EDITOR-INCHIEFS TAYLOR MA IR + MARIANA V ALENCIA CREATIVE D IRECTOR YASSEEN SE MSEM ASSISTANT TO THE EDIT ORS CAROLINA G ARCIA EDITORIAL P HOTOGRAP HY CARLY COLL INS NATALIE DE CLERK AUTUMN LO VE LAYLA MAT THEWS YONE MOCK E LOLA RIVER O
COPY KEND EDITORS A SARA LL COOP ER SANF BLOG ILIPP + O D NATA IRECTOR LIE D WRIT ELLE DONN ING T ALEX E EAM ISAB FRANTSV EL O TAYL GONZAL G OR M E SOP H URDO Z IE VA C RGAS K
STYLING DIRE CTORS ALEX FRANTSV OG + SOP HIE VARGA S STYLING ASSIS SAMANTHA BL TANTS KEVIN HUANG OOM CHELBI ROBINSO STYLING TEAM N JALANI AUSTIN ASHLEIGH CAR KAYLA CROOKSPENTER CAMILLE EYNA ERIN KITTLESORD CAROLINE LASHN LIANO OCAMPO ER JALISA REDDIN DEHJA RILEY G MAYA WEST DWF Magazine | 2
ECTOR R I D R P GAJO KIARA STANT SI PR AS E EYNARD L CAMIL M A HER PR TE E LAS N I L O EN CAR MULL CK N O V DO DE R MUR O L Y A T Z NUNE EMMA REDDING A JALIS WEST MAYA
S GRAP HICS DIRECTOR KELLI SULLIVAN + JAMES WARD GRAP HICS TEAM ELLA DAVEY SYDNEY MILLS VIDEOGRAPHY LUIS ARRIAGA AMANDA BOUCHARD ISABEL GONZALEZ BTS PHOTOGRAPHY AMANDA BOUCHARD ELLA DAVEY
OR CT SO E R DI GAYO ANT Y T T A AU NN SSIS E B LIA A Y JU AUTY RILE AM R BE HJA TE OPE DE AUTY L CO KS L O BE NDA CRO PO KE YLA OCAM DING KA NA RED LIA LISA JA
DIRECTOR SOCIAL MEDIA N SIMMY GREE ASSISTANT IA SOCIAL MED ERON JESSICA CALD HRISTINA GABRIELLE C TEAM SOCIAL MEDIA G KEVIN HUAN SON N KALLEY JOH Z EMMA NUNE
p.8 -15 The Stitching of the Home p.16-17
p.46 -5
5 p.18 -2
3
The Comeback of the Cowboy p.80-81
p.54-6 1
1 p.64-7
9 p.82-2 Looking to the Stars p.34-35
Fashion Humor Absurdism p.62-63
p.26-33
p.36-43 p.104-111 Past Present Future p.90-93
p.72-79
p.9 4-101
Issue 24 | 3
DWF Magazine | 4
Issue 24 | 5
DWF Magazine | 6
Issue 24 | 7
DWF Magazine | 8
When We Were Young by Samantha Bloom
Issue 24 | 9
DWF Magazine | 10
Issue 24 | 11
This concept came about as I shared stories about my life in college with my grandma as she shared her own, passing along wisdom and closing that gap young people tend to subscribe to that their elders could not have possibly been anything like them or people today.
DWF Magazine | 12
Visually removing age from the equation while maintaining the retiree activities, retro attitudes, and “bad behavior” allows for reframing to understand this segment of the population and accept that while the world around us changes, people remain acting like people.
Modeled by Jalani Austin, Amanda Bouchard, Jessica Calderon, Natalie DeClerk, Caroline Lasher, Alberto Joseph Pereira, Jordan Roberts Photography by Taylor Mair Styling by Samantha Bloom, Camille Eynard, Alex Frantsvog, Carolione Lasher, Sophie Vargas BTS by Camille Eynard
Issue 24 | 13
DWF Magazine | 14
Issue 24 | 15
by Taylor Murdock
:
The year we all went inside prompted an exploration of the past. Hobbies were back, reborn and reinvented. The frivolous became a form of meditation. With this newfound free time the world was grabbing at interests once abandoned. Many picked up practices from youth while others pulled inspiration from their elders, landing on the timeless craft of knitting and crocheting. In craving a distraction, many found comfort in needles and yarn. This early adoption by a generation stuck inside has prompted a conversation around the art form and its ever-evolving position in fashion. DWF Magazine | 16
Knitting has always carried an air of domestication. Depicted
as hyper-feminine, outdated and obsolete, the art form receives limited praise despite its complexity. Such ideas minimize the scope of knitting and undermine its technicality. It’s a handmade process that requires patience, precision and creativity. There’s a sequence to follow that requires patterns,
numbers and problem solving. Its intricacy led researchers to deem knitting a form of coding, working within similar binaries, knits and purls rather than 0s and 1s. These two stitches are the foundation for boundless creations, thread transforming into metamaterial that takes on a new elasticity, shape, and size. Such a pairing illuminates the intricacy and breadth of the fabric. In working hard to highlight the sophistication of the practice, we may encourage a new age of knitters and designers who aren’t bogged down by old ideals.
In an effort to take knitting beyond the sector of the home, fashion aims to explore and subvert the gendered nature of the craft. Its femininity poses an issue, creating a barrier of entry for men and an opportunity to minimize women centered crafts. With knitting being viewed as inherently female its value is weakened and ostracized. This attitude can be summarized by Kristina Medford, author of “I Knit Therefore I Am,” who states that “when something is deemed women’s work, there is an assumption that while it may be a necessary task, it is menial, and thus too insignificant a task for a man to do.” Such thinking has stifled the art form, but there is a dichotomy to knitting, one that is turning the tides of fashion. Designers of today are taking knitting and crocheting to new lengths, modernizing the malleable art form, freeing it from the stigma of domesticity. Knitting is primitive yet advanced, simple but complex. It is an ancient practice that has served people through the ages, its beginnings rooted in necessity. It has historically operated as an outlet for community and continues to do so
today. It is a hobby that has a heritage. It’s in knitting circles that moments are shared in the midst of the lessons. A grandmother teaching her granddaughter how to knit isn’t a unique story, but it is an important one. This personal touch is what makes knitting so special, and it compels designers to push the envelope
with their patterns. A real-life example of this phenomena is fashion designer and founder of the womenswear label Oneiric, Alice Zanchetta, who owes her eye for knits to her mother and grandmother, using them as her “point of reference.” Zanchetta works with a local, family-run manufacturer in Melbourne, Australia and an in-house team to create unique, handmade pieces for Oneiric.
