People used to go to fashion shows to see the clothes; now they go to be seen wearing them. The practice of documenting “street style” evolved in the 1980s, when style magazines such as i-D began chronicling people out and about. Today though, the stars of the scene don’t pound pavements hoping to be snapped on the street; they exit chauffeur-driven cars to totter the five or six metres to the fashion show venues, often posing on their phone or chatting with a pal in a matching outfit. Neither do they wear thrift any more: these street stars are seen in the latest designer clothes, sometimes just hours after their catwalk debut. It’s good news for the labels; it’s even better news for those canny enough to monetise their penchant for clashing print or double denim.
觀眾過去到時(shí)裝秀場(chǎng)就是為了欣賞時(shí)裝，如今去的目的是希望顯擺自己的行頭。上世紀(jì)80年代，記錄都市街頭時(shí)尚開始起步，當(dāng)時(shí)《i-D》之類的時(shí)尚雜志就開始記錄街頭巷尾年輕人的穿著行頭。然而，如今的街拍對(duì)象出頭露面的目的并非是成為攝影師的抓拍目標(biāo)；他們?cè)诰嚯x秀場(chǎng)舉辦地5、6米的地方走下專車，故意放慢腳步，經(jīng)常自拍造型或是與身穿同樣行頭的好友閑聊。他們的穿著也不再寒酸：這些街拍明星往往身著最新款的名牌服裝拋頭露面，這些時(shí)裝有時(shí)只比T型臺(tái)上剛亮相的晚區(qū)區(qū)幾個(gè)小時(shí)。這對(duì)于時(shí)尚品牌來說是福音，對(duì)于那些腦瓜靈光的時(shí)尚愛好者更是如此，他們利用自己青睞鮮明格紋印花裝(clashing print)以及牛仔單品疊穿(double denim)的穿著方式而大獲其利。