However, it’s starting to feel like single-wear wardrobes have become an overarching trend and display of status at festivals. And it can be a joyous experiment to step out of your comfort zone by allowing a theme to guide you. “But I will repeat pieces and everything I bought I’m, like, so overly obsessed with or got custom made.”ĭressing up for special events is expected. On my Instagram I never repeat an outfit,” says Reau. I recycle my clothes on my TikTok all the time. “I bought all new stuff, I didn’t wear one old thing. When asked about purchasing a brand new wardrobe for the weekend, both Murray and Reau agreed this was an expectation. Outfit repeating on Instagram is still a taboo, especially for big events. It becomes a costume party in adherence to festival style – and the most likes go to whoever can put together the best costume.įestivalwear is a case study on a single-use disposable wardrobe, in and of itself. 40 people had on the same fishnet outfit and everyone was doing the same photos, the same poses, the same this, the same that.”Īs more and more brands commodify fun through revolving door wardrobes, the portrayal of music festivals on social media has shifted from centring around music to centring around fashion. So walking into Revolve Fest, it was like walking into a real-life Zara. “I mean, Revolve has some really cute clothes on their website, you know, from all different types of designers, small and large, but they only allowed influencers to choose from the brands that they get the highest commission rate on. “They gave us a spreadsheet of maybe 100 styles that we could choose from. When you tally this up with the thousands of influencers who attended Revolve Fest, that means millions of pieces of content for the brand were posted online over a single weekend.īoth Reau and Murray were compensated with $2000 of store credit and were encouraged to choose from pieces hand-selected by the Revolve team they were not paid for their content or attendance. Kiersay Murray, a Calgary-based content creator kiersay on Instagram, with 41k followers) confirmed the same contracted deliverables from Revolve: one in-feed Instagram post, one TikTok and 30 Instagram stories. Revolve alone required 30 stories in exchange for an invite to RevolveFest. The largest and most grandiose activation is Revolve Fest, a mini Coachella stacked with performers, picturesque backdrops and trendy gifting suites, all in an effort to churn out as much “organic” content as possible, commodifying fun using thousands of celebrities, influencers and plus ones, otherwise known as content farming.Īdrienne Reau, a 26-year-old full-time content creator ageorama on TikTok, where she has 495k followers) who attended Coachella and Revolve Fest, was responsible for three Instagram in-feed posts, seven TikTok videos and 40 Instagram stories across her various brand deals and work obligations over one weekend. Over the last decade, brands have leeched onto Coachella’s A‑list celebrity and influencer pull to set up halo-effect activations during the music festival on grounds close by. The veil of manufacturing fun and doing things solely for the internet has lifted, begging the question: has Coachella transformed from music festival to content festival with music in the background? And what does that mean for festival style? As hundreds of thousands influencers and festival-goers flocked to Indio, California for the festival over the past two weeks, an abundance of content surrounding everything except the music flooded the internet. Yet if you want to see this theory in action, you needn’t look much further than Coachella. “Social media is a highlight reel” is perhaps the most used cliché to describe the facade of our social feeds.
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