Knitwear allows for the creation of one of a kind pieces that are not only expressive but ecologically sustainable. This resurgence arrived at a perfect time, meeting a generation of designers and crafters who value the individuality and creative liberty knitting provides. There’s a real point of pride in watching a ball of yarn become a chunky cable knit sweater, and it gives tangibility to the philosophy of slow-fashion, or a slowed down means of clothing production that aims to solve the environmental and human rights issues created by fast fashion. Whether one uses needles or hand knots, it is a time sensitive art form that puts the maker in touch with the process behind the product. This creates a deeper appreciation for cost and labor production. It’s an immersive experience that grants you awareness, not only aiding the sustainability effort, but rather humanizing it. Knitting only endures if we continue to share it, passing it down from generation to generation. It is seemingly a rite of passage, and while knitting’s family ties hint at its legacy, knitting’s adaptability points to its future. Issue 24 | 17
by Natalie DeClerk + Mariana Valencia DWF Magazine | 18
STARRING Annalia Buchanan, Isabel Choi, Marissa Gross, Nathan Jolly, Jocelyn Yap PHOTOGRAPHY BY Natalie DeClerk STYLED BY Camille Eynard, Alex Franstvog, Caroline Lasher, Sophie Vargas BEAUTY BY Julianna Gayoso, Hope Pumphrey, Dehja Riley BTS BY Camille Eynard, Taylor Mair Issue 24 | 19
DWF Magazine | 20
Issue 24 | 21
DWF Magazine | 22
Issue 24 | 23
“The remember shoot to me is representative of all of life’s fleeting moments that soon become fond memories to look back on and engage in those “remember when” conversations with loved ones. I was inspired by 2-3 songs when coming up with this concept, first “taking pictures of you” by the kooks, and the lyric ‘do you remember me, taking pictures of you as the light came through?’ This lyric stood out to me because it’s a conversational lyric that seemed romantic and nostalgic at the same time, which is what inspired the couples portion of the shoot. The other song was Telescope by Cage the Elephant and the lyric ‘time is like a leaf in the wind, either it’s time well spent or time I’ve wasted, don’t waste it.’ This lyric stuck out to me because it talks about the passage of time and how our time on earth is limited and how we should choose to spend our time wisely. This inspired the friend group
DWF Magazine | 24
portion of the shoot and the happiness, vibrancy, and freeing nature of being a kid in the neighborhood. Lastly, an unofficial song that inspired me was “Kids” by current joys. I was listening to this song while editing the friend group portion of the shoot and the song itself has a nostalgic feeling attached to it; I was reminded of what it felt like to be a kid for a little bit which led to me increasing the saturation in those pictures to depict how we used to view the world at a young age. Working with my co-concept director Mariana was an amazing experience because we both had the same interpretation from the theme of this edition of DWF and built upon each other’s ideas to create what you see today. It was a fun and creative process to work with Mariana and I’m so glad I was able to do so before she leaves”
Issue 24 | 25
Inner Child
by amanda booch jessica calderon carly collins
DWF Magazine | 26
MODEL kasidy brown PHOTO amanda booch carly collins STYLING alex frantsvog erin kittelson chelbi robinson sophie vargas BEAUTY julianna gayoso
Issue 24 | 27
DWF Magazine | 28
Issue 24 | 29
DWF Magazine | 30
“To me, Inner Child is about healing that part of yourself that longs to change the past. Even as we grow the person we once were, the child who was hurt, still lingers. We should take care of our inner child and let it grow. So, wear the dress or buy the toy you always wanted. Love your inner child like it was meant to be loved. Get excited about the things you love because you love them. When I was small, I didn’t let the judgments of others dictate my actions and now I try to learn to experience life like that again. Everyone has a different Issue 24 | 31 inner child and a different experience, so tend to yours the way that is best for you.”
DWF Magazine | 32
Issue 24 | 33
Looking to the Stars
The Influence of Space Exploration on Fashion by Alex Frantsvog
Fashion, like most other art forms, has the ability to transport you to a time you’ve never experienced. In the 1960s, many designers dared to create for an unknown frontier. Although man had yet to walk on the moon, fashion houses were already preparing for a future where humans could drive flying cars and explore life outside Earth’s atmosphere. Looking towards this limitless future inspired them to push the boundaries of apparel and create some of the most memorable moments in high fashion and film. The otherworldly dresses and space helmets catered to a population fearful of the present and hoping to escape to a brighter tomorrow. The space-age trend reflects the mood of the decade and yet remains timeless by evoking the relatable longing to leave the troubles of Earth and fly to the cosmos. The futuristic fashion trends of the 1960s were born out of the space race between the United States and Russia. While NASA worked to perfect various Apollo spacecrafts, fashion designers created outfits to better suit our new life in outer space. Always looking ahead, designers prepared for the next frontier by crafting stylish space helmets and creating geometric silhouettes out of sleek plastic-like tech fabrics. They found inspiration in exploring and pushing boundaries. The idea of traveling to the moon opened people’s minds to the many possibilities of the future. If space travel were possible, then they must surely all have flying cars down the line. These fantasies provided an escape from the grim reality of the present. The Cold War was still raging on, and people were fearful. Artists often create their best works in stressful times such as those.
