Marie Wez. Portrait by Celine Paradis.
Stylist, collector, project manager, ceramicist, writer. These are just some of the many ways one can describe the work of Berlin-based Marie Wez. But above all, Marie can be characterised as an advocate for sustainability – in all of its meanings. A passion for being socially and ecologically conscious comes naturally to her, flowing throughout all that she does; utilising a more cut-back approach to consumption or pushing for representation of young designers at Voo Berlin where Marie is the Head of Voo Archive.
What was supposed to be only a 30-minute conversation, turned into a two-hour discussion and across the next few scrolls, we discuss the commercialisation of vintage clothing, the importance of a conscious attitude towards consumption and the value of storytelling in fashion.
SLEEK: How do you differentiate between vintage and archive?
Marie Wez: Archive pieces, for me at least, are pieces that are maybe samples or from runway shows. In any industry, whether in fashion or literature, an archive refers to a collection that is taken care of and preserved for the future. On the other hand, vintage is a more generalised term to describe clothing from previous decades and has become heavily commercialised to fit the narrative of today. Before vintage was popular, there was a certain stigma around it. It was deemed unclean and “poor.” Now, it’s seen as sustainable and desirable.
S: And with this commercialisation of vintage, comes the eventual issues of overconsumption.
MW: Of course. It’s kind of a double-edged sword because on the one hand people are aware of vintage fashion and its affordability which, in an ideal world, would encourage us to buy less. On the other hand, it’s become a trend that encourages people to over-consume, just as fast fashion does.
Like many other people, sustainability plays a huge part in why I choose to shop second-hand. Being a conscious consumer also means being a conscious member of society in general. We all have a role and responsibility. Being a conscious consumer is about actively being thoughtful and considerate about your purchases, questioning and reflecting on your consumption habits. It’s about remembering that making clothes requires a pattern maker or a production team that is weaving and sewing the fabric. It’s a vast and beautiful process, and everyone involved in the process should be paid appropriately for their work.
Images Courtesy of Voo Archive.
S: What was your first experience with vintage fashion?
MW: It’s such a cliche [laughs] but I’ve always been so fascinated with fashion. I remember flipping through magazines when I was younger and seeing the price of a pair of Prada shoes. I was baffled why anyone would ever buy shoes for that amount. So, from a young age, vintage has always been from a financial and sustainable perspective, realising I can afford beautiful and unique pieces second-hand. Then when I started studying fashion design, I became so entranced by all the archival collections that I would discover in my research.
S: Why do you think people feel drawn to vintage pieces?
MW: The special thing about vintage is that you can’t just buy it off the rack. Vintage for a lot of people, me included, was always a way to look a little different. It’s something that allows people to connect closer to their sense of individuality. But more importantly, I think it can help us to see what makes us different and this isn’t always about the clothes that you wear; it’s more about your attitude, your values, your approach and how you view the world.
S: Let’s go back to the topic of consumption. Vintage has become a part of the mainstream discourse, with #vintagefashion trending on social platforms. Does this promote sustainability to a wider audience or is the fast-paced nature of social media promoting the over-consumption of second-hand clothing instead?
MW: It comes down to being conscious and having a balance. Social media platforms can generate an awareness of adopting a conscious approach to fashion, but then this same sense of “awareness” can actually be false. Sustainability is a very complex term. If people think they already know all there is about sustainability, then how are we able to interrogate and reshape our understanding of what sustainability is and can be? A core problem of our society is that we’re so used to getting anything we want at any minute and social media feeds into this narrative. I think it’s important for people to remember that the second-hand industry isn’t completely exempt from all that’s wrong in fashion. It’s definitely a more sustainable approach, but it has its own issues both on a social and ecological level. For example, there are tonnes and tonnes of second-hand clothing being dumped in Africa.
Image Courtesy of Voo Archive.
S: Exactly. I think a lot of people hold the belief that second-hand is the most sustainable approach to consumption, but often forget about the darker side of this industry…
MS: The best thing people can do is just not shop at all [laughs]. But, the second best thing you can do is shop less. A problem in the industry as a whole is that fashion is becoming viewed less and less as an art form. It’s about pure consumption now. As I said before, it comes down to balance. I think we can all have fun with fashion if we are able to approach it in a more considered way.
S: I agree. I think a lot of interesting things can happen – both inside and outside of fashion – when people are more considerate and view design as something beyond materiality, more as an attitude. This leads me onto my next question. You are the Head of Archive at Voo Berlin. Voo Archive is described as a project that aims to “[preserve] value and stories by extending the life cycle of fashion with a curated archive selection.” Why was it important for you to introduce this at Voo?
MW: Vintage fashion can help to shape our understanding and appreciation of craftsmanship and longevity. Take Miuccia Prada, for example. Like many designers, she has a vision of what fashion should be; a form of art and craftsmanship, embodiments of inspirations and references. This is also what Voo Archive is built on. Just because a piece isn’t in season anymore, it doesn’t mean that it’s no longer relevant. People can bring their old pieces to me, we’ll meet over coffee and have a chat. Then, they can get a voucher to exchange their old piece for another that they feel represents their identity better.
S: When I read Voo Archive’s ethos, the element of storytelling really stood out to me. The whole process of how you find clothing for the archive seems very personal and allows the piece to take on a whole new story. So, how can storytelling in fashion help us to reconnect emotionally with our clothing?
MW: Honestly, I’m really emotionally attached to all my clothing [laughs]. It really comes back to value; in the sense of the garment’s physicality as well as the emotion that can be associated with it. This is what we wanted to explore with the Voo Archive. For example, on the label sections of the pieces we have in the archive, we write the name of the person who we bought the piece from which allows it to take on an element of storytelling. For me, the most special thing about clothing is its ability to carry memories. You know, that jacket that you wore on a date with that person, or that dress that your mum wore when she was your age. It’s just so special. I wish people would cherish this a little more, rather than viewing clothing as something you just wear and dispose of.