22
Issue
Spring
Summer
‘21
The Expressions Edition
4-5 Letter From The Editor 6-15 Emoting 16-17 All Grown Up 18-27 Rejuvenation In A Moon River 28-29 When Art Meets Fashion
c
t n s n o t e 30-39 Eyes & Mirrors 40-41 The Progression of Cottagecore 42-51 To The Core 52-53 Message From The Creative Director 54-63 Dragoness
64-65 The FRUiTS Of Harajuku 66-75 It’s Not A Phase!!! 76-77 Tattoo Renaissance 78-87 Spirit Of Us 88-89 The Crocs Craze 90-99 Color Field 100-101 Defining Luxury 102-111 Mother Of Pearls 112-113 Styling Through A Screen 114-123 Whom Can You Sit In Water With?
124-125 Fashion At The Turn Of The Decade 126-137 Astrologia 138-139 BTS 140-145 Scraps Make US Whole 146 Credits DWF Magazine | 4
Meet The Team Delaney Williams Editor in Chief
Jeffrey Mallo Jr Creative Director
Sophie Vargas
Assistant To the Editor in Chief
Fashion
Womenswear Director: Maddy Bogan Menswear Director: Ava Romano
Styling Team: Irina Amaro Garcia, Hadley Bouchlas, Katie Russell, Antanasia Seright, Claudia Nieto, Nikki Cohen, Morgan Nystrom, Cameron D Quigley, Alexandra Frantsvog, Camille Eynard, Sophie Vargas
Creative Team
Editorial Photographers: Taylor Mair, Summer Cortes, L’Jai Brown, Scout Owen BTS Photographers: Alex Buitrago, Carmela Sacco-Paz, Lexi Delgado Videographers: L’Jai Brown, Autumn Love, Lexi Delgado Graphics Director: Kelli Sullivan Graphics Team: Sophia Vargas, Maddy Bogan, Kiara Gajo, Brittney Pieper, Gabrielle Wallace Alex Buitrago, Camille Eynard, Kate Andersen, Andrew Morris
Public Relations
PR Director: Mariana Valencia Assistant to the PR Director: Kiara Gajo
PR Team: Simone Murphy, Veronica Polanco, Caylan Arnold, Taylor Murdock, Kiara Gajo, Claudia Nieto, Nikki Cohen, Danait Netsereab, Carmela Sacco-Paz, Camille Eynard, Jenna Harris Social Media Team: Veronica Polanco, Kiara Gajo, Claudia Nieto, Nikki Cohen, Danait Netsereab, Camille Eynard, Jenna Harris
Beauty
Beauty Director: Victoria Brumer
Beauty Team: Jannelle Palmer, Kendall Cooper, Katie Russell, Cara Longstreth, Kiara Gajo, Julianna Gayoso
Writing
Copy Editors: Kendall Cooper, Axel Lagergren Blog Director: Veronica Polanco
Writing Team: Jannelle Palmer, Zoe Abovitz, Arielle Vabre, Veronica Polanco, Taylor Murdock, Sophie Vargas, Antanasia Seright, Brittney Pieper, Morgan Nystrom, Alexandra Frantsvog, Camille Eynard, Jenna Harris, Eli Abramson Issue 22 | 5
DWF Magazine | 6
Letter From the Editor
s
itting down to write this letter is such a bittersweet moment for me. It is tough to believe that I have been a part of DWF for four years now, and served as Editor in Chief for two of those. Serving as EIC has been one of the most enriching experiences of my life thus far. Since my first DWF meeting, I had it in mind that I wanted to be EIC one day, but I definitely did not expect to be thrown into the role Sophomore year. It was certainly challenging trying to figure out how to run a magazine at the age of 19, but it was a beautiful process and I would not have it any other way. This issue’s theme came naturally. Amidst a global pandemic where we are finally beginning to see the light with vaccine rollouts, people are showcasing a mood shift through fashion. This issue is not about the clothes themselves, but the way people present them, move in them, and take up space in them. I have observed that people are not playing it safe anymore with their wardrobe, because what’s the point? Likewise, our team did not play it safe this semester. From models engulfed in pearls, to bath tubs in the middle of fields, I believe we’ve learned to embrace the imperfections along the way. To me, that is the essence of fashion in 2021. Thank you to those members, especially Taylor Mair and Mariana Valencia, who have been there since the beginning of my EIC journey. I could not have grown into the Editor that I am today without your patience and support. To the team as a whole, I could not have asked for a better group to close out my final semester with DWF. The talent is
through the roof, and I have been blown away at each person’s contribution to this publication. I have loved hearing about your aspirations and backgrounds; you have each taught me lessons that I will take into the scary world of post-graduation. Jeffrey Mallo, where do I begin. If it was not for DWF and fashion, I would not have my best friend today. I am so glad that I timidly approached you freshman year and complimented your outfit at a DWF meeting. Who would have thought then that today we’d be running this magazine together? Having you by my side as Creative Director this semester has been such an honor. I have loved watching you grow in confidence within each facet of this magazine. I can’t wait to see what the future holds for you. I wanted to give an enormous thank you to Emmanuel Sanchez Monsalve for founding this magazine. DWF has been the highlight of my college experience and it would be nothing without him planting the seeds for such a welcoming and diverse team to flourish. My final thank you is to DWF for the confidence, the friendships, and the style. DWF has helped shape me into my truest self and given me the conviction to chase my dreams. Taylor and Mariana, I cannot wait to watch your EIC journeys. As I say my final goodbyes to the team, I feel at peace knowing that DWF is left in your hands. Forever yours,
Delaney Williams Issue 22 | 7
Emoting By: Mariana Valencia and Taylor Mair
Photographer: Taylor Mair | Model: Aimee Burnette Beauty: Victoria Brumer, Julianna Gayoso Styling: Hadley Bouchlas, Morgan Nystrom, Maddy Bogan, Alex Buitrago, Delaney Williams
DWF Magazine | 8
Issue 22 | 9
DWF Magazine | 10
Issue 22 | 11
DWF Magazine | 12
Issue 22 | 13
DWF Magazine | 14
Issue 22 | 15
DWF Magazine | 16
Issue 22 | 17
All
An E xper
Grow
n U p:
ience of Black Self-Exp ression Amer in ica
I
was one of many young children who spent their time doodling outfits and sketching original pieces into notebooks and on the corner of school assignments, hoping to one day be a fashion designer. Though my life aspirations continued to change with age, my love for fashion remained. I looked forward to the day that I would be able to express myself with the freedom and creativity that I associated with fashion. So naturally, I was excited for my first homecoming dance and all the magic that I imagined would come with it. When my school first announced its homecoming my freshman year, I knew that I wanted to dress up and finally have my Cinderella moment. The dress I chose was short and black with some rose detailing on the left hip, and I had also gotten black block heels which were ever-so-popular at the time. Before then I had never worn makeup, so the task was given to a family friend who gave me my first smokey eye. The completed look was different from anything I had ever worn in my life, but I remember feeling accomplished, and most importantly, I felt pretty. Dressing up that night gave me a confidence I DWF Magazine | 18
had never felt before which showed in every pic ture that I took, and I looked forward to sharing those pictures with anyone who would look. The first person I showed was my grandmother, who I was sure would share my excitement in what I had accomplished. But my fairytale moment was over as quickly as it began when she nodded, said “oh okay, that’s nice,” and turned to talk to my mother. At that moment I knew where their conversation was headed, and I heard my grandmother whisper to my mother that the outfit I had worked so hard putting together was “too grown”. All of the time and effort that I put into my appearance that night had been reduced to those two little words that I had heard too many times growing up. My confidence was shattered. The thought of being seen as physically mature might be exciting to other teenage girls, but to myself and many other young black girls, the phrase ‘too grown’ holds a much heavier meaning. For black girls, hearing that you are ‘too grown’ means that you are standing out too much and not conforming enough. But mostly, it means that you are not looking enough like a child. The expectation of black girls within their communities is to do as they are told without room for mistake or error, and any attempt to step out of line can be corrected by anyone within the community. This means that mothers, fathers, aunts, uncles, nosy church-goers and the old woman from three doors down is allowed to comment on how black girls present themselves. Anything related to physical self-expression is subject to the critique of being ‘too grown’. Things like dark-colored nails, form-fitting clothes, the use
