Retrograde: Winter 22 by DAMchic Magazine

RETROGRADE

WINTER 2022

LETTER FROM THE EDITOR

RETROGRADE

Growing up, I was constantly indoctrinated into the visuals of historical fashion. My childhood was often spent cracking open my mothers collection of Edwardian fashion books and admiring the illustrations of the sleek suits with high collars and the poofy petticoats. Some of my fondest memories I create with my mom are sitting down and watching historical fashion YouTubers who live their whole life in fashions from over a 100, sometimes 200, years ago. For me, fashion history is familial. For many, these individuals seem so far removed from the present discussions on fashion, but why? Is it this idea that the past is the past, with nothing to cover? Or could it be that we, as a fashion collective, have lost sight of the foundations many visuals have been built on. In fashion, there is an idea that every 20 years, the aesthetic qualities of the past will reenter the visual culture. During the 2010’s, we saw a huge resurgence of 90s silhouettes and styling. I would say it’s near impossible to escape the “Y2K” craze. In the age of Depop, this is what “vintage” fashion is to us. However, fashion, like most art forms, focuses on the idea of consistently building and has such a deep history. Due to the idea of picking and choosing the silhouettes from the past that show up in the present, we’ve filtered out the historical content of many of these styles. For example, how many of the average contemporary fashion kids can distinguish betweens a 60s and a 70s silhouette? What about the societal impact of the beret? How do you describe the 50s outside of the idea of the stepford wife? While our subject matter might be exploring the looks of the past, the foundations of this issue is a fresh take at DAMchic. For the first time, we asked our directors to specifically focus on one decade and they hit the ground running.

Photographer: Kate Zinke

Producing this issue felt so new for myself and my team, finding a new joy in exploration and coverage on the styles of the past hundred years. During our research, many realized just how hard it was to find the history of fashion, learning important social contexts many fashion publications fail to offer in current views. To me, this underlines the importance of this issue: we have to look to the past to move forward towards the future. In a world of fast fashion and week-long trend cycles, it’s easy to feel like the visuals of the past are unachievable. We are here to tell you that’s wrong; we have found so much joy in the aesthetics of the past and we truly hope we can share that joy with you.

DRAKEN REEVES EDITOR-IN-CHIEF

THE TEAM

Photographer: Jakob Jones

EDIT O R - I N - C H I E F D R AK EN REEV ES

A S S IS TAN T E D I T O R K AI L E A WA RO U W

L EA D PHO T O GR AP H E R AAR Ó N S A NCHEZ

DES IG N E D I T O R S AL AN NGU YEN C H L O E J A M ES O N

CONTRIBUTING DIRECTORS AB I G AEL CRA IG AAR O N S A NCHEZ C H AYA BA RRATT E MM A FA RIS J AK O B J O NES J UL I E T T E S A CCENTE L E O O UDO M PHO NG N AO MI KLEINS CHM IT N AT E O LS O N MY L A GA RLITZ S AVAN NA H O U TRA M S O P HIE DZ IA K S H AHA R M ILES

PR IN T R E P O RT E R S G AB B Y NEDNEY

V O L UN T E E R S

BRETT MOSS B O B B Y DIM A RCO D AN N Y Z A HA RIEV E L S E L UCIA K NU DS EN K I MI S PENCE MY L EA BRA U N O L I V IA F RO S T

PHOTOGR A PHER S AARÓN SANCH EZ ASH T ON BISNER ELI SMAR T JAKOB JONES JESS H UME-PANT USO KAY LA JONES MAT T H EW MCKENNA SAMMY PALACIO WANY U ZH U

M A K EU P A N D HA I R AISA LARSEN ANASTASIA SAVCH ENKO CH AYA BARRAT T NAOMI KLEINSCH MIT OLIVIA FROST SAVANNAH OUT RAM SOFIE GUGLIELMI SY LVIA H ARRINGT ON Y OSALIN ARENAS

CLOTHI N G

ALEXANDER MCQUEEN AMAZON BDG CH ROME H EAR T S CURRENT MOOD DICKIES DR. MAR T ENS H ANES LEVI’S NEW BALANCE NIKE OLD NAVY P ESION RALP H LAUREN SOUL NAT URALIZER ST JOH NS BAY URBAN RENEWAL VANS XTABAY VINTAGE Y EST Y LE ZARA

