favor. He resented paying for dates and declared he wasn’t looking to “sponsor a woman’s life.”

“If women want equality and equal rights,” he said, “then it should apply all across the board, including dating, and the man shouldn’t have to pay.”

I said women don’t actually have equal rights because we get paid less than men and often receive lower salaries than men in the same position.

I tried to change the subject and reset the mood, but he insisted we keep hashing it out.

I tried to explain masculine/feminine dynamics: providing and protecting, giving and receiving.

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“What does the man get out of this arrangement?” he asked.

It was like watching someone’s personality warp into Mr. Hyde. Then he brought up another point: He’s a single dad of two kids, so he gets tired; and because I don’t have kids, that should factor into who drives where.

At this point, I was barely engaging and focused on eating my hand rolls, and I couldn’t wait to get home.

The check came, and I happily split it, wanting nothing further from him.

In the car back to my place, he remarked: “It’s obvious we’re never gonna see each other again.”

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Obvious, but did it need to be stated?

Then he showed me a Spotify playlist he’d made for me of his favorite electronic music, because he knows I like EDM.

“Oh, that’s sweet,” I said.

“Yeah, that’s how I show interest. Through things like this, not who drives to who,” he replied.

When I got out of the car, we wished each other luck, and I headed inside and shut the door.

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Two hours later, he sent me the playlist. I’ve yet to listen to it.

It wasn’t the distance that ruined it. It was the resentment. I’m not looking for a man who feels burdened by the effort. I’m looking for a man who sees the value of courting a woman in the first place.

The author is a writer, comedian and former psychologist who lives in Venice. She is the creator of the new vertical series “Manfari.” She’s on Instagram: @solange_neue and @manfari.show.

L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

Lonnie Bunch III is the 14th Secretary of the Smithsonian. He’s pictured above in September 2017.

J. Scott Applewhite/AP


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J. Scott Applewhite/AP

In a memo addressed to staffers sent Tuesday, the secretary of the Smithsonian, Lonnie G. Bunch III, defended the institution after the White House issued a 162-page report that characterizes the National Museum of American History as a place which has become “subject to institutional capture by a radical, activist ideology that is fundamentally opposed to telling the noble, honest story of the great country we know and love.”

In his email, which NPR has obtained, Bunch wrote in part: “While there will always be room for improvement, this report is not a fair characterization of the work and totality of the National Museum of American History. At the Smithsonian, our work is driven by scholarship, accuracy and an uncompromising commitment to tell the fullness of America’s story. As public servants and the keepers of this institution, we are charged with helping a nation find understanding, hope and clarity and as part of that duty, we are dedicated to excellence, reflection and growth.”

He continued: “We remain focused on what grounds us: a steadfast commitment to scholarship, nonpartisanship, independence, accuracy and integrity. For nearly 180 years, the Smithsonian has worked alongside partners across government — from the White House to Congress to our governing Board of Regents — guided by our enduring mission to increase and diffuse knowledge. That purpose remains: to pursue knowledge with rigor and to serve the American public with clarity and care.”

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The White House report was issued on July 4 by the Domestic Policy Council under the title “Saving America’s Story: How Ideological Capture at the Smithsonian Institution’s National Museum of American History Erases Our Heritage.”

The council faults the National Museum of American History on a multitude of fronts, saying it underemphasized the Founding Fathers and early colonial and Revolutionary history; was not sufficiently celebratory of the country’s 250th anniversary; and that it engaged in “anti-white,” “illegal alien” and transgender activism.

It also accuses the museum of trying to “indoctrinate” teachers and students through its exhibitions, programming and teaching resources.

In the report, the council also specifically criticizes museum director Anthea Hartig, who has led the National Museum of American History since 2019 and is concurrently the president of the Organization of American Historians, calling her “an activist advancing an ideological agenda contradictory to the museum’s founding purpose of fostering patriotism.”

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