Issue 13 by Armour Magazine

armour.

ISSUE 12

“ ”

FASHION IS THE ARMOUR TO SURVIVE THE REALITY OF EVERYDAY LIFE. TO DO AWAY WITH FASHION WOULD BE LIKE DOING AWAY WITH CIVLIZATION.

Bill Cunningham

28 7

AGE WELL grey hair dont care.

NEW STANDARD France weighs in.

22 ACCESSORIZE POP!

HOT BOX humidity included.

10 DUOMO FOMO

because we are still in MO.

20 FRESH FACE no prep.

ISSUE 13

editors-in-chief SARAH ETTINGER CHARLOTTE JONES GRANT PHILLIPS

editors AVIVA MANN PAULINA GALLAGHER

director of layout GRANT PHILLIPS

contributors GRACE GILBERT TALIA LAIFER MEGAN MAGRAY ABBEY MAXBAUER EMILIA WEINBERG ELLA YOUNG

director of photography BONNER WILLIAMS

directors of blog CARLA STEPPAN LUKE SUMMERLIN

directors of social media KARALENA DAVIS PAULINA GALLAGHER

florence editorial contributors AMANDA BASS ERICA CANUP LEAH NORDMAN JACQUELINE PIFER PRIYANKA REDDY STEFANI REY LILY SULLIVAN

layout editorial photographer GRACE WANG

BECCA CHRISTMAN CLIODHNA DILL SARA MEINECKE JACQUELINE PIFER STEFANI REY LILY SULLIVAN

founders JACOB LENARD FELICIA PODBERESKY CHANTAL STRASBURGER

When we sit down for the general board meeting of a new issue, it’s always a time for reflection. We throw out ideas, play with concepts, and constantly write and erase pitches on the whiteboard. Everyone comes to the table with an inkling of an idea, and often the best ones come from the interplay that arises out of multiple peoples’ layering of all their different perspectives. As we offered our thoughts to each other, a very specific theme manifested. Re-evaluation. Who knows if it’s the St. Louis pollen in the air, but this issue is packed with analysis about what’s changing in the fashion world – and what is not. We subverted our traditional beauty editorial to feature a student who chooses to go without. We followed “Ugly” Betty’s own re-thinking of fashion and we praised elite fashion brands’ burgeoning effort to include older models in their traditionally ultra-young advertising campaigns. As we re-examined aspects of the fashion industry from runway models’ physicality to Urban Outfitter’s marketing strategy, we all reflected on our individual relationship with fashion, and additionally, Armour’s role in WashU’s fashion culture. One of our very own is graduating – and joining the real world ranks of Kate Spade as an Assistant Designer. We know she will be a force to reckon with over in Manhattan, but we’ll miss her polka dots and baubles here in studio. With staff members moving on and an army of abroadees returning next semester, one impression has become crystal clear. While re-evaluation is our theme for our thirteenth issue, we can already tell that Armour is on an exponentially evolving path – and we can’t wait for what’s in store. Cheers, Sarah, Charlotte, and Grant

