A
ZIZA ROZI
SOCIAL
HYPOTHESIS Z-RO ISSUE I RAW // 2018
Z-RO Mission Statement We are a platform testing the social hypothesis of the contemporary system through culture, human interaction, community and social awareness. Through international
and national engagement with artists, designer, and creators- we showcase diversity within inclusivity to highlight our transparency in the fashion system. Our values are expressed through artisanship/ craft and design metamorphosis.
Z-RO ISSUE I RAW // 2018
Parsons School of Design azizarozi.com Editor in Chief Aziza Rozi Credits for Research Content Global Times. “Etles Silk Production Craft Revived in China’s Xinjiang.” Global Times, “Xinjiang Cotton at Crossroads of China’s New Silk Road.” Reuters, Thomson Reuters, www.sagafurs.com/sustainability/
Z-RO ISSUE I RAW // 2018
Born in Uzbekistan, raised in Brooklyn, New York, Aziza uses cross cultural communication to influence her design engagement to aspire sustainability and ethical practices in the realm of fashion design. An active participant in the fur community, she has received certificates and acknowledgement in sustainable practices within the fur industry. Aziza Rozi is currently a student studying Fashion Design at Parsons The New School for Design. With a focus in construction and fur techniques which dates back to her education in secondary school at the High School of Fashion Industries.
INTER
VIEWS
Social Hypothesis Testing In Progress
Tuan Phan/ MONK
Artist- Fashion Design Major Parsons School of Design 20
How do you define luxury brands in contemporary fashion and what is your opinion on the current luxury brands? I’d say in general that most luxury brands are brands that make quality clothing that usually market towards a certain demographic. But at least for me I would say that more luxury brands are brands that sort of challenge the way, the system of fashion. For example Ann Demeulemeester designs that says something, it’s not like clothing just for the sake of making another t shirt it’s for the sake of something that lasts or something interesting, or it is challenging the way that clothing is usually made. When you say challenging clothing, what do you mean? Ann when she first came out, she worked a lot with asymmetrical shirts, that’s one of her signature styles, back in the day nobody did that. There’s many layers to it, in terms of construction, and Boris Bidjan Saberi changing his patterns and fabric treatments, making it unique. He does clothing that molds to the body and breaks in as you wear the garment. His clothing lasts and uses the same designs and makes improvements through seasons through design.That is proof of attention to detail and true craftsmanship. What is your definition of luxury? I’d say avant garde fashion. What do you mean by that? Like Ann, Boris. Ann has this signature of poeticism, they’re characters going down the runway with a story, instead of doing hoodies. For example Gucci is a luxury brand that use base principles high quality clothing for high range prices.
Especially target market, all these brands like Gucci Off-Whitethey are targeting pop culture- millennials and social mediathe way that they market this shit is through instagram- you look at feeds and they want their clothing to be recognizable as possible- so the most recognizable pieces with the use of their logos. Oh and like Balenciaga, I looked at it in the store, it’s like this basic denim jacket with 2 pleats that go up the waist; it was more than a $1000, and of course it had the balenciaga logo in the back. All you need is that logo to represent what “fashion” is, it’s especially about celebrity culture too, whatever the celebrities wear people, us, want to chase after. Kinda like omg what is Rocky wearing what’s Kanye wearing? And if somebody wears your shit, you’re going to start selling. Like let’s say Kanye wore Aziza Rozi and tomorrow you’ll be wearing Aziza Rozi. It’s marketing- it’s so much faster with social media- it’s all about instagram to be honest. If you’re a fashion brand and don’t have instagram you are stupid.
MONK
Roi Baron
History of Fashion Recitation Professor Parsons School of Design 30-35
What is your opinion on the representation of Men’s and Women’s Dress? Men are underrepresented in exhibitions in fashion history classes. I think we are in the moment but I understand that women have been oppressed throughout history but i feel the fact that men are not being presented reinforces all stereotypes. It defeats the purpose of masculine identity versus feminine identity. We only target women but what about men? Even at the museum at FIT The Body and Fashion Physique it does not state a gender, however, only women’s restrictions throughout history was presented. What do you think about Fashion Consumption in Contemporary Fashion especially our generation of Millenials? We Are In The Moment... A lot of notions we operated in the past, I would think we would be in the moment to liberate them, however, we are actually still acting as fashion victims and it’s still restricting. If I had to pick a position I would say its disappointing - no diversity- no real self expression. People/designers imitate and emulate what’s on social media - it’s like the millennial pink that shade of color or like the trend of neon- trends like this are what’s affecting the fashion system. What is your opinion on Cultural Appropriation? Were so “politically correct” in the moment- we have to be so careful how we approach it. For example, Gucci using the tuban in their latest show was wrong and disrespectful to the culture- We have to respectfully and correctfully use elements of cultures, that is what is most important. Everytime designers miscommunicate different cultures, of course they will be criticized. It happens all the time not just in the field of design, it is everywhere. It is important that people actually speak about these issues.
