The Cool Economy- An Analysis of Cosplaying as Poor
I wrote an essay about this concept and it got 100% My teacher gave me the ultimate compliment by asking if she could use it as an example paper in future classes. Sooo I've never posted any of my own lengthier writings on fb before but here goes! I'd love to hear what any of yall think!
TLDR is that these are the new major trends in aesthetics and advertisements. We are a culture that is bombarded with advertisements and this compass presents a sort of new visual shorthand. FFO fashion, pop culture, cultural analysis, media literacy, celebrity culture, etc
I wrote an essay about this concept and it got 100% My teacher gave me the ultimate compliment by asking if she could use it as an example paper in future classes. Sooo I've never posted any of my own lengthier writings on fb before but here goes! I'd love to hear what any of yall think!
TLDR is that these are the new major trends in aesthetics and advertisements. We are a culture that is bombarded with advertisements and this compass presents a sort of new visual shorthand. FFO fashion, pop culture, cultural analysis, media literacy, celebrity culture, etc
When celebrity figures do something noteworthy, not only are there tens of thousands of recreation looks and how-to videos that sweep across social media, but there are also tens of thousands of commentary videos picking apart the content with the kind of scalpel sociologists would approve of. One of my favorite TikTok creators in this genre goes by the name of CozyAkili aka Akili Moree. His videos center around concepts of fashion and design that exist along an axis from high to low cost and discuss where they intersect with the concepts of private pleasure versus public display. Within this framework, he evaluates celebrity culture through social media with a special focus on what facets of the celebrity lifestyle they are selling back to us at any given moment and how that lands on this scale. This is important to understand because since we are integrated and inundated we are with visual messages as a society, having a quick metric to make sense of what we are seeing has never been more crucial. This evaluation system is a tool to dissect the subliminal so that we can continue to maintain a watchful eye on the ever growing discrepancy between the wealthy and the working class, or more specifically, how the wealthy use symbols from the working class to blur the line between performing wealth and performing poverty.
The four quadrants of this evaluation system pull from a variety of sources, both cultural and sociological and are each named to encapsulate the spirit of the intersections. On the low cost side of things, we have the concept of Domestic Cozy, reminiscent of the Danish concept of Hygge. Domestic Cozy rejects discomfort, danger, ceremony and deprivation and embraces things soft, luxurious and effortless. This concept was coined by writer Venkatesh Rao alongside its sister concept of Premium Mediocre in his blog RibbonFarm in 2019. Rao writes that these phrases are stylistic fingerprints of the world that act as a sort of instant classification system– a combination of visual symbols where a simple glance tells you how much something is trying to fit in with or eschew the norm (Rao). Within this dichotomy, Premium Mediocre is like bedazzling the norms, whereas Domestic Cozy is indifferent to the norms altogether. Premium Mediocre is the finest bottle of wine at Olive Garden whereas Domestic Cozy is more like a hot cup of tea in your favorite mug. At its heart, the former style is mediocre with a superfluous touch of premium but not enough to ruin the delicious essential mediocrity (Rao). Because these two concepts are rooted in the medium, the remaining quadrants represent the extremes.
High Peasant and Thrift Store Realness both exemplify the other end of this stylistic spectrum. Thrift Store Realness is at the intersection of public display and low cost, covering the bulk of people living to look hot and get by without pretense of fanciness, just casual and classic at low cost. In terms of larger social themes, Thrift Store Realness makes practicality look good but not so flashy that it takes away from its functionality. Things can even be cluttered and a little grimy aesthetically but not in a way that inhibits its undeniable edge– it's the spirit of finding (or being) a diamond in the rough. Think Macklemore’s 2012 hit– “I wear your GrandDad’s clothes. I look incredible.” High Peasant, on the other hand takes a more direct style over substance approach, but one that intentionally grounds itself by marrying the fantastical to the established in an attempt to blur the lines between wealthy and working people.