WHY I HATE to LOVE FASHION written by CHARLEY JONES

There are moments when I resent my love of fashion. I regret the hours spent online shopping and I mourn the dollars lost to articles of clothing no longer residing in my closet. I abhor my impassioned opinions concerning turtlenecks and kitten heels, and my ability to fervently defend jelly shoes. But most of all, these are the moments when I find myself rejecting the part inside of me that loves beautiful things, because I’m wary of others rejecting it, and me, if I do not do so before them. My life has been filled with people who have opinions about fashion. I’ve had peers who disdain, a sister who grapples, a Grandmother who adores and a mom who condones. As a child my sister didn’t have an interest in fashion and therefore my mother never pushed frills or accessories on me. Instead, my fashion infatuation developed organically and rapidly. I have journals dating back from 2005 filled with sketches of dresses and Avant Garde cornhusk doll ensembles. I took sewing and fashion illustration courses, binge watched Project Runway and nurtured an extensive appreciation of historical fashion figures. As I aged I attended museums’ high fashion installations, and organized clothing-swaps and vintage fashion shows at my high school. But as I continued to invest in fashion, I simultaneously grew more aware of the condescension accompanying that interest. Upon mentioning the topic of my senior speech, (a reflection on how my Grandmother influenced my style) a peer retorted, “Isn’t anyone going to talk about something serious?” While this is an explicit example, a myriad of other subtler opinions and reactions contributed to my uneasy relationship with my love of fashion. This, coupled with my growing understanding of the fashion industry’s flaws steered me away from a career path in which I had invested so much of my extracurricular time. Today I still have many grievances with the fashion industry: its superficiality, lack of racial diversity, and frequently unapologetic discrimination of “plus-sized” models. From cultural appropriation to seasonally planned obsolescence, the major fashion powerhouses continuously favor a socio-economic and physically elite group of individuals. However despite my unwillingness to align myself with this behavior, I am drawn to fashion. When I daydream the first visual aspect I create is the outfit I’m donning. I sculpt the dress, the jacket, the shoes and the accessories, carefully molding each item to fit my age, my mood and situation. Because fashion has that power: it reflects and expresses emotion, helps individuals fabricate a character, and consciously

step into a role. Clothes constantly interact with peoples’ opinion of themselves, oftentimes helping individuals understand who they are and who they want to be. However even though I believe in clothing’s potential for personal expression and textile design’s potential for artistic prowess, I still resist fully embracing this identity. Why? Because I have found that style habitually dominates subtler character traits. The tangible power of appearance trumps less visible attributes. Being deemed “stylish” brings with it the risk of flattening that individual’s multi-dimensionality. Great clothes and accessories have the ability to gloss over the other pursuits an individual could be known for instead. I am acutely aware that people see my visual investment in fashion and judge me both favorably and disparagingly. Because of the latter, I have shied away from joining an industry that needs just the opposite. By tying fashion with lack of intelligence or depth, we diminish the respectability of the field, and dissuade those capable of altering it from participating. The fashion industry continues its practices and behaviors because those who recognize its pitfalls never enter. Just like our political system disheartens the individuals most qualified to change it, fashion shuns potential leaders that love fashion but struggle with how it has manifested. But these are exactly the figures it needs. In high school I internalized my peers’ disapproval of pursuing fashion as a career path, and to this day I hold the cognitive dissonance of both loving it and thinking less of myself for doing so. I even held off from joining Armour until my second semester of freshmen year because I cowered at the possibility of being finitely labeled as a fashion disciple. But now I can say joining was one of the best decisions I’ve made at WashU. Taking a leadership position within something I love, and being able to continuously reflect and act on making conscious adjustments towards a more representative, intellectual fashion community is both productive and invigorating. There is so much ground to be made, and one campus publication might seem insignificant. However, moving forward with Armour is both a personal and collective victory in balancing my and our community’s interest in fashion and our contention with its flawed commercial system. I hope that the WashU community will challenge Armour and myself to create an environment where students can reconcile these issues and are encouraged to enter and change flawed industries, instead of avoiding them for fear of negative association.

