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The editor in chief says the coronavirus pandemic is turning fashion brands into cultural institutions. by joelle diderich
PARIS - It turns out fashion brands arent the only ones who have pivoted to become cultural content creators during the coronavirus pandemic. Highsnobiety, the streetwear and lifestyle publication known for obsessively tracking sneaker drops, is increasingly filling the gaps for canceled events with online experiences.
A case in point: Not in Paris II, the second installment of the platform it launched in June in response to the cancellation of physical runway shows at Paris Mens Fashion Week. The exhibition program features projects from a curated list of brands and artists, linking collection presentations, exclusive music video releases, exhibitions and short films under one digital roof.
Since taking over as editor in chief in July 2019 from founder David Fischer, Thom Bettridge has steered Highsnobiety through intense change. With many of the events it traditionally covers suspended, he has developed alternatives in the spirit of Surrealist art: think fashion shows with no clothes and no runways, and exhibitions without rooms or walls.
Its just as well he majored in philosophy. After graduating from Columbia University in New York in 2012, Bettridge honed his cultural eye at independent publications like 032c Workshop and Interview magazine.
That might account for the eclectic selection of 28 brands participating in Not in Paris II, which features luxury labels like Bottega Veneta and Hermes alongside cutting-edge designers such as Martine Rose and Craig Green, and lesser-known brands including Nigerian design collective Vivendii.
The exhibition, which opens on Wednesday and runs through Jan. 26, features a special spotlight on Berlin, as well as virtual showcases of the work of artists Robert Smithson and Thomas Ruff. As part of the project, Highsnobiety is launching a capsule of Not in Paris II merchandise.
Reached via Zoom from New York City, Bettridge spoke to WWD about flattening hierarchies, brands as cultural institution, and what he misses most about coming to Paris.
WWD: How has the Not in Paris platform evolved from its inception last season?
Thom Bettridge: The first time around, it was a really short timeline from start to finish, and in a way, it was really a reaction to the fact...