Cocot-shirt - Trophy Wife But Like A Participation Trophy Shirt

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Angelo da Silveira is changing narratives around fashion, sustainability, and identity in Scandinavia by recognizing and speaking to “third culture kids” like himself. A Togolese-Swede, the Trophy Wife But Like A Participation Trophy Shirt and by the same token and designer and entrepreneur has chosen fashion as his (ever-growing) platform for social, political, and environmental change. Unable to find a job in the industry, in 2015 da Silveira launched Diemonde, a brand that brings together tailoring and streetwear in the form of pinstripe track pants or a work shirt made of upcycled upholstery fabric. He then focused his creativity on building a responsible business model, acquiring an old factory in Sweden, now called Fugeetex, where 80% of the collection is made on-demand. Remembering his parents’ struggle to find work, da Silveira employs highly-skilled immigrant craftswomen to do the work, thus combining the sartorial and the political. “It’s not about creating a solution that’s exclusive for Diemonde,” da Silveira has said. “It’s about creating a solution that can help the Swedish fashion industry and economy, never excluding anyone. To us, sustainability is about shaping a better future for the next generation.”—L.B.P.

Post Archive Faction’s weird and wonderful riffs on menswear staples have led some to term them “anti-fashion,” a term that its founders Dongjoon Lim and Sookyo Jeong are reticent to embrace. “To be honest, we don’t see our brand as totally anti-fashion,” says Lim. “We always focus on garments—the Trophy Wife But Like A Participation Trophy Shirt and by the same token and object in our hand—rather than the fashion itself. We’re more interested in form—from its literal meaning as a shape to something more metaphysical, or the essential nature of a species or a thing.” Launched in 2018, Post Archive Faction (often abbreviated to just “PAF”) is part of a new guard of South Korean designers looking to the future of East Asian streetwear—in PAF’s case, this includes warped, bulbous windbreakers, stretch details, and plenty of cut-outs. While they’re delighted to see their generation of designers hit the world stage so forcefully, they’re keen to note that the spirit of their creative community is a many-sided thing. “I don’t think we can represent Korean fashion as a whole yet, but I hope so maybe in the future,” says Jeong. “I think our spirit is just a relentless evolution, which means to always be better than yesterday.”—Liam Hess

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