Reevaluating the Age of Beauty In January, French luxury brand, Céline, released their newest advertisement campaign. The simplistic photograph portrays a model wearing black oversized sunglasses and a large gold pendant necklace to accompany her black turtleneck. The ad embodies Céline’s aesthetic, advertising pieces that are simple yet dramatic. However, it is not the clothing that catches the viewer’s eye, but rather that the model is 80-year-old writer Joan Didion. This ad creates a thought-provoking and unique image of timeless fashion. Céline is not the only one that has expanded their model diversity by including older women, as Dolce & Gabbana has also incorporated older models into their spring campaign. To contrast Céline, Dolce & Gabbana’s advertisement suggests themes of Spanish heritages—the ladies clad in intricate gold crowns and purses embellished with flowers and jewels accompanying their otherwise plain, black ensembles. While this creative choice may seem out of place, the women appear at home in the rustic Spanish setting as Dolce & Gabbana attempts to revisit their cultural roots. In addition to Céline and Dolce & Gabbana, many other high end fashion brands have incorporated women of all ages into their ads. Yves Saint Laurent selected 71-year-old musician Joni Mitchell to be their new face and Kate Spade’s recent campaign portrays Iris Apfel, 93, sitting next to supermodel Karlie Kloss on a park bench. While it may seem unusual and out of place to go against the grain of having young, skinny models photographed

written by GRACE GILBERT

for fashion advertisements, the way in which these older women are used to promote their respective brands works seamlessly. Joan Didion not only fits right in with the Céline campaign, but also promotes the idea that beauty has no age. Dolce & Gabbana’s grannies emphasize their cultural roots while advertising their line as well. Regardless of the way in which these unconventional models are used, it is clear that powerful images such as these are redefining today’s beauty standards. The essence of aging beauty reaches out to older women who are able to actually afford these pricy lines, and these ads are an example of how the industry cleverly focuses in on their target audience, reaching beyond youth culture. What does this mean for the rest of the fashion world? Perhaps we will begin to see even more clothing lines using elderly ladies in their print advertisements. Maybe the age range of runway models will start to grow too, changing the fashion industry forever. This reevaluation of the relationship between age and beauty may have even been one of the sources of inspiration for a recent trend known as #GrannyHair on Instagram, where we see youthful women including the likes of Lady Gaga dying their hair in aged shades of silver. Whatever the influence of aging beauty happens to be, it looks like grey is the new black.

Images Source: https://www.thereformation.com

I N S T A { wr i tten b y AB B EY MAXB A U ER

For several seasons now, those of us who love fashion and don’t live near major fashion hubs like New York or Paris have lived fashion week vicariously through our phones and tablets. Our second-hand view comes semi-annually through the blurry lens of hastily snapped photos on Instagram. Each February and September, the photo-sharing pages of fashion’s best-connected bloggers, models, and socialites explode with fashion week photos. If users follow the right accounts, they can experience a multifaceted view of the ordeal, seeing the runway shows from every angle. Street style is intensely photographed, with the ensembles worn by show-goers given almost equal attention to the ensembles viewed on runways. When the show finally starts, it is instantaneously immortalized in images and videos, with a popular trend from Fall 2015 being slow motion video, which provides a nuanced description of how garments respond to movement. These snapshots allow the entire world to experience fashion week no matter where they are or how involved they may be in the industry – an LA based boutique owner who doesn’t have time to travel to fashion weeks or a fashion-loving eight year old in a small town who doesn’t have the means to join the metropolitan fun. Instagram acts as a great 8

equalizer, allowing all fashion lovers to experience fashion week in a way that was never possible previously. For a Midwestern fashion design student like myself, it’s become crucial: a research tool right available at the tap of a passcode, and my most candid window into the world I hope to enter upon graduation. However, Instagram’s influence on the fashion industry doesn’t stop the other 10 months out of the year. The app has become a critical marketing tool for companies and models alike, with questionable levels of authenticity. The idea behind Instagram is spontaneity: take a picture, post a picture. But for Instagram’s most popular users, the social media is curated unlike any other. Photos are carefully composed and selected, and may not be representative of what is actually happening. Some models and social media celebrities are clearly paid on displaying a life of luxury, and feels less girl-next-to promote brands and apps. Models like Cara Delevigne and Kendall Jenner have created massive fanbases for themselves simply by consistently posting pictures and marketing their personalities alongside their looks. Delevigne charms fans by posting photos of herself, funny quotes, and poignant political statements, which are often feminist in nature. Jenner puts more of an emphasis door than Delevigne.

