VOLUME I FALL/WINTER 2018
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INDEX Oona Baker Francisco Guglielmino
ASSISTANTS
Yuhan Cheng Zoe Constantinidis
MANAGING EDITORS
Kaitlin Panay Ella Windmiller
PHOTO DIRECTORS
Sabrina Ortiz RJ Meyer
ART DIRECTOR
Kate Gondwe
ASSISTANT
Mariely Torres-Ojeda
EDITORIAL DIRECTOR
Drayton Mayers
ASSISTANT
Eric Dolente
STYLE DIRECTOR
Miles Gillespie
EDITORIAL TEAM
Danielle Jean-Baptiste Lillian Cohen Riddhima Dave Olivia Hammond
STYLISTS
Quinn Albert Sarah Mots
WEB DIRECTOR
Diego Villarroel
Chris Polito
ASSISTANT
Chloe Leung
PRODUCTION COORDINATOR
Sean Rodgers
TALENT COORDINATORS
Adriana Alavi Jane Moritz
MARKETING DIRECTOR
Christopher Henderson-West
COPYEDIT
Elizabeth Ji
EMERSON FASHION SOCIETY
TREASURER
FW 2018
CREATIVE DIRECTORS
VOLUME I
Maximilian Semrau Maeve Munroe
instagram INDEX.MAG
ASSISTANTS
facebook INDEX MAG
Nia Evans Tarik Thompson
website EFS.COM
EDITORS IN CHIEF
TABLE OF CONTENTS
1 2
INDEXED 5 SUPIMA, AMERICA’S FINEST 11 METAMORPHOSIS 15 THE ART OF OUR ROOTS 25
LET SKATERS BE SKATERS 39 RUBBER, CANVAS & REBELLION 47 GRADIENT 51
FAUX PAS
3
63 FASHION WITH A CAPITAL F 69 FROM DUSK TILL DAWN 71
L E T T E R F R O M
T H E
NIA EVANS
E D I T O R S With this issue of INDEX Magazine, the Emerson Fashion Society (EFS) team has decided to turn a new page in how we exhibit multifaceted fashion to our readers. Throughout the years, this magazine was held together by one person, or the concept of the magazine was lost in the vision of a singular person. This semester, the EFS team came together in a collaborative effort to not only produce this issue, but rebrand who we are as a publication and try to establish an impactful presence on the Emerson campus and in the greater Boston area. As the only magazine dedicated to fashion at Emerson, we want to focus on personal style, expression, and fashion as an art form. Our goal is to provide a community for those interested in fashion and a platform for people to learn about all aspects of the fashion industry. Aside from fashion, the EFS team is also passionate about cultivating a space where diverse voices are celebrated and appreciated. At Emerson, there are times when it feels as though diverse voices are ignored or drown out, especially within the publishing community. EFS is proud to not only have diverse faces in our magazine, but also behind the scenes; we want to emphasize this idea to ignite change here at Emerson. We aim to make a larger comment on the fashion industry as a whole, as diversity brings beauty to the art and creates more of a collective narrative. Transition is our inspiration for this issue, and particularly, what it means to us. Transition can be a scary and overwhelming process, but it’s ultimately necessary for growth. Especially in this pivotal time where everything in our lives are constantly changing, we thought transition was a more than relevant topic to explore in this issue. As a result, we kept the concept of transition in mind throughout all our photoshoots and editorials. We hope you all enjoy Volume I of the new INDEX!
L E T T E R F R O M
T H E
D I R E C T O R S OONA BAKER FRANCISCO GUGLIELMINO
page 25 THE ART OF OUR ROOTS
page 15 METAMORPHOSIS
CHAPTER I page 11 SUPIMA
page 5 INDEXED
INDEX OF INDEX
KEYWORDS
CONTRIBUTING STYLE
LOCATIONS
Metamorphosis (noun): A change of the form or nature of a thing or person into a completely different one, by natural or supernatural means.
The Art of Our Roots David DeJesus Sayge Willis
Indexed: Tarik Thompson’s apartment
CONTRIBUTING VIDEOGRAPHERS
The Art of Our Roots: AJF Design
Indexed: Chiara Kung
Metamorphosis:
Supima (noun): A non-profit organization in the United States whose main objective is to promote the use of U.S. grown American Pima cotton around the world and is involved in quality assurance and research programs.
