![]() Glaum-Lathbury to thread legal commentary through every aspect of the Genuine Unauthorized project, including the design of the garments and the website that they’re displayed on, which is also meant to parody the Gucci website. It was the quintessential luxury lawsuit, aimed at a company that had cheapened one of the house’s most valuable assets: its intellectual property. Glaum-Lathbury first started photographing herself in fitting rooms, Gucci had recently filed a trademark lawsuit against Forever 21 a bomber jacket sold by the fast fashion company featured stripe webbing at its collar and hems that looked similar to the kind Gucci trademarked in 1988. (A legal document drafted during the development of her project also nods to a fashion house in its title, the Policy Regarding the Assessment of Design Accents, Adornments & Attributes, or PRADAAA.)Ībout six years ago, when Ms. Glaum-Lathbury has taken selfies wearing several designer brands, including Marc Jacobs, Balenciaga, Louis Vuitton and Dolce & Gabbana. Though the project’s initials may spell “GUCCI,” Ms. Then she prints the image onto fabric, creating a pattern for a new piece of clothing. Back in her studio, she edits every image to blur any trademarks or copyright-protected patterns - the signature Gs, for instance - and crops it to isolate the garment’s outline. Glaum-Lathbury has termed “clothing clones”: garments whose patterns are made from mirror selfies she has taken in luxury fitting rooms. Called the Genuine Unauthorized Clothing Clone Institute, it revolves around what Ms. Neither of those grabbed the attention of big fashion brands, but she hopes her newest one will. An earlier project she worked on, a utilitarian jumpsuit available in more than 200 sizes, was created to inspire discussions about the quality of disposable, ill-fitting fast fashion another, which laid out plans for a “community-supported underwear” collective, was meant to spark conversations about ethical and sustainable production. “One of many, many things that I love about clothing is that it is inherently social,” she said. Now she is an associate professor of fashion design at the School of the Art Institute of Chicago and occupies her off hours with personal and conceptual projects examining the qualities that make a garment desirable. ![]() Glaum-Lathbury, 38, is a clothing designer, though her own small and short-lived label folded nearly a decade ago. “No one inspects the stitching,” he said. It looked a bit like a counterfeit, which was the whole point: The designers were trying to make consumers think about value.Ī sales clerk approached her and asked: “Do you make clothes?” Designers, he said, are the only people who look so closely at the garments in the store. Glaum-Lathbury noted, had been digitally printed on the bias of the fabric. But the shirt was made from polyester the stripes, Ms. Its $2,700 price tag suggested quality and craftsmanship: fine fabrics, perfect seams, hand-embroidered details. Glaum-Lathbury picked up a Balenciaga-purple stretch top emblazoned with Gucci’s trademark green-and-red stripes. There were bags whose interlocking Gs had been replaced with back-to-back Bs and jackets on which “Gucci” had been printed in Balenciaga’s house font - codes that, in their countless reinterpretations, have remained some of the clearest and most coveted markers of luxury. ![]() ![]() The collection was conceptual, a way of exploring the ideas of originality and authenticity in the fashion industry. On a Friday in March, Abigail Glaum-Lathbury was making her way through the Gucci store on Fifth Avenue, browsing items from a collaboration with Balenciaga called the Hacker Project. ![]()
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