From Paris: “We Are The Kids Your Parents Warned You About”
Photography by Emma Foster.
Streetwear brand Sixth June was founded in 2008.
I spoke with Sara Moukhles, their freelance artistic director, regarding their fashion show “We Are The Kids Your Parents Warned You About.” The show took place on January 30th at Le Coeur Art Gallery on Rue de Turenne in Paris’ 3rd arrondissement.
Sixth June is affordable.
Trendy beanies start at 15 Euros, and sweatshirts can be purchased for 35 or less. This accessibility can be misaligned with the typical features of a high fashion name. In response to this conflict, one of the goals of the show was to assert the brand’s high fashion creativity in spite of its attainability. Another goal was to break down barriers between the often too-serious world of high fashion, and youth.
One goal was to break down barriers between high fashion and youth.
The show worked effectively like an art exhibit — you entered a studio with two floors, with several separate galleries throughout. Opposed to their usual place on the runway, models in this show bordered the periphery, which threw the spectator in the middle … as much a spectacle as the models.
Sara chose the format of an art gallery to equate the models as pieces of art. Deliberately, attendees were under two commands: “look but don’t touch,” and the irresistible drive for a perfect Snapchat story or Instagram. In effect, there was a tug-of-war between behaving adjacent to the untouchable world of art, and joining it.
The Collection
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(Photos: Emma Foster)
Sara’s “We Are the Kids” was an argument in defense of young people today. She defined youths to be “this new generation condemned by some as no future generation.” She continued: this new generation is social media users, rule breakers, and mess makers.
“We Are the Kids” was an argument in defense of young people today.
The message in this show was to express that the new generation — via their arsenal of selfies, pithy quotations, and tumblr — will not only disrupt the current status quo, but will shatter it with utter disregard for the rules and expectations.
As far as the actual collection goes, the clothes carried a defiant and proud tone. Some were torn or defaced with red paint, and patched with slogans like “Please tear this up.”
Downstairs was a beige, tan, and rose ensemble that had a more commercial appeal. The endorsement of “Kanye for President” on baseball caps and shirts worked as a statement neglecting old-fashioned politics in favor of modern and remorseless idolatry.
Visitors were handed coupons as they left.
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With love,
FWO