M ODELS

ABIGAEL CRAIG ADAM B ALEX P REST WICH ALIYAH LOP EZ DIANA LAST OCH KINA EDEN LEE ELISE ENGER EMMA COLEMAN EVAN PARK H AILEY FLICK H UNT ER CALVER T, JESSICA KOLINSKI, JULIAN CLARKE JUST INE BOVA LEAH VENKAT ESAN LIZZY WEINER T MCKENNA BROOKS NANDITA MAH AJAN PARKER T H OMP SON RAJDEEP SIDH U REILLY AUST IN REINE MESSINA SOFIE GUGLIELMI WINT RE NEES

LOCATI ON S

OAKS PARK ROLLER RINK KRIST I’S ‘50S CAFE OSU CAMP US MCMENAMINS ON MONROE MEMORIAL UNION ST UDIO A AT T H E SEC

TABLE OF CONTENTS

GLAMOUR

THE SIXTIES CALLED, MINISKIRTS ARE BACK

FUTURISITIC FLASHBACK

RETROGRADE!

ROLL

LER DISCO

HATS OFF TO HEADWEAR

THE MILLENNIUM

PRETTY IN PINK

TIED DOWN

glam glam glam glam

mour mour mour mour

The 1980s and its fashion trends are known for their ability to push people outside of their comfort zones, and the cosmetics industry was no exception. With technicolor eyeshadow, unlimited blush and bright lipstick, it was mainstream to not shy away from making bold statements and taking risks with your look no matter who you were. The ’80s were a peaceful decade when it came to social unrest, where public protests and demonstrations had a huge impact on the ’60s and ’70s. Therefore, where did people turn for influence? The answer is singers, models and movie stars. As pop culture was the shining star of the ’80s it made us take a turn from the natural and groovy makeup of the 1970s. Pop culture was such a major influence that roughly 60% of American TV owners got cable service by the end of the 1980s. The influence of artists such as Madonna, Cher and David Bowie changed the way make-up was worn. One’s eye was often the facial area emphasized, as all efforts were focused on drawing attention to the beauty of the eye. That was usually done by applying dark and bright colored eyeshadow, where mascara was applied to both upper and lower lashes. Also outlining the eye on both the inside and outside, in order to achieve a heavier and deeper look with makeup, at this time was a symbol of rebellion.

Additionally, the ’80s were a time of increased diversity and inclusivity of underrepresented groups, as there were more women of color being portrayed in the media. However, it was still not anywhere near proportionate with the population. Women as a whole stepped into the spotlight, as the idea of a “career-women” was coined, and beauty, as well as fashion, became exceedingly popular as a form of self-expression. Furthermore, androgyny was also important in the ’80s with icons like Boy George popularizing glam rock and goth fashion. The 80’s use of makeup has influenced the wide acceptance of any and all makeup styles we see today. This widespread use is assisted by the boom in today’s social media technology, and now after decades, we are seeing the return to the use of the vivid makeup of the 80s. However, today we are seeing a version that is a little more muted, with bright eyeshadow looks being blended and iridescent. The colorful eyes are now more so paired with sheer foundation formulas that allow for the skin to shine, and muted tones on the lips and cheeks to balance out the look. But that’s not all, as we are also seeing a return of colored mascara, and this is not just in the classic 80’s bright blue shade. Instead, there is the use of burgundy and burnt orange colors, which are only really noticeable up close. The result is a culture embracing creativity and flair, all in the name of pushing ourselves outside of our comfort zone.

r u o m Gla 8

Director: Jakob Jones Photographer: Jakob Jones Writer: Sophie Dziak Makeup: Sylvia Harrington, Anastasia Savchenkomua & Chaya Barratt Modesl: Hailey Flick, Eden Lee, Diana Lastochkina, Justine Bova, Elise Enger, Jessica Kolinski, Reilly Austin & Evan Park

Even if all you are dressing is

a salad...

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As I walk through the Mall, there is one thing I continually notice popping out to me in the glimmering window displays. Fashion has always been a revolving wardrobe of styles that go ‘in’ and ‘out’ depending on the season’s hottest runway trends. However, what united each of these displays, despite coming from an array of stores, was the influence of the past on the present. One era that plays a foundational role in this is the 1960s. Known as a time of political upheaval, protests in the form of Vietnam and Women’s Rights, and a uniquely rebellious younger generation, each of these components converged into an environment hungry for change. In reception to this, the fashion industry adopted opposition to the norm through daring new styles like the mini-skirt. To delve further into how this clothing piece maintains its cultural relevance, I decided to interview two women who grew up at the time.

