The Broke trope: how Britain's working class has become a commodity

We've all seen the ‘charva’ tiktoks surfacing online, or the deliberately ‘tattered’ outfits, but what does this mean for Britain's working class in mainstream society?

Since the rise of political movements throughout England such as the Thatcherism of the 80’s, the working class has been systematically alienated from society, driven past the poverty line and saddled with economic hardships for decades. 

The mannerisms and quintessential elements of a working class lifestyle, often derived from media portrayal or the notion of ‘hand me downs’, are now often used as an optional ‘try on’ for the other classes and industries. 

Items such as the tracksuit, puffer coats, oversized tees and sneakers are just a few adornments which are associated with working classes and can now can rack up thousands of pounds, proving that when you're rich it's cool but when you're broke it's tasteless and chavvy. 

Undoubtedly, charity shopping has been an integral part of the working class but otherwise now known as ‘thrifting’, due to American popularity; it is a way to get new clothes at a price that doesn't induce the seven stages of grief.

Yet now, we see the ‘depop girlies’ selling an Adidas tracksuit for the price of a second mortgage or even a Burberry check panel jogger currently racking up a grand £630 online for just one pair, a bit much to pop to the cornershop in really.

It's a stark contrast to the notions which were previously associated with the humble jogger, being that of low status, low class and chavvy but only if you're poor. 

The fact that frontrunners in fashion commodify typical ‘elements’ of a working class outfit proves the point that the community is alienated and objectified through a capitalist lens of almost 'poor pornography'; it appropriates outfits, mannerisms or tropes used for voyeurism or humour for those who do not live it.

Really, it posits the question of whether the fashion culture has simply accumulated a level of prestige, undoubtedly aimed at the upper classes, for a ‘try-on take- off’ reality that isn't theirs?

Who knows, maybe the next thing we will see gracing the runway will be a collection of Primark inspired 'oodies' branded as "couture overcoats", a rather long throw away from the reality of being berated to not turn the heating up because it costs a fortune.

However, the Chanel 23/24 runway fashion show that took place in Manchester's Northern Quarter appears to be a staple in showing how to combine fashion excellence with an urbanised touch.

The collection featured the  brand defining tweed, chain belt details and a playful combination of textures that  was  brought to an area upcoming and historically revolutionary - a tasteful meeting of high fashion culture with inner city urban landscapes.

It must be made clear that the underlying issue is not about the average person, fashion creative or influencer taking photos in front of graffiti or rocking a streetwear inspired outfit; really it's about brands conning a community that do not reap the profit.

There is also an evident difference between quality streetwear garments that blend together an industrial influence and modernity, and brands that build on a culture of poverty and hardship, both argued as streetwear- the latter with a rather cutting aftertaste. 

The Off-White Fall 24’ ready- to-wear runway collection offers a mindful coexistence between the art of urbanisation and a conceptualisation which is reminiscent of the inner city lifestyle. For example, take the tailored, lime-green, fur-trimmed jackets paired with matching track pants or the staple puffer coat adorned with an oversized shoulder in a striking lime and electric blue, a tasteful collaboration between the two elements. 

The argument must be made that the styling of mismatched pieces can be individual and unique, neither are photos of outfits in inner city living being the problem. It is only when the boundary is crossed into commodifying the everyday experiences of the working class and capitalising upon them, does it become both objectifying and insensitive. 

The fashion industry should be a place of aspiration, inspiring social mobility and driving a creative hub for expression, not one that appropriates the hardships of others.