of makeup and dyed hair are among a numthem by society. Instead of trying to appear ber of things that young girls are criticized and younger like black girls who fall victim to the condemned for within the black community. adultification bias, women in the workplace are Girls are even subject to having their body types rewarded for downplaying traditionally feminine judged, as more developed bodies are more like- characteristics. Working women are punished for ly to be policed for being too grown. To escape being assumedly more emotional and less comthe labeling and criticism, black girls are forced petent at their jobs, which causes them to feel to wear shapeless clothing in light colors, no the pressure to overperform in an effort to avoid makeup and no colored hair for as long as their these labels. families deem it necessary. Now that I am a little older, I’ve had more Though the controlling of young black time and freedom to focus on discovering myself. girls and their methods of self-expression is Despite the limitations that I faced in childhood, harmful, the intent is to protect young black I am glad to have discovered that I love the color girls from being perceived negatively by the black, dying my hair and any smokey eye that world through the adultification bias. The adulisn’t as heavy as the one from four years ago. By tification bias is the belief that black children shedding the expectations of my culture, I am are in need of less support and protection from now able to express myself in a way that more adults than children accurately captures of other races. This me and the aspects of assumption comes fashion that I adored Instead of making individuals from the idea that as a child. Though black children go conform to society’s expectations dismissing these through more and expectations has been to avoid biases, communities ev- freeing for me, I am are forced to grow up faster to combat erywhere should teach having com- still occasionally met the disadvantages with looks of disappassion for everyone and promote proval and unwanted they face in society. The black commucomments from older self-expression and exploration nity feels that by people in my comkeeping young black munity. Instead of in individuals rather than supgirls from expressing allowing this to get pressing it out of fear. themselves too much me down, I use this they are helping them as an opportunity maintain their stato educate them on tus as children which allows them to continue how this negatively impacts young black girls. to receive the support, protection and patience My hope is that one day they will also be free to that the American culture provides for children express themselves in the way that my mother of other races. By being seen as childlike, these first allowed me many years ago. The most imyoung girls are able to reap social benefits like portant thing I’ve come to learn is that growth protection from predatory adults, less extreme isn’t something to hide, it’s something to strive punishment for mistakes, and an understanding for. And if that makes me too grown, then I’ll that they are not expected to do everything perproudly claim it. fectly at such a young age. Telling girls that they cannot explore self-expression because of what the world might do to them is not something only limited to the righ e S black community. Gender biases in the worksia a an place are similar to the adultification bias in t : An y the sense that women have to overcompensate B to combat the preconceived notions placed on
t
Issue 22 | 19
Rejuvenation in a Moon River By: Taylor Mair
DWF Magazine | 20
Issue 22 | 21
Photographer: Taylor Mair Models: Matthew Wedderburn, Emily Gordon, Maria De Jesus, Julia Safrin, Raymond Estes, Caio Ferreira Santos Beauty: Victoria Brumer, Victoria de la Torriente Styling: Dexter Williams, Hadley Bouchlas, Morgan Nystrom, Maddy Bogan, Jeffrey Mallo JR
DWF Magazine | 22
Issue 22 | 23
DWF Magazine | 24
Issue 22 | 25
DWF Magazine | 26
Issue 22 | 27
DWF Magazine | 28
Issue 22 | 29
F
ashion designers have always been drawn to the world of fine arts. They collect it, draw inspiration from it and create it. With a partnership as dynamic as this one, it’s no surprise that art x fashion collaborations lead to groundbreaking collections. Personally, I have always admired this relationship, so I was shocked when I found out my latest art x fashion obsession, optical illusion print clothing, was actually a point of tension rather than a bonding experience between designers and artists. In 1965, an exhibition called “The Responsive Eye” debuted at the Metropolitan Museum of Art, showcasing the optical illusion art of Bridget Riley, Victor Varsely and many other Op artists. The exhibit caught the eye of the public and Op Art patterns began appearing everywhere, from fashion to furniture. The psychedelic, abstract style quickly became a commercialized trend. Riley opposed the commercialization of her art and disliked it being used without her permission. Conversely, Varsely was happy to see his art become accessible for everyone and even collaborated with textile firms. Near the end of the 60s, the trend and artistic style ended
DWF Magazine | 30
When Art Meets Fashion up fizzling out just as quickly as it had started due to its mass commercialization. I stumbled across the fascinating world of Op Art while exploring a modern art museum in Nice, France. The versatility and strangeness of it intrigued me, so like any other art and fashion fanatic, I did some research. I ended up falling down a rabbit hole of art x fashion collaborations. Art and fashion have an amazing symbiotic relationship that has given birth to iconic collections. If this relationship is usually beneficial, how did it go sour with Riley and the Op Art trend? Like any other relationship, artists and designers need to have a mutual respect and understanding. In Riley’s case, her work was exploited and turned into fashion patterns without her consent. When designers and artists respect each other, and consent is given, that is when the relationship can thrive. These relationships between designer and artist give way to revolutionary fashion that makes art movements more accessible to the public. One of the pioneering duos of the fashion x art collaborations was none other than surrealist artist Salvador Dalí and haute couture designer Elsa Schiaparelli. They were both already well
known in their fields for being eccentric and groundbreaking craftsmen when they began their art-meets-fashion project in Paris 1934. With a shared goal of flipping Greco-Roman ideals on their head, they worked together to create stunning dresses and accessories. One of their most famous works was The Lobster Dress, a silky white dress with a lobster drawing done by Dalí depicted on the skirt. It gained popularity after being worn by the Duchess of Windsor. Another white, silk gown designed by the pair appeared to be covered in savage rips, but it was actually a print designed by Dalí and inspired by his paintings of figures in ripped clothing. These two dresses reflect the surrealist movement which was popular for allowing the viewer to escape from reality. The pair recognized and respected each other’s genius, and it showed in their body of work. Schiaparelli would ask Dalí to design her perfume bottles, and Dalí would ask Schiaparelli to interpret his haunting depictions of the female form into garments. These surrealist garments were a reflection and a rejection of a world that, at the time, seemed to be ending due to the economic depression. Their collaborations were a haunt-
screen print of a shoe sketch done ing and amazing reflection of the James Dean and embellished by Warhol. Unlike Versace’s tribtimes and of the surrealist with jewels, worn by none other ute to Warhol, this collection was movement. A few decades later, than Naomi Campbell. The whole sleeker and more refined to show another fashion x art collaboration collection was full of intense cola different side of his art as well as took the spotlight. In 1965, Yves ors, busy patterns and bejeweled Saint Laurent came out with a pieces. Similar to Pop Art, it incor- represent Dior’s brand properly. collection of Mondrian shift dress- porated popular media into haute Art and fashion have a long-standing relationship that goes deeper es. Unlike the Dalí-Schiaparelli couture through its catsuits than commercial success. Designproject, his collection was made that were patterned with Vogue ers’ love for the arts has provided after the artist, Piet Mondrian, had covers. Versace’s style came them inspiration for depassed and was intend“The best collaborations are cades. It is more than just ed to highlight cubism’s importance in 1960s created when the designer’s printing a painting onto a garment. It is translating culture. Mondrian was love and respect for the art an artist’s work into the famous for his primary-colored cubist paint- comes through in their clothes.” designer’s own unique style. It is fusing the two ings. Laurent combined so you cannot spot the seams. This Mondarian’s designs with the through in each piece while