Perfect Example of Contemporary Cultural Appropriation without Appreciation Gucci Ready To Wear 2018 Collection
WHAT IS A FASHION SYSTEM? WHAT IS OUR RELATIONSHIP TO SOCIETY AND THE FASHION SYSTEM? WHAT IS SUSTAINABILITY? WHAT DOES IT MEAN TO COMMUNICATE WITH OUR IDEAS WITHIN THE FASHION SYSTEM? HOW CAN WE EDUCATE OURSELF ON THE DIFFERNT SECTS OF THE FASHION SYSTEM? HOW CAN WE LEARN THE EXISTANT FASHION SYSTEMS IN ORDER TO OFFER CHANGE AND INNOVATION? HOW CAN WE ENGAGE IN INCLUSIVE DESIGN? HOW CAN WE IMPLEMENT THE EXISTANT FASHION MODEL TO BECOME LEADERS OF THE NEW FASHION SYSTEM? HOW CAN WE EXPAND AND DIVERSIFY CULTURE IN THE FASHION SYSTEM?
What will we do? How will we do it? When will we do it?
SYSTEM HYPOTHESIS SOCIETY+FASHION
XINJIANG, CHINA Home to Uyghur Population Largest Autonomous Region in China
KASHGAR,
XINJIANG
ANCIENT SILK ROAD- NETWORK OF TRADE ROUTES
KASHGAR BAZAAR
COTTON SOURCES
SILK SOURCES
KASHGAR
XINJIANG
BAZAAR
COTTON
“KASHI”- The city’s name in Chinese translates to Place of Stone Trade during the Silk Road.
Bordering 8 countries Mongolia Kazakhstan Kyrgistan Tajikistan Afghanistan Pakistan India
The primary reason to visit the bazaar is for the experience, not just the shopping.
More than 60 percent of “One Belt, One Road” involves China’s cotton crop is grown in China’s billions of dollars of Xinjiang. infrastructure investment in countries along the old Silk The Youngor cotton spinning Road linking it with Europe. factory is one of the biggest employers in Aksu, an agricultural town at the edge of the Taklamakan desert in China’s Xinjiang region.
It is known as the city of bazaars and international trade markets.
Cloth/Silk and Clothing: Silk and clothing is sold at the market. Atlas, the most famous Uyghur pattern in the region, is on full display and is inexpensive in Kashgar.
It is an urgency to promote employment as a permanent unity to maintain social stability and achieve longlasting peace with Uyghur Muslim Community and the Han Chinese.
NEW SILK ROAD
KASHGAR, XINJIANG
ANCIENT SILK ROAD- NETWORK OF TRADE ROUTES
KASHGAR BAZAAR
COTTON SOURCES
SILK SOURCES
SYSTEM HYPOTHESIS SUSTAINABILITY
Assembled Scraps of Fur Date : 1857 Kastoria, Greece
FUR
RETROSPECTIVE
PERSPECTIVE
SAGA AND THE ENVIRONMENT + At the fur producer level, sustainability criteria within the Saga Furs certification process is pushing Finnish producers towards closed loop energy and low-carbon practices.
+ Traceability stands for the reliability of the product’s origins and chain of custody documentation.
+ Through a precise documentation and + In Finland and abroad, the company continues traceability programme international fashion to conduct inspections directly or through partner organisations on supplier farms and where possible only houses can tell to their customers the origins of the furs they use, all the way back to the farms. source from Saga Furs certified producers. + As part of the company’s internal efforts to reduce its carbon footprint, Saga Furs has launched an initiative to go paperless, with focus on big digitalisation projects across the business.
FARM CERTIFICATION
TRACIBILITY
+ Animal wellbeing and health + Conditions for rearing animals + Farm hygiene + Breeding + Environmental management + Feed management
+ Training and preparing for exceptional steers fur breeders towards even better and more situations. + The requirement for detailed documentation sustainable production methods.
For more information please visit www.sagafurs.com/sustainability/
+ Saga Furs steers development through its + Company-wide Skype technology gives the opportunity operating policy, for example, by refraining from to organize online meetings. This reduces unnecessary selling skins that have not been produced, at a travelling. minimum, according to the conditions stated in the revised recommendations of the Council of
+ Company headquarters as of 2016 sources 100% renewable Energy for heating from its electricity supplier Europe or other national regulations. in Vantaa, Finland.
Fur Pelts Sources + Jonevon Furs - New York + Funtastic Furs- New York + PP Furs- Kastoria, Greece