thread Magazine KO - Fall/Winter 2022 Issue

fashion in film

FALL/ WINTER 2022

thread

Editor-in-Chief

Ava Cashman

Faculty Advisors Catherine Schieffelin, Caitlin Moriarty

Editorial Director

Photography Director

Photoshoot Director

Events and Outreach Director

Layout Director

Social Media Directors

Film Director

Social Media

Editorial Layout Featuring

Lily Temkin

Abby Baier

Avi Lohr

Alyssa Temkin

Allie Arcaro

Bella Deurloo, Jada Asapokhai

Chayse Shamleffer

Macey Kotowitz, Camryn Weinstein, Riley Anderson, Quin Kearney, Yzzy

Albert, Betsy Mandell

Margaret Miller, Kate Dempsey-Weiner, Leo Kollen, Lola Peck, Avi Lohr

Jill Plaut, Celia Yaworsky, Meagan Rose, Abby Baier, Lily Temkin

Macey Kotowitz, Annabelle Jacobs, Stella Dodd, Eleanor Toomey, Lucy Ybarra, Damian Czartoryjski, Jack Decker, Elijah Wells, Lucas Kollen, Manu Narasimhan, Ava Cashman, Ella Wilson, Matthew Belo, Loretta Szych, Quin Kearney, Azul

Montiel, Danielle James

A special thanks to Lux Bond & Green, HauteLeMode, Greg Scranton, Jackie Pisani, Bill Martino, Cricket Press, the KO Theater Department, and Kata Baker

Instagram - @threadmagazineko

TikTok - @threadmagazineko

A Letter from the Editor

I can’t lie - this issue exceeded all of my expectations I was so proud of everything we did with our first issue that I thought we would never top it. But wow, was I wrong.

We pushed ourselves as a publication in so many ways for our Fall/Winter 2022 issue, and it paid off. We partnered with Lux Bond & Green for our first off-campus photoshoot, doused our fearless model Ella Wilson with fake blood for our Carrie photoshoot, and brought together more students, clothing styles, and creativity than we had ever done before. We increased the magazine’s visibility (over 15,000 TikTok views!), and while the photoshoots are the eyecatching part of the magazine, we pushed ourselves to write exciting, in-depth, and informative editorials We looked inward at our community, highlighting costuming for KO’s award-winning musical theater program We interviewed global fashion influencer Luke Meagher of HauteLeMode, bringing expert fashion advice to our readers. And, we connected fashion with film, the main theme of this issue.

Looking back at the theme of our first issue, music and thread Magazine will forever be tied together. Whether it’s the soundtrack for one of our behind-the-scenes TikToks or in the background of a layout meeting, music has guided so much of the creativity of our Fall/Winter 2022 issue. So, we put all of the defining songs of this issue into a playlist for you all! Scan the Spotify code on page 3 to step into the creative world we ’ ve been living in for the past few months.

The force behind why I started thread has always been to highlight individuality and to capture the clothing that makes people feel confident and happy I’m proud to say that through all of our photoshoots we ’ ve done across our two issues, we have stuck to our mission of having everyone wear their own clothes and highlight their own personal style. Balancing recreating a look and maintaining personal style is not always easy, but our theme of “Fashion in Film” gave us the opportunity to connect our style to the ones that came before us, just as movies can help us feel seen and inspired.

Thank you for reading thread’s Fall/Winter 2022 issue! I hope it inspires you.

Style Taylor Swift

Breakfast at Tiffany's

Your Teeth In My Neck

Dancing with Myself

thank u, next

Deep Blue Something

Kali Uchis

The Donnas

Ariana Grande

Built This Way Samantha Ronson

Viva Las Vegas

Elvis Presley

777 Silk Sonic

brutal Olivia Rodrigo

Kids in America

Cherry Bomb

Kim Wilde

The Runaways

Girls on Film Duran Duran

Bejeweled Taylor Swift

Just a Girl

SCAN ON SPOTIFY TO LISTEN!