Many designers were involved in developing this trend, one of the first being the Italian-French designer Pierre Cardin. Cardin began his own apparel business in 1958 after several apprenticeships at different couture houses. He pioneered space-age fashion with his innovative apparel constructed from vinyl. His garments featured shiny textiles, sharp silhouettes, abstract angular shapes and short hemlines, conjuring an otherworldly aesthetic. Additionally, the designs often dissolved gender distinctions. Cardin stated that the clothes he preferred to make “are those [he] invent[s] for a life that doesn’t exist yet—the world of tomorrow.” DWF Magazine | 34
Shortly after Cardin, André Courrèges entered the space-age scene with his controversial womenswear. After working for Balenciaga’s couture house, Courrèges and his wife, Coqueline, started their own business. He used his background in architecture and engineering to invent constructivist garments with bold silhouettes. Courrèges’ graphic apparel also featured welt seaming and strategic piping. He stuck to a limited color palette of whites, monochromes and pastels and only used checks and stripe patterns. Having studied engineering, he approached design in a way that focused on solving problems. Courrèges’ designs deviated from the traditional feminine look. He wanted his designs to allow women to move, run, drive and travel with ease. The clothes were structured to minimize the bust, ignore the waist and lengthen the neck. Courrèges dressed women in short skirts, pants and flat-soled boots. Some of his most memorable designs included the use of high-shine PVC to construct garments that could hold their form when twisted and contorted into different shapes. His 1964 Moon Girl collection is a prime example of space-age mod fashion. The designer presented modern, futuristic garments with linear cuts in a shiny-white palette paired with white moon boots and spherical hats. Paco Rabanne was another prominent designer with a background in architecture. In 1966 Rabanne had his breakout show entitled “Twelve Unwearable Dresses in Contemporary Materials.” The collection presented clothes made of paper, plastic and metal bound together with wire and glue. One of the most iconic pieces from this collection was a micro mini dress constructed from square and rectangular pieces of aluminum connected with metal rings. The dress looked like contemporary chainmail, perfectly combining historical and space-age elements. Throughout Rabanne’s career, he continued
to explore the use of unusual materials, a common aspect of the space-age trend. The artistic and ultramodernist nature of Rabanne’s work attracted many filmmakers to commission his costume design. He designed the costumes for William Klien’s film “Qui Etes Vous Polly McGoo,” and Jane Fonda’s clothes in the sci-fi film “Barbarella.” As society’s perception of the future changes, the space-age trend continues to evolve as well. Many designers take inspiration from the mod ‘60s futurism, while others present their takes on what they think the future should look like. Moschino’s 2018 fall-winter collection presented their take on the ‘60s space-age look. The models walked the runway in mod dresses with signature high-necklines and pillbox hats. The space element was in their supernatural-looking green, blue and yellow skin, making the models look not of this world. Chanel also looked to the stars to inspire their 2018 fall-winter collection. Models walked down the runway adorned in “Jetsons”-inspired looks with glittery knee-high go-go boots and double-breasted bouclé skirt suits. Driving home the theme, Chanel added an enormous monogrammed rocket ship to the center of the show that underwent a fake launch. Similar to the designers of the ‘60s, otherworldly shapes and ideas inspire all of Iris van Herpen’s collections. Van Herpen is a Dutch designer known for using technology to push the boundaries of fashion and create unique silhouettes that truly look like they came from an advanced, impeccably dressed alien species. The resurgence in out-of-this-world designs in recent years is no coincidence. Like the ‘60s, we live in stressful times while billionaires jet off to the moon for a weekend getaway. Futuristic fashion continues to serve as an escape from reality. Through art and apparel, the unknown becomes digestible and hopeful. We may not know the details of what lies ahead, but we know we will be well dressed for whatever comes. Issue 24 | 35
Relics by Yasseen Semsem
DWF Magazine | 36
Modeled by Emily Wahba Photo by Autumn Love Styling by Nia Alexander, Camille Eynard, Alex Frantsvog, Jalisa Redding, Chelbi Robinson, and Sophie Vargas Beauty by Taylor Mair and Jalisa Redding BTS by Ash Carpenter, Gabrielle Christina, Issue 24 | 37 and Camille Eynard
DWF Magazine | 38
Issue 24 | 39
DWF Magazine | 40
Issue 24 | 41
This concept was largely inspired by my upbringing. Being raised in both Morocco and the States, I drew a lot of influence from both environments. Particularly, having many women in my life as role models early on was a prominent focus here. Channeling that energy was my goal, and it came out so wonderfully. Another important aspect that came out was the power of community, a lesson I learned through my roots. I could not have done this without each participating person in the shoot, and it reminded me of the support and empowerment a sense of community can bring within the Self. Everyone involved in the shoot helped the vision come to life, so I see it as our shared creation, a moment in time that we can reflect on and cherish, like it was Yesterday.
DWF Magazine | 42
Issue 24 | 43
DWF Magazine | 44
Issue 24 | 45
c í a
R
l be
sa I y
za n o
s e
le
n za
G
b
DWF Magazine | 46
d
Ma
y
s e aW
t
Models: Luis Arriaga, Michelle Evangelista, Lila Garcia, Julianna Gayoso, Samantha Martinez, Valentina Semidy Photography: Yoné Mocke Styling: Kayla Crooks, Camille Eynard, Alex Frantsvog, Kalley Johnson, Caroline Lasher, Yasseen Semsem, Sophie Vargas Beauty: Kendall Cooper, Julianna Gayoso, Michelle Evangelista BTS: Kayla Crooks, Camille Eynard, Taylor Mair, Mariana Valencia
Issue 24 | 47
Much of my artwork is rooted in my Brazilian culture and identity; it is so exciting to see that reinterpreted through fashion and makeup with DWF. I loved seeing how the team took inspiration from my use of color and shape within the styling of the shoot. I found the entire experience empowering–working with a team filled with Latinx people–embracing our creativity. It truly was a special moment for me. - Julia Ursine
DWF Magazine | 48
Issue 24 | 49
DWF Magazine | 50
I would describe my artwork as abstract expressionism through my usage of colors, textures, and themes. The choices of hues often set the tone for my paintings as various themes, such as trauma and religion carry the narrative I try to evoke. My art is inspired by many emotions as a cathartic way to heal and move on from many lingering memories, which is why throughout my portraits I depict angry, or painfully sad women. However, in a lighter direction, I am excited to see where my art and mental health take me as I continue to evolve and grow as a person. -Valentina Semidey
Issue 24 | 51
The older I get, th e more I tap into si mplicity. The more The more I desire I long for comfort passion and ground . ing over fire and un a long time, I thou predictability. For ght my life and pe rsonality was a co people I’ve met an mpilation of the d the experiences I’v e had with them. I at a time where al started painting l I seemed to do w as hurt people. I pa wanted to be. How inted who I I wanted to be perc Unbreakable. Tran eived. St rong. Pow sparent. Real. Nak erful. ed. Raw. Truthful. so badly to be. I ho A fantasy I wante pe there are peop d le who can unders feeling I just desc tand that st range ribed. The feeling of not knowing yo are or where you be ur fate or who you long. I hope they ca n see my art and kn to get what you wan ow that in order t you have to be ho nest. You have to be open and naked. al low yourself to You have to allow yourself to be cut clean. -Kiara Gajo
DWF Magazine | 52
Issue 24 | 53
DWF Magazine | 54
Issue 24 | 55
DWF Magazine | 56
Issue 24 | 57
DWF Magazine | 58
Issue 24 | 59
DWF Magazine | 60
Issue 24 | 61
by Sophie Vargas
Balenciaga’s stiletto Crocs, Y/Project’s denim underwear and Doja Cat’s Video Music Award worm outfit are just a few examples of bizarre fashion moments from the past year. Designers have long sought to create something exciting and imaginative each season. Yet with trends reverting to seemingly endless cycles of retro homages, it is becoming more difficult to invent collections that can be considered truly new.