S C A M } ? Both women have an extremely loyal following of fans who aspire to emulate them, and capitalize on that by promoting clothing brands, presumlably for money. Jenner has posted photos of herself wearing Lokai bracelets and Calvin Klein underwear that feel contrived and contractual. Delevigne has done the same for Tag Heuer watches and Pepe jeans. Beyond the posts that feel blatantly scripted, there are some photos the models post that blur the lines, such as when they share new ad campaigns or magazine shoots they star in. Are the models just proud to show off their work, or are they also intentionally advertising for their employers? It can be difficult to distinguish whether or not we as their followers are seeing a continuous feed or their life or are simply being subjected to their advertisements. In a similar vein, companies like Warby Parker are capitalizing on the popularity of the Instagram world. The photos are well-executed and aesthetically pleasing, which makes their one hundred sixty-four thousand user following unsurprising. But alongside most of the beignets or cappuccinos that litter Warby Parker’s Instagram are a familiar pair of wayfarers or tortoiseshell frames. The branding is never too subtle. Although their followers may enjoy the variety of puppies and young children that pop

up on the page, these consumers cannot forget that they are following a brand; that they are willingly being advertised to. It may not be on their mind, as they absentmindedly scroll through images, but they expose themselves to branding with every double tap. However, photos this may not necessarily be a bad thing. The way I see it, everybody wins when Instagrammers follow brands that thetlike. Brands get free advertising, and we, the Instagrammers, are advertised to on our own terms. I like choosing whose advertisements I view. When I see a “true” advertisement on Instagram, i.e. a photo with “Sponsored” stamped in the upper right hand corner that is only on my feed because the company paid Instagram to show it, I scroll right by – I refuse to be roped in. Maybe I’m irate that there are things on my feed that I didn’t ask for, but in general I am much more responsive to promotion from those brands that I have willingly allowed to spew propaganda at me, rather than ones that have weaseled their way on to my feed through boardroom deals with Instagram executives. Instagram users are open to advertisement from companies and celebrities because it’s their choice whether or not they see them; they always have the option to hit “unfollow”. 9

ciao firenze

photography LEAH NORDMAN models JODIE SAUNDERS & VIC GAINOR

STYLE PROFILE Name: Noah Weiner Year: Freshman Hometown: Westchester, NY Major: Drama, Marketing Campus Involvement: KARL Improv, Sketch Comedy:, Kids on Campus, ZBT

Entering stage left, meet Noah Weiner: energetic, stylish, talented and ready to take WashU’s theater world by storm. While you may see this freshman sporting trends like denim on denim, he pulls most of his style inspiration from the characters he portrays on stage. When asked about his style, he says it’s “impulsive, don’t think about it…[getting dressed] is a gut thing. If you look like a homeless person, your friends will tell you, but you have to remember that you can’t always care about other peoples’ opinions when it comes to fashion.” Drama is an important influence on Noah’s style because the costumes he wears aids his transformation into that character. This past semester he played a leading role in the Performing Arts Department’s Bloody, Bloody Andrew Jackson, where Weiner was obsessed with his costume. He channeled an inner punk persona with tight leather pants, ripped white shirt, black nail polish and smudged eyeliner. He has also found that some of his costumes have transcended the stage and helped influence his style on the street. For example, in senior year of high school, he was in Godspell, where his character only wore rolled up pants, which are now a wardrobe staple. Make sure to check out this rising star on and off stage, as he continues to pick up styling tips from his theatrical pursuits.