No Doubt

My Happy Ending Avril Lavigne

Don't You (Forget About Me) Simple Minds

Everybody Wants To Rule The World Tears for Fears

Friday I'm In Love The Cure

Edge of Seventeen Stevie Nicks

OCEAN'S

This thrilling red-themed shoot was inspired

This thrilling red-themed shoot was inspired by the 1970’s horror film, "Carrie," in which by the 1970’s horror film, "Carrie," in which an unlikely prom queen gets doused in blood an unlikely prom queen gets doused in blood onstage, the result of a plot by her onstage, the result of a plot by her classmates to humiliate her. Our fearless classmates to humiliate her. Our fearless model Ella portrayed Carrie’s journey in this model Ella portrayed Carrie’s journey in this photoshoot from initial joy to eventual photoshoot from initial joy to eventual surprise and disgust as she slowly got surprise and disgust as she slowly got covered in fake blood. The impeccable prom covered in fake blood. The impeccable prom dress quickly became deadly art and was dress quickly became deadly art and was showcased in this shoot with the help of showcased in this shoot with the help of the photography department’s studio and the photography department’s studio and llighting. ighting.

Breakfast Club Breakfast Club The The

Ashowcaseofunlikely friendship, TheBreakfast Club wasalotoffunto shoot.Allfivemain charactershaveverydistinct stylesandpersonalities,and Quin,Loretta,DJ,Azul,and Matthewalldidagreatjob showcasingboththatandthe grunginessof80steenswith theiruniqueyeton-trend outfits.Thisshoottooka touraroundKO,from RobertstotheHousetothe library,endingwiththefilm’s iconicfinalsceneontheturf.

Film'sForceonFashion

BY LOLA PECK '26

Whether viewed on the silver screen or on Netflix at home, the fashion trends premiered in movies are carried through social media and the tabloids as part of a decades-long cycle. These trends become popular either from the fact that the actor might be well-known and liked, or from the audience's approval and distribution of the new hot pieces. Either way, Hollywood's impact on the fashion industry can be seen in film by pointing out social cues, revolutionizing the whole industry, and bringing back old trends with new twists!

Hollywood's impact on trends doesn't only reside in modern-day film. Back in 1990 when the movie “Pretty Woman” directed by Garry Marshall came out, every girl in high school got dupes of Vivian’s famous $250,000 necklace that Edward gifted her for a surprise visit to the theater. The necklace, and Vivian’s outfits after she met Edward, highlighted aspects of the higher social class in the 90s by showing certain necklines and hemlines that were considered posh and chic for the time. The outfits costume designers assign to characters give a lot of context into their economic state, mental state, location, and time period. Specifically with Vivian, she was a lower-class woman dressing in revealing items before she met Edward, and after she met him she started wearing more high-necked and elegant pieces that flattered her in a subtle way. Also, after the movie viewers saw Julia Roberts being more active and gaining popularity as an established actress.

Going back to the 1920s, filmmakers recognized the essential social presence the actors and actresses must have off-screen to maintain their popularity in between projects With the actors and actresses being socially active, it allowed them to gain more of a fan following, so when their next film came out, they had a strong fan base that would surely be selling out the tickets.

Although all production studios urged their stars, the most notable and involved studios were the “Big 5.” The “Big 5” consisted of RKO Radio Pictures, 20th Century Fox, Paramount Pictures, Warner Bros, and Metro-GoldwynMayer. The special thing about the big 5 studios was that they hired the best costume directors for their actors and actresses on and off screen so they could have the “full package.” Hair, outfit, and makeup were the most important things because the way the outfits flattered the stars' natural appearance or the way that the hair fit perfectly with a certain attitude was envied Once filmmakers acknowledged the profit they gained from the name of the actor or actress, they intensified this method over the years.