Roots: Tarik Thompson Let Skaters Be Skaters: Logan Wilder, Chiara Kung Gradient: Callie Kennedy
SPECIAL THANKS
A cotton that produces
Cease Boston
fiber
Diana Cartier
exceptional
Paramount Studio Supima: Supima Cotton Farms
From Dusk Till Dawn: Letao Chen
Pima Cotton (noun): of
Emerson College
Transition (verb):
Supima Cotton
Undergoing a
and that was developed in
Andrea Filliponne
period of change
the southwestern U.S. by
Sebastian Guglielmino
selection and breeding of
Wilson Leather
Egyptian cottons.
Buxton Midyette
strength
and
firmness
from one state to the next.
Hajjar Paridaez PARTNERSHIP Saks Fifth Avenue For trusting and encouraging our college magazine to utilize high end brands from their store’s jaw-dropping selection.
A special thanks to Ethan Brosnan.
1.
I I I I N N N N D D D D E E E E X X X X E E E E D D D D 5
CHAPTER I
INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED
photo makeup model
SABRINA ORTIZ CHARLIE LI LILY NOYD SARA PIRZADA HANNAH ZHONG
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SUPIMA, america’s finest. editorial DRAYTON MAYERS photo SUPIMA COTTON
Walking into Balthazar in New York is like walking into the past. The mirrors on the wall are covered in dust, far too high for a waiter to clean them off. The lighting is perpetually set to the mood lighting you’d expect at some lounge at three a.m. And daily, the top minds in the creative world below Houston St. take their morning meetings with clients. It is an establishment that has stood the test of time, and yet the energy has remained electric since opening in 1997. I was a little concerned though. I had not made a reservation; therefore, I timidly entered the New York staple French bistro. To my surprise, I saw Buxton Midyette, the reason I came to the city, conversing with the Mater Dei. Before I could even stop to catch my breath from my walk over, Midyette and I were being escorted to our table, one that seemingly popped up out of nowhere. It wasn’t until we sat down that I noticed how put together Midyette was. Dressed in a relaxed fit blazer and an overcoat to match. With the interview taking place in October, the outfit perfectly summed up the fall to winter transitional period in New York. However, for a man that usually wears a Thom Browne black and white striped blazer, I guess this is his version of dressing down. With the grace and demeanor that any regular to Balthazar would have, Midyette ordered coffees for the table, thus beginning our own breakfast appointment. Since 2002, Buxton Midyette has been the Vice President for Marketing and Promotions for Supima Cotton, a brand that has become the benchmark of American-grown, extra-long staple cotton. Working with over one hundred fifty clients, Midyette has taken a company that was first started in 1954 into the 21st Century, working with brands such as Brooks Brothers, Stone Island, Everlane and UNIQLO. As we settled into our espressos, Midyette explained that success in the cotton industry came through both what he called their “classic” and “millenial” brands. “We’ve got a group of people that have been our longtime partners like Lands End and Brooks Brothers,” Midyette expressed. “They have been our partners and have really helped pioneer and demonstrate how to use Supima in very interesting ways.” But, it is these newer brands that have helped Supima maintain their status as the producers of some of the finest, if not the finest, cotton on the planet. “Now we’ve got this new kind of group, the Millenial brands, Everlane, Casper, and Stance.” Midyette got a good laugh at the fact that I was actually wearing Stance socks that day. “So whether it is socks, sheets, or t-shirts these brands are pushing the idea of transparency and
using the best raw materials.” Midyette continued, “And we really find that these brands, their business is internet based. And that is extremely friendly to Supima.” Supima has seemingly solved the equation to remaining relevant; maintaining a client portfolio of both staple and new-age brands, as well as utilizing the power of the internet. In a world so defined by trends, Supima has found their sweet spot: Connect with the brands that determine the trends. Having been around long enough to understand the progression of trends to follow, it would be remiss not to mention the history of Supima. After all, their beginning goes back over one hundred years, long before the age of ecommerce. Starting in 1911, the U.S.D.A had an experimental farm in Sacaton, Arizona. It was there that farmers identified a particularly strong and soft variety of extra-long staple cotton. In a moment of morality, the farmers decided to name the cotton “Pima” in honor of the area’s Pima Native Americans. Fast forward to 1916, Goodyear bought up 16,000 acres of land in Arizona and expanded Pima production for use in tires of the brand’s automobiles, bicycles and airplane wings. With the demand continually growing through the first half of the 20th century, a group of farmers decided in 1954 to establish the Supima Organization, renaming the Pima cotton as Supima. Two years later and the fabrics of Coco Chanel are featured