{"id":868034,"date":"2025-12-05T05:30:00","date_gmt":"2025-12-05T02:30:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=868034"},"modified":"2025-12-05T05:30:00","modified_gmt":"2025-12-05T02:30:00","slug":"what-can-fashion-learn-from-a24","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=868034","title":{"rendered":"What Can Fashion Learn From A24?"},"content":{"rendered":"
\n
\n
\n
\n
\n
\n
\n
\n
Fashion<\/span><\/div>\n<\/div>\n

What Can Fashion Learn From A24?<\/h1>\n
\n
By <\/span>Kyle MacNeill<\/span><\/span><\/span><\/div>\n

\n
\n
<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n
\n
Photo: Courtesy of Nahmias\/ Matthew Kavanagh<\/span><\/div>\n<\/div>\n<\/div>\n<\/header>\n<\/div>\n
\n
\n
\n
\n
\n
\n
\n

On November 20, cult film studio A24 hosted a pop-up in New York City for upcoming film Marty Supreme<\/em>, stacked with movie merchandise designed by LA-based brand Nahmias. Serpentine queues spanned two blocks, with hundreds of fans lining-up to get their ice-cold hands on red-hot merch, ranging from A24-emblazoned soccer jerseys to scene-stealing keychains. And, of course, that<\/em> viral spellout windbreaker, spotted on everyone from Kylie Jenner to Kid Cudi, which has become one of the most-coveted (non-Labubu-shaped) It-items of the year.<\/p>\n

The jacket has made Marty Supreme<\/em>, which follows Timoth\u00e9e Chalamet as a ping pong maestro, a smash hit straight off the bat \u2013\u2013 even before its release on December 26. It\u2019s yet another case of A24 getting blockbuster press for its indie flicks via guerrilla marketing and savvy merchandising. And it underscores how A24 has transcended far beyond a film studio. \u201cBecause it\u2019s established such a distinct point of view, it has the license to show up anywhere that aligns with that, transcending the role of a traditional studio,\u201d says Sara McAlpine, journalist, creative strategist and founder of SMC Studio.<\/p>\n

\n
\"Image<\/span><\/div>\n
<\/p>\n

Kid Cudi wearing the Marty Supreme<\/em> jacket photographed by Matthew Kavanagh.<\/p>\n

<\/span>Photo: Courtesy of Nahmias<\/span><\/div>\n<\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
\n

Since launching as an indie distributor in 2012, A24 has become shorthand for niche taste, thanks to a run of hyped movies spanning arty horrors (Midsommar<\/em>, The Killing of a Sacred Deer<\/em>), dopaminergic thrillers (Uncut Gems<\/em>), coming-of-age dramas (Moonlight<\/em>, Aftersun<\/em>) and major Oscar winners (Everything Everywhere All At Once<\/em>, The Whale<\/em>). So much so that \u201cA24\u201d is now a colloquial adjective. \u201cThis is one of the most powerful indicators that you have transcended your category and become a clear point of cultural influence,\u201d says Parisa Parmar, senior creative strategist at London-based entertainment marketing agency Attachment. (A24 declined to comment for this story.)<\/p>\n

Last year, System<\/em> magazine wrote that A24 \u201cadopted fashion\u2019s love of branding to transform itself from a film distributor into a social media-savvy cultural phenomenon\u201d. Now, in light of the Marty<\/em> jacket, it\u2019s time for the reverse: for fashion brands to take notes from A24, drawing on its illustrious reputation.<\/p>\n

\n
\"Image<\/span><\/div>\n
<\/p>\n

Timoth\u00e9e Chalamet pictured at the Marty Supreme<\/em> pop-up in NYC wearing the pink Marty<\/em> jacket.<\/p>\n