Julia Roberts wearing her iconic red dress and necklace in "Pretty Woman." Photo courtesy of CNN

James

Alicia Silver film Clue

THE CONTROVERSY OF THE

MET GALA

BY KATE DEMPSEY-WEINER '26

The Met Gala is one of the most widely known celebrity events in the media today. New people show up on the carpet as well as recurring guests from years past. The Met Gala is all about revolving your outfit around a theme. The most recent Met Gala theme was “Gilded Glamour.” Black Pepper magazine describes gilded glamour as the “golden age in America, the period of rapid industrialization and massive economic growth in the three decades before the turn of the century.”

However, the popularity of the Met Gala ultimately led to its downfall. The theme Gilded Glamour was accused of being insensitive due to issues between Ukraine and Russia. The Guardian shared that many considered the Gilded Glamour theme to be inconsiderate since inflation and inequality are at their most troubling.

Twitter users had a lot of things to say. One upset fan of the Met Gala, @KelsieMariePym, wrote, “Am I the only one who thinks this years #MetGala theme is out of touch? Inequality is at the highest levels since the Gilded Age, a pandemic & economic meltdown wrecked us, inflation is out of control… but cool, let’s wear #GildedAge themed dresses & laugh about inequality.” Many other upset Twitter users commented back agreeing with them, saying that there should be protests going on about this theme.

So after all the drama and controversy, the Met Gala ultimately comes down to the outfits. You may be asking yourself: What does Gilded Glamour look like? While everyone was under the impression it would be big puffy gowns, corsets, and fancy tuxedos, later people saw that this was not the case.

Some celebrities decided to steer in a different direction. One example would be Kylie Jenner. Kylie showed up to the carpet in a wedding dress which was a unique choice, yet it was also completely out of theme In contrast, Billie Eilish came in a Green dress with lace sleeves and a corset which resembles more of what people were expecting. For the male attendees, people expected suits with capes and faux fur; however, like Kylie Jenner, some outfits didn’t completely resemble the theme. One attendee, Bad Bunny, dressed in the designer brand Burberry. He wore a collared shirt and black tie under what looked like a trench coat. This outfit was definitely unexpected by the viewers On the other hand, Russel Westbrook dressed in a tophat, a short coat flaring at the end, and a kilt, which I think was one of the best outfits of the night.

Since every year is a different theme, it is hard to tell why and how people pick outfits. They may pick them for creativity and as a way to shock their audience, or to surprise and wow the press. They also might want to work realistically and try to go as standard as possible and work closely with the theme Even though each celebrity has creative input, the invitation is often provided by a fashion designer. The fashion designer who invited the celebrity often styles and designs the outfit.

After all the backlash and hate towards the Met Gala’s theme and towards celebrities' red carpet apparel, the Met Gala will continue to run and produce crazy themes for many years to come. The Met Gala’s celebrity attendees and unique styles create an excitement towards fashion that is seen throughout society, and if the event was discontinued, it would be a great loss to the fashion world.

A Conversation With L U K E M E A G H E R

BY AVA CASHMAN '24

"Fun, Sassy, B*tchy, Analytical," are the four words that social media sensation Luke Meagher uses to describe his fashion page, HauteLeMode. Bringing together fashion critique, the history of the industry, and commentary on celebrity style, HauteLeMode is driving the fashion conversation. The YouTube channel at the heart of HauteLeMode has grown to over 770,000 subscribers, and Luke has since expanded to TikTok, Instagram, and Twitter. Through his detailed analysis and keen sense of humor, Luke Meagher has turned celebrities like Doja Cat into avid fans and joined the ranks of fashion elites as an inductee to the 2022 Business of Fashion 500 list. I sat down with Luke to hear about his career aspirations and inspirations, his fashion do's and dont's, and his view on the future of fashion and how we can shape it.

This conversation has been edited and abridged for length.

Ava: When did your interest in fashion begin? Was a career in fashion always the end game for you, or did your goals shift to fashion over time?

Luke: It definitely started early in high school, around 8th grade and 9th grade, with people like Alexander McQueen and Dior I just started reading Wikipedia pages, and that was how it all sort of began. I started HauteLeMode really as a street style blog when street style was still popping in the fashion/internet/early-digital age. I used to sit on an iPad in school and just sort of not pay attention in class but read the articles that were popping up on places like Twitter and Instagram. From there, I started the YouTube channel senior year of high school. Eventually, I found that learning about fashion and putting that learning onto YouTube was the content that I had been looking for and that people were seeming to enjoy, and that’s how [HauteLeMode] got to where it is now. I didn’t have an exact plan, but it fell into place.