U F O I T T 18

E R S T

STRATEGY OF CONTROVERSY

written by TALIA LAIFER Urban Outfitters was once famous for being a hipster teenager’s paradise. Now it is infamous for far less glamorous reasons. Searching “Urban Outfitters Bad Publicity” on Google, renders millions of search results. The first one? An article titled, “14 Urban Outfitters Controversies”. The article explicates prior examples of UO’s “mistakes,” including a faded red Kent State sweatshirt which looks suspiciously blood-splattered, a tapestry resembling concentration camp uniforms, a game called “Ghettopoly”, and even a shirt emblazoned with the slogan “Eat Less.” In the past decade, the company has managed to either glamorize controversial events or offensively target minority groups in our country. Before further researching the company’s transgressions, I thought there was a possibility Urban Outfitters was simply naïve – after all, they cater to a young target audience of 18-24 year olds, and as such, could assume that their customers care more about what they wear than social issues. However, these marketing tactics have surpassed the necessary level of offensiveness to warrant negative feedback and changed behavior. As a Jew, I found Urban Outfitters’ anti-Semitic slipups referencing the Holocaust deeply distasteful and as a result, kept me away from the store. As a human being, their marketing strategy has caused me to reevaluate my own naiveté, for contributing to a brand, which considers these mistakes as good publicity. After

reading beyond the hateful messages about Urban Outfitters, Internet users will find a substantive notion tWat these offensive mishaps are no accident – many consumers believe that Urban offends people on purpose in order to raise awareness of their brand. Unfortunately, it’s working. According to CNN, the company reported record sales this past quarter, exceeding one billion dollars. A video on CNN.com concludes, “maybe one day, all their PR flops will catch up to them. But right now, it looks like controversy is a great business.” So what is Urban Outfitters teaching us? Are they confirming that any publicity is good publicity? Some psychologists contend that Urban is attempting to catch the attention of over-simulated millennials, who need a truly shocking story in order to catch their attention. Reflecting on my own behavior, I believe this hypothesis holds water. The psychologists have a point. How truly offensive does a company have to be in order to grab my generation’s attention? While I sometimes think about where my clothing is made, who makes it, and if it’s fairly produced, I rarely think about the company’s motives behind my purchase of their items. It is certainly alarming to think we live in an age where fashion companies draw consumers to their stores through the buzz created by selling racist, un-feminist or anti-Semitic products. It is even more

frightening to see the causal relationship between these companies’ marketing plans and their fuller pocketbooks. When Urban first produced something that offended me, I made a vow to stop shopping with them. Yet that mini-boycott lasted a maximum of a few months before I quickly found myself returning to that woodsy, “try-hard” hipster haven. Writing this article and looking further into the company’s hidden agenda has made me rethink my poor decision to condone Urban Outfitters’ publicity stunts. Reevaluating this company is more than the initial negative reaction to their controversial publicity strategy. It’s about our generation, as a media-consuming society, to resist the temptation of fashion trends’ manipulation. Following our nose into the intoxicating smell of Abercrombie does not equate following our rational minds as responsible shoppers. While some might believe that name brands create an identity, I believe it is time to evaluate the relationship between where we shop and our style identity. What kind of personal brand are you publicizing to those who admire your style? Hopefully, it doesn’t try to find success through making the same “unintentional errors” that Urban Outfitters does.

BLANK CANVAS written by PAULINA GALLAGHER photography by MEGAN MAGRAY “No-make-up make-up” was the term buzzing backstage at “No-make-up make-up” was the term buzzing backstage at fashion shows this past season. While in the fashion world fashion shows this past season. While in the fashion world his often ends up as a cliché that is less than natural, some his often ends up as a cliché that is less than natural, some runways took the term further than usual. At Marc Jacobs, runways took the term further than usual. At Marc Jacobs, absolutely no makeup was applied to the models – makeup absolutely no makeup was applied to the models – makeup artists applied only a touch of moisturizer before the start of artists applied only a touch of moisturizer before the start of the show. When asked about undereye circles, a makeup artists the show. When asked about undereye circles, a makeup artists working at the Marc Jacobs show replied, “No, we love the working at the Marc Jacobs show replied, “No, we love the under eye circles!” under eye circles!” Although I have a slight issue with the fashion gods suddenly Although I have a slight issue with the fashion gods suddenly declaring a trend that has been going on in the world of busy declaring a trend that has been going on in the world of busy college students for years, I am impressed with companies like college students for years, I am impressed with companies Marc Jacobs that are embracing imperfections. At the same like Marc Jacobs that are embracing imperfections. At the time, the breakthrough must be taken with a grain of salt being same time, the breakthrough must be taken with a grain of that the no-makeup looks are still presented on unrealistically salt being that the no-makeup looks are still presented on perfect models with “very good skin” as one Nars makeup artist unrealistically perfect models with “very good skin” as one Nars noted. makeup artist noted. A more realistic case study of the no makeup movement can A more realistic case study of the no makeup movement can be found by visiting any college campus. While most students, be found by visiting any college campus. While most students, myself included, wear little to no makeup because of myself included, wear little to no makeup because of

