inspired from the designer's 1992 collection. In 2013 she released her own Versace Collection. Legacy Music culture writer Michael Meyer said that M.I.A.'s record imagery, lyrical booklets, homepages and videos supported the "image of provocation yet also avoidance of, or inability to use consistent images and messages." Instead of catering to stereotypes, he felt that M.I.A. "played with them" creating an uncategorisable and hence unsettling result. Critic Zach Baron felt that it had been shown in her career that M.I.A. had "always been adept at using a larger force against itself." M.I.A. has been hailed as demonstrating dislocation to be a "productive site of departure" and praised for her ability to transform such a "disadvantage" into a creative form of expression. Regarding her first two albums, Arular and Kala, PopMatters writer Rob Wheaton felt M.I.A. subverted the "abstract, organized, refined" distilling of violence in Western popular music and imagination and made her work represent much of the developing world's decades-long experiences of "arbitrary, unannounced, and spectacular" slaughter, deeming her work an "assault" with realism. Frank Guan of Vulture said that Kala "sounded like the future" and that "M.I.A.'s immediate influence was remarkable", as the album "seems to herald certain trends current in contemporary hip-hop". Guan further gave appraisal to M.I.A. for being the "precursor" for "fashion-rap" acts, including Travis Scott, Lil Uzi Vert, Playboi Carti, and ASAP Rocky. Writing for Dazed Digital, Grant Rinder praised the album for transforming M.I.A. from a "cult hero" to an "international star". Rinder commented that the album was a "tremendous" step forward towards shedding light on the realities of Third World countries that the Western world may not have thoroughly understood. Reflecting on diversity and representation issues in society, as well as politics surrounding President Donald Trump, Rinder said that Kala "feels particularly ahead of its time", and concluded that "M.I.A. was truly a pioneer for a global humanitarian perspective that no artist has been able to deliver quite as well since." Some detractors criticised M.I.A. early in her music career for "using radical chic" and for her attendance of an art school. Critic Simon Reynolds, writing in The Village Voice in 2005 saw this as a lack of authenticity and felt M.I.A. was "a veritable vortex of discourse, around most likely irresolvable questions concerning authenticity, post-colonialism, and dilettantism". He continued that while swayed by her chutzpah and ability to deliver live, he "was