sial nature of hyper-performative fashion, it nonetheless channels an unexpected sense of hope that is sure to lead us into an undefined but determined future.
Further, the market has never been as heavily saturated as it is today, so to stand out, one must fashion something that is not only original but sensational. In response to the tiresome historical reprises and competitive industry, some designers have devised absurd, ironic and sometimes downright hilarious styles. It is fitting – after all, what can be more ridiculous than producing art in a time of peak economic downturn and societal unrest? Still, the industry is making astounding innovations not only to fashion itself but also to its presentation through marketing and showcasing mediums. So, despite the present-day challenges and the controver-
However, in response to the pandemic’s call for social distancing, designers replaced runway events with virtual showings relying on production value and creative cinematography to capture audiences. Flash forward to today, as society transitions back to in-person events, designers have taken the opportunity to reinvent their approach to debut their newest collections. While some more historic fashion houses have reverted to typical runway sequence, others opt for a more synergistic approach. And with continued need for pandemic safety protocols, these affairs are becoming highly anticipated and tantalizingly exclusive.
DWF Magazine | 62
By reviewing recent runways, we get a glimpse at one of the more notable changes to the fashion cycle. Before the COVID-19 pandemic, runways followed a routine that functioned seamlessly though achieved little variation over the years.
Take the spring/summer 2022 Marni show, for instance. As a special request, the brand asked all the guests to wear upcycled vintage Marni “uniforms” that designer Francesco Risso and his team painted and fitted at his studio. On the day of the event, attendees dressed in synchronicity to the extravagantly striped theater. The show, titled “Marniphernalia: Miscellaneous Handpainted Treasures,” began when a wave from the maestro prompted models of varying genders, ethnicities and sizes to cascade across the stage and through the audience on tempo to live musical performances. Vanessa Friedman, a New York Times fashion columnist, recounted the scene as “ridiculous, kind of charming and wholly devoid of irony… And entirely impossible to escape the sensation that, like it or not, you had just been part of something.” Through this campy and daring exhibition, Risso broke the fourth wall between show and audience, leaving spectators feeling like they had just participated in something historic - even meaningful. In a similar stroke of ingenuity, Balenciaga’s creative director, Demna Gvasalia, orchestrated a fake (but also very real) star-studded red-carpet event to promote their spring 2022 ready-to-wear collection. While the audience sat in the Parisian Théâtre du Châtelet to view the livestreamed event, celebrity models assembled in a tent just outside. The crowd quickly caught on to the joke and watched stars like Cardi B, Elliot Page and Dev Hynes pose amongst the recognizable clan of Balenciaga models. But that’s not all. As an extra twist, the performance was a setup to supplement a film premiere of “The Simpsons”/Balenciaga, in which beloved cartoons Marge and Bart Simpson became models in Paris. Talk about memes meeting fashion! If anyone is properly navigating the pressure to stand out in the digital age, it would be Balenciaga under Demna’s leadership. “It’s more like a music or movie business, in the way you can convey things,” Demna explained in a Vogue interview, “I like exploring these borders.” The notion that fashion must now meet a criterium of performative intrigue drives these absurdist trends. A brand some consider a pioneer of this concept is Moschino.
In 2014, Moschino’s creative director Jeremy Scott began producing wacky themes inspired by the likes of McDonalds and Nickelodeon’s SpongeBob. Though, for years, critics dismissed him for these zany choices, he now finds himself perfectly on-trend. In the 2022 spring ready-towear collection, which he described as “baby lady,” Scott juxtaposed formal women’s office wear with childish pastel prints, pairing them with chunky alphabet chains and stuffed animal accessories. Despite continued disapproval from the fashion community, the collection was met with praise on popular social platforms like TikTok, launching the brand into newfound internet relevancy. As a nearly complete foil to this interpretation of absurdism, Rick Owens has established himself as an esteemed designer exemplifying the future of fashion. His label is a beacon for deconstructionist aesthetics, producing garments with definitive features like asymmetrical silhouettes, neutral colors and sheer materials. Owens’ abstract designs have trickled down to influence popular trends like subversive basics, which involves the above elements and the distortion of conventional clothing items. Fashion forecaster Agustina Panzoni describes the style as “rebellious absurdism,” denoting a “rejection of the status quo and a growing sense of optimism looking forward.” While oversized Yeezy slides or garments labeled “God’s Favorite” may seem gimmicky to some, I choose to take a more positive outlook. In an age where so many designs restate the past, absurdist fashion offers a way to create something novel that inspires progress. These trends aren’t random; they directly react to society’s pressing needs and offer insight into the current human condition. Regarding this, journalist Marc Richardson asserts that absurdist fashion “encapsulates ideas of self-reflexivity and originality that are integral to the history of the fashion industry.” So, similar to previously scandalous fashion subcultures like punk, absurdism offers its wearers a form of control and rebellion amidst an anxious world. These styles can be both introspective and snarky, offering an empowering way to criticize the fashion industry and politics at large while maintaining a sense of humor. And frankly, in times like these, everyone could use a laugh. Issue 24 | 63