“I loved mini-skirts!” Suzanne Davis recalled fondly, however, having grown up in the conservative Midwest, she stated the act of doing so felt rebellious and new for many young women at the time. When I asked about her favorite outfit from the era, she stated “I remember my husband bought me a shift mini-skirt with white GoGo boots that I wore often with fishnet tights”. Similarly, when interviewing my grandmother, Evelyn Simpson, she shared “the mini-skirt was widely adopted by young people. To me, it symbolized freedom at that period of time from a lot of dull frumpy past styles”. Hearing both of these experiences indicated the symbolism this piece of clothing continues to have, dominating fashion spheres as a staple in many women’s closets. Mini-skirts remain ‘in’. This is not without some revamping though, as the shop window displays indicated a new take on the iconic style. Playing to the daring aspects of the mini-skirt, even shorter ‘micro-skirts’ have become a rising trend that is foundationally rooted in 1960’s culture. A lot can be said about this, however, I believe the most obvious explanation is the similarities between the political

climate of the Sixties and now. 2021 was a tumultuous time for young people amid a pandemic and everchanging restrictions. Therefore, it is no surprise that fashion trends experimented with these freeing styles that averted from confinement. Additionally, a lot can be attributed to the freethinking style of second-wave feminism and nowadays fourthwave feminism. With brands celebrating the same principles designers from the 1960s held close, such as freedom of expression and choice, it is unsurprising miniskirts and 1960s fashion has found a newfound cultural revival. When asking my interviewees what they thought stood out to them most in terms of fashion trends now, Suzanne responded “The hippie style of the sixties is definitely coming back in the form of tie-dye, as well as patent leather and boots”. Evelyn agreed although she pointed towards a more inclusive market evolving for the younger generation. “New times have evolved, there are now ideas for everyone in fashion”.

Director: Savannah Outram Photographer: Matthew Mckenna Models: Rajdeep Sidhu, Nandita Mahajan & Lizzy Weinert

Futuri

istic FLashback

What is “Retro,” anyways? You may have heard the term about your new thrifted jacket from Goodwill, or your mother might have used it to describe her hair in the 80s. But what does it actually mean? Coming from the French word “rétrograde,” meaning “ backwards, or behind” the dictionary defines retro as “imitative of a style, fashion or design from the recent past.” Typically anything older than 20 years, but less than 100 can be considered “recent,” and therefore retro. It’s a favorite pastime of many young people to second-hand shop for clothes, for environmental purpose and price, but also

for aesthetic. The nostalgia associated with certain eras is incredibly strong, to the point where some people dress vintage everywhere they go. It’s common on many social media platforms for these individuals to become influencers due to their classic fashion choices. So as we distance ourselves from the various thought processes of those who came before us, why continue to dress in their image? Because it allows us a form of escapism, to have something new to us but old to others, to thrift with friends as a

social activity, searching for the sturdy sweater or the detailed high waisted pants. It’s a way to dress up in golden Hollywood styles, in the romantic manner that only old movies can achieve. Clothing styles are typically cited as a reflection of the times, and of course it is, but it’s also a reflection of what may need adjusting. In the world of fast fashion, with cheap outfits at the cost of mass pollution and underpaid workers, a one-of-a-kind loved garment beats out an itchy one. Re-wearable clothing from the past, to create a cleaner future. Who wouldn’t want to go retro? After the events of World War II, the United States and Russia emerged as the two dominant superpowers on Earth. American industries switched from warproduction to peace-production, and despite all mass unemployment predictions, business began booming. Soon after, tensions began to rise between the United States and the Soviet Union, as the U.S. got further involved in European affairs. Immense fear of Russian nuclear threat grew abundantly in the U.S. Outer space became a new arena for global competition, and the challenge was soon met by the United States, who then launched their own Explorer 1 in opposition to Russia’s Sputnik 1. The space race was on.By the early ‘60s, space travel was in constant discussion, found politically, socially and in every kind of media. Even things that weren’t typically associated with politics were influenced by this constant looming “red threat”, including movies, pop culture, theme park rides and of course, fashion. In clothing, futurism represents an anticipation for what the future may bring. Retro futurism is similar, acting as a return to older dreams of the modern era. At the time, there was a major romanticization of technology and science, without any knowledge of how those things actually worked. So people took their imaginations and ran with it. Aliens, space hotels, flying cars, hoverboards, robots, lasers; it was all the perfect Jetson-esque concept. Citizens adored the idea of teleportation, and lots of their daydreams focused on travel and infrastructural progress. The ultimate utopia, where everyone has a job and enough money, while maintaining a constant clean aerodynamic sleekness. Even in the movies, all threats were alien, with the entire global humanity reunited. Despite the disunion we were experiencing at the time, this seemed an attractive concept, brushing off the past, to enjoy our progressing planet in the vastness of space.