idea is best expressed by Gianni mod, minimalist fashion trends of also paying tribute to the playfulVersace when he stated that, “to the time to create his collection. ness of Warhol’s work. Versace’s use art in a flat way, without creLaurent did more than just copy creative genius and respect for ative intervention, is in bad taste.” Mondrian’s works onto a garment; Warhol made the principles and As long as the relationship is he brilliantly constructed the shift meaning of Pop Art more accessidresses so that the “color-blocking ble to the public through his inno- respectful, it can remain a positive way to make fine art more accessiyielded to the natural lines of the vative and iconic collection. ble to the public. The blending of body while also hiding the seams”. The relationship between Laurent is known for his love of art and fashion isn’t just a thing of fashion and art is something to be nurtured and celebrated for all the fine art, and it shows in his work. the past. Warhol’s work made innovative collections it has led The collection puts Mondrian’s another appearance in the 21st to. work on display in the best way to century fashion world with Dior’s highlight his use of color, space 2014 collection. Dior’s Warhol coland line. By respecting an artist’s lection is a great example of how vision while simultaneously using an artist’s work can be interpreted your own craftsmanship to honor differently and live on in a variety it, a designer is able to strengthen of ways. While working on a the bond between art and fashion. collection to reflect Christian Gianni Versace was anothDior’s personal history, Raff er designer and art collector who Simmons collaborated channeled his passion for fine art with the Andy Warhol into his collections. In the early Foundation for the Visual 1990s, Versace combined his eye Arts to fuse several of the for contemporary fashion with his artist’s sketches with the love for Warhol to create a Pop Art collection’s key pieces. show. This line fit into Versace’s Simmons was encapsulated “pop culture aesthetic” with its by the beauty of Warhol’s vibrant and daring designs. Simearly shoe drawings and ilar to Schiaparelli and Laurent, received permission from Versace worked with the Andy the foundation to put Warhol Foundation to create a them on handbags and show stopping dress that used his dresses for their collecpop culture portrait prints. The tion. One of the standout dress in question is a printed silk pieces was a smooth evening gown covered in Warhol’s calfskin leather bag with portraits of Marilyn Monroe and a black enamel and silkBy: Alex Frantsvog
Issue 22 | 31
DWF Magazine | 32
Issue 22 | 33
DWF Magazine | 34
Issue 22 | 35
DWF Magazine | 36
Issue 22 | 37
DWF Magazine | 38
Issue 22 | 39
DWF Magazine | 40
Issue 22 | 41
The Progression of Cottagecore I
In times of stress, we like to regress. We strive to return to what is comfortable and familiar. When there are bad days we want to go back to simpler times, to when we were not weighed down by today’s worries. It is no secret that the world is a chaotic, overwhelming, and scary place—this past year and a half being no exception. Escapism is our form of coping, and as a society we express our escapist desires through our fashion.
’m talking about cottagecore. The aesthetic of hanging your flowing laundry on a clothespin, picking flowers in your backyard garden, and enjoying a quiet afternoon of eating strawberries in the grass. No technology, no society, no responsibilities. Cottagecore originated from the LGBTQ+ community as a celebration of femininity, self-expression, and sustainable living. It’s reclaiming stereotypical gender roles such as sewing, baking, and gardening. It represents a safe haven from discrimination and violence where one
DWF Magazine | 42
By: Zoe Abovitz
can be free of the constant weight of living under systemic oppression. It demonstrates the innate desire to reconnect with nature, preserve the environment, and return to pre-Industrial earth. It is quite a tempting offer, to leave all your troubles behind and run away to the countryside. Cottagecore is a beautiful collective fantasy, one that brings a little bit of joy to the endless stress of our everyday lives. But that is all it is. Most of us cannot run away and leave the rest of the world to burn in our wake. The cottagecore aesthetic
was created in 2020, during a renewed resurgence of people waking-the-eff-up to systemic racism, inequity, and the atrocities of colonialism and slavery. These injustices affect every system and aspect of life, and even cottagecore itself cannot escape from its own failings with diversity, classism, and colonialism. Cottagecore centers around rural living but harkens back to colonial times. Colonialism came to be through the brutalization and genocide of Indigenous peoples and the theft of their land. This period is also connected
to slavery and the origination of the systemic racism and intergenerational trauma that resulted from it. Idealizing the period that cottagecore references while the systemic discrimination that stems from it is still being upheld today is enormously problematic. The lack of representation of Black and Indigenous communities—who were the most harmed by colonialism—and the domination of whiteness in cottagecore adds to the issue of the aesthetic perpetuating old racist ideals instead of progression. Adopting a cottagecore aesthetic—or any aesthetic—is a luxury accessible only to those who can afford it. People romanticizing impoverished living without having to live it, coupled with indifference to those in need, is utterly paradoxical. There is also a striking lack of plus-sized and disabled representation, much like the rest of the fashion industry. Furthermore, cottagecore’s ties with colonialism transformed it into an exclusively westernized and Eurocentric space, isolating both Middle Eastern and Asian representation in people, fashion, and culture. Instagram accounts like Cottagecore Black Folks, founded by Noemie Sérieux, are diversifying the trend and building a supportive and inclusive community. Accounts like this should continuously be at the forefront of the aesthetic. Instead of allowing white, middle-to-upper-class, cis, heterosexual, and thin-bodied voices to be the loudest in the cottage core community; the BIPOC,
“Like in all other parts of life, it is important to listen to the BIPOC, LGBTQ+, plus-sized, and disabled communities when there is a problem, but not to put the emotional labor and ownness on them to identify and fix everything.” LGBTQ+, plus-sized, and disabled voices who choose to participate in the fashion aesthetic need to be amplified. The responsibility of that falls on everyone who participates in cottagecore, specifically those who benefit from current discriminatory systems. So, where to go from here? What happens when a collective safe space is upholding ideals that harm Black, Indigenous, and People of Color communities and support harmful and archaic systems? How do we keep cottagecore from turning into something that it was intended to be a sanctuary from? How do we move it away from its established problems? What do we do when we realize we can’t escape? We deal with it. Cottagecore can’t be let off the hook just because it is a comfort zone. Too long has there been a desire to let things continue because it is convenient and comfortable for those who benefit. No one— nothing—should get a free pass. Cottagecore has not only exposed a great need to escape, but it has revealed that even people’s daydreams can uphold white supremacy. We have a social responsibility to fight for the day when such fantasies can become a reality for everyone. That kind of work has to start by questioning, analyzing, and fixing our broken and discriminatory systems. Ask how these systems influence your thoughts and behaviors, then confront your comfort zones without forgiveness. Commit to making
cottagecore a space that is not reminiscent of the trauma of BIPOC people. It is important to amplify all marginalized groups within the aesthetic and in real life. This is not meant to say that no one can be happy, only to push people to analyze what makes them happy and why—and at whose expense that happiness is coming from. People should still find ways to preserve their mental and emotional wellbeing: that is essential. People can still bake their own sourdough, wear paisley-printed clothing, and eat all the strawberries they want in the grass. Bring the positivity of cottagecore into your daily life so you can get through the day. Take a step back from technology, social media, and day-to-day life when possible. Do simple, physical tasks that help ground us. Keep breaking down those traditional gender roles and promote sustainable living! We can do it, but the important thing is that we do it
together.