convenience or lack of time in our busy schedules, many make convenience or lack of time in our busy schedules, many make the decision to eliminate makeup from daily routines for a the decision to eliminate makeup from daily routines for a variety of other reasons. For Aria, a sophomore at Wash. U., her variety of other reasons. For Aria, a sophomore at Wash. U., her makeup journey was a result of life experiences and identify: makeup journey was a result of life experiences and identify: “I was definitely late on the makeup game. I think in high “I was definitely late on the makeup game. I think in high school I started wearing it at dances…and I remember my mom school I started wearing it at dances…and I remember my mom offering me her own makeup. But she’s Caucasian so it literally offering me her own makeup. But she’s Caucasian so it literally didn’t work for me; I didn’t understand it, so I never used it. I’m didn’t work for me; I didn’t understand it, so I never used it. I’m half Afro Caribbean and half White, so I go to St. Croix -where half Afro Caribbean and half White, so I go to St. Croix -where my dad grew up- every year and I get to see and hang out with my dad grew up- every year and I get to see and hang out with my aunts. They’re my main female role models. They definitely my aunts. They’re my main female role models. They definitely make me feel more comfortable in my own skin.” – Aria make me feel more comfortable in my own skin.” – Aria A glimpse at Aria, or a scan of the beautiful, and very bare, faces A glimpse at Aria, or a scan of the beautiful, and very bare, faces in my 8:30am lecture class will show that our campus been in my 8:30am lecture class will show that our campus been ahead of the so-called no makeup trend for quite some time. ahead of the so-called no makeup trend for quite some time. Check out our “Go Nude” blog post on armourmag.tumblr.com Check out our “Go Nude” blog post on armourmag.tumblr.com for information about a new product catered towards “no-make-up for information about a new product catered towards “no-make-up make-up” loving students. make-up” loving students.