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As the public became more aware of space, so did fashion. Metallic and white shades began creeping into color palettes, as colorful tights, jumpsuits, goggles, gogo style boots, puffed shoulders and big collars came walking down the runway. What became that 60s push against boundaries was found in new synthetic and re-imagined materials, including mylar plastic, gabardine, metal, PVC, aluminum, knitted fur, spandex and acrylic. Designs started to stray from the strict female figure, after so long with the classic Dior New Look, playing with alternative shapes, cutouts and silhouettes. It was seductive and real in a way that didn’t need to be immaculate and formal, but was meant to be weird and unconventional. Notable futuristic fashion designers include Pierre Cardin, who was known for his involvement in the intergalactic trend, beginning in his 1966 collection, and was the first fashion designer invited to NASA to inspire him further. He’s also commended for working in geometrical shapes and bold colors, a true leader of forward thinking. As far as his outlandish aesthetics, when prompted by the Fashion Institute of Design & Merchandising, Cardin expressed that “The dresses I prefer are those I invent for a life that does not yet exist.” Yet another example can be found in French designer André Courrèges, also known for his space age fashion, significantly starting around 1964, integrating sportswear and prioritizing comfort over those constant elegant female forms. His use of shapes and cutouts, along with new or unrealized textiles, revolutionized what fashion could mean. There are so many leading designers of the time who represented starry aspirations, including Paco Rabanne, known for his rebellion against high class looks for literally unwearable dresses in 1966, and for their shiny unheard-of materials. What remains vital for the success of these concepts is the unconventionality of dreaming, and what magical things can happen when those dreams are brought to life. Pieces of the past still apply today in 2022. As we ease our way through an unsteady time, our lives continue to evolve. We live in the world of capsule wardrobes and 3D-printed shoes, with supercomputers in our pockets. With everything so muddled economically and politically, we look to the stars, where there is space to imagine that brighter, sleeker, shinier future. Beliefs and aspirations alleviate the stresses of living in our world today, appreciating what could be through the admiring eyes of the past. So dream big and dress how you’d like. Thrift the strangest outfit ever, appreciate what is unconventional, because while the world is difficult, and confusing, there is value to be seen in dreaming, even if nobody else understands.

Director and Model: Abigael Craig Photographer: Kayla Jones Stylist: Nate Olsen Makeup: Anastasia Savchenko Location: Kristi’s ‘50s Cafe

mcfly STRENGTHS: Back to the Future Bright, flashy clothing Nike Air Jordans “Jessie’s Girl” by Rick Springfield Denim on denim Ski-prep aesthetic Fanny packs “The Walkman” Geometric sunglasses “Gag me with a spoon” Harrison Ford MTV

the 80s

Director: Shahar Miles Photographer: Sammy Palacio Stylists: Kimi Spence & Brett Moss Makeup: Yosalin Arenas Model: Parker Thompson & Jessica Kolinski

WEAKNESSES: Video Games John Lennon (RIP) The word “Dweeb” Phonebooks The “rat tail” hairstyle Wedding dresses Waterbeds The crimping iron Shoulder pads Plastic earrings Synthetic fabrics Scrunchies Grease 2

A HISTORY OF POPULAR CULTURE IN AMERICA FROM 1980-2000 REIMAGINED AS A VIDEO ARCADE GAME STRENGTHS: Christy Salters Single strap overalls Roller blades Winona Ryder & Johnny Depp The Fresh Prince of Bel-Air Nickelodeon time capsule Saying: “you got it, dude!” Super Nintendo The color pink Leonardo DiCaprio Britney b*tch See-through phones Baggy jeans Friends

the 90s WEAKNESSES: Furbies Milli Vanilli Frosted tips (in most cases) Gym wristbands/headbands Chokers Schoolgirl fashion Camouflage Low rise pants Bike handlebar streamers Kangol hats “The Macarena” Neon striped prints Friends