Issue 22 | 43
To The Core
By: Lexi Delgado and Alex Buitrago
DWF Magazine | 44
Issue 22 | 45
Photographers: Summer Cortes Lexi Delgado
Models:
Nina Chong Shannon Oreo Chris Marie Conzone Budelynn Noel
Beauty:
Victoria Brumer Alex Buitrago
Styling:
Hadley Bouchlas Morgan Nystrom
DWF Magazine | 46
Issue 22 | 47
DWF Magazine | 48
Issue 22 | 49
DWF Magazine | 50
Issue 22 | 51
DWF Magazine | 52
Issue 22 | 53
W
has honed in to be a place for everyone to ith the start of the new year as feel that certainty in what they are creating. The theme for this magazine is Expresa beacon of light for new beginings, I was ready to take on the world. My sions, an idea Delaney and I had that seemed biggest lesson I learned from 2020 so obvious but so relevant to the times. is to not be silent. Expressing my Coming into the new year with the events emotions had been something of racial injustice, the covid-19 pandemic, and an odious election race on our belts, that I did not realize I repressed so often; putting up there has been plenty of time of reflection for people to discover new values about a façade to people and feeling like they would themselves. In my very last concept shoot never know the real Dragoness, I wanted to highlight everything I loved about art and fashion and make someme plagued my mind. I was in a thing to call my own. Katsushika Hokusai daze, but with the has always been one of my favorite artists in history with his fantastically rendered ukihelp of great yo-e screen prints and rebellious attitude to friends I found the light defy Japanese cultural standards. Hokusai’s out of the dark. I realized that legacy was the main artistic inspiration for by expressing my opinions and being clear with people I would my shoot, as well as my love for video games, feel a better satisfaction with my drag, and fierce strong women. Collaborating own peace of mind. What a new with my team to make this happen has been thrill it was to be living freely! As one of my favorite memories from college. My motive this semester was to make a creative, this excited me, a new this the most original issue yet by allowing level unlocked for inspiration. This is the revelation that led me our team to let their individuality shine the to step up as creative director for brightest it could. As creative director, I would be there to encourage them and guide DWF in 2021. them to express their talents in the finest I came to DWF magazine my first semester at FSU as a manner; and boy did they do that! Being able to work for this magazine has allowed me to menswear stylist. I first met Delaney through a friend and meet some of the most talented people I’ve we instantly connected by our ever befriended and its an honor to work with them every time. I’d like to thank all of love for Tame Impala and fashion. She had asked me the photographers, videographers, makeup to model in her first con- artists, graphic designers, writers, stylists, pr cept shoot where I really and social media teams, and our directors for got to see her talents all the hard work they’ve done to give you all this fantastic debut of this magazine. And as a leader blossom in front of me. It was thank you to everyone who reads and follows fabulous. We found our magazine, your support means everything! a place where we To everyone reading this now, I encould feel comfortable in expressing courage you to continue to get to know our creativity freely yourself. I hope you never forget that no and learned a lot matter the circumstances, you can accomabout the indus- plish any thing you put your mind to. And try in doing so. remember… Through the years, DWF Bad times.. are just times that are bad.
DWF Magazine | 54
Jeffrey Mallo Jr.
MESSAGE FROM THE CREATIVE DIRECTOR
Issue 22 | 55
DRAGO BY JEFFREY MALLO JR
PHOTOGRA a PHER: TAYLOR MAIR MODELS: DARBY LESTIN, LILA GARCIA GRA a PHICS: JEFFREY MALLO, ANDREW MORRIS, KA a TE ANDERSEN, ALEX BUITRA a GO
DWF Magazine | 56
ONESS BEAUTY: CARA a LONGSTRETH, VICTORIA DE LA TORRIENTE, KENDALL COOPER STYLING: HADLEY BOUCHLAS, MORGAN NYSTROM, MARIANA VALENCIA, MARIANA VALENCIA, IRINA AMARO GARCIA, DELANEY WILLIAMS
Issue 22 | 57
DWF Magazine | 58
Issue 22 | 59
DWF Magazine | 60
Issue 22 | 61
DWF Magazine | 62
Issue 22 | 63
DWF Magazine | 64
Issue 22 | 65
The FRUiTS of
Harajuku
Colorful, unique, and striking - Japanese street style has been pushing the fashion boundaries for decades. The Harajuku style began in the 1960s but wasn’t recognized worldwide until the 1990s. In brutal times of war and hardship, the Harajuku style brought happiness to the streets of Japan. It was a crucial point in discovering individuality and challenging the expected. Harajuku culture began when American soldiers moved to the Harajuku area during the post-war occupation of Japan. Since Americans were occupying this space, western stores began popping up to bring a familiar atmosphere to the soldiers. Japanese youth interested in the Western style purchased the different American clothing. Combining traditional Japanese pieces with the western styles, the Harajuku style was born. From cosplay to lolita to visual kei, these trendsetters filled the streets with unique and striking outfits. These daring outfits caught the attention of fashion designers, leading to them moving into the area and calling themselves “the Harajuku tribe.” In 1964, the Tokyo Olympics took place, bringing more tourists and shops into Japan. This pushed the style further, as Japanese designers and youth explored western fashion through these shops. Moving through time, the dynamic nature of this style called attention to the streets of Harajuku. In the 1990s a man named Soichi Aoki was deeply invested in the creativity and fresh air of the youth trendsetters. Inspired by the street style, he began capturing the fashion and publishing it in a magazine called FRUiTS. When asked about the title he explained that the fashion of Harajuku is reminiscent of oranges and strawberries. “It is freshness you can only find in fruit, a style that was poison-free, with a refreshing sweetness”. Harajuku style was an amalgamation of Western and Japanese fashion that birthed something totally unique, an unpredictable street style that constantly redefines itself. The first issue was launched in 1997 to record and celebrate the freshness of the fashion presented in the Harajuku district. Aoki continued until 2017, when he ceased publication because “there are no more cool kids to photograph”. FRUiTS is a gift to the fashion world,
DWF Magazine | 66
By Brittney Pieper bringing the styles of the Harajuku district to the mainstream. Even though the magazine is no longer in production, twenty years of style was captured and can be found on the archive Instagram, @fruits_magazine_archives. In current times, Harajuku can be divided into several distinct geo graphic fashion districts. For example, Omotesando, right outside of Harajuku station, is similar to Paris’s Champs-Elysees. This area showcases only the best of Louis Vuitton, Chanel, and Prada. Takeshita street, on the outskirts of Harajuku station, holds gatherings every Sunday for youth to come together in various styles. The geography of the Harajuku area explains its variety, the physical separation of the Harajuku area leads to the proliferation of unique styles originating from the different neighborhoods. Exploring the area can lead you to find any number of styles derived from whatever slice of Harajuku the wearer calls home. A key component of this style is the lack of predictability. The point of the Harajuku style is to embrace the unconventional. Fashion serves a clear purpose of expression and freedom, and the
Japanese youth embraced this fully. So, what are some key components of the Harajuku style? Besides it being an “I’ll know it when I see it,” type of style, there are a few essentials. The styles often include a mix of traditional Japanese garments, like Kimonos and wooden sandals, and more American pieces. Secondhand and vintage clothing is a popular choice because of the spontaneity of it. Also, the layering and mixing of colors and patterns create that textured and varied look. Plastic and colorful eighties-inspired accessories add on to the existing layers. To top it off, colorful hair, especially pastels or neon, and contact lenses of all colors complete the look. Different combinations of the listed items create one-of-akind looks that represent the wearer. Soichi Aoki sought to capture this style because of how different it was and how fresh the looks were in comparison to the designer brands of the time. Additionally, the spontaneous nature of these outfits proliferated subgenres of mixing Japanese and American wear. Here are a few looks that flood the streets of Harajuku:
Cosplay:
Cosplay provides an opportunity to take on the persona and looks of a well-known character. This can be from a movie, a game, a band, and any other platform with memorable characters. This costume entails
dressing to look the part as well as acting the part. This style is still popular in current times and has spread worldwide, leading to massive events for cosplayers to bond over a shared interest.