by
DWF Magazine | 64
LOL
AR
IVE
RO
Issue 24 | 65
MODELS// TOBI ARUBUOLA + LIANA MARIEO + HOPE PUMPHREY + SOPHIE VARGAS PHOTO// LOLA RIVERO BEAUTY// KENDALL COOPER styling// camille eynard + alex frantsvog + alex huang + caroline lasher + sophie vargas BTS// CAMILLE EYNARD + MARIANA VALENCIA
DWF Magazine | 66
Throughout the history of mankind, we have found ourselves perplexed by a slew of questions. Thus far we have been successful in finding the explanations behind many phenomenons, such as “Why is the sky blue?” or “Why don’t birds get electrocuted when they land on an electric wire?” but many have yet to be answered. However, through great intellectual discoveries and deliberate determination, the universe’s greatest question has finally been answered by a local Florida State student. Through theoretical logic and scientific inquiry, the truth behind why women go to the bathroom together has been revealed. Issue 24 | 67
DWF Magazine | 68
Issue 24 | 69
DWF Magazine | 70
Issue 24 | 71
florida grown BY JALANI
DWF Magazine | 72
AUSTIN AND JALISA REDDING
MODELS: Alina amador jae house darby lestin Lainey mackinnon jonah rounds photography: autumn love styling: kayla crooks liana ocampo sophie vargas Beauty: julianna gayoso Issue 24 | 73
DWF Magazine | 74
Issue 24 | 75
DWF Magazine | 76
Issue 24 | 77
“Florida Grown” was an idea I had a few years back; meeting Jalani and DWF allowed my vision to become reality. Growing up in Central Florida and traveling to Cocoa beach, I was extremely inspired, yet haunted, by the woods you pass on the way there. The large willow and canopy trees shifting to palm trees and tropical scenery reminded me of the fact that the nature of our state holds a lot of untold history. Therefore, the message behind this concept is to put an individual spin on your surroundings, make your environment your own. The characters within this concept, eccentric in nature, can be seen traveling through uncharted territory, determined to make it a space for all. As the models move throughout the scene, you’ll see their expressions shift from unsure to happy and content. Florida Grown tells the story of us all: regardless of color, sexuality, or background, we’ve made this space our own with a little funk and flaiR Florida doesn’t have the greatest history- but we are here to make sure it has a funky future.
DWF Magazine | 78
Issue 24 | 79
by alex frantsvog Beginning in the late 1800s, a romanticized version of the cowboy and the “Wild West” captivated Americans and has continued to appear in the media and impact our fashion. Western wear is having its moment in mainstream fashion again with prairie dresses, cowboy boots, fringe and suede coming back on trend. Artists like Lil Nas X and Orville Peck are putting their own modern spin on the classic cowboy look. The character of the all american cowboy has impacted our culture for centuries, but where did he come from? Our love for western wear is rooted in history that goes deeper than just the lasso-swinging cowboys of the wild west. In reality, the cowboy most Americans love is a man of myths, and the western look itself isn’t as “All-American” as some may think. The legend of the cowboy symbolizes the American dream and an itch for adventure; he is a self-made, hardworking man and a dreamer. This is the cowboy we see in films, literature, art and television. The myth of the cowboy is often a whitewashed and romanticized version of the West that erases the boring and brutal parts. The white American version of the cowboy is not the original — indigenous Mexican men did it first. These men were called vaqueros, and they inspired what would become known as the cowboy of the American Wild West. The vaqueros were expert horsemen, skilled with a lasso, and craftsmen who braided their own rope and constructed their own saddles. So much of what we call western wear originated from their dress. Chaps, originally known as chaparreras in Spanish, were the leg coverings vaqueros wore to protect themDWF Magazine | 80
selves from the western terrain. The name comes from the word chaparral, which is what the thorny bushes and small trees that litter the southern landscape were called. Along with chaps, vaqueros also wore wide sombreros and tall boots for utility purposes. The sombrero was reimagined by John B. Stetson who crafted a more durable, waterproof version out of felt, which is what we recognize as a traditional cowboy hat. His “Boss of the Plains” hat was designed to keep the sun off their eyes and neck and the crown of the hat functions as a water bucket. The vaqueros’ style and skill inspired many of the aspects we associate with the cowboy today. Following the creation of the original cowboy hat came the first cowboy boots in the early 1870s. These boots were based on the British Wellington but with an added stacked Cuban heel to stop the boot from sliding through the large stirrups. Top stitching was also added to prevent the top of the boot from flopping down. Around this time another western wear staple, denim jeans, became a must have. They were flexible, durable, had five pockets and were constructed with copper rivets in order to withstand brambles and hours in the saddle. Blue jeans became synonymous with cowboys when they were mass produced and more affordable in the 1890s. This was furthered by the use of blue jeans in western movies and television. Despite the beloved character of the cowboy being around for decades, western wear didn’t become a mainstream fashion trend until the ‘40s, beginning with the boots. Cowboy boots first gained popularity in the late 1940s when actress Wendy Waldron posed in a mid-calf length pair in the western film “Over The Border.” Not long after the film’s release, Marilyn Monroe posed in a pair of cowboy boots paired with a twopiece cowgirl suit for a Valentine’s Day photoshoot.