<\/span>Photo: Courtesy of Nahmias<\/span><\/div>\n<\/figure>\n

A24 merchandise has been a key component to its success, acting as a buffer against its (relatively) strapped marketing budgets, compared with those of major studios. Since 2017, it\u2019s collaborated with fashion brands including Online Ceramics and Brain Dead on capsules using poster art (and the A24 logo) as the basis, with many reaching coveted status among cinephiles and hypebeasts alike (resale apps remain stacked with thousands of graphic tees, some commanding a fivefold appreciation on their original $65-or-so price).<\/p>\n

Ironically, A24\u2019s drop approach has often been compared to streetwear label Supreme in terms of its esoteric product offerings. Take, for example, its latex gloves with hot dog fingers for Everything Everywhere All At Once<\/em>, a gingerbread treehouse kit for Hereditary<\/em>, or a beard grooming set for The Lighthouse<\/em>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
\n
\n
\n
\n

Instagram content<\/h4>\n<\/div>\n<\/div>\n<\/div>\n

But this strangeness is always a stylish statement, unlike, say, Supreme\u2019s infamous brick. \u201cA24 chooses objects and ideas that are too strange or too narrow for a normal marketing department, and turns them into talismans,\u201d says Martin Mangez-Casey, previously global director of digital communications at Louis Vuitton and an admirer of A24\u2019s approach. \u201cA24 dances to the off-rhythm beat of its own drum and it\u2019s been consistent since it first gained popularity,\u201d echoes Luz Corona, editor of Campaign US<\/em>.<\/p>\n

Cultivating an aura<\/strong><\/h2>\n

These objects, though, are less important than A24\u2019s objective: cultivating an aura. The Marty<\/em> jacket, which is by all accounts a plain windbreaker in several bright colorways, is a perfect crystallization of what the brand does well \u2014 focusing on desire rather than design, Mangez-Casey says. \u201cA24 sells belonging. It has turned its logo into a club for people who feel culturally in-between. This is desire at the identity level, not at the product level.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
\n
\n
\"Image<\/span><\/div>\n
Photo: Courtesy of Nahmias<\/span><\/div>\n<\/figure>\n

Without this sense of identity, the logo doesn\u2019t leave any sort of meaningful impression. \u201cWhen someone wears an A24 x Online Ceramics Hereditary<\/em> tee or the Marty<\/em>Supreme<\/em> jacket, they\u2019re signaling their taste level and their membership to a specific cultural community, participating in a bigger conversation. For fashion, the lesson is that you can\u2019t manufacture that with a logo slap. You have to build a culture first,\u201d McAlpine says.<\/p>\n

The fact that its merchandise is often \u2018as-seen-in\u2019, appearing in some form in the movies, lends a new significance. This is something A24 does expertly; for Priscilla<\/em>, for example, it collaborated with LA-based jewelry designer J. Hannah to reproduce the titular character\u2019s iconic heart pendant. \u201cIt feels personal rather than promotional, and that\u2019s what A24 does so well. It feels like it\u2019s been pulled through the world of the film, with all of the texture of that universe still attached,\u201d says J. Hannah founder Jess Hannah R\u00e9v\u00e9sz.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
\n
\n
\n
\n

Instagram content<\/h4>\n<\/div>\n<\/div>\n<\/div>\n

Fashion, increasingly entering the world of cinema, should be cribbing from A24\u2019s script. \u201cThe opportunity is to make objects that are deeply anchored in the brand\u2019s fictional or symbolic universe \u2014 things that feel like props from a story the brand is telling,\u201d Mangez-Casey says.<\/p>\n

\u201cA24 understands the power of narrative gravity. Fashion can do the same by treating garments not as items, but as artefacts, pieces with lore, context, inspiration and emotional weight,\u201d adds Parmar.<\/p>\n

Lessons in world-building<\/strong><\/h2>\n

A24\u2019s own universe (or, perhaps, multiverse) goes far beyond its objects. \u201cProduct alone isn\u2019t enough without a point of view. A24 is a solid blueprint because it\u2019s built a singular identity \u2014 a consistent attitude and approach, with a set of values and behaviors \u2014 that exists independently of any film or show it releases,\u201d McAlpine says. \u201cFashion could move away from seasonal amnesia and toward a living, consistent, evolving world, where shows, collabs, product launches, exhibitions and pop-ups are chapters of the same myth, not disconnected moments,\u201d suggests Mangez-Casey.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
\n