AC: And was the street style concept what propelled you to build HauteLeMode’s YouTube channel as well, or were there other interests and inspirations that contributed to that?

LM: For the most part, street style was the first step. It was really great because I went to school in New York City, so I was able to start to pick up on little things like coats, jackets, and leggings. But I think through doing the background research, reading about different designers and fashion brands, is when it shifted from being just about what people on the street were wearing to more of an understanding of why people on the street were wearing what they were wearing. So [street style] was sort of the opening step into my platform shifting, changing, and becoming the HauteLeMode that it is now, which is just a hodgepodge of everything.

AC: I love your account, especially on TikTok. I was watching all of your videos, and the content you create is so unique.

LM: I feel like the TikTok age is really cool, because when I started with YouTube, you needed a lot to get into it. You needed a camera, you had to know how to edit, whereas now with TikTok, it’s so openended that anybody can kind of just set up a phone and do it; I think that’s also great for creating a larger fashion understanding and awareness. It’s very cool, I’m happy that you ’ ve seen the TikTok and the YouTube, and that it’s going somewhere!

AC: Totally! There’s been a lot of new social media platforms coming into prominence, so have you felt pressure to shift your content to fit those mediums, or has the YouTube account still taken precedence throughout these years?

LM: It started really with Instagram, which was probably in 2013. By 2015, my YouTube started, and I got very serious about YouTube by 2017. At that point, I was in the middle of college, and [YouTube] became my dedicated space By the end of 2019, I had heard about TikTok and started to post on there, and probably the week before the pandemic I started making celebrity style videos. I remember when Celine Dion wore Richard Quinn, I thought ‘This is iconic, she looks amazing.’ My video on that had done pretty well and I was shocked by it But, the following week was when the pandemic hit, so I realized that YouTube really is the bread and butter of what I do for a living, so I have to make sure that [Youtube] is the thing that takes precedence and that I’m keeping it going. [...] My advice on [TikTok], and this is something that I tell myself now, is whatever the next social media is, you cannot not get into it. You can see with a lot of fashion brands too - Prada, Gucci, and Louis Vuitton - they were all very hesitant to get into Instagram, which, now, Instagram is one of the safest places to make social media content For certain brands, profit-wise, being hesitant to get into [Instagram] really hurt them from a financial standpoint.

You have to, no matter what you ’ re doing, pivot with whatever the time is showing as the main platform of the day.

AC: Aside from using fashion critique as a creative outlet, what’s your overall goal with the content you create on your account? What are the takeaways you hope your viewers will have after watching your content?

LM: I think it’s really the education aspect of it. I knew that, when I was in high school, I could go on those Wikipedia pages and learn about Christian Dior, but it was very scant. It was really hard to get a detailed understanding of that first 1947 New Look collection, which, in reality, is an iconic collection with 150+ looks. The thing that I was getting is ‘Here’s a jacket, and this is what the jacket is,’ and I at that point was like ‘No no no, I want to know more, I want to know what the fabric is, I want to understand why this was so important.’ In reality, with HauteLeMode, I’ve wanted to always try and do as much fleshing out of the fashion brand’s history and celebrity style history as possible, to give the audience a deeper understanding. It might be irrelevant information that, at Thanksgiving, they’re just going to spew, but at least they learned something and feel like they got something out of it. I do genuinely think that people enjoy getting more of a background into why things are the way they are, because oftentimes you ’ re sort of left with two-word sentences about a collection or a designer, and in reality, there is so much more to it.

AC: I love how HauteLeMode goes more in-depth than most creators, and I was really moved by your Instagram post about Kanye West’s ‘White Lives Matter’ t-shirts. People have been scrutinized for speaking out against Kanye, so what inspires you to stay outspoken about your beliefs for fashion, and how do you feel that social issues, activism, and fashion can intersect positively?