This photoshoot called a more refined style of cowboy boots to the public’s attention. Also during this time, Rockabilly music was coming onto the scene which was an early form of rock-and-roll inspired by country, swing and blues music. Along with this new genre came a new style which embraced jeans, heavily embroidered shirts, western snap shirts and fringe. Some of these trends could be seen in traditional western wear but it mostly pulls from the Hollywood cowboys. Moving into the ‘60s and ‘70s, western themes could be seen in the suede, fringe jackets which were inspired by the buckskin jackets worn by frontiersmen. These jackets could be seen in films like “Midnight Cowboy” and “Easy Rider” as well as on members of the counterculture movement. Considering that cowboys are a symbol for freedom and individuality, it makes sense that people in the counterculture, who wished to carve their own path away from the mainstream cultural customs, would take inspiration from them . In the ‘70s, cowboy boots evolved and found a new use — dancing. Raquel Welch donned an all-white pair in the 1970s comedy “Myra Breckinbridge,” which popularized a new, sexier version of the boot. Throughout the ‘70s, the cowboy boot was a popular choice of shoe and was often worn to discos. Also in the ‘60s and ‘70s, blue jeans were accepted as an everyday look for anyone to style. Western wear has impacted much more than Hollywood and streetwear, it also made its way into the world of haute couture. Beginning with Ralph Lauren in the ‘70s, everything from cowboy boots to double-denim looks have graced the runway. In 1978, Ralph Lauren created “Polo Western,” a collection that paid tribute to the rugged American style. The next year, cowboy boots marched down the runway for the first time at a gala highlighting RL’s western wear. The next big high-fashion moment for cowboy boots came with Givenchy’s Spring 1998 runway show. The designer, Alexander McQueen, paired leather, fringed dresses with cutout cowboy boots. For his 2014 Fall/ Winter collection, Tom Ford dared to put the cowboy boot on the London runway. He revealed a glamorous take on the shoe that was sleek, black and almost knee high. As one reporter
wrote, Tom Ford “put the rodeo back in Rodeo Drive.” A few years later in 2017, classic western style truly came into the high fashion scene with a Calvin Klein collection by Raf Simmons. The collection was inspired by many Americanisms and included denim-on-denim looks, western-style shirts and metal-tipped cowboy boots. Many of these cowboy staples made more appearances in future Raf Simmons collections and have continued to be closely associated with Calvin Klein. Another designer house that has embraced the classic cowboy look is Yves Saint Laurent. Anthony Vaccarello brought a western flair to his debut menswear show with YSL by filling the runway with snakeskin cowboy boots, brushed silver jewelry, embroidered button-ups, neck scarves and cowboy hats. These western elements were paired with animal prints, heavy leather, velvet and silk to create a strong collection of glamorous rock-n-roll looks. Vaccarello continued to pull from classic western looks with slim-fitting pearl snap plaid shirts and cropped wide collar jackets during his time as creative director. Recently there have been more fun and modern takes on the classic cowboy in both film and fashion. “The Harder They Fall’’ is a new western movie that features predominantly Black actors. The styling of this groundbreaking film puts a twist on traditional western wear by incorporating more bright and bold colors. Some rising music stars have also become known for their vibrant western looks. Orville Peck’s signature look includes a cowboy hat and a fringed eye mask, which are often paired with a bright pink, red or metallic silver western ensemble. Similarly, Lil Nas X has sported a bright pink Versace cowboy look for red carpets, but his look was more risque involving harnesses and mesh. Both of their takes on western wear adds a fun edge to the classic look. People always seem to have their sights set on a romanticized version of the past. We often glorify the way things were and are nostalgic for a life we never experienced. Nothing represents our need to cling to the past quite like our nation’s love of the American cowboy. The 1800s workwear has evolved and grown in so many ways, and one thing is for sure — we haven’t seen the last of the cowboy. Issue 24 | 81
In The Village by Alex
Frantsvog
DWF Magazine | 82
Issue 24 | 83
DWF Magazine | 84
Culture can shape so much of who you are as a person and wearing the clothes of your ancestors can provide an even deeper level of connection to your heritage. Growing up, I dawned traditional greek costumes from different islands and villages, and grew to appreciate all the layers, colors, and details that made up each one.
My Greek heritage played such a large role in my upbringing that I wanted to commemorate it through this photoshoot. “In the Village” reimagines traditional Hellenic clothes for the modern day. This setting and styling combine elements of the past and present to depict the cultural bonds that withstand time.
Issue 24 | 85
DWF Magazine | 86
rshe a H v ara u G , e r lmo i G n son e a l k e h t c t g o i e K M né s: M rin o E , Y g : o o v t Model Pho rants F ex l d, A pe r r o o a n C y l l E a ncia e d e l l l n i a e m V a K a n y: :C Beaut nard, Maria Styling Ey e l l i m a :C BT S
Issue 24 | 87
DWF Magazine | 88
Issue 24 | 89
Ways That Vintage Fashion Designers Still Influence Today’s Tastes by Zoë Abovitz
Vi v i e n n e We s t w o o d i s a n 8 0 y e a r - o l d English fashion designer and businesswoman who is associated with the rise of modern punk and new wave fashions, which had a particularly g r e a t i m p a c t o n B r i t i s h f a s h i o n . We s t wood started her fashion career in the ‘70s designing for Malcolm McL a r e n ’s p u n k - i n s p i r e d b o u t i q u e , S E X . S h e a l s o w o r k e d w i t h M c L a r e n ’s b a n d , the Sex Pistols, an English punk rock band that also helped define punk fashion in the ‘70s. A t t h e t i m e , We s t w o o d ’s fashion was youthful, rebellious and expressive; it encapsulated the raw angst of British youth. Despite exploring multiple genres of f a s h i o n , We s t wood carried this revolutionary spirit with her by being an activist throughout the years. D “New OO W T S RoWE E N IEN IV V DWF Magazine | 90
It is said that history repeats itself, and when it comes to fashion, this is especially true. Some of tod a y ’s m o s t p o p u l a r f a s h i o n t r e n d s are actually upcycled designs from decades ago. Here, we take a look at s o m e o f r e c e n t h i s t o r y ’s m o s t i n fluential fashion designers and how they are still impacting the fashion w o r l d t o d a y. mantic” was a series of designs by We s t w o o d i n t h e e a r l y ‘ 8 0 s . T h i s e r a was characterized by fluid, flowing and soft looks that contrasted with the harshness of punk fashion. Transitioning away from the punk movem e n t , We s t w o o d a n d M c L a r e n e x h i b ited a pirate themed collection in the ‘ 8 0 s . T h i s i s w h e n We s t w o o d b e g a n to draw inspiration from and reinvent historical fashion, which she is wellk n o w n f o r. After ending her business partnership and romantic relationship with McLaren, which had reached a hostile p o i n t , We s t w o o d b e g a n h e r “ P a g a n Ye a r s , ” i n w h i c h s h e d e s i g n e d g a r ments further inspired by historical looks. The “mini-crini” i s a t a k e o n t h e Vi c t o r i a n h o o p skirts, and they were shortened t o i m a g i n e o l d - w o r l d w o m e n ’s fashion in the new age. Time was a r e c u r r i n g e l e m e n t i n We s t w o o d ’s designs — she found ways to
link the past and the present together while simultaneously looking towards the future. This has con-
tributed to the timeless nature of her creations, as well as the resurgence of her looks as modern-day trends.
