Home Nike items The Cult of Depop and the Guardian Culture

The Cult of Depop and the Guardian Culture

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(Lauren Schatzman | Daily Trojan Horse)

Second-hand clothing has taken over from this generation, as the art – and let’s face it, sports – of finding hidden gems in thrift stores has become a great achievement. There is no greater joy than being able to proudly reply “I saved it” to a “Where did you find your outfit?” Enthusiastic.

A big change from previous generations is the growing popularity of online reselling, especially through apps like Depop. While there are small fashion brands that have their roots in the app – which was recently bought by Etsy – like Sarah O Robinson and Fanci Club, there are plenty of other enthusiastic dealers and resellers like Kiko. Vintage and Marigold Touch, earned their claim to fame in the same way. Even big brands like Are You Am I, Meow, and House of Sunny are starting to create Depops as a way to increase their revenue or hype through exclusive drops or discounted prices for minor printing errors.

I, too, am an avid Depop fan, having purchased some of my most treasured wardrobe items on the app: my beloved Auntie Gwen print skirt, my upcycled Nike sweatshirt corset and the rare baby t-shirt “faces” from the first “” by Marc Jacobs. Heaven “drop. I’ve spent hours on the app searching for the best prices, top sellers, and pieces in my dream wardrobe, and I know many more who do the same. have a friend whose wardrobe is 90% Depop finds, only shopping at retail for items he absolutely loves or needs to be new, like underwear and bras.

But, with the expansion of savings from a purely physical platform to an equally virtual platform, there has been an increase in access control. In pop culture, this means willfully hiding something or a source to keep any object, whether it is a physical good, a service or a resource, to yourself so that other people do not. cannot access it. You may not want someone else to use your tutor’s services so that you can continue to perform better or their schedule does not fill up and increase prices, or that you didn’t want anyone else to know the brand of your skirt so that you may be the only person with that skirt.

Still a little confused? Well let me give you a scenario:

I saw my sister after school one day and I love the top she is wearing. I’m not sure if I want to buy one myself, but I’ll probably think about it later, if I still remember. I approach her anyway to ask her.

“Hey! I love your top! Where did that come from?”

“Oh that’s thrifty, sorry I don’t know,” she replies.

Um, okay, that’s good. I also have parts that are spared and unlabeled. But I also love her skirt, maybe she will find out.

“Ugh, so jealous, but I mean your whole outfit is to die for!” Where does the skirt come from?

“Like a little shop, you wouldn’t know it.”

Another brutal response.

“What about your shoes? I love the shape of the heel and it feels super comfortable. My last attempt.

“Um, I don’t remember sorry. ”

* end scene *

Don’t get me wrong, sometimes people really don’t know where part of their outfit came from or can’t remember where it was purchased – and that’s fine. But it’s annoying and frustrating when you can say that their memorization – or memorization – is feigned and an attempt to keep the brands and clothing to themselves. Let’s all be real here: bad acting is easy to say.

In the post-coronavirus world of micro-trends, everyone is ready to explore and play with new silhouettes, colors, patterns and styles. We’re all here to explore and uplift each other in our fashion endeavors. As we lead a fast fashion crusade with conscious consumerism and buy second hand in the hopes of building a more sustainable world, why not kill off this nasty pesticide – guarding – which hinders growth and to community love. Without that putrid stench, we can come together, flourish and flourish celebrating all brands, large, medium and small.

And to those who will continue to be the guardians? This Oscar is not coming anytime soon.

Hadyn Phillips is a freshman writing about fashion in the 21st century, specifically highlighting college students and popular controversy. His column, “C’est la mode, ma chérie”, is broadcast every other Tuesday.


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