Lolita:
Lolita style is a sweet look of Victorian-era modesty. This look usually has cupcake shaped skirts, petticoats, stockings, corsets, and soft colors. The entire look embodies happiness, this is another style where the wearer embraces the gentleness of the clothing.
Punk:
The punk style embodies rebellion. The main inspiration for this look comes from the punk-rock era. Think leather, hanging chains, piercings, and tons of black. Similar to cosplay, this look also spread worldwide and is a popular look for high schoolers, band members, and anyone who wants to dive into a deeper color.
Visual Kei:
Also called, “visual style,” visual kei includes garish costumes, outgoing beauty styles, and an androgynous look. This started in the music scene of Japan, so in some ways, it embodies a form of cosplay. Many designer brands value the androgynous look for their clothing pieces, and this may have been a starting point for that.
Gyaru:
Gyaru is a pure and joyful style. It revolves around the freedom of youth and spontaneity is a key concept. This style includes bleached or dyed hair, decorative makeup, and the most in-style nails available!
Ganguro & Yamanba/ Manba:
Ganguro style transforms the gyaru look from pure to dramatic. The traditional aspects, such as the bleached hair, makeup, and nails are emphasized to the max for a show-stopping look. Moreover, ganguro holds many of the same characteristics as gyaru but also includes orange hair, silver and black-lined eyes, and white eye shadow. The youth may add facial gems, false eyelashes, and platform shoes! Yamanba and manba styles are another form of gyaru. However, this look is even more striking than ganguro. In addition to the aforementioned, the make-up is radical and almost clownish, and the youth tend to have neon hair.
Issue 22 | 67
It’s Not A Phase!!! By: Cameron Quigley & Maddy Bogan
Photographer: Scout Owen Models: Nia Alexander, Gabby Grodman Beauty: Victoria Brumer, Kiara Gajo Styling: Alex Frantsvog, Morgan Nystrom, Jeffrey Mallo Jr
DWF Magazine | 68
Issue 22 | 69
DWF Magazine | 70
Issue 22 | 71
DWF Magazine | 72
Issue 22 | 73
DWF Magazine | 74
Issue 22 | 75
DWF Magazine | 76
Issue 22 | 77
T
attoo Renaissance There are few practices so deeply embedded into the fabric of humanity as tattooing. Throughout generations, these marks have always garnered attraction. Its absoluteness and finality eliciting a level of fascination and fear, contributing to the art form’s survival. By: Taylor Murdock
In molding to the wants and needs of the wearer, tattoos have sat at the cusp of societal acceptance, indicative that while the way we dress has always been telling of the times, the stories that lie within the skin offer their own insight. The adoption of body modifications shines a light onto the societies of then and now. Tattoos of today lack labels in favor of the creative self. Whether it’s in pursuit of identity or defiance, self-expression or sentiment, the art of tattooing has been relinquished from the chains of subversion. This emergence into the mainstream can be marked by the growth of social media and con-
DWF Magazine | 78
sumer culture. Public figures have since become some of the loudest proponents of this artistic revival without having to say a word. In flaunting their tattooed skin on magazines and movie screens, tattoos have gained a sense of familiarity and status. No longer are they deemed marks of the outsider, they are credited as a form of artistic expression. Celebrities’adoption of ink unintentionally promoted and commodified the practice, forcing it out from the underground and into the hands of consumers. These factors merged tattoos with fashion and pop culture, making way for the stylized ink of today. Perhaps, this
redefinition comes in response to a culture ruled by consumerism, aiming to find authenticity in symbolism and the buying back of our individuality. To understand this reawakening, we shift our attention to the origins of tattooing. In dating back thousands of years, tattoos have taken on a multitude of meanings. The discovery of Ötzi, a man mummified by ice, is indicative of this versatility. The 5,300-year-old ‘Iceman’ offers the earliest evidence of tattooing, his markings operating as a form of acupuncture. Beyond its medicinal origins, tattoos have historically offered a means of identification, serving
as societal markers for status, rank and character. Samoan culture in particular utilized such structures, to endure the pain of tatau spoke towards a man’s courage, spirit and experience. Tattoos have further aimed to capture one’s life and lineage. Women in Alaskan Inuit culture remain grounded to this significance, tattooing lines on the face to showcase their journey into womanhood, each mark signifying a new milestone. Despite tattoos being routine and respectable in many cultures, the feeling wasn’t universal. Parts of the world weaponized the practice, using tattoos to signify ownership, occupation and deviance. The branding of criminals in Japan lasted until the 1800s which resulted in tattoos being affiliated with violent groups such as the Yakuza mafia. This connection led to tattoos being briefly outlawed. Despite its reinstatement, the stigma lingers today. This complex and disjointed history has immortalized tattooing’s mystique, feeding into the Western world’s own reluctance. By briefly becoming a fad of the elite during the Victorian era, tattoos took on a fashion forward lens. This royal influence rubbed off on Americans, however, the trend was limited and lost traction. Subcul- tures subsequently adopted the practice, resulting in the segmentation of tattoos. The clienteleconsisted of sailors, military men, bikers and outcasts. It took tattoos trickling back up into the hands of the elite for them to shed their outsider reputation. Once on the bodies of musicians, movie stars, and athletes the scope of body art was widened. Psychedelic rock singer Janis Joplin was one of the first celebrities to wear visible tattoos in the 70s, while today artists from all genres such as Travis Barker, Rihanna, Adam Levine and Miley
Cyrus display their tattoos with pride. Figureheads of pop culture can be credited for tattoos commonplace. By endorsing the fine line style, super models and actors have rebranded the tattoo as discreet and professional. Cara Delevingne, Kate Moss and Chanel Iman have all flaunted their tiny tattoos on the runway, further blurring the line between body art and fashion. In working with stars, some tattoo artists have gained global recognition, fostering a loyal and large fan base. Tattoos from Dr. Woo and Keith “Bang Bang” McCurdy come highly demanded, pointing towards an era that honors the profession and invests in the artists. The variety of styles such as American traditional, Japanese, tribal, old and new school cater to a diverse and ever-growing clien-
Further, today’s tattoos convey a growing investment in oneself. tele. In shifting our focus towards the physical form tattoos are now viewed as an improvement and living record of one’s life. While the experience allows for memories to become tangible, this recent wave of tattooing exudes significance and meaning in new ways. In treating the process as a retrieval of the body, many derive symbolism from the act itself. Value today is often placed in the beautification and individuality of the design. The creating of a token that unifies the inner and extended self signals the increasing craving for control in a world that seemingly lacks order. This personalization aims to combat the commodification of a subculture that once symbolized obscurity and divergence. However, this renaissance isn’t without its flaws. Tattoos
aren’t free from judgment nor are they the elixir to loving yourself. While they make the majority of wearers happy, there is room for regret. Of those who are unhappy with their ink, 35% contribute it to being an impulsive decision while 31% no longer resonate with the significance of the tattoo. While the desire to be marked is compelling, the dissatisfaction of an unwanted design is equally as impactful. With the rising rates of people getting tattooed, the laser removal industry is similarly seeing an upward trend, both profiting off the intrinsic value of feeling comfortable in your own skin. While the art of tattooing serves those who choose to partake, this renaissance showcases consumer culture’s ability to transcend the temporary, bleeding into the world of permanence. As many of us continue to decipher the rocky terrain of our truest selves, it has become increasingly difficult to do so in a society that quickly commodifies our means of self-expression. Above all else, the beauty of tattooing lies in its relationship to the wearer. Whether it honors someone you love, a moment you wish to remember, or puts a smile on your face, to ink or not to ink, the choice is yours.
