On the website for his eponymous luxury fashion label, Telfar Clemens says of his products: “It’s not for you—it’s for everyone.” Eschewing conventional markers of luxury production, Clemens underwrites this claim through TELFAR’s “Bag Security Program,” which aims to curb the speculative resale market while ensuring equitable access to products ranging from handbags to durags. In the case of TELFAR, accessibility is figured not only through an intersectional analysis of race and class but also through the logics of self-fashioning. If the New York Times proclaimed 2021 “The Year of Telfar,” what remains on the fashion frontier for 2022 and beyond? If accessibility is at the forefront of the mission of luxury fashion houses, how do we assess this apparent paradox? Are accessibility and luxury necessarily paradoxical? If not, how do we understand them, especially in regards to self-fashioning? For our 35th issue, InVisible Culture welcomes submissions that engage with a broad range of ethical concerns in the history of fashion, including both the production and reproduction of objects and the corollary production of selves, …