Anyone involved in the sneaker culture of today is familiar with terms like replicas, B grades, counterfeits, and replicas. The fake sneakers industry has evolved a great deal over the past decade. Brand Monitor estimates that the fake industry is worth a whopping $1.2B and is only expected to grow.

While you’ve been watching sneaker TikTok, you’ve probably had that knot in your stomach. Authentic Replica Jordan seems to be enjoying a storm of support. Replica purchases & content are seemingly gaining traction among Gen Z sneakerheads.

The trials and tribulations that are necessary to acquire shoes may already be forgotten by this generation. Let’s face it, whether it’s raffles, SNKRS, or in-store lineups (COVID-safe ones), it’s harder and harder to get shoes today. Besides that, if you are a teen, selling $1,200 shoes on the aftermarket on what seems like a bi-weekly basis isn’t ideal.

It’s more than just Gen Z – recently Walmart has begun offering imitations of the popular Yeezy Foam shoes. Kanye West has taken legal action against these overt imitations.

The interesting thing about this shift is the shift in mindset compared to older generations who cultivated a culture of purity and gatekeeping. Everyone knows Millennials who will shun anyone wearing fake shoes, especially coveted items.

In the mid-2000s, I have seen people laughed out of legendary Toronto sneaker stores for wearing Jordan 1 mids, never mind replicas.

It is ironic that the same generations are also to blame, having laid the foundations of this consumer culture. It is indicative of the ingrained greediness in the culture that is embodied in the old saying – “One to rock, One to stock.”. Increased resell value frustration isn’t solely the experience of younger generations.  There is a problem with the new values and the hoops required for collectors of all ages. How often have you caught yourself saying, “well, I only paid double,” or “all right, at least I didn’t spend more than $1,000.”?

The real question is: Is it acceptable? Is it possible to live in a world where replicas and originals coexist? It’s an interesting assessment at a time when sneaker culture is becoming mainstream. There are similar dynamics in other industries such as art and furniture, but replica producers have found ways to legitimize themselves through transparency, licensing, and accessibility.

There is a dynamic like this in the art world, but it is more complex. The consumption pattern for artist variants, prints, and open editions differs from that of shoes. IKEA often has the rights to the design of coveted shoes at a fraction of the original price. Plus, when you buy sneakers on the secondary market, you are more aware of what you are buying.

Another level up, replicas can serve as a tax shelter to devalue art and relative value gains in some segments of the art world. If you have watched recent episodes of HBO’s “Billions,” you’ve seen Bobby Axelrod go to great lengths to display original art while storing replicas.

The furniture industry also has this problem, but it isn’t necessarily as stigmatized. Also, replica furniture is a massive business, but it is never considered illegal or black market. Furniture stores worldwide can find iconic designs from legends like Eames at a high-quality output.

Paul watson