Issue 22 | 79
Spirit of Us By: Sophie Vargas
Photographer: Summer Cortes Models: Jacob Terrell, Alivia Hernandez, Camilo Bueno, Karmen Thomas, Andii Sajid Beauty: Victoria Brumer, Katie Russell Styling: Morgan Nystrom, Jeffrey Mallo Jr, Alex Frantsvog
DWF Magazine | 80
Issue 22 | 81
DWF Magazine | 82
Issue 22 | 83
DWF Magazine | 84
Issue 22 | 85
Artwork by Alfred Yeh DWF Magazine | 86
Issue 22 | 87
DWF Magazine | 88
Issue 22 | 89
The Crocs Craze
A Shoe’s Journey from Ugly to In-Style | By Sophie Vargas
W
hile there may not have been many new fashion trends over the past year, there has been an undeniable boom in demand for the rubber slip-on anomaly, Crocs. This resurgence may come as a surprise, as we can all recall how popular opinion of Crocs went from fun footwear to abhorrent following the shoes’ initial popularity in the 2000s. A few years ago the shoe was so disliked that there was even a Facebook page titled “I don’t care how comfortable Crocs are, you look like a dumbass” with over 1.2 million followers. Additionally, back in 2010, Time Magazine placed it 22nd on its list of 5o worst inventions. Nonetheless, here they are! And no matter what your personal opinion may be, the craze for Crocs continues to flourish, stymieing fashion trend analysts from all over. As sudden as this fad may seem, the company has actually been creeping back into the limelight over the past several years. Make no mistake, Crocs’ newfound success cannot be credited to dumb luck alone. It was through management’s careful steps to rebrand the company and reinvent the business model that they could reach their current rate of success. While many factors lead to the brand’s ultimate resurrection, it was due to their revamping of social media and digital marketing, the diversification of customer outreach through celebrity
DWF Magazine | 90
collaborations, and the encouragement of debate over their product that launched them into the sensational new era we witness today. By the early 2010s, Crocs started to see a sharp decline in profit since their start-up a decade before. As of 2014, the company was seeing its worst figures yet, losing almost $19 million within that fiscal year. However, once current CEO Andrew Rees stepped into the position in 2017, he undertook radical changes to the company’s operations. In a statement made to Business Insider, Rees reflected on his efforts saying, “What I saw back in 2014 when I started with Crocs was ... an incredible brand with incredible passion but with untapped potential. I also saw a brand that could be substantially bigger and more profitable, and increasingly more relevant to millennials.” Over time, he came to demonstrate these intentions through a series of business strategies. To start with, Rees rebranded the image of the shoe as the “Classic Clog.” There was a focus on simplifying their appeal as comfortable and colorful footwear that is easy to wear and clean. Management proceeded to promote these sentiments while also appealing to the childhood nostalgia of 2000’s babies, which had given the shoe its previous wave of popularity. Crocs understood the value of this emotional link, and they capitalized on it. Now, current 20-something-year-olds eagerly search for expressive jibbitz pins the same way they did when they were kids - keeping the same enthusiasm. Beyond a reinvention of the company’s mission,
C
rocs decided to shut down several brick-n-mortar stores that had been losing them money. They instead turned their focus to creating a more substantial online presence. They began to sell more products via online stores, including both their own and several other popular retailers such as Amazon. An essential factor to the company’s success relied on their willingness to evolve with their customers, both in how they shop and the messages they hope to convey in their styles. Soon after, the company began to redirect its budget to amplify its social media presence. A huge goal of Rees was to diversify Croc’s outreach, with one effective method being the creation of several buzz-worthy celebrity and brand collaborations. One of their initial partnerships occurred with luggage and handbag design company Vera Bradley. A short while after that, they presented a collection with rapper and producer Post Malone. There had been a mutual appreciation between the company and the rap star for a while prior to the deal, but once they launched their first collection together, the sales data was clear: the collab was a wild success. Since then, this duo has released five more collaborations within two years, with each one more sought after than the last. Yet Crocs, invigorated by this momentum, continued elevating their status by introducing their clogs to the luxury fashion scene. It began with Scottish designer Christian Kane, who gave Crocs their first high-fashion interpretation in his Spring/Summer 2017 collection. Balenciaga followed suit not long after and created an incredible platform clog that stood at 4.5 inches tall and was marketed at $850 a pop. Once released to the public, the shoes sold out within hours. Crocs continued on this trend and made more partnerships with other music icons such as KISS in 2o19 and Justin Bieber in October of 2020. At this point, Crocs hardly has to pay for celebrity endorsement - the slippers speak
for themselves! Several high-profile celebrities have shared their pairs via Instagram, including Zoe Deschanel, Ariana Grande, Pharrell, and even Rihanna. Their most recent collaboration was with Puerto Rican pop star Bad Bunny, which launched in December of 2020 and saw a record sell-out time of just 16 minutes. Although missing out on these glow-in-thedark collector’s items upset many fans, the president of the company, Michelle Poole, insisted that while Crocs aims to please their fans they still want to maintain the special quality of a limited release item. We’ll have to see if the demand is significant enough for the company to issue a series of releases for this partnership as they did with Malone. Even still, many remain starkly opposed to the shoes and are set on the opinion that they’re just flat ugly. Surprisingly though, the company encourages what they refer to as “healthy controversy.” As Brandwatch analyst Kellan Terry put it, “Crocs are a meme. They are the Nickelback of footwear, but they are also the subject of hot debate.” Crocs embraces the sentiment that all publicity is good publicity - in their view, love them or hate them, at least you’re paying attention. After all, the buzz surrounding the shoe is what ultimately helps to boost their sales. Interest in Crocs spiked by 38% from 2019-2020, which lead them to experience their most lucrative year in sales revenue to date. So, even if these clogs aren’t exactly your taste, you’ve got to hand it to them: there’s just something there that you have to admire. They are a balance of ugly but ironic, functional but comfortable, youthful, and customizable. Silly as they may seem, these flops are here to stay, and I would advise everyone to curb the hate, grab your own personalized pair, pop on some jibbitz if you feel inspired, and cruise with comfort and style.
Issue 22 | 91
DWF Magazine | 92
Photographer: Taylor Mair Models: Irina Amaro, Kiara King, Samantha Fast, Turner Meyers Beauty: Julianna Gayoso, Victoria Brumer Styling: Morgan Nystrom, Delaney Williams
Issue 22 | 93
DWF Magazine | 94
Issue 22 | 95
DWF Magazine | 96
Issue 22 | 97
DWF Magazine | 98
Issue 22 | 99
DWF Magazine | 100
Issue 22 | 101
Defining: Luxury
Exclusivity. E x t ra v a g a n c e . Splendor...
