I promised that, after 3 weeks of writing what could be considered excessively long essays unfit for both a newsletter format and society’s shortening attention spans (that you can find here, here and here), I would spend this week writing something a little more concise, playful and fashion-focused… And a lot less web3 as a result (sorry, those terms are almost all still diametrically opposed).
If you’re a web3 reader, this piece does incorporate AI so at least there’s some tech in there for you. Plus, all of your portfolios are doing extremely well this week so maybe you have time to read something that has nothing to do with roll-ups or whatever is happening at ETHDenver right now.
For everyone else, this is an intentionally light-hearted piece focused on a thesis I have been developing for a while about what fashion will look like in a post-work AI-enabled world. Please do not come at me about the potential economic and political implications of this world. Lol. That is simply not the point of this essay. :)
As always, Hot (Girl) Links are waiting for you at the bottom— which is not nearly as far away this week! We’re talking about weird brand partnerships, the future of consumer apps on the internet, and the end of the Girlboss Era. But first —
Our Clothes Are Taking Us to Space Whether We Like It or Not
The term “futuristic fashion” brings to mind a nearly singular vision for the future of design. That future is full of silver, metallics, bodycon, and a lot of lycra. If that term meant nothing to you, a quick Google search will surface the same. It would appear, from this seemingly ubiquitous vision, that the future of fashion will be designed to exclusively serve interplanetary exploration. We’re all going to be extremely well-dressed for when Elon achieves his mission for SpaceX.
Proof of Google Search Results. :)
It is no wonder we ended up with this slightly dystopian take on the style of tomorrow. Fashion, like all art, is influenced by culture and the artifacts within— it just so happens that one of the most predominant cultural artifacts that deals with the future is fiction writing. Specifically, Science Fiction writing. Books like Dune, The Martian, and The Hitchhiker’s Guide to the Galaxy have long shaped our view of what is to come — for society, and evidently for fashion.
In the 1960’s, Pierre Cardin, who is often credited with founding the ‘retro futurism’ fashion movement, was quoted saying “I design dresses for a future that doesn’t exist yet.” It just so happens that he believed the future would include flying cars and space travel. So it makes a lot of sense that his (still iconic) designs looked like this:
Cardin, however, was far from the only designer with this vision. In fact, the references are both endless, and timeless. There’s Paco Rabanne in the ‘60s, Balenciaga in 2017, the BAFTA Awards in 2023… The only thing more consistent than the human need for escapism and predicting the future, apparently, is the streamlined, ergonomic, metallic silhouette that future seemed to imply.
These designs are, to give them credit, delightful and interesting in their own way. I would never diminish the name of Pierre Cardin. I would, however, like to propose an alternate version of the future of fashion. I believe, contrary to this Martian era thesis, that we are instead engaged in a cycle that is headed *backwards* in history rather than forward, towards what I am calling the Antoinette Era. (If you can’t already tell, I love a good cycle).
The Post-Work, AI-Enabled World
First, what seems like a quick detour but is really more of a lovely stroll.
The only thing anyone can seem to talk about these days is AI. So naturally, we’re going to talk about it too. But not about whatever is going on at OpenAI right now (chaos), but on another, more positive vision of this world.
Instead of participating in the techno-fear mongering that many others are partaking in, I choose to focus on the positive view of an AI-enabled world articulated by Marc Andreessen in his latest essay — that AI will usher in a modern day Renaissance. A RenAIssance… Get it…. Sorry , I’m done.
This thesis maintains, in simple terms, that AI will replace much of the menial, quotidian labour that is at best, boring, and at worst, soul-crushing, thus freeing up both time and brain power which humans can thereby dedicate to more creative endeavors and pursuits. A Renaissance, if you will.
Editors Note: This argument assumes the Lump of Labour fallacy applies, or UBI is initiated, or other equalizing factors that ensure the well-being of society.
The true Renaissance, between the 14th and 17th centuries, was a period of creative, academic and scientific exploration largely prompted by the invention of the printing press, which created unprecedented access to knowledge. Renaissance thinkers considered the Middle Ages to have been a period of cultural decline, and thus sought to revitalize their culture through a renewed focus on cultural antiquity — Ie. the art, literature and philosophy of Ancient Greece and Rome.
The Renaissance brought us history-defining artists like Leonardo da Vinci, writers like Machiavelli, scientists like Galileo but, most importantly (IMO), it brought us incredible fashion (and Marie Antoinette).
