3 minute read
FASHION Future Of Fashion
Written by Brittany Swearingen
photos by Goldie Schmiedeler
The future of fashion is political and that’s exactly how it should be. When a dear friend of mine returned to our hometown for winter break, they asked that I model some of their newest collection. Obviously, I obliged.
In between jam sessions to music and laughing at the mediocrity of our professionalism, we realized we had some bomb photos. I’d like to say I had the idea for this feature long before my mother suggested it to me, but I shall give credit where it is due. Thanks, Mom.
When we initially sat down to discuss their process, and I can only speak for myself, there was a lot of unspoken tension to do each other justice. Representing someone else’s artistic vision is difficult, and representing one of your closest friend’s art in a nationally circulated magazine is pretty daunting. Once the apprehensions settled, and this friend shared with me the vision and theme, I realized this would only be the first of many times our careers overlapped - and I’d have it no other way.
This piece, one of ten, was designed by the School of Art Institute of Chicago (SAIC) fashion department sophomore, Goldie Schmiedeler. This collection, however, takes a different approach from most. In black and white cotton, Goldie represented a complex and under-represented topic, especially among college-aged women - human trafficking.
Peering through the lens of a trafficker, Goldie began by approaching the body as a product - a commodity to be sold, transported, and reproduced. From there, the symbol of the barcode arose, which is the main print within this collection. In contrast with their undeniably youthful and transformative designs, Goldie strove to capture “melancholy and despair” by staying tight within a black and white color scheme. Goldie explains, “When researching human trafficking, I found the dispositions of the victims and their stories to be melancholic. Through this collection, I aim to express the sorrow of bondage and bring transparency to the issue.”
Goldie continues, “I use the barcode as a symbol to represent human trafficking when it is placed on a body. When placed on the skin, one can view the body as a product. Additionally, the harsh black lines of a barcode are reminiscent of the structure of a cage, which is used as a motithrough the collection.”
This hard-to-swallow theme isn’t a one-off either. Goldie defines “good art” as something that begins a discussion and holds a lasting impression among its audience. Exposed to human trafficking through the countless social media infographics about staying safe in Ubers, cities, and pretty much anywhere women are at risk (see: potentially everywhere), Goldie sought to pause the fast-paced attention spans inherent to social media and create something lasting.
Goldie’s collection seeks to inform by presenting eye-catching, beautiful, and interesting garments with a dark and rich message. Ultimately, it takes a brave and strong artist to turn many women’s (and people’s) fears into something beautiful that makes the form feel and look desirable.
First and foremost a visual artist, Goldie designs not with gender or consumer in mind. Viewing fashion as ‘an art form that happens to work with a living medium.’ The future and the market are rapidly creating spaces for artists like Goldie, who authentically don’t subscribe to the gender norms of seasons past, while still incorporating familiar silhouettes that many brands still dismiss as feminine. And, I for one believe this is good for both the artist and the market place as a whole.
