Archive Fatigue

In a bid to create relevancy, a moment, or relay a depiction of respect for fashion history (whether authentic or not) celebs, influencers and stylists alike are turning to the archives. Meticulously maintained by fashion houses and brands (if they’ve had the foresight!), the archives are museum-like cornucopias consisting of full looks and singular pieces that represent a moment in fashion history. Outside of the brand archive, the likes of Decades, Shrimpton Couture and Didier Ludot have made the treasure hunt for available vintage a longtime sport, so nothing new. And yet, over the last year, we have witnessed a massive uptick in high profile figures wearing vintage or archival designer pieces, be it in their street style or at the most exclusive events. While of course the decision to opt for second hand and vintage pieces is an amazing step in a more sustainable direction and absolutely promotes a more pre-loved approach to fashion, this has prompted an interesting conversation regarding what it means to wear archival fashion.

As the red carpet moments pile on (as the new “moment”), there’s a battle to establish oneself stylistically. And while fresh-off-the-runway pieces once indicated power, the sartorial signifier has changed. Now, armed with high-fashion history and an even higher budget, a strategic grab from the archive is calculated to land the wearer a place in the fashion history books (see: Luxury Law and Zendaya’s constant archival red carpet moments that go viral). It would be fair to say that donning an archival look would've once garnered a doffed cap from fashion heads, however, dare I say there has been an over reliance on the archive…let's call it archive fatigue? 

At the recent 2024 Academy Museum Gala, the red carpet was speckled with celebs wearing vintage. Kaia Gerber in 1997 Givenchy couture. Kim Kardashian in 1998 Mugler and sister Kylie pinching from the same collection too. And while Kaia’s look was praised for being the “right dress for the right occasion”, Kim and Kylie’s simply prompted the overarching question of ‘But why?'. Of course, having access to the 1998 Mugler Couture Archive is beyond impressive and yet there’s a sense that by simply pulling a look for an award show, both the stylist and the wearer don’t really understand or respect that piece. Flash forward to the 2024 LACMA Gala this past weekend, Kim again came under fire for wearing the ‘Attallah Cross’ a huge diamond crucifix worn by none other than Princess Diana back in 1987. Granted, she bought it. Once again, the look had many people asking “why?” with other comments suggesting that Kim’s constant archival reliance “ruins the original story of the pieces” (well, so says @ideservecouture). 

For as long as most of us can remember, fashion survived off of newness, new designers, new collections, new trends. And yet in recent months, fashion and its figures are rejecting that in favour of archive-bestowed glory. Cashing in on industry respect, or piggy-backing off of the original reactions to iconic past collections, the archives have provided a crutch for many red-carpet moments in more ways than one. I’m one with the rest of the fashion folk feeling this vintage fatigue with the HFT (high fashion twitter iykyk) sphere up in arms about the drought of new fashion ideas. Chappel Roan, pop-girl of the moment appeared on a recent SNL special. Wearing a Commedia Dell’arte inspired look by designer Gunnar Deatherage, it was refreshing to see a glimmer of a new perspective and brand we had to look up. While the look was loved, one X user chimed in that he “can't wait for Galliano to get a hold of her”. Countering this, curator and omniscient fashion head The Kimbino stated “She doesn't even need him at this point. I like the idea of creating new moments with new designers” with her post reaching over 7k likes and 132k interactions. 

I’m not suggesting that archive pieces remain under lock and key never see the light of day. The right moment wakes them up and bestows new respect, new cultural identity and new admiration for them.. The overuse on the red carpet, at the moment, does feel like a diminished value though. I think new designers with new ideas should be given the space to shine just as Mugler’s pieces shone 26 years ago. Kimbino’s call for “creating new moments” lands on welcome ground, and before you get up in arms, I’m not suggesting absolving this wonderful newfound appreciation for vintage! Instead, I want to see these highly publicised spaces (Met Gala, the Oscars, Cannes film festival etc) maximised to their fullest extent at the right moment, along with new designers being given the opportunity today on the red carpet, the same way Galliano, McQueen and the like were awarded their opportunities nearly 30 years ago.