christy

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If you are looking at what is going to be trendy this year, be sure to keep an eye out on subtle influences from the 70s. This means disco Studio 54 esque inspiration on fashion, influences on winter outerwear, potentially music/media, and possibly your hobbies. We left 2021 with a huge resurgence in roller skating, thanks to many people picking up this hobby because of the pandemic. Roller skating was extremely popular during the ’70s but has been around long before that. In the 70’s it regained popularity due to the birth of the roller disco, which was disco and roller skating combined. Simply put, it was a place where people would roller skate at roller rinks while listening to disco music in disco attire. Subtle influences of disco attire are presently making a comeback. Italian fashion house Fendi included aspects of 70s style in their runway show for the spring and summer of 2022. This was seen in numerous ways, from models wearing fur coats, wavy hair, glossy lips, sparkle on multiple pieces – this was seen, especially on dresses– the silhouettes and the color palette. Even the setting for the runway show was heavily inspired by the ’70s. In a behind-the-scenes video on Fendi’s website about the runway show, Kim Jones shares that they thought about the ’70s and then “thought about Rome as sort of a disco set.” Jones also shared about taking inspiration from Antiono Lopez. Lopez worked with Carla Fendi in the early ’70s, and the logo that Lopez had done was brought back in some of the looks from the spring and summer 2022 runway show.

One of the big pieces inspired by the ’70s from the Fendi spring and summer 2022 show was fur coats. Similarly, fur trim was also a style that has been popular in outerwear for this winter this year. Retailers like Target have even noticed this trend, and this winter produced coats resembling those of the 70s that feature this fur trim. Fur trim pieces, especially awesome authentic pieces, can also be found at vintage and thrift stores. Other big-name retailers are also making pieces reflecting the 70’s disco style, some even with deadstock authentic fabric. The blue long sleeve top that was used for this piece came from Urban Renewal, and was purchased within a month of when the shoot for this issue took place. Urban Renewal is a part of the retailer Urban Outfitters. What makes Urban Renewal its own unique thing is that all of the pieces in this collection are made from fabrics or pre-existing pieces that are vintage and then turned into one-of-a-kind items. According to the Urban Renewal page on the Urban Outfitters website, they began curating vintage items in the 70s. Brands like Urban Outfitters, therefore Urban Renewal, like to keep up with trends. One of the trendy shows that has influenced fashion since it came out and is currently airing its second season is Euphoria. The first episode of the season was very hyped up, and something that fans were looking forward to. In this first episode, at least four songs were from the ’70s, like “Right Down the Line” by Gerry Rafferty and “Dirty Work” from Steely Dan. About two weeks after the first episode came out, the song Dirty Work got used over 2500 times on TikTok, and it got added to the popular sounds category on the app. Videos with this sound and 70’s disco attire are also slowly starting to arise.

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With the subtle 70’s influence, we are seeing, especially relating to 70’s roller disco, there are few and far between places to go to get that roller disco glamor feeling due to so many roller rinks closing because of the pandemic. However, the oldest roller rink in the country is still open, and it is not too out of reach for Oregon State students. Oaks Park Roller Rink is the oldest in the country, and is located in Portland Oregon, it is even hosting an event in February of 2022, that is 70s and 80s roller disco-themed. Though places and times to go to a roller rink and get the 70’s disco experience are becoming sparse, the presence of 70’s style and glamor isn’t going anywhere this year. In 2022, there are going to be references to the 70’s aesthetic in multiple facets of life and style as it subtly influences trends for this year.

Director: Naomi Kleinschmit Photographer: Jess Hume-Pantuso Stylist: Naomi Kleinschmit Makeup: Naomi Kleinschmit & Sofie Guglielmi Model: Sofie Guglielmi

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Director: My;a Garlitz Photographer: Eli Smart Model: Hunter Calvert, Emma Coleman & Reine Messina

hats off to

headwear!

