The New Yorkerのインスタグラム(newyorkermag) - 5月18日 23時06分

The history of fashion in the past century has toggled between excess and restraint. More recently, following the logomania and maximalism of the early 2000s, which spawned the Philipp Plein line, the industry has seen a return to a low-key, less easily identifiable type of luxury—a trend known as “stealth wealth.” This mentality is anathema to Plein. “When I started out, if I’d have tried to sell a black cashmere sweater, no one would have bought it, because who the fuck is Plein? I was a brand nobody knew,” the designer recently told @frynaomifry.

Yet while the fashion establishment tends to pretend it’s above Plein’s clientele—who include the actor Nicolas Cage, the soccer player Cristiano Ronaldo, and New York City’s mayor, Eric Adams—the designer has positioned his brand as a champion of the unapologetic nouveau riche, and himself as an underdog common man who found success despite the falsity and the snobbery of the élites. “There are troubling elements to the Plein world view,” Fry writes: the antagonism, the obsession with material success, the portrayal of his luxury brand as a populist business venture. “And yet there’s something to respect, if not necessarily revere, about Plein’s straightforwardness, his acknowledgment that fashion has become, in his words, ‘too fashion.’ ” Tap the link in our bio to read Fry’s full Profile of the maximalist designer who refuses to cave to the whims of the fashion world. Photograph by @daniellelevitt for The New Yorker.

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