By Antanasia Seright
L
uxury goes by many names. It is associated with the finer things in life, though its ambiguity evokes different imagery in different individuals. As designers offer more affordable and accessible products under the label of luxury, the line that separates it and frugality continues to be blurred. Without a clear definition of what true luxury looks like, well-known brands are having their luxury status challenged and revoked by consumers across social media. The demand for accessibility often overshadows the consumer’s desire for exclusivity, this leads to a conflict that brands are still navigating. Many consumers determine the luxury of a brand by its price, accessibility, and visibility. This is rooted in the age-old custom of representing prestige through dress. For centuries humans have used clothing to signal differences in socioeconomic status as well as job titles held in the workforce. Higher status is signaled by access to scarce, expensive materials as well as a higher DWF Magazine | 102
quality of care used to make the garments. Just as those of high status indulge in luxury goods to display their place in society, those of lower status also buy these goods to emulate their display of higher status. This is because of the benefits associated with status-signaling through luxury clothing. Wearing luxury items signals to society that an individual is successful and creates an overall better first impression than if an individual were not wearing luxury items from well-known brands. An example of this is seen in the 1990 film ‘Pretty Woman’, in which Julia Roberts’ character Vivian ventures to Rodeo Drive to shop at a luxury retailer. A sales associate turns Vivian away because her street clothing and plain appearance revealed to employee that she could not afford anything there. The next scene shows Vivian returning to the same store, but this time she wears more sophisticated luxury clothing and her hands carry bags from other shops nearby. Due to her change in presentation, the sales associates were much more inclined to assist her in shopping rather than asking her to leave as they did before. This example shows the impact of luxury on impressions, as the same person received different experiences based on what was worn at the time. The difference in experiences between those who wear luxury and those who do not highlights the desire to attain and display luxury. This also explains the popularity of things like Gucci belts and Prada bags among consumers from all social classes. These popular and easily identifiable items serve as an entry-level status symbol indicating to the world that the wearer is worthy of the same positive treatment that those from the highest social class are awarded. Though this perception of luxury promotes certain brands to the forefront, it has also resulted in the dethroning of others. At the height of the 2010s, Michael Kors was a widely sought-after brand whose designs had a place at political addresses, red carpets, and even a name drop in a Nicki Minaj verse to fully cement its luxury. Even with such a recent peak in popularity, Michael Kors is among the many brands that have had their luxury title challenged by consumers on social media. The
decline in luxury can be blamed on a fall out of trend or new brands gaining popularity, but the ultimate explanation falls on an increase of accessibility to the brand and how that takes the feeling of exclusivity from consumers. Other brands such as Coach, Versace, and Chloé have minimized their exclusivity through diffusion lines. Diffusion lines are secondary lines associated with luxury brands that offer low-cost alternatives under the same label or designer. Diffusion lines are sold by retail and can be found at local department stores such as Macy’s or Dillard’s. Though the Michael Kors diffusion line has resulted in a decline in popularity, the main purpose of these secondary lines is to cater to a broader market while creating a halo effect that encourages consumers to eventually branch into the higher priced brand and its products. This creates a problem between brand and consumer because many people believe that the most defining aspect of luxury is its accessibility and demand points. By giving Michael Kors a place in Macy’s and Dillard’s consumers believe the brand is renouncing its luxury. Michael Kors is now too cheap, plentiful, and easy to obtain; becoming useless to those who intend to convey their status through exclusive fashions. Michael Kors’ fall from grace is only one example of the importance of trend and perception to the world of fashion. Instead of basing consumption on personal interest and style, consumers are more inclined to
buy things that allow them to appear in high status or on-trend. The issue with trend following is that it acts as a dress code, instructing consumers on what to buy and when. This can result in hyperconsumption as consumers are constantly buying clothes to match whatever is popular at any given time. Fashion, both luxury and otherwise, serves as a creative outlet for both consumers and designers. The ultimate issue in overvaluing trends and perceptions of consumption is that promoting a system of exclusivity and status display prevents creativity through self-expression and design. By pushing uniformity and trend-following to the forefront of luxury fashion, the success of many brands has been reduced only to their ability to continuously produce pieces worthy of short-lived trends. This prevents brands from being appreciated for the unique art that they worked hard to create. Though the meaning of luxury has been mostly reduced to exclusivity, there are still brands that intend to bring luxury and art to all genres of consumption. The 2020 CFDA Accessories Designer of the Year recipient Telfar Clemens best embodies this with his slogan “Not For You - For Everyone.” By taking the importance of status out of fashion, Telfar uses his brand to make fashion more accessible and return the focus to the art of garment design and creation - which is luxury in the greatest sense.
Issue 22 | 103
DWF Magazine | 104
By: Delaney Williams
Issue 22 | 105
DWF Magazine | 106
Issue 22 | 107
DWF Magazine | 108
Issue 22 | 109
DWF Magazine | 110
Issue 22 | 111
DWF Magazine | 112
Photographer: L’Jai Brown Models: Matthew Nazareth, Daniela Vergara Beauty: Victoria Brumer, Cara Longstreth, Julianna Gayoso Stylists: Maddy Bogan, Ava Romano, Camille Eynard, Dexter Williams, Hadley Bouchlas, Morgan Nystrom Issue 22 | 113
Styling Through A Screen: Virtual
T
Fashion Meets Video Games By Veronica Polanco
ravel back in time to your childhood when you used to play online dress-up games and immerse yourself into your own world while developing an emotional connection with your mini-me. Money wasn’t an issue, you could expand your wardrobe for your character beyond what you could afford in real life. The outfits you put together on your virtual avatar showed the world a real representation of an idealized self. With most of the population living in a high-tech world, fashion designers decided to make themselves relevant in a virtual realm. Due to COVID-19 canceling physical runway shows, designers were challenged with finding innovative ways to show their collections during a pandemic, while also reaching a wide clientele. Brands had to change their audience and in a quarantine era, what better strategy is there to use than technology. Luxury fashion houses, such as Burberry, Gucci, and Marc Jacobs to name a few entered the endless world of gaming through unique collaborations. Known for their eccentric fashion and design elements, video games became the new form of virtual runways. Brands get the exposure they need while consumers get to showcase their fashion sense and personality in the following games. In a pandemic driven society, it’s a win-win situation for both sides.