Her brand portrays luxur y, f u n k a n d m i n i m a l i s m i n a s e a m l e s s , i n g e n i o u s w a y.
G
W AN
fashion after not making the U.S. Olympics team after she graduated from high school. Immediately following her graduation from college, Wa n g m o m e n t o u s l y s t a r t e d h e r f a s h ion career as the youngest editor of Vo g u e . A f t e r 1 7 y e a r s , s h e w e n t o n to design at Ralph Lauren before becoming an independent bridal des i g n e r. Wa n g ’s w e d d i n g d r e s s e s h a v e appeared in iconic television series such as “Gossip Girl” and “Sex and t h e C i t y. ” H e r e v e n i n g w e a r h a s a l s o made appearances at award shows, d r a p i n g t h e l i k e s o f Vi o l a D a v i s a n d S o f i a Ve r g a r a . T h e l i s t o f c e l e b r i t i e s Wa n g h a s d e s i g n e d f o r i s e x t e n s i v e , and her fashion can be described as modern, sophisticated and elegant.
Not only does her company sell bridal and evening dresses, they also d e s i g n j e w e l r y, e y e w e a r, f o o t w e a r along with fragrance and home dec o r. Wa n g a l s o u s e d h e r b a c k g r o u n d a s an elite figure skater to design costumes for many professional figure skaters. Her designs were featured on athletes in the 1992, 1994, 1998, 2002, 2010 and 2018 Winter Olympics. A d d i t i o n a l l y, Wa n g h a s b e e n r e c o g nized for her success as a businessw o m a n o n 2 0 1 8 ’s l i s t o f A m e r i c a ’s R i c h e s t S e l f - M a d e Wo m e n . A t 7 2 years old, she continues to design and heavily influence the fashion ind u s t r y. S h e is one of the only prominent fashion designers to still be in control of her brand and active in fashion design.
VERA
Ve r a W a n g h a s b e e n m a k i n g w a v e s throughout the fashion world for over fifty years. Her parents immig r a t e d t o N e w Yo r k f r o m C h i n a i n t h e 1 9 4 0 s , a n d Wa n g a t t e n d e d t h e University of Paris and Sarah Lawrence College, where she earned a d e g r e e i n A r t H i s t o r y. H a v i n g b e e n an accomplished competitive figure skater, she switched over to
Issue 24 | 91
tice under Cristóbal Balenciaga and Antonio del Castillo, two prominent Spanish fashion designers. De la Renta worked for luxury brands like Lanvin and Balmain, and he also dressed politicians and celebrities such as Jacqueline K e n n e d y, H i l l a r y C l i n t o n , A m y Adams and Amal Clooney over a career of more than fifty years. In addition to creating his own luxury fashion label, he received many awards, including the Golden P l a t e Aw a r d o f t h e A m e r i c a n Academy of Achievement and the Carnegie Hall Medal of Excellence.
oscar de l a ren
ta
Oscar de la Renta was a well-known Dominican-American d e s i g n e r. A t e i g h t e e n , he left the Dominican Republic to study painting at the San Fernando Royal Academy of Fine Arts in Madrid where he worked as an illustrator for fashion houses, or teams of designers who work to create clothing. This led him to start his fashion career as an appren-
DWF Magazine | 92
N o t o n l y d i d d e l a R e n t a ’s work blend American and European fashion in a modern y e t d e l i c a t e w a y, h i s e l e g a n t looks are also strikingly sleek and powerful, blending power and femininity f l a w l e s s l y. His designs helped define the way that socialites and celebrities alike dress to impress for their events. Dresses from the de la Renta design label are still making their way across red carpets to this d a y. A f t e r a n e i g h t year battle with cancer, de la Renta passed away in 2014 at the age of 84, however, his impact on the fashion world lives on.
e d t h e w e a r e r ’s f e m i n i n i t y. S a i n t Laurent was also one of the only designers of his time to feature Black models on the runway and worked with stars like Iman Abdulmajid and Monique-Antoine “Mounia” Orosemane. To d a y, S a i n t L a u r e n t ’s b r a n d f o c u s es more on the all-black styles of the Beatnik era, featuring leather, motorcycle jackets and thigh-high
However, the androgynous and oversized looks that Saint Laurent himself designed carried over to most contemporary fashion trends.
boots.
NT
RE
U LA
YVES SAINT
T h e F r e n c h f a s h i o n d e s i g n e r Yv e s Saint Laurent began his career by submitting three winning sketches to t h e I n t e r n a t i o n a l Wo o l S e c r e t a r i a t , a fashion design competition that celebrates outstanding fashion talents from around the globe who showcase the beauty and versatility of Merino wool. The awards ceremony was held in Paris, where he met Michel de Brunhoff, editor-in-chief of Vo g u e F r a n c e , w h o e n c o u r a g e d h i m to pursue fashion design and eventually recommended him to Christian D i o r. S a i n t L a u r e n t w a s p e r s o n a l l y c h o s e n t o b e D i o r ’s s u c c e s s o r a f t e r his death, which occurred when Saint Laurent was only 21. While at Dior, Saint Laurent designed styles such as the A-line trapeze dress that did not feature the tailored waist and skirt that had dominated the postWWII fashion scene. After leaving D i o r , h e s t a r t e d Yv e s S a i n t L a u r e n t YSL with longtime business and romantic partner Pierre Bergé. Saint Laurent is also credited as being the first French designer to announce a ready-to-wear line so his designs could be worn by the masses. Saint Laurent drew influence from painters such as Francisco de Goya, Picasso, Jean-Auguste-Dominique Ingres and Henri Matisse. Gender fluidity was also a staple of Saint L a u r e n t ’s f a s h i o n . S a i n t L a u r e n t ’s 1965 Mondrian mini dress used hard lines and color blocking to create a garment that read like a canvas — the dress itself blocked out any curves that a model could have had. He created pantsuits for women that coincided with the rise of the working woman during WWII. Through his designs, Saint Laurent was able to popularize and change the view on a woman wearing a pantsuit, but he did so in a way that still highlight-
Issue 24 | 93
As Seen in Print by Ashleigh Carpenter
DWF Magazine | 94
modeled by Brianna Marinelli, Andie Ulysee beauty by Dehja Riley photography by Carly Collins styling by Camille Eynard, Alex Frantsvog, Kevin Huang, Chelbi Robinson, Sophie Vargas
Issue 24 | 95
DWF Magazine | 96
Issue 24 | 97
DWF Magazine | 98
Issue 24 | 99
DWF Magazine | 100
Issue 24 | 101
DWF Magazine | 102
Issue 24 | 103
Model: Jalisa Redding Photographer: Layla Matthews Styling: Camille Eynard, Alex Frantsvog, Chelbi Robinson, Sophie Vargas Beauty: Julianna Gayoso BTS: Camille Eynard
DWF Magazine | 104
Issue 24 | 105
DWF Magazine | 106
Issue 24 | 107
DWF Magazine | 108
Issue 24 | 109
DWF Magazine | 110
“Vintage Hollywood stars have long been a source of inspiration for me and many other fashion enthusiasts throughout the decades. There is something so timelessly elegant about the styles and influence of those like Rita Hayworth, Zsa Zsa Gabor, Hedy Lamar, and Josephine Baker. There is a profoundness to their aesthetics since they led to such unlikely successes and continued to resonate throughout the ages, despite the challenges at the time of their emergence. Primadonna pays homage to these icons by exploring the stages of psyche for a female performer - the meditative boudoir and then her triumph moments as she adorns herself in her reimagining vintage as she takes her encore. By criticize the entertaglam, I aimed both to historical lack of inment industry for its while also honoring diverse representation who paved a way the few trailblazers in their hard-fought for so many others to follow celebration of the profootsteps. The shoot is a and looks to a future gress made by these artists is no longer extraordinary, where POC achievement . but a given.”
