Do fashion films set incorrect precedents for fashion lovers?

In a race against time to catch up on all the latest shows and movies, there is something oddly satisfying about revisiting the good old favourites. And, more so, there is something magnetic about iconic fashion flicks like Clueless, The Devil Wears Prada, Emily in Paris, The Bold Type, or Confessions of a Shopaholic, especially for those like us, enamoured by the glamour in the world unknown. 

As we immerse ourselves in the whirlwind of these films, it’s easy to get swept away by the stylish wardrobes and the luxurious lifestyles they portray. Who wouldn’t want to be a part of Andy’s fashion odyssey, explore the Parisian streets alongside Emily, or indulge in shopaholic fantasies that seem like an absolute dream? The allure of these flicks is undeniable—they create a window into a world that’s intriguing and exciting, making us yearn for a taste of the fabulous.

But, as the closing credits roll and reality filters back in, we’re left with a twinge of awareness, a subtle nudge that prompts us to question the authenticity of the worlds we have just witnessed. It’s like waking up from a captivating dream, where we momentarily forget the distinction between fiction and our everyday lives.

Now, to demystify these on-screen fantasies, let's unravel the somewhat inner workings of these fashion films to demystify this otherwise flawless world so we don't end up fashion victims. 

Glamorisation of consumerism 
Confessions of a Shopaholic (2009), based on Sophie Kinsella’s novel, is a prime example when talking about the glamorisation of consumerism in movies that revolve around fashion. This film follows Rebecca Bloomwood, a shopaholic, who lands a job at a financial magazine despite her own debt struggles. While the movie does fleetingly acknowledge the consequences of her unchecked spending, it ultimately romanticises her shopping escapades, inadvertently encouraging viewers to empathise with her rather than scrutinise her actions. 

Moreover, the film perpetuates the idea that a distinctive sense of style is directly linked with the number of clothes and accessories one owns. Rebecca’s colourful and extravagant wardrobe becomes a defining characteristic, suggesting that a person’s identity is intricately tied to their possessions. This can foster unrealistic expectations among viewers, encouraging them to accumulate trendy items rather than valuing personal authenticity and creativity, painting a skewed and idealised view of consumerism. 

The accessibility conundrum (the disconnect between high-end fashion and everyday affordability)
Fashion shows and movies play a huge role in presenting a somewhat misleading view of the fashion world as being open and accessible to everyone, regardless of their background or financial status. For instance, Emily in Paris (2020), the main character, Emily, wears stunning outfits throughout the series, giving the impression that these high-end clothes are a normal part of her everyday life. This portrayal might lead us to believe that acquiring these designer pieces is within our reach. However, the reality is quite different—designer fashion often comes with a high price tag that many cannot afford easily. The show’s depiction fails to acknowledge the financial challenges that most people face when attempting to incorporate luxury fashion into their wardrobes, blurring the lines between aspiration and reality and creating an illusion of accessibility. And the same, although in a different context, goes for the show The Bold Type, where "borrowing" from the office closet seems as casual as buying milk off the supermarket. 

Suggesting instant transformations 
Devil Wears Prada (2006) revolves around Andrea Sachs, an aspiring journalist, who lands a job as the assistant to the editor-in-chief of a prestigious fashion magazine. As she navigates the fast-paced and demanding world of high fashion, she undergoes a noticeable stylistic transformation. Her evolution from a casual and inexperienced newcomer to a polished and chic fashion enthusiast—a luxury brand wearing, small apartment living secretary—seems to happen almost effortlessly in the movie. This portrayal misrepresents the intricacies of personal growth and self-discovery. While the film provides a compelling narrative, it reinforces the idea that a wardrobe makeover is the catalyst for a complete life overhaul. It leads viewers to believe that merely adopting a new style can lead to confidence, success, and a refined identity. However, real personal growth involves self-reflection, learning, and the gradual development of self-assuredness. 

Minimising financial realities
The appeal of Emily in Paris is tied to its portrayal of a luxurious and fashion-forward lifestyle. However, when examined through a financial lens, the glitz and glamour of Emily’s world give way to a sobering reality that often goes unaddressed. When the first season of the show first came out, financial experts meticulously examined the costs associated with her extravagant choices. The jaw-dropping $77,000 closet, brimming with high-end designer pieces, represents a significant investment that is unattainable for most. Coupled with her frequent use of taxis, which reportedly cost around $3,000 in the series, the show’s depiction of luxurious living showcases a lifestyle that clashes with the financial realities of many users. A deeper analysis reveals that if Emily were to adopt her on-screen lifestyle in real life, she would be accumulating an eye-watering $6,000 debt every month. 

This example not only highlights the vast difference between fiction and reality but also emphasises the importance of understanding the financial implications of the fashion choices we admire on screen. You don't want to end up like Rebecca after all.