Mathieu Kassovitz’s La Haine is one of those films that cannot get old. Shot in black and white, it chronicles the listless routine of three friends over the 19 hours during which the story unfolds.
The three main characters are Hubert, a black boxer with a strong moral code, Saïd, a naïve man of Algerian origin, and Vinz, a working-class Jew with a very difficult character. All born in France to immigrant parents, they live in the Parisian banlieue, constantly angry and at odds with society for the way society treats them.
Despite the time that has passed since the film’s release, La Haine seems to be more relevant than ever, the racial and class struggles, the abuse of power by the police and the clash with constituted authority with which the film is permeated, are still issues at the heart of political and social debate at all latitudes and remind us how far we still have to go to change course.
In addition to the raw and direct message Kassovitz launched with the film, La Haine was also an incredible example of the streetwear aesthetic of the 1990s, immortalising its patterns.
The way the three protagonists are dressed is intrinsically linked to their characterisation: Vinz, repressed and emotionally arid, remains ‘locked’ in his Nike tracksuit all the time. Hubert expresses his inner conflict of rage and violence by wearing different brands such as Carhartt, Fila, Everlast and a shearling jacket while Saïd, a troubled, confused and lost character, wears simple garments such as a Lacoste polo shirt under a no-brand tracksuit.
The jumpsuits placed under the coats, almost a sort of uniform, are a real anticipation of the anti-luxury concept that dominates a certain type of contemporary male fashion.
Vintage clothing expert Kevin Soar explained: «La Haine has a huge resonance because of its style and political context. The film remains relevant by focusing on the relationship between the police, the government and suburban youth, as there will always be a struggle between youth and the police in most major cities around the world. Clothing between groups of people, and especially between young people, is an important statement, it’s not just about looking good, it’s about saying ‘We are one’.»
One of the most iconic images of the film is the one in which Vinz, Saïd and Hubert are immortalised on a balcony overlooking Paris: Vinz is wearing an MA-1 over a Nike tracksuit jacket and a pair of jeans, Saïd a leather bomber jacket over a tracksuit and Hubert his classic shearling jacket, a pair of cargo camo trousers and a Carhartt beanie.
Mathieu Kassovitz’s La Haine, starring Vincent Cassel, is a controversial, unique, iconic and powerful film, a raw and real look at the social difficulties we unfortunately continue to experience, but it is also a premonitory film, which managed to perfectly capture the 90s streetwear aesthetic that is the main reference for contemporary fashion.