LM: In reality, the reason that I am outspoken about it is sometimes it’s just sort of an obvious critique. For the everyday person, at least with that Kanye example, I’m not going to sit there and go on about Black Lives Matter and the intricacies of it.

[...] What I do have an understanding of is the history of Kanye West and the way that he has interacted with the fashion industry, whether it was editors, critics, buyers, so I can speak to that because there’s a history of it, and it’s a different critique than what everybody else was doing. There was also a yearning that I felt for acceptance. That’s what propels me, giving that historical nudge to whatever is going on. I think it’s important to speak out about it, even if it’s not the popular thing to do. It’s important to propel the message even if it’s not your message so the conversation is getting as many eyes on it as possible. There are ways to make meaningful change in terms of activism of all different kinds, and for those conversations to be happening and for them to propel the fashion industry forward, as it’s an industry that is always about what is new and what is upcoming. There are moments you really have to speak out no matter what the consequences of the situation will be

AC: Definitely, and thank you for that. Now, some rapid-fire questions. A fashion trend you hate? And one that's underrated?

LM: A trend that I hate right now is people wearing historical clothing artifacts as everyday items. I feel like it’s a big Kardashian trend currently. I just saw that one of them was wearing a Michael Jackson "Smooth Criminal" hat - it was North West, who I adore - but somebody put that in a museum, please and thank you. As for an underrated trend, I think this is something on TikTok we are seeing a bit more of, but people DIY-ing iconic runway moments and making them their everyday wear. I’ve seen people recreate Alexander McQueen styles, old Margiela, and the idea of upcycling like that is fun, cool, and exciting.

AC: Do you have a fashion idol? If so, who is it and why?

LM: I would say Bill Cunningham. He was the New York Times street style photographer, and he really had an amazing understanding of clothing. He was somebody that, in reality, it didn’t matter if it was Rihanna or Kendall Jenner, if he didn’t like the outfit, he wouldn’t photograph it. If he didn’t think it was good, if he thought it was too posed, he didn’t go against what his real morals were in terms of clothing, style, and what he thought was smart. I always appreciate Bill’s ability to just say, ‘No, I don’t find it interesting, so it won’t be shown in the New York Times.’

AC: What is the most memorable moment of your career and why?

LM: I had talked poorly about a couple of Doja Cat’s outfits very early on in her career, and at a certain point she switched it up and was doing these very cool, very funky outfits. At one point, she had hosted an award show and she had worn all of these crazy outfits, I had talked about a few of them but I ended up missing one of them, which was her wearing chicken leg boots and a very large hat. A day or two after my video on YouTube went out, she had @ed me on Twitter and said ‘You didn’t talk about this look, I’m kind of offended, I wore it for you!’ I think that moment when people are doing things maybe a little bit to appease me, it might not be for the best, but it always makes me laugh and I appreciate it.

AC: Any press is good press! I also wanted to congratulate you on being named one of the Business of Fashion 500. How has that impacted your career and how did it feel to receive that recognition?

LM: It definitely felt good, I’d have to say. It was a month before fashion week started, and I was on the fence about whether or not I was going to be traveling to Paris, but after hearing about that, I

knew I had to go [ ] It’s a really great honor and I’m really grateful to BOF and Imran Amed, who is the founder, for including me. For a long time you can do this, and it feels a little bit like you ’ re talking to a black hole when it comes to the fashion industry if you ’ re not a part of a certain sect or group, but I was very very grateful to have that little moment.

AC: What is your advice for someone who wants to start a career in fashion or learn more about the industry?

LM: I definitely would say do your research, I think it’s very very important, and to do the work. Whether that’s a job, an internship, or working for a brand, getting that experience might not be fun and it might not be enjoyable, and it might not make you really truly happy for a certain period of time. Having the knowledge, whether it’s understanding how to make an amazing press release or how to cut clothes as a fashion designer, that technical understanding of things will make you stand out far more than anybody who is just sort of floating by on who they might know or worked for. Really sitting down and learning, studying, and putting it into practice will be invaluable for you in the fashion industry.

