To understand the impact of Yona’s content, one must look at the concept of the "sartorial self." As argued by fashion theorist Joanne Entwistle, dress is not merely an extension of the body but a situated practice that mediates the relationship between the self and society. Furthermore, the concept of "mediated nostalgia" plays a crucial role. Nostalgia in digital spaces often functions as a form of resistance against the fast-paced, disposable nature of modern fashion (Jenss, 2015). Yona’s content operates at the intersection of these theories, using past garments to negotiate present identities.
The fashion content can be categorized into two main streams:
Most of these outfits are sourced from Pasar Baru (thrift markets) or Bekas Luar Negeri (imported second-hand clothes). The Yona aesthetic proves that you don't need a Gucci belt to look rich. You need creativity, a paintbrush, and an eye for oversized silhouettes. It is a "low budget, high impact" philosophy.
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