CLUTCH

photography GRACE WANG limbs EDITORIAL STAFF

FRANCE, FASHION MECCA, MAKES STRIDES TO CHANGE THE CULTURE OF THE EMACIATED written by AVIVA MANN

The notion of an “ideal” body-type is no new phenomenon. Each era and decade ushers in the latest definition of “attractive,” as figures have vacillated from plump to thin, hourglass to boyish. The cultures of ancient Greece, Italian Renaissance, Victorian English, and even old Hollywood glamour favored full-bodied women with curvy silhouettes. However, more recent decades, particularly the 1960s -1990s, epitomize the super-skinny—originating with the naturally wiry icon, Twiggy. As the fashion industry has expanded, so has the ubiquitous use of the ultra-skinny, and often times emaciated supermodel. Industry professionals and politicians sit in a powerful position to change this culture. In recent news, and perhaps serving as a catalyst to spark such change, France has passed legislation banning the hiring of fashion models deemed to be too thin. The vote won unanimous support from the ruling conservative party. This action stems from the anorexia-related deaths of a Brazilian model, Ana Carolina Reston Macan in 2006, and French model, Isabelle Caro In 2010. Meanwhile, 30-40,000 people in France suffer from anorexia, a contingency made up mostly of female teenagers. Whether or not a causal relationship between the images of fashion models in ads and on catwalks and the rates of eating disorders in a country exists is a question up for debate by many leading scientists today. However, studies indicate a positively correlated relationship between the two; the thinner the standard of “ideal” beauty is in a country or culture, the higher the rates of anorexia. The French bill states that agencies can be potentially fined up to 75,000 euros and send individuals to jail for up to six months at a time for hiring underweight models. The fines and penalties will also apply to media displays that encourage anorexia-related behaviors or unhealthy lifestyles. The bill requires enforcement of regular weight checks and requires models to present medical documents before and after being hired for a job that show a BMI (Body Mass Index) of at least 18 (that’s approximately 121 lbs for a height of 5’7’’), a number already classified as technically underweight (but not necessarily suffering from an eating disorder) by most medical standards. While a BMI of 18 might still seem incredibly thin to the average person, this cutoff is definitely a step in right direction. For further context of this BMI

cutoff, Gisele and Naomi Campbell were listed in the 16-17 range by the New York Times, with Kate Moss “registered at about 15 in her modeling heyday” (NY Times). Olivier Veran, French politician and medical doctor stated to CNN, “I think that by the end of 2015, we will no longer have anorexic models on the catwalk” (ThinkProgress). France will join Israel, Italy, and Spain, where similar laws have already been put into place. These countries additionally require that digitally altered ads be indicated as such—say goodbye to the days of the photoshopped “thigh-gap.” Anorexia is the number one most fatal mental health illness in the US, and yet we still have no formal legislation like the aforementioned bills on any ballets. Fashion Publications and frontrunners in the industry such as Vogue however, have adopted standards similar to France’s for their models. Some of the lingering questions such international legislation leaves us with: will this be effective and spark further change? How difficult will this bill be to enforce? What can we do as consumers and viewers to further bring awareness to healthy body image in the fashion industry?

“

The bill requires enforcement of regular weight checks and requires models to present medical documents before and after being hired for a job that show a BMI (Body Mass Index) of at least 18 (that’s approximately 121 lbs for a height of 5’7’’), a number already classified as technically underweight (but not necessarily suffering from an eating disorder) by most medical standards.

”

HEAT WAVE

photography BONNER WILLIAMS models MAYA LIRAN editing EDITORIAL STAFF

WORKING GIRL Written By: Emilia Weinberg

THE PRECONCEIVED NOTION THAT “BUSINESS ATTIRE” HAS TO BE BLAND OR MATRONLY IS A MYTH – JUST BECAUSE WE HAVE TO DRESS ACCORDING TO BUSINESS RULES, DOESN’T MEAN THAT WE HAVE TO LOSE OUR SENSE OF STYLE. THE SECRET LIES IN BALANCING YOUTHFULNESS WITH SOPHISTICATION WHILE NOT BEING AFRAID TO TEST OUT SOME NEW PIECES. As our school year draws to a close, there is one thing on every Wash U student’s mind: summer plans. For many of us, this might mean finding a job or internship. Once we’ve landed a position, we may have to ditch our typical summer wardrobes of mini-dresses, short-shorts, spaghetti straps, and triangle bikinis in exchange for more sophisticated attire. The preconceived notion that “business attire” has to be bland or matronly is a myth– just because we have to dress according to business rules, doesn’t mean that we have to lose our sense of style. The secret lies in balancing youthfulness with sophistication while not being afraid to test out some new pieces. While dress codes can vary in strictness, the interview is a place where you need to play it safe. First impressions count– make a good one and you have great chance at getting the job, send the wrong message, and you will probably be back at the career center looking through ads. I spoke to Antoinette Devlin, Human Resources Manager at the American College of Physicians in Philadelphia, about the dos and don’ts of dressing for internships. She suggests that candidates dress modestly saying, “Your experience and personality should make the difference not your expensive wardrobe.” She suggested subtle jewelry, light makeup, closed shoes as opposed to sandals, and stated that dresses should not be too form fitting, at the very

shortest, hitting just above the knee. Also, she explained that at work, you want to be taken seriously. She suggested staying away from ridiculously high heels and crazy jewelry. With Ms. Devlin’s advice in mind, combined with my own summer experiences in retail, here are some great pieces to build your summer work wardrobe:

TROUSER PANTS For compulsory jean wearers, trousers may be a leap. I’ve found that a good tapered pant makes me feel put together, but not overly dressed up. Recently, the flared and wide-leg trend has blossomed– definitely something I’m looking to test out. Often made from lightweight fabrics, trousers are a breezy wardrobe option for summer days.

COLORED BLAZERS A blazer is definitely a staple in any business wardrobe. However, in order to stay away from the more traditional suit idea, go for colors. If your job requires you to be a bit more dressed up, lean towards more muted colors. However, if it’s a bit more casual try brights. Colored blazers pair well with neutrals and are a perfect way to stay fresh, but appropriately dressed at the

Gender binaries: We about this survey... of the 56 people polled, “cuffed chinos and desert boots and great socks. i love a Good soCk Game.”

71.43% identified as female 28.57% identified as male

overall: guys loved sundresses. “ladies in sundresses make the world Go ‘round.” 14% liked button downs, specifically short sleeve button downs

what is your favorite trend?

favorite unisex trend?

29%: white tees

18%: joggers

e Asked, you Answered 60% of women & & 37.5% of men

which trend baffles you? “overalls...What’s next, aprons? Welding masks?” “CarGo pants. I know I wore them in seventh grade, but that was seventh Grade.” “extremely expensive minimalist t-shirts by HBA, Givenchy, Etc.”

said they take more than 20 minutes to get dressed

1 /3 of people said saGGy pants “dropCrotCh pants. They are like half onesie, half dirty diaper.”

how many shoes do you own?

3.57% said ≤ 5 pairs 23.21% said 10 pairs 30.36% said 15 pairs 37.50% said 30 pairs 5.36% said ≥ 50 pairs 21

How Ugly Betty Reaffirmed Fashion written by GRANT PHILIPS illustrations by ELLA YOUNG

Last semester, between sips of coffee and wrestling with work in studio, I was procrastinating by watching Ugly Betty. I devoured all 63ish hours. The show, which chronicles the career of Betty Suarez, both makes fun of the seemingly shallow world of New York Fashion and humanizes it. Betty, who notoriously started her first day at MODE (reads similarly to VOGUE) in a Guadalajara Poncho winds up in this fashion-scape by accident and guides the show with consistent skepticism of her work. It was this doubtful sparkled patterned character that caught my attention. No, I am not a bubbly Hispanic woman from Queens, but as a designer I sometimes feel like I too am thrust into a world of aesthetics that I don’t understand. Any creative work, whether it involves making a sculpture or throwing together an outfit, involves some aspect of questioning and failure. Too many people belittle creative disciplines by observing crafted objects and regurgitating: “Well I could have made that”. And while anyone who has spent more than three hours rubbing charcoal into paper knows that statement is false, sometimes words sink in. In her realization in episode 15 of season three she states, “I think I finally get it. Fashion is art. Its just another way of taking what is on the inside and putting it out there for everyone else to experience it. Its not shallow. Its courageous. Its beautiful” Shortly thereafter a baby is birthed onto the runway by a stylist but in my mind this moment was not to be upstaged. Clothes are much more than practical objects but personal items of expression that take time and consideration to put together. They speak to the life we have lived and the life that we want to live. Betty slowly learned this as she rose to the top of the MODE masthead and I learned along with her.

get involved.

armourmag@gmail.com

www.armourmag.tumblr.com

facebook.com/armourmagwustl

@armourmag

issuu.com/armourmag