in a Supima ad campaign, thus establishing Supima as America’s luxury fiber. As the years moved along, Supima expanded, working with clients around the world and becoming the first choice of luxury fiber used by Swiss and Italian highend spinners. With people beginning to take notice in 1990, Supima introduced their licensing program, allowing for brands and retailers to use Supima products. By 2002, leading denim mills in Japan recognized Supima’s excellence, inking contracts to use the fiber, completing the perfect blend of luxury and tough denim. “It is the world’s best cotton. Quality is going to be the best in the world. There is, frankly, only an upside,” a now fully focused Midyette explained, clearly as passionate as you’d imagine someone in his position would be. “You don’t have to worry about it being drowned with child labor. You don’t have to worry about it not being grown in an environmentally sustainable way. All of those things are our big X factor.” At the turn of the century, Supima started to transition, CHAPTER I
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looking to new brands that could help innovate the path the cotton brand was on. In addition to staple brands like Brooks Brothers, with their iconic oxford shirts and knit sweaters, you now have a linen brand like Casper. Midyette explained that while it wasn’t a deliberate choice, Supima was making steps toward transitioning to a new clientele. “We kind of met them halfway, and once we saw what they were doing our question is really how can we help you?” Midyette admitted, before continuing. “We were able to come in with the resources they needed because they had not necessarily been out to the field yet, and they just ate it up.” As we began to eat our lunch, I half-jokingly asked if Midyette had any favorite brands on the Supima roster, or ones that he enjoyed working with. Pausing for a moment, the PR gears virtually working in his head, Midyette laughed, saying, “As parents we love all our kids equally, as Supima we love all our brands equally.” Midyette continued, “But I can point out how certain brands have performed really well and been leaders in certain areas.” “Brooks Brothers I think has really pioneered how to tell the story of Supima and its attributes,” Midyette admitted between bites of steak frites, but added that “Another would be Everlane, who has been out there speaking to the millennial customer and doing so at a very current way, engaging through social media.” Today, Supima is balancing who it works with based on its customers. There is a wide range of customers in the world, that all have a wide range of budget. “On one end of the spectrum we have James Perse, the leader in terms of developing this kind of California style, doing it with lightweight Supima knits, something he couldn’t have done with regular cotton. “On the other side of the spectrum you have UNIQLO. They both have very different customer bases and each would swear that the product is exactly what they want,” explained Midyette who, at this point in the lunch was beginning to check his watch, making sure he had enough time before his next meeting. Returning to the conversation though Midyette continued, “So, it is great having that range. A t-shirt is not just a t-shirt. I think that we work with enough great partners that if someone is looking for the best quality t-shirt they are going to find it with Supima.” 13
CHAPTER I
“You can do an amazing t-shirt, sell it for ten bucks, and do it with Supima.” Supima has done exactly that. In the week following our interview, the Kering Company announced their partnership with Supima. This means that brands like Gucci, Balenciaga, and Saint Laurent all will feature Supima cotton in their future collections. However, the next goal for Supima, in Midyette’s opinion, is transitioning to the internet. “I think the biggest priority now is moving onto the web. We have over one hundred fifty brands under license now, so we need to look at ways that we can support our brands. I think the focus is for us to come up with partnerships with existing internet retailers. To find partners to support the different types of brands.” Like Balthazar is to New York City, cotton is apart of the fabric of America, so much so that Midyette’s regards cotton as “classic clothing.” People love to wear jeans and t-shirts, and whether that t-shirt is Gucci or UNIQLO doesn’t take away from the fact that cotton, specifically Supima, has continued to produce an excellent product. “I think you either get it or you don’t,” Midyette said in one final answer, while paying the bill. “And if you don’t get it, you don’t get it. If you’re not interested in doing better product, that is fine, and that is not the whole market, but we’re kind of that upper-end. You can do an amazing t-shirt, sell it for ten bucks, and do it with Supima.” CHAPTER I
14
METAMORPHOSIS
photo BRUNEI DENEUMOSTIER style OONA BAKER MILES GILLESPIE model DESTINY JOSEPH
- a contained round object carrying a developing embryo. - a person possessing a specified quality. “an egg waits patiently until the time comes for it to hatch.”
