Gracxxe 🪦 ALICE IN THE EVE VELVET AND MESH TOP 🪦 The Goth S Depop
The goth subculture, rooted in post-punk aesthetics and dark romanticism, has long thrived on DIY ethics and alternative fashion.
In recent years, platforms like Depop a peer-to-peer marketplace have become hubs for niche styles, blending vintage, handmade, and avant-garde designs.
Among the standout sellers is Gracxxe, whose has garnered cult status.
But beneath the lace and velvet lies a complex web of cultural appropriation, sustainability debates, and the commodification of subcultural identity.
While Gracxxe’s design exemplifies the creative potential of online goth fashion, its success on Depop raises critical questions about authenticity, labor ethics, and the gentrification of subcultural symbols in the digital marketplace.
Gracxxe’s top merges Victorian-inspired velvet with sheer mesh, evoking Lewis Carroll’s through a gothic lens.
The piece resonates with Depop’s audience, which craves uniqueness yet scholars argue such designs often repackage established goth motifs without innovation.
- Fashion theorist Valerie Steele notes that goth fashion relies on “eternal recurrence” of symbols (e.
g., lace, corsetry) (, 2008).
Gracxxe’s design fits this pattern, raising questions about originality.
- Depop sellers like Gracxxe argue their work rather than copies, offering accessibility to those excluded from high-end goth brands like.
Depop’s model glorifies small-scale sellers, yet Gracxxe’s success hinges on ambiguous production methods.
Is the top handmade, upcycled, or mass-produced? - A 2021 investigation revealed some Depop sellers source cheap labor via overseas manufacturers, contradicting their “ethical” branding.
Gracxxe’s lack of transparency fuels skepticism.
- While Gracxxe promotes “slow fashion,” the velvet industry is resource-intensive (per, 2022).
Buyers may unknowingly contribute to environmental harm.
Goth’s anti-capitalist roots clash with its Depop commercialization.
Gracxxe’s marketing using eerie, -esque visuals appeals to mainstream “dark academia” trends, diluting subcultural significance.
- Sociologist Paul Hodkinson (, 2002) warns that subcultures lose resistance value when co-opted by profit-driven platforms.
- Some argue Depop democratizes goth fashion, allowing marginalized creators (e.
g.
, LGBTQ+ makers) to monetize their craft.
Gracxxe’s top epitomizes the duality of Depop’s goth economy celebrating creativity while risking exploitation and cultural dilution.
As consumers, we must demand transparency in labor and environmental practices.
Beyond aesthetics, the piece invites a broader critique: Can subcultures survive commercialization without losing their soul? The answer may lie in balancing innovation with integrity, ensuring the velvet and mesh of goth fashion aren’t just commodities but continuations of a living, resistant tradition.
- Steele, V.
(2008).
Yale University Press.
- Hodkinson, P.
(2002).
Berg.
-.
(2022).
-.
(2021).
“The Dark Side of Depop.
”.