Renaissance Fashion & Marie Antoinette
The fashion of the Renaissance (that lasted until the 1800s, realistically) was extravagant, opulent, a spectacle… I could keep going with the synonyms, but I’ll spare you. Clothing was absolutely impractical, full of bodices, corsets, petticoats, stockings, panniers… But it was stunning. A visual feast. Britannica has an insane history of fashion that only Britannica could pull together if you’re interested.
There was no one who embodied the spirit of the fashion of the time quite like Marie Antoinette, a symbol of excess the equivalent of which is rarely matched throughout history. If you are looking for another rabbit hole to crawl down, might I suggest this absolutely delectable interview with the entire cast of Sofia Coppola’s Marie Antoinette, from actors to designers to sound engineers and more. It’s almost as good as the film itself.
Sofia Coppola’s version of Renaissance fashion is the perfect embodiment of the era.
We’ve Lost the Flair… But Maybe We Can Get it Back
Since the 1900s, fashion has become increasingly more utilitarian and practical, driven by a confluence of factors including women joining the work force, the increasing strength of capitalist economic systems, the rise of egalitarianism (to a certain extent)… Throw in a few world wars and presto, you have me sitting here writing this in jeans and a sweater. Coco Chanel is rolling in her grave.
There is nothing more emblematic of the post-industrial revolution world than the equal-parts defining and loathsome 9-5. This standardized workday sucked the time from our schedules that could be devoted to other, more enjoyable, cultural activities. This includes fashion, and the time we dedicate to getting dressed.
Welcome to the Antoinette Era
As we shift into a ‘post-work’ AI-enabled world, we may reclaim some of this time, and with it the inspiration to get dressed again. We may, in fact, run into the unique dilemma of having too much time on our hands. And, as in the Renaissance era, this influx in free time often leads to a period of cultural growth, driven by curiosity, creativity and innovation. And what better way to spend that time, and exercise that creativity, than dressing as a spectacle?
With that, we will (re-)enter the Antoinette Era. The metallic lycra bodycon is nice, but extravagant fabrics, over-the-top silhouettes and Ladurée Macaron-inspired colors are even better.
… But maybe we leave the corsets in the 17th century where they belong.
Hot (Girl) Links
Fishwife Is Doing Some Really Weird Partnerships
Don’t get me wrong, I think what Fishwife did for tinned fish is absolutely brilliant, and keep their branding on my own personal brand moodboard (like every other girl, I’m sure). But… Is Fishwife “perfect for Keystone Light”? Is it even remotely interesting to the type of person who drinks Keystone Light? My instinct is no but maybe someone at Fishwife knows something I don’t.
The Girlboss is Dead, Long Live the Girlboss
As someone who grew up aspiring to be a ‘Girlboss’, and frankly… Still aspire to the notion if not the term itself, this piece really resonated. I have always felt that Sophia Amoruso was unfairly maligned, and it certainly did not go unnoticed in my household that the only CEO’s involved in the great founder felling of 2020 were women. I felt that this piece actually did Sophia, and the concept of Girlboss, justice for the first time. Honestly, I’m still trying to be one.
Speaking of Girlboss’ (Plural)
A few weeks ago The Information put out a hit piece on consumer startups — basically saying they were doomed to fail and VC’s didn’t want to invest in them anymore. There was significant outrage on X, so much so, apparently, that they were inspired to put out a counter-piece. In this essay, Kirsten Green, the ultimate Girlboss investor (who has invested in all of the Girlboss’ we know and love), argues that consumer startups are a great investment — even better than B2B. As a female founder of a consumer startup, I’m glad to hear it (lol).
And Speaking of Consumer Startups
Katie Chiou from Archetype VC wrote this excellent piece about what consumer startups can look like in a web3 world. She weaves in the concept of Ephemeral Apps, which is one of my favorite theses from Packy McCormick. The idea is that the fleeting nature of modern day apps that “burn brightly, explode and fade away”, might be a feature not a bug. This is particularly true in a web3 world where these apps are built on social protocols that allow you to bop from one app to the next, taking your data, and your following, with you.
NFT Paris Recap: ~Connected~ Fashion Takes Center Stage
If you haven’t already gotten the memo, we’re replacing the word Phygital with ~Connected~. Tyvm. In other news, Connected fashion was the hottest topic at NFT Paris last week. This recap talks about the tailwinds (Digital Product Passports are being mandated by the European Commission), and the headwinds (No one knows what to do with them apparently).
Oh, and… The hat is still on.