Hats off to one accessory that seems to not be going anywhere, the inevitable beret. Headwear that truly seems for all, from artists to revolutionaries. The beret carries a certain type of character that allows for a lot of versatility, a person can wear it in multiple different styles, colors, materials and so on. A beret has no particular ties to one gender, ethnicity or even social class making it seemingly for everyone. “On one hand, it’s an iconic chapeau associated with French artists, philosophers, and schoolgirls, a symbol as iconic as a baguette or the Eiffel Tower. But it

also has a tough menacing side, as a part of military uniform worn by the Green Berets and the French Navy, among others, that has been co-opted by some pretty brutal dictators, such as Saddam Hussein and Robert Mugabe, whose beret inspired a street fashion trend in Zimbabwe,” fashion historian Kimberly Campbell said. The discussion and debate on the proper way to wear a beret are very similar to the discussion on where it comes from. Similar styles have historical roots in various regions around the world but are predicted

to originate from the Greeks and the Romans who had a similar hat called the beretino. The word beret now means “A visorless usually woolen cap with a tight headband and soft full flat-top” according to Merriam-Webster’s dictionary where it states that the first known use of the word “beret” comes from 1826. Although its true origin is unknown one similarity that’s generally been consistent is that this style of hat was made from felt or wool. The beret essentially started out as a poor man’s hat. Dating back to the 1500s when it was simple and cheap to manufacture, most Europeans wore it for its functionality in resisting bad weather. Even now berets are made to do just that. Mark Saunders, Laulhére Sales and Marketing Director (The last French beret-making company), in Laulhere’s YouTube video “How beret is made”, explains the material choice of the present-day beret: “It’s made from merino wool. There’s many reasons why we use merino wool, mainly because of its water-resistance tendencies and its insulation against heat and cold.” One of the first more well-known sightings of the beret from an earlier time was from Rembrandt, a Dutch painter and printmaker, who painted “Self-Portrait” in 1659 wearing a beret. This piece of art displayed in the National Gallery of Art in DC shows the Dutch variation of the beret that was seemingly bigger and floppier than the ones we see today. The slow transition of berets from art to politics began in the 1800s when the leader of the Carlists, Tomas Zumalacarregu, wore a bold red beret in Spain. This began its association with the military context. In the early 1920s, the British armed forces wore them because of how flexible they were to put headphones over and for when people were in confined spaces.

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They were good hats for the military due to their low cost of manufacturing and transportation. In WWII French resistance fighters began to wear them as a symbol of nationalism without being too bold. Different colors of the beret were assumed by different regiments in the US Army, most famously worn by the special forces division known as the Green Berets. Around the same time in the early 1900s, berets started becoming as popular among women as they were amongst men. In the 30s, Coco Chanel helped make it a fashion statement for women, as she often adapted menswear for women. Finally, in the 60s, the beret was adopted by revolutionaries and rebellious groups like the Black Panther Party (BPP). The BPP even chose a similar style to those of political leaders. Also in the 60s were the Brown Berets which were known for taking direct action against police brutality. Charlese Jones, costume designer of the recent film “Judas and the Black Messiah” about the BPP, explains as to why groups during that time wore berets, “Either one group already had the berets and that was what they adopted, or a group of a different race was inspired by the Black Panther Party and adopted the berets.” Although today we still see berets everywhere from normal street style to on the runway, the political significance of the beret has continued on. Decades after the BPP the rebellious symbol of the beret remains one of Black power and on the top of activists. At many recent protests, you can still see BLM activists wearing the iconic beret of revolution. Rosabelle Forzy, CEO of Laulhére said, “[The beret] It’s unisex, can be worn on all occasions and works with all shapes of faces and hairstyles.”

THE Millennium Pop-punk and the Asian American Experience

For decades now, the rich history behind alternative subcultures has been altered, evolved, and recentered. It’s crucial that the underrepresented communities within these subcultures are being discussed. Activism comes in various different forms–identifying as a part of the punk subculture being one of them. With some of the first punk music tropes appearing in mid-60s New York, the punk community took the worlds’ hyper-modesty by storm, creating an entire subculture rooted in activism against capitalism, obedience and societal conformity. Through music, fashion, hair and advocacy, the punk subculture thrived through the decades following the popularization of the underground punk scene of the 1970s. The subculture became a worldwide phenomenon. Surging America by the 1990s, the mass popularity of indie rock and grunge fashion carried into the 2000s, inevitably birthing “pop-punk.”