AC: What goals do you have for HauteLeMode in the future?

LM: I’d like HauteLeMode to just stay around, I would appreciate that, but also for it to sort of become a little dictionary of the fashion industry, to be a place where people really can go for research, topics, understanding, and history. For it to really be a place where people feel like they’ve learned something - whether it’s in video format, written, or on Instagram and TikTok - and that people really are able to use it as a platform to better understand fashion, get a grasp of it, and find inspiration A little dictionary of fashion wouldn’t hurt.

BY LILY TEMKIN '25

The ins and outs of costuming in KO’s Musical Theater Program

y p

After speaking with Mr. Reynolds about what goes into the costuming of a musical, he explained the long yet exhilarating process. “In an ideal world, we would have a full-time costumer who would meet with me so we could discuss visions, colors, and styles,” Mr. Reynolds said. But, with more limited resources, KO’s process focuses more on the research that is done to look at what the original costumes were. “My kryptonite is that I try to go off the Broadway show and make it as close as possible,” Mr. Reynolds said.

For example, in “Thoroughly Modern Millie," performed at KO in 2020, there were some iconic pieces featured, such as Millie’s red dress which Mr. Reynolds prioritized including. When researching a musical’s costuming, if you are not able to find such exact details and

more into the mood that the arge our stock first step in ce photos and “Costuming is y p s to trying to find all of these pieces you want to put together,” Mr. Reynolds said. One way that Mr. Reynolds has recently demonstrated the importance of

color and pattern is in KO’s fall play, “HyperFocus.” This play was about neurodiversity and ADHD; Mr. Reynolds chose to have all of the characters with ADHD wear more colorful and elaborate pieces, since brain scans of people with ADHD appeared more vibrant, which Mr. Reynolds wanted to represent. Although dancing, singing, and acting are what steal the show, the art of costuming allows theater directors like Mr. Reynolds to highlight different perspectives and time periods, creating a memorable display for the audience. With Sweet Charity on the horizon, we look forward to seeing KO's costuming shine on stage!

Photo by David B. Newman

What's your fashion aesthetic?

BY LOLA PECK '26

Whereareyou goingoutto?

A. The mall

B. Manhattan

C. Library

D. I’m not going anywhere

E. A valley, to read

Whatmakeupareyou wearing?

A. Natural

B. Full, Dramatic Glam

C. None

D. Just some blush and lip gloss

E. My homemade products

Whatshirtareyoudressing in?

A. A cute v-neck baby tee

B. Layering an oversized graphic tee shirt over a long sleeve

C. A button-down with a sweater vest

D. A cozy oversized pastel sweater

E. Overalls and a knit sweater

Whatisyour typicalcolor palette?

A.Everything,aslongasit allmatches

B Boldcolorslikeredand black

C.Neutralcolors

D.Pastels

E.Earthytones

What bottomsare youputting on?

A.Momjeans

B.Rippedwide cargopants

C.Dresspants

D.Apleatedskirt

E.Adressor overalls

Whatwill youwear overyour outfit?

A. A teddy bear jacket

B. A puffer coat

C. A dress coat

D. A zip-up hoodie

E. A cardigan

Howareyou stylingyour hair?

A. Hair clip with front pieces

B Slicked back

C. Styled bangs

D. Cute messy updo

E. Half up with a bow

Let'sfinishoffthelook withsome accessories!Whatare youwearing?

A. Chunky gold hoops

B. A cotton beanie

C. My book

D. My fluffy phone case

E. A handmade bracelet

Whatkicks areyou rocking?

A. Vejas or golden gooses

B. Jordans

C. Chunky loafers

D. Air Force 1’s

E. Flats

Add up your answers! If You Got Mostly...