DWF Magazine | 114
Sims, a life simulation game where players can create an alternative reality and be in control of their own mini world, is becoming a hub for virtual fashion. Players have the advantage of creating their own platform to design runway looks and live their fashion fantasy. People live vicariously through their Sims by designing their dream house, relationship, and of course, high fashion outfits. The game offers players to attend virtual fashion weeks, exclusive events, and even host the Met Gala, a once-in-a-lifetime opportunity that audiences can engage in from afar. It’s a way for people to live in a fashion capital from the comfort of their own home. Users gained access to backpacks, sneakers, and other luxury accessories from Gucci’s Off the Grid sustainable collection. Sims also partnered with Moschino to design branded clothing and interior designs for users. The term “Simfluencers” emerged as content creators used Instagram profiles to showcase their character’s clothes. For designers, Sims is no longer just a fun game. It is a professional outlet for them to show their runway looks and fashion portfolio. During the quarantine, Animal Crossing: New Horizons took the world by storm as its popularity rose, attracting over 22 million players in the first 3 months of its release. Launched in March 2020, it is
Left: Moschino x TheSims4 a life simulation video game available on Nintendo Switch where characters escape to a deserted island and create their community in any way they want. Players can dress their avatars in virtual outfits from a wide variety of brands to fit their style. Chanel, Mila Sullivan, and Valentino are a few well-known brands available for players to style themselves in a way that shows off their personality. Marc Jacobs created six designs for the game from its Spring/Summer 2020 and pre-Fall 2020 collections. Additionally, beauty brands followed pursuit and took advantage of the universal exposure. Tatcha, a luxury Japanese skin-care brand highly coveted by celebrities, also joined the fashion world of Animal Crossing. The brand launched their own virtual destination called Tatchaland, where players can visit its hot spring spa, skincare lab, and other beauty locations. With regards to beauty products, Parfums Givenchy and Gillette Venus collaborated with the game to give players the opportunity to change their bodily appearances. Gillette Venus allowed players to apply physical characteristics like acne, body hair, cellulite, etc. They encourage players to stay as true to themselves as possible and not picture an ideal image of a “perfect” person. On a screen, we all want to look at someone who represents us and makes us feel like our physical appearances are valued. Louis Vuitton landed a partnership with League of Legends, creating a capsule collection. The fashion industry was in awe of this since it was the first time something like that has been done before. It brought the attention Louis Vuitton was seeking. With over 8 million worldwide players daily, the luxury Italian brand saw it as an opportunity to combine their commitment to innovation and tradition with their desire for adventure in the current generation. Brands sponsored esports games to promote their collections. Burberry collaborated with B Surf to advertise their TB monogram summer collection. B Surf is a multiplayer video game where players can dress up their characters and competitive surf with their friends. Gucci partnered with Tennis Clash, the closest mobile game that resembles a real-life game of tennis. Players can buy exclusive Gucci outfits and participate in a special tournament called the “Gucci Open” where they can use a new Gucci branded
tennis string for their racket. An average person can’t afford Gucci, but this is the next best thing. Individuals have the opportunity to style themselves with any luxury brand they please to without worrying about emptying their bank account. Balenciaga launched a video game called “Afterworld: The Age of Tomorrow” as a way to promote their Fall 2021 collection. It is the first individual video game to be produced by a major fashion brand. The game is set in the year 2031 as players embark on a hero’s journey while traveling across different time zones. Settings include a post-apocalyptic Balenciaga store and an enchanted forest. Avatars wear different detailed looks from Balenciaga’s collection. After completing the game, the player is rewarded with a real-life meditating breathing exercise in a virtual utopia. Game developers are making digital wardrobes more diverse in order to reflect every player’s interests. People can experiment with their look and try trends that they might be skeptical about trying in real life. It makes them more confident in the game and turns them into the person they strive to be. The reality is that people don’t really judge what other players in a virtual world are wearing. Yet, in real life, it’s so common to be judged on our appearances. Video games are a safe environment where people can be themselves without the worry of not being accepted. Promoting collections on video game platforms is an effective marketing strategy that combines different groups of people and unites them under common interests. During the pandemic, the world was united even when we were all apart. Video games allowed us to create our own world on a screen in a time when we couldn’t go out and explore the real world we live in. As a result, gaming became more mainstream and was no longer being tied to a specific stereotype. Video games are a way to connect with Millennial and Gen Z consumers by exposing them to a new world of fashion in a technology environment. In a way, they both help each other. Fashion lovers play video games and gamers are open to the world of fashion. It’s a collab no one saw coming but needed to happen. Fashion computer games are coming back and reminding us that our childhood never really left us.
Issue 22 | 115
o
Wh DWF Magazine | 116
m
n a C
n W I a t i t S e rW u o Y By Scou
t Ow
ith?
en
Issue 22 | 117
DWF Magazine | 118
Issue 22 | 119
DWF Magazine | 120
Issue 22 | 121
DWF Magazine | 122
Issue 22 | 123
DWF Magazine | 124
Photographer: Scout Owen Model: Josh Emmanuelli Beauty: Victoria Brumer Styling: Dexter Williams, Ava Romano
Issue 22 | 125
DWF Magazine | 126
Issue 22 | 127
Astrologia
DWF Magazine | 128
By: Morgan Nystrom & Camille Eynard
Issue 22 | 129
DWF Magazine | 130
Issue 22 | 131
DWF Magazine | 132
Issue 22 | 133
DWF Magazine | 134
Photographers: Lexi Delgado, Taylor Mair Astrologer: Turner Meyers Models: Eva Benton, Logan Thompson, Hadley Bouchlas, Sofia Fernandez Beauty: Victoria Brumer, Kendall Cooper, Andrea Bordon Styling: Hadley Bouchlas, Maddy Bogan, Ava Romano, Eva Benton, Logan Thompson
Issue 22 | 135
DWF Magazine | 136
Issue 22 | 137
DWF Magazine | 138
Issue 22 | 139
Behind The
DWF Magazine | 140
Expression
Issue 22 | 141
S U e k a M le s p o a h r W Sc
DWF Magazine | 142
By ey n t t i Br per Pie
Collages By: Brittney Pieper Photographer: L’Jai Brown Models: Eva Akaishi Tracy Gaboyau Bella Acitelli Beauty: Katie Russell Julianna Gayoso Kendall Cooper Styling: Irina Amaro Maddy Bogan
Issue 22 | 143
DWF Magazine | 144
Issue 22 | 145
DWF Magazine | 146
Issue 22 | 147
Credits
https://www.wspa.com/news/difference-between-a-solar-and-a-lunareclipse/ https://nemfrog.tumblr.com/ https://wallpapersafari.com/w/T263hx post/636719069146529792/op-art-fashhttps://www.pinterest.com/ ion-spread-photos-hitweek-v1-no18 pin/382102349606607957/ https://sixtiesnseventies.tumblr.com/ https://www.amazon.com/HMS-Unisexpost/71108617914 Adults-Supersoft-Dragon-Wings/dp/ https://www.pngitem.com/middle/ iJRhTTi_frame-border-peach-pinkB07TM6QCFT https://www.instagram. pastel-overlay-scrapbook-doodle/ com/p/B6LWW99pZM6/?igshid=1ltfpfhttps://petpress.net/36-best-snake-and- 20pmg2e flower-tattoo-designs-meanings/ https://www.instagram.com/p/ https://www.clipartmax.com/middle/ CB-rQNIpMMt/?igshid=1ds0ok0xa6ip7 m2i8N4G6b1m2d3N4_koi-tattoo-dehttps://www.thepearlsource.com/blog/ sign-by-gaikotsu91-on-deviantart-koifacts-about-pearls/what-is-a-pearl/ carp-tattoo/ https://snobette.com/2018/03/balencia- https://www.vhv.rs/viewpic/hRRohww_ star-silver-glitter-clip-art-silver-glitterga-platform-crocs-clog-yellow/ https://www.pinterest.com/ star/ pin/815221970031665569/ https://www.cosmopolitan.com/ https://www.google.com/ entertainment/g9524569/paris-hilurl?sa=i&url=https%3A%2F%2Fton-phone-evolution/ www.highsnobiety.com%2Fp%2Fhttps://www.pinterest.com/ balenciaga-platform-crocs-repin/6544361944930794/ lease-date-price%2F&psig=AOvhttps://www.vhv.rs/viewpic/iiixJoi_ Vaw13F91Ax1zXcNDk1C7i9JJD&ust=1616531687998000&source=im- fire-fires-purplefire-magical-magiv-magicfire-graphic-design/ ages&cd=vfe&ved=0CAMQjB1qFwoTCNDH1ITgxO8CFQAhttps://weheartit.com/entry/44895505 AAAAdAAAAABAe https://www.pngfind.com/download/ TiRmJR_3-blue-fire-png-fire-effectpng-transparent/ https://fashionbombdaily.com/ getting-a-telfar-bag-just-got-wayeasier-telfar-announces-one-daytelfar-bag-security-program-for-guaranteed-shopping-bags/
Special thank you to our faculty advisor. Roxanne Parker
DWF Magazine | 148
Issue 22 | 149
DWF
DWF Magazine | 150