This interconnected ecosystem translates to the consumer journey, too \u2014 fans can enter into A24\u2019s world through myriad pop cultural portals and cinematic wormholes. \u201cAccept that the funnel has collapsed and start building ecosystems instead: for A24, discovery, fandom, purchase and community all happen in the same space,\u201d says Mangez-Casey.<\/p>\n

\n
\"Image<\/span><\/div>\n
<\/p>\n

Fans lining up to buy merch.<\/p>\n

<\/span>Photo: Courtesy of Nahmias<\/span><\/div>\n<\/figure>\n

A24\u2019s firing-on-all-cylinders approach is still calibrated with a very clear aim; its marketing never loses focus. \u201cThere\u2019s a clarity of mood and a specificity of atmosphere that feels confident […] and it\u2019s not afraid of something feeling niche or particular. That sense of trust in the material and in the audience is something fashion could certainly embrace more often,\u201d says R\u00e9v\u00e9sz.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
\n

Sometimes, as with A24\u2019s merchandise, this strays into the sublime and the surreal; take the viral \u201cleaked\u201d Zoom marketing meeting for Marty Supreme<\/em>, for example. \u201cIt was a hilariously meta way where fans can see how the sausage gets made,\u201d says marketing expert Trey Taylor. \u201cMore than anything, I think fashion could learn to take itself a bit less seriously.\u201d Fashion, of course, has readily embraced stunts in recent years \u2014 from Burberry\u2019s knight to Telfar\u2019s counterfeit store \u2014 but these moments of unseriousness are still fleeting at major design houses. \u201cThe takeaway is: don\u2019t dial down the idiosyncrasies, double down on them,\u201d McAlpine adds.<\/p>\n

\n
\n
\n

Instagram content<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n

The challenge for A24 is to maintain this niche zaniness as it continues to expand its universe. \u201cA24 does a brilliant job of creating an acute sense of FOMO,\u201d says Taylor. But the current is dragging it further into the mainstream. Now valued at $3.5 billion after a recent investment round, A24 risks veering into sell-out status for those who admire its indie credentials, losing enigmatic obscurity. It\u2019s why Highsnobiety<\/em> was notably critical of the Marty<\/em> jacket rollout, suggesting that it turned into an \u201coverhyped, overly manufactured merch moment\u201d.<\/p>\n

For now, though, its investment in cultural currency remains lucrative. \u201c[A24 has an] intuition on the stories that will resonate with film enthusiasts over what will be the next blockbuster hit. And that\u2019s what translates in its marketing approach,\u201d says Mangez-Casey. Charli XCX lead mockumentary The Moment<\/em>, slated for release in January 2026, is aptly titled for this reason: it\u2019s an ensemble cast of It-girls that couldn\u2019t feel more of-the-moment. Yet, it will undoubtedly remain A24-coded. Expect, once again, a Marty Supreme<\/em> level of hype \u2014 and fashion trying to get a slice of the action.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n

Source URL: http:\/\/vogue.com\/article\/what-can-fashion-learn-from-a24<\/p>\n","protected":false},"excerpt":{"rendered":"

Fashion What Can Fashion Learn From A24? By Kyle MacNeill December 5, 2025 Photo: Courtesy of Nahmias\/ Matthew Kavanagh On November 20, cult film studio A24 hosted a pop-up in New York City for upcoming film Marty Supreme, stacked with movie merchandise designed by LA-based brand Nahmias. Serpentine queues spanned two blocks, with hundreds of […]<\/p>\n","protected":false},"author":1,"featured_media":868035,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[50],"class_list":["post-868034","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-politics","tag-vogue-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/868034","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=868034"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/868034\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/media\/868035"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=868034"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=868034"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=868034"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}