Despite the subcultures’ origin of anti-facist ideologies, the culture of punk and its’ aesthetics center whiteness and often exclude nonwhite individuals in the community. We can see the underrepresentation of people of color in the subculture by reflecting on the behaviors and expectations that are stereotypically aligned with what “being punk,” looks and sounds like to those not involved. Which raises the question; where do POC, specifically Asian Americans, fit into the equation? It’s not uncommon that Asian Americans are typically viewed in society as the “model minority,” a theory in which America has indoctrinated Asian people,

typically starting with immigrants, to conform to white supremacy and “whiteness,” This could look like the erasure of cultural food, music, beliefs, and language. It’s typically referred to in instances regarding socioeconomic success. Under the model minority, Asian people are depicted as obedient and submissive compared to their other nonwhite counterparts. This concept works as a racial wedge between Asian people and other POC. By this, the punk identity often juxtaposes the Asian American experience. Punks are presumed to counter obedience and conformity, while Asian Americans are seen as the embodiment of both of those things simultaneously. However, this doesn’t stop the Asian American community from persisting. It wasn’t until the early 2000s where the punk aesthetic was visible within the community during the uprising of mainstream pop-punk bands like Paramore, Blink-182, Green Day, and Fall Out Boy that sparked an interest among the millennial generation. As pop-punk themes dominated the media throughout the country, this resulted in many Asian Americans exploring the punk aesthetic. Although many Asian millennials may be reluctant to reflect on their dyed hair, heavy eyeliner, and fingerless gloves–it was an era that paved the way for Generation Z. The punk awakening of the 1990s and 2000s were crucial decades relative to Asian Americans’ exploration of identity and fashion politics, which can tangentially relate to social and political activism against the model minority. That’s so punk!

Director: and Stylist: Kailea Warouw Photographer: Wanyu Zhu Makeup: Aisa Larsen Model: Alex Prestwich

PRETTY IN

PINK Director: Chaya Barratt Photographer: Ashton Bisner Stylist: Mylea Braun & Olivia Frost Hair: Olivia Frost Makeup: Chaya Barratt Models: McKenna Brooks, Adam B, Julian Clarke & Wintre Nees

When you think of the color pink, what comes to mind? Do you think of femininity or womanhood? Maybe what comes to mind is a baby shower, or a gender reveal party. The connection between pink and femininity seems obvious: pink is for girls, and blue is for boys, right? Not so much. Up until the 1950s, pink was considered a color for boys. It was a shade of red - an inherently masculine color. In a 1927 issue of Time magazine, a survey was printed about the “correct” use of color. Over 60% of responses connected pink to boys and blue to girls. Blue was said to be soft and feminine, an antithesis to the harshness of masculine red. For the last 70 years or so, the color pink has been strongly connected to the idea of femininity. We are taught that blue is for boys and pink is for girls, even in infancy. But how did this come to be? And why pink and blue? In the early 20th century, colors didn’t really have a gender. No matter their gender, young children were dressed in long white dresses until around the age of six. The concept of dressing children according to their gender didn’t come about until the 1920s. As the gender-related color differences began growing, department stores around the US started to encourage parents to buy new clothing for their children instead of hand-me-downs. Pink was not only reserved for young boys, however. It was a color used in clothing for adults as well, though it was used more frequently by the working class. It represented health and prosperity, like the pink flush of a healthy child’s cheeks. This is even described in the literature of the time. In F. Scott Fitzgerald’s famous novel The Great Gatsby, the color pink repeatedly appears in many different contexts, mainly in the character’s wardrobes. Specifically, Jay Gatsby wears an allpink suit to dinner with his former lover, Daisy. The pink suit is used in two ways in this scene: it represents his wealth and status. It shows both daisy and the audience that his love and passion for her are still there (sorry for the spoiler there, but the book is just under 100 years old.) Gatsby’s pink suit is critiqued by other characters in the book, but not

PRETTY IN PINK

for the reason we might think of today. Daisy’s husband states that Gatsby cannot be an oxford man because he wears a pink suit in the book. From a contemporary viewpoint, it seems as though he is calling gatsby unintelligent in relation to femininity. On the contrary, however, he says that he cannot be an oxford educated man because he is wearing a color of the lower classes, unrelated to gender or femininity. This shows us just how different the attitudes towards colors in fashion are now. If a man wore a pink suit to the Oscars even 5 years ago, it would be front-page news, and not in a positive way. And everyone remembers the infamous Harry Styles vogue cover of 2019. He wore one dress on the cover of a magazine, and it was the center of every conversation for the next 4 months. Though the color representing femininity has changed over the years, the attitude toward femininity has not. During the Nazi invasions of WWII, gay men were forced to wear pink triangles on their clothing to identify themselves to the public. This was the catalyst for pink to become associated with femininity instead of masculinity. Post-WWII, men wanted to distance themselves as far as possible from the “effeminate” queer men represented by the color. From then on, pink was used to represent the very idea of femininity. As women were being pushed out of the workplaces they had occupied during the war, pink was used to reaffirm “traditional” family roles - to force women back into the housewife roles they had occupied before the war. In our modern world, the view of pink and, therefore, femininity has not changed either. The color was used to demonize hyper-femininity in many movies in the early 2000s. Films like Mean Girls and High School Musical dress their villains in girly pink clothing to convey their evilness to the viewer. The only way to change the negative attitude surrounding pink is to change the attitude towards femininity, and that starts with us.