High Peasant is maximalist and artistic in a way that appears more original than Premium Mediocre but equally lofty. For instance, if Domestic Cozy is a grocery store bag salad eaten out of the bag and Premium Mediocre is eating salads from the “fresh” menu at fast food place in between side hustles, High Peasant is doing a pop up, high concept, high fashion photoshoot inside a McDonalds and salad is the concept. It visually ties the trappings of the working class with the access and privilege of the wealthy. This puts emphasis on the grunge amidst the pastoral to act as a shared language between class lines. Though I am a fan of fashion, there are things about this aesthetic concept specifically that are worthwhile to examine.
High Peasant presentations are ultimately still a fiction. The artistry of this aesthetic lies in making recognizable symbols feel alien and otherworldly in levels of cool but outside of that constructed reality, it also touches on the bitter truth that an ultra wealthy life for most of us is truly an alien concept. Otherworldly is also apt because the wealthy play with visual cues that don’t exist in their world. By playing with trappings of normalcy, in some cases they actually reinforce their otherworldliness– cementing their celebrity in this extremely visual and social world with almost nostalgia-like bait. This explains why some attempts at High Peasant as an aesthetic fall flat to their audiences because their artistic rendering highlights the differences between us instead of unifying us through intention.
While celebrities use aspects of working class culture to make themselves seem approachable, it is crucial to remember that they are not and do not want to be working class– and though the fiction they construct might look similar to something you lived through, at the end of the day your compassion and recognition of these shared symbols is really a way to make you forget how large the inequality gap has grown– to feel familiar and forget the debt that separates us. There is a supreme irony to me in the idea that the best way for brands and celebrities to see and sell themselves or package products to appeal to the masses is by looking poor or by taking ideas from people who are poor or exist within the Thrift Store Realness category.
The contradiction of new things manufactured to look old and articles of clothing priced out of the range of the people who it's modeled after comes off darkly comedic because as Akili points out, “instead of wealthy people lifting other people out of poverty, wealthy people try to make themselves feel better about being so wealthy by acting like they’re poor” (Moree). For wealthy people, the reality of being poor does not exist and maybe hasn’t existed for generations in your family due to the prevalence of nepotism in celebrity culture. Therefore it is a novelty to eat cup noodles when you’ve never had to wonder where your next meal would come from. It is boundary pushing to pose in a dingy house with a busted couch and 70s brown vertical paneling if you are worth $2.1 Billion dollars (Forbes). Moree calls High Peasant cosplaying as poor– cosplay, as in fantasy characters, comic book conventions or some other halloween-esque costume that one can put on and play or act as the character they're dressed as. In these scenarios, their positive gain is the freedom that comes with donning a costume and the spirit of camaraderie that grows naturally between avid fans of the same thing.
Translating this to wealthy celebrities, the gain is similar but often pointed in the direction of commerce. The end result differs on what the purpose of the post is– as so much marketing happens via brand endorsements on social media. The concepts explored by Akili Moree and Venkatesh Rao and other theorists represent the newest pop culture metric to evaluate how social media is used to evoke responses from its audience and what symbols it uses. This evolving framework of media literacy is an important step in being cognizant of the world around us as we become increasingly digital. The commerce piece of the puzzle is one of our current economy’s most obvious ticking time bombs and social media makes it possible to not only see this happen but also to track how its sold back to us.
We are in an era unlike any before. The interconnectedness of the internet and the growing reliance/addiction to social media has opened up a game of uncertainty. In this world, all interested players take advantage of aesthetics to drive participation and compete for our attention– all tracked and monetized down to the millisecond. Shadow marketing practices have existed since the 1980s, where the creators of the advertisement try to sell you something all while making it a secret that you are being sold something at all (Barbaro). Substantial deregulation of advertising that took place in the Reagan Era, as well as the rise of product placement as an overall film trend, and commercialization of two of the primary social media platforms (facebook adding the marketplace feature in 2016 and instagram replacing the home button with the shop button in 2020) has led us to this moment– the ultimate fusion between being marketed to and being entertained (Barbaro). This is the beauty of the chart at this moment in time and the wisdom in listening to those who are young enough to see the veil as it grows alongside them.
