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Why Sweden should be grateful to hipsters

If you go down to the city today, you better go in disguise, for every hipster that ever there was, is gathered there for certain because.... in the next episode of Fashion Fix, The Local's Victoria Hussey mulls over the characteristics of the often undefinable Stockholm hipster.

Why Sweden should be grateful to hipsters

With their origins in 1940s American bebop and nineties trans-Atlantic youth culture, hipsters have been around for a long time in some guise or another. They lie just under the surface, never quite shouting their presence but always there.

They’re also pretty easy to spot if you know what you’re looking for: a little wacky but not punk; a little grungy but they’re not stoners; a hipster has to maintain enough brain power to talk politics and know stuff about the world that you, my friend, simply don’t.

All in all, hipsters are a bit of a riddle. So let’s take a closer look at Sweden’s very own trendy lot shall we?

In Stockholm, you’ll find hipsters gravitate towards Sofo – South of the street Folkungagatan on Södermalm island – alongside quirky rockabilly cafes; graffiti clothed walls and retro shops. Hipsters are city kids; they need to be where’s it’s hip and where it’s hip is where they are.

Guys can be spotted wearing shirts done up to the chin and skinny jeans (either turned up or cropped above the ankle), sporting gentlemanly moustaches circa 1710 whilst riding bicycles. Stockholm’s hipsters also have a penchant for braces, tattoos and caps.

For girls, it’s often denim, brogues and hats in the style of sixties German singer, model and Warhol muse, Nico. A pretty frock does the job too, as does a floppy fringe. Trendy but nonchalant. Hipsters are the first to find a must-have item and wear it seasons before Joe and Fanny Average catch on.

Sofo hipsters have, at their disposal, numerous vintage, second-hand and retro stores. Just the right places to find a quirky little extra to make an American Apparel, Acne, or & Other Stories item stand out. Nitty gritty on Krukmakargatan, so I’m told, is one of the best hipster haunts, and one of the original.

IN PICTURES: Hipster hangouts in Sofo, and a couple of hipsters on the prowl

And while we’re talking of the nitty gritty, let’s get to the bottom of these so-called hipsters. There’s more to them than brogues and braces you know.

Hipsters, I will argue, serve an important cultural purpose. They have a knack of finding all the best places to hang out: the bars, the cafes, the parks. They remind us of our musical heritage with their fondness for nostalgia (lest we forget The Ramones or Johnny Cash) and inform us of new music with their non-conformist tastes (I don’t know any modern Hipster bands du jour so I can’t list any here).

And from a style perspective, they look… interesting.

Celebrity hipsters supermodel Agyness Deyn and actors Chloë Sevigny and Johnny Depp are a case in point. Whatever you think of Depp’s hobo-esque style, he is pretty darn cool isn’t he? And Sevigny, well she makes wearing socks and sandals look chic.

Hipsters normally only dip their toes in the fashion pool, only ever buying into brands that fit in with the hipster club mentality or sticking with no-one-else-is-wearing-it-so-I-will retro.

Whatever you think about hipsters, the group is thriving. There’s probably one not too far from you as you read this. But don’t be alarmed, they won’t bite. They’re just grown-up teenagers with a uni education and an Acne loyalty card.

So let’s for a moment show these kids some love. If only because really, deep down, we all want to be a little bit like them.

Victoria Hussey

Follow Victoria on Twitter here

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FASHION

Paris exhibition celebrates 100 years of French Vogue

A new exhibition in Paris will tell the story of 100 years of French Vogue - from the post-war 'New Look' of Christian Dior through the sexual liberation of the 1960s to the dangling-cigarette waifs of the 2000s.

French Vogue celebrates 100 years
French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance. 

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