Issue 24 | 111
CREDITS https://ladygaga.fandom.com/ wiki/Vivienne_Westwood https://wwd.com/fashion-news/ fashion-scoops/vera-wang-olivier-rousteing-anna-sui-carol-lim-humberto-leonmoncler-fgi-night-of-stars-1202759827/ https://www.vogue.co.uk/article/ oscar-de-la-renta-biography https://www.t1shop.tk/products.aspx?cname=ysl+mens+clothing+uk&cid=474 https://designchickee.wordpress. com/2012/05/31/inspired-vera-wang/ https://www.unsplash.com https://scentlodge.com/the-oscarde-la-renta-interview/ https://www.onlygfx.com/8-coffee-stain-png-image-transparent/ https://www.sonymusic.co.uk/artist/orville-peck/ https://www.netflix.com/tudum/ articles/the-harder-they-fall-cast-talkbehind-the-scenes https://culted.com/mohair-noproblem-nong-rak-got-your-back/ https://www.complex.com/style/ balenciaga-new-crocs-collab-stiletto-clogs https://www.wonderlandmagazine. com/2021/06/07/balenciaga-ss22-demnagvasalia-clones-gucci-crocs/ https://fizzymag.com/articles/ balenciaga-s-spring-2022-ready-to-wearcollection%20 https://www.etsy.com/listing/68930182/magazine-letters-clipart-clip-art https://www.freepik.com/ premium-vector/golden-sparkling-stars-fall-vector-isolated-illustration_21643729.htm https://www.istockphoto.com/search/2/ image?phrase=blank+receipt+paper https://www.pinterest.com/ pin/443393525803927180/ https://www.istockphoto.com/photo/arule-lined-notebook-which-is-open-andblank-gm121305503-3106630 https://www.hobbylobby.com/ Crafts-Hobbies/Basic-Crafts/Craft-Foam/ Smiley-Face-Foam-Stickers/p/104770?gclid=CjwKCAjw6dmSBhBkEiwA_W-EoIpvA_54-aJWak7i3X1d2NJecvAWYHTIH0fPtKAFbjybm4ZlEWJ8lhoCAaMQAvD_BwE https://freepngimg.com/ png/119080-photos-lips-kiss-free-png-hq https://www.pinterest.com/ s10194950/hobicore/ https://www.pinterest.com/ pin/186547609555636899/ https://www.pinterest.com/ pin/4996249579221499/ https://www.hollywoodreporter.
DWF Magazine | 112
com/movies/movie-features/the-harderthey-fall-power-of-the-dog-reimaginewestern-style-1235051992/ https://stageswest.com/blog/history-of-american-western-wear/ https://www.fashionbeans.com/article/western-cowboy-trend-menswear/ https://www.history.com/news/mexican-vaquero-american-cowboy https://medium.com/@StormFoxEsq/the-myth-ofthe-american-cowboy-22260d0fecd8 https://footwearnews.com/gallery/western-boots-trend-photos/toughand-tender/ https://www.crfashionbook. com/fashion/a19664612/history-of-fashions-cowboy-boots/ https://scholarcommons.scu.edu/ cgi/viewcontent.cgi?article=1078&context=historical-perspectives https://stageswest.com/blog/history-of-american-western-wear/ https://www.wmagazine.com/story/space-age-style-history-courreges https://www.vogue.com/article/60s-space-age-fashion https://www.cnn.com/style/article/space-age-fashion-scn/index.html https://fashion-history.lovetoknow.com/clothing-types-styles/space-agestyles https://fidmmuseum.org/2019/09/ from-the-archives-space-age-style.html https://www.nytimes. com/2019/08/22/arts/design/pierre-cardin-brooklyn-museum-review.html https://www.theguardian.com/ fashion/2020/dec/29/pierre-cardin-helpeddefine-modernity-in-the-1960s-and-beyond http://galacticjourney.org/january-20-1964-andre-courreges-moon-parties/ https://www.vogue.com/article/ trends-paco-rabanne-fall-2017-ready-to https://dailybruin.com/2021/12/02/ coterie-couture-on-wednesdays-we-wearabsurdist-meme-fashion-as-social-commentary https://www.vogue.com/fashion-shows/spring-2022-ready-to-wear/ balenciaga https://www.dailycal. org/2021/12/09/layering-and-abstractionthe-year-in-fashion/ https://www.nytimes. com/2021/09/26/style/marni-armani-milan-fashion-week.html https://www.freepnglogos.com/ pics/paper
Special thank you to Emmanuel Monsalve, Roxanne Parker, and Tracy Leigh Pottery. Issue 24 | 113
DWF Magazine | 114