With supreme wealth inequality growing exponentially each year it is important every day, every hour, every flick of the thumb to be aware of what you’re being sold and who is doing the selling. The gen-Z/tiktok generation and creators like Akilli Moree are especially unique and valuable to listen to about matters like these because they are the test generation of interconnectedness in society on the level that we live now. They are the first truly cradle to grave internet generation, as they were coming up after most of the large technological advances had already been made. In addition to the technology, they grew up after all the deregulation of advertising practices in the 80s led to the full commercialization and study of child spending habits as a system to control spending habits of Americans on a larger scale (Barbaro). The children, who grew up in the 24 hr ad cycle have grown into young adults unphased by the prevalence of advertisements and sponsored posts in their hunt for authenticity. They came up in it so they are less fooled by it.
If Premium Mediocre is extended legroom on an airplane and Domestic Cozy is bringing your own pillow and blanket to the flight, High Peasant would be buying out your whole row or section but maybe not your whole flight. Thrift Store Realness represents road tripping or communal transit such as bus or train. These concepts can function bigger theoretically than the world of celebrity culture but they are the easiest examples to see since they tend to range into the cartoonish. Some try for art and land amongst the tacky. Some embrace tacky to the point of camp and it feels effortlessly cool, while others try to be effortlessly cool and it just doesn’t land at all. In all scenarios, this compass of private pleasure to public display vs the money factor helps us evaluate how this game of aesthetics is being used to market people and trends to the masses. This is important to think about because these are the new major trends in aesthetics and advertisements. Being a culture that is bombarded with advertisements has major downsides, so adapting a new shorthand to categorize will help individuals have an easier time navigating authenticity in this new economy of cool.
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Works Cited
Barbaro, Adriana. “Consuming Kids: The Commercialization of Childhood.” Jeremy Earp. 2008. Uploaded to Youtube in 2017. youtube.com/watch?v=tMaRsR7orTk
Facebook Business. “Reach People Where They’re Already Shopping with Ads in Marketplace.” June 4, 2018. facebook.com/business/news/reach-people-where-theyre-already-shopping-with-ads-in-marketplace
Forbes. “Inside the 21 billion dollar Kim Kardashian-Kanye West Divorce.” Stories. 2022. www.forbes.com/stories/billionaires/inside-the-21-billion-kim-kardashiankanye-west-divorce/
Jennings, Rebecca. “Why Are So Many Brands Pivoting To Coziness?” Vox.com. Jan 15, 2020. www.vox.com/the-goods/2020/1/15/21063670/hygge-self-care-domestic-cozy-marketing-brands-haus
Lorenz, Taylor. “The Instagram Aesthetic is Over.” The Atlantic. April 2019. www.theatlantic.com/technology/archive/2019/04/influencers-are-abandoning-instagram-look/587803/
Macklemore. “Thrift Shop.” Ryan Lewis. The Heist. 2012. Lyrics accessed via genius.com. /genius.com/Macklemore-and-ryan-lewis-thrift-shop-lyrics
Mahamba, Joy Anelisiwe. “Aesthetics of Today: ‘High Peasant’ Fashion and What it Means.” Bubblegum Club. February 2022. bubblegumclub.co.za/discourse/aesthetics-of-today-high-peasant-fashion-and-what-it-means/
Moree, Akili. “Cosplaying as Poor” Tik Tok. 2/14/2022. www.tiktok.com/t/ZTR53Fm54/
Moree, Akili. “Kim Kardashian’s Sink” Tik Tok. 10/8/2021 tiktok.com/t/ZTR53BtEn/
Rao, Venkatesh. “Domestic Cozy.” RibbonFarm Blog. Volumes 1-7. 2019. ribbonfarm.com/series/domestic-cozy/
Rao, Venkatesh. “The Premium Mediocre Life of Maya Millennial.” RibbonFarm Blog. August 2017. ribbonfarm.com/2017/08/17/the-premium-mediocre-life-of-maya-millennial/
Stanton, Liz. “Instagram is phasing out the Shop tab” Hootsuite Blog. September 2022. blog.hootsuite.com/social-media-updates/instagram/instagram-is-phasing-out-the-shop-tab
Stanton, Liz. “Instagram Reels in 2022: A Simple Guide for Businesses” Hootsuite Blog. August 2022.