The emergence of the punk aesthetic transformed fashion in the 1980s and set the scene for fetish fashion to thrive. But what exactly is fetish fashion? To start with, fetish is a form of sexual desire in which gratification is linked to an abnormal degree to an object. So fetish fashion is the inclusion of any sexually explicit reference on a garment. Bondage, discipline, sadism and masochism or BDSM is a sexual kink that puts partners into two different positions: dominant or passive. BDSM is about playing with power dynamics in a relationship through intimacy. This fetish also utilizes specific materials including latex, rubber and leather. The use of these materials in high fashion runways has increased over the last three decades. Brands like Helmut Lang, 1017 ALYX 9SM and Balenciaga have all shown their inspiration drawn from fetish fashion in their work. The inclusion of fetish fashion in popculture is undeniably apparent. The origin of fetish fashion was first created by legendary British fashion designer, Vivienne Westwood. She was the first person to pioneer the punk rock fashion scene. She also pushed political agendas which would shape the way fashion is viewed forever. In her first ever boutique titled “Sex,” she opened a pop-up store in 1974 and displayed clothing that the world had never seen before. Containing vibrant plaids, safety pins and bondage wear, the collection consisted of many visually striking pieces which sparked a lot of controversy throughout the United Kingdom. At the time, many British people weren’t used to seeing colored mohawks, or black leather jackets with safety pins, and tight leather pants paired with shoes with spikes all over them. This huge impact in the UK would then transfer to other nations across the globe. In collaboration with Malcolm McLaren, manager of the world reknown rock band, the Sex Pistols, Vivienne Westwood was tasked to design clothes for them which was when she started to

develop this idea of fighting against British cultural views. This would match perfectly for the entire persona of the Sex Pistols. Similar to the punk aesthetic movement, fetish fashion challenged societal norms and was a huge turning point for sexual and gender freedom and expression. Speaking about sexuality and gender was considered “taboo” in British culture during the early 1970s. In an interview with McLaren, he stated, “Kids want excitement. They want things that are going to transform what is currently their boring life. And music, young rock music is the only thing they had which they thought they had control of.” McLaren emphasizes the importance of British youth culture and how the Sex Pistols acted as an outlet for young children who felt distant from their peers and social normalities. It was for the kids who felt that they had no sense of belonging in their community. Vivienne Westwood decided that she would tackle this problem through fashion. She began her rebellious aesthetic and philosophy of sedition which the world of fashion would soon be impacted by. BDSM references in fashion have made bold statements in styles seen nowadays. It is the one continuous theme that has been used time and time again. But where do we see this today? Kim Kardashian along with Kendall Jenner have all been seen wearing fetishwear along the red carpet from Balenciaga. Madonna shocked millions of people when she wore a latex fetish-leaning outfit from Atsuko Kudo to the MTV VMAs. Gossip Girl’s Evan Mock was spotted wearing a studded gimp mask from Thom Browne at the Met Gala. You can even see fetish inspired outfits in Emmy Award winning show, Euphoria. Many celebrities around the world aren’t shy when it comes to wearing fetish wear to huge events where they know they’d be seen by millions around the world.

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Director: Leo Oudomphong Photographer: Aaron Sanchez Model: Aliyah Lopez & Leah Venkatesan

Latex is seen being worn more and more. Chokers, rings, chains, and leathers aren’t just couture anymore. This fascination with fetish wear has transferred over to our wardrobes. Even the slightest things like the strap design on a swimsuit has bondage influence. The once taboo subculture has now transformed into a more popularized mainstream style. And as the years go by, the mainstream is embracing more and more taboos. By embracing more and more taboos, communities can learn to respect and understand subcultures to a higher degree. Brands at all entry levels offer fetish wear. Fetish has crept into the world of fashion and it is here to stay for years to come.