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Why Instagram hiding Likes could benefit Users

December 4, 2019 11:43

In June 2018, Instagram reached one billion monthly active users. 

Since it’s creation on October 26th in 2010 the photo and video-sharing social networking service has become one of the, if not the most relevant social media platform worldwide. 

This large number of users and eyes that are able to view one’s content add a huge amount of social pressure on kids from age 13 (the age required to create an account) and adults. 

Rather than focusing on connecting with people and the things that we love it has become a competition and a hunt for likes.

Users of the app tend to compare themselves to others, the amount of likes you get staples your social relevance and this can turn into a toxic environment, especially for young adults who are more susceptible to those pressures.  

This has altered the use of the platform so much, that what some people post has become extremely calculated and far from natural. 

Adam Mosseri, the head of Instagram, said that the likes count might go private in order to bring change in the social media app which would prioritize the “well being “ of users. 

In 2017, a 14-year-old girl named Molly Russel took her own life, leaving her father with no doubt saying “Instagram helped kill my daughter“. This is just one of the many examples of how detrimental the use of Instagram can be to people’s mental health. 

The “like“ feature won’t be hidden completely as users can see the number of likes on their own posts, but not on other pictures and videos. Instagram started testing this feature in July in seven different countries - Australia, Brazil, Canada, Ireland, Italy, and New Zealand.

Hopefully, this change will be implemented permanently worldwide for it will contribute to a lot less social pressure and a more healthy environment for young adults and all users. “Because being kind and aware of your environment is always cooler” - Kid Cudi

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The employees in the boutiques, in the design studio and in the backstage area at fashion shows wear white lab coats, as was common in the ateliers of the great couturiers, e.g. Christian Dior, and is still common today. The fashion shows for the high-priced fashion sometimes took place in the context of the Paris Prêt-à-porter shows in unconventional locations, up to shabby surroundings (construction site, metro station, dining room of the Salvation Army etc.). The boutiques are kept in plain white and gray. Margiela originally selected unspectacular locations such as a residential area in Tokyo and did not publish the addresses of the boutiques in order to require the customer to make an effort to find the store at all. The first Margiela store opened in Tokyo in 2000 and the first European boutique was inaugurated in Brussels in 2002. In 2008, a boutique opened in a basement on the edge of Munich's Maximilianstrasse. This was followed by participation in numerous exhibitions, including "Radical Fashion", which was shown in 2001 at the V&A Museum in London. In 2010 there were 36 own stores worldwide.  In 2015 there were over 50 stores worldwide, including boutiques, that only carry the MM6 collection.

The company followed a very restrictive communication policy. The designer can neither be photographed nor interviewed. Only his creations should speak for themselves and the designs should be perceived as the overall performance of the team. That's why the team always shows up in white doctor's coats after the fashion shows - nobody should stand out.

By recycling old fashion, separating, recoloring, reversing seams and zippers, both the origin and the artificial of the art of tailoring are shown. Margiela puts together what doesn't belong together: by hand, jeans turn into skirts, old army socks become pullovers. Baptized by the press as deconstructivism, this current is defined by an abrupt collision of different materials, which at first glance appear inharmonic in the sense of conventional viewing habits. Margiela herself rejects the term "deconstructivism". He resurrected clothes in a new form, he told ELLE in 1991.

Margiela was the unofficial 7th member of "Antwerp 6", a generation of fashion designers who all completed their training at the Royal Academy of Arts between 1980-1981 and shaped the "style of the Belgians". However, it does not belong to the actual group, but it became known in a similar period.

The Japanese "Street Magazine" dedicated two special editions to "Maison Martin Margiela", which were published in book form in 1999. Nicolas Ghesquière (Balenciaga) is a big fan of Maison Martin Margiela.

In July 2014, fashion critic Suzy Menkes exposed Matthieu Blazy via Instagram as Head of Design, after which he deleted his Instagram account and changed his profile in a career network. He left the company on October 1, 2014.

To this day, Margiela pieces, especially in the fashion industry and all fashion lovers, belong to the sanctuaries in every repertoire and archive. Getting vintage pieces from other designers may be possible, but Maison Martin Marginal Archives are a real hunt and that says it all about this art.