B C D E

H O W T O F I N D Y O U R

P E R S O N A L S T Y L E

BY LEO KOLLEN '26

Fashion is not objective, and many people find certain styles or aesthetics more appealing

Fashion not objective, and many people find certain styles or aesthetics more appealing than others. A lot of the time, it can seem like everyone has found their style and aesthetic, than others. A lot of the time, it can seem like has found their style and aesthetic, and it can be overwhelming when discovering your own. So, how do you find your aesthetic and it can be overwhelming discovering your own. how do you find your aesthetic and build a personal style that sets you apart and makes you feel confident? and build a personal that sets apart makes you confident?

Expand Your Horizons

The first thing to avoid is categorizing yourself with one type of aesthetic you like and configuring your wardrobe around that singular aesthetic. While aesthetics help frame your style, you want to keep your style unique, and you never know when you might get sick of your wardrobe.

Evaluate Your Clothes

The first step is to evaluate all of your clothes and choose which ones you love to wear and which make you happy. You should also have a wide variety of colors, for the season, mood, or general feeling of any day. When you find the colors and pieces that you really like, start grouping them by similarities. This can be color, shape, layer, complexity, or any other category you want. If you see that you tend to like more intricate clothes with diverse patterns and colors, consider buying more of them

Look For Inspiration

Another way to develop your style is by looking for inspiration. This can be from Pinterest, social media, or what people in your life wear. If you are drawn to certain outfits and pieces that people you know wear, consider asking them where they got them, the price, etc. It is essential to step out of your comfort zone in order to find your style. If you ’ re unsure about a piece or an outfit, wear it one day and see how you like it, and how other people react to it. Finding your personal style means wearing things that are you, but also experimenting to find something that you might like. Clothing can be an outlet for self-expression, and having a distinct style that can differentiate you from others can make you feel more comfortable, happy, and beautiful.

A step-by-step guide to help you find a unique aesthetic that suits you!

color theory in fashion .

BY MARGARET MILLER '25

In fashion, color theory is everywhere From the Gucci runways to street style, the rules of color theory are constantly followed and broken. The most well-known symbol of color theory is the color wheel. The color wheel dates as far back as the 17th century, and the first one is believed to have been created by Sir Issac Newton and developed from the prism experiment. Color theory is broken up into primary and secondary colors. Red, yellow, and blue are primary colors, meaning other colors cannot create them, unlike secondary colors – orange, green, and purple –which can be created using primary colors. Color theory becomes an extremely in-depth subject with a whole science behind it, but an understanding of color theory undoubtedly serves value in the world of fashion.

Monochromatic outfits feature one color throughout the ensemble, with ideally no tonal variations. Typically the bolder a color is, the more precise a match should be. Monochromatic outfits can be used to put emphasis on other components of an outfit aside from color, like the texture or shape of a clothing article Other times it can be used not to neutralize the color, but to emphasize the bolder tones. Tonal ensembles feature one color with tonal variations. These are often done with three pieces, for example, dark blue pants, a lighter top, and a more saturated jacket, keeping blue in the ensemble.

An accent piece in an outfit typically looks best when it is a complementary color to the rest of the ensemble. Complementary colors are colors directly opposite each other on the color wheel. An example of this would be red and green

A brand that employs complementary colors frequently is Gucci. Gucci’s logo features red and green, often in play on the runway and featured in unique variations. Lastly, analogous colors are ones next to each other on the wheel, such as blue and green.

All of these color theory-based approaches to fashion can be used on the runway or in everyday ensembles. A color theory shortcut to making sure your outfit is coordinated is the three-color rule As it sounds, the three-color rule means sticking to three different colors across the outfit.

Although using color theory in fashion can be highly beneficial, the rules are intentionally broken, more often than not, on the runway. The Creative Director of Gucci, Alessandro Michele, has taken the brand in a new direction by challenging color theory. Though it might sound like a disaster, he is able to use just about every color and every pattern in one single ensemble without it clashing That being said, you must know the rules to break them. Color theory certainly holds value, and can be a great approach to combining science and art to enhance fashion.

Monochrome fashion on the runway in 2021 Photo courtesy of Vogue