2
lar · va noun
- the active immature form of an insect in its state between egg and pupa, like a caterpillar.
“the underdeveloped larva begins its journey.” 15
1
egg noun
CHAPTER I
chrys · a · lis noun - a quiescent insect pupa. - a preparatory or transitional state. "the chrysalis glistens in the sun as it begins its final transformation."
but · ter · fly noun - an insect with two pairs of large wings, usually covered with brightly colored, tiny scales. - a split piece of produce, almost in two, spread it out flat. “reaching its peak of evolution the butterfly soars to the sky.”
4
SISOHPROMATEM
3
CHAPTER I
16
crop jacket HERNO pants TIBI boots CHANEL
17
CHAPTER I
dress MONCLER I PIERPAOLO PICCIOLO
CHAPTER I
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puffer jacker BALENCIAGA denim jacket KSUBI reversible jacket PALACE bodysuit SPANX heels BALENCIAGA
21
CHAPTER I
glass wing fit & flare dress ALEXANDER MCQUEEN
editorial photo style model
DANIELLE JEAN-BAPTISTE FRANCISCO GUGLIELMINO INGA MANTICAS OONA BAKER NIA EVANS SARAH MOTS AMANDA BA DAVID DEJESUS WARD KAMEL
CHAPTER I
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This essay confronts things I have been attempting to confront for years. I am not yet comfortable in my racial identity, so I often shy away from talking about race in the specifics of my experience. Sometimes I think that being an actor helps me find myself, and sometimes I think that acting clouds my reality. Playing a multitude of characters, and constantly self reflecting and tweaking how I choose to interact leads to
further pain and detachment within my self discovery, and in a primarily white school where roles and environments are often not conducive to racial exploration, I feel as though that aspect of my artistry is stunted. My questions, however, are not in a vacuum. I have the opportunity to find answers in my peers.
CHAPTER I
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“My work ultimately revolves around my personal experience, and being Chinese is a large part— though not all—of that.”
coat HELMUT LANG
29
CHAPTER I
amanda ba
Painter / Chinese-American
The art that Amanda Ba makes is not subtle at all. In fact it is so unsubtle that I could feel my eyes darting in all directions, attempting to take on her work all at once. Her paintings are pure motion. “I’m working on this new series... where I find myself being drawn to a lot of like older Chinese people, like Chinese grandmas and grandpas, ‘cause when I was younger I lived with my grandparents for five years in China… That was a very formative and meaningful time of my life.” The rich colors in each oil painting present a contrast that push the piece forward. Ba draws viewers in by skewing light and perspective to exacerbate depth, reminiscent of a dark Degas/Gondry collaboration. Each patch of color is etched onto the canvas in thick dashes of the paintbrush; up and down, forcing vision to trail behind as they lead my gaze around with them, making it impossible to look away. Not only are her paintings distinctively self aware and self reflective, but Ba is also. She understands the balance between background and foreground. How not to fall into the trap that is performative identity. “I do still think that there is a way to like ‘over appropriate’ your own culture... I wouldn’t necessarily go out wearing a qipao every day just because that’s something that is in Chinese culture,” Ba says, addressing the uncomfortability of layering racial stereotype through presentation. “I don’t actively think about being Chinese when I dress.” Just how she doesn’t want to peddle her heritage for the benefit of the woefully non-diversified, similarly, her art maintains balance between concepts of self and ancestry. Ba presents herself in a holistic manner, making sure to pay homage to her familial influencers as well the elements of herself that she lets evolve and unfold on the canvas.
CHAPTER I
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DAVID DEJESUS
Model / Afro-Colombian American
“Right. So. I feel like I go through the same struggles, if not even more you know, just because I am Latino and then I’m also black.” says David Dejesus, a twenty two year old model living in New York. “For example when I’m at a convenience store or something like that, I would still like get looked down upon and like you know, people would have their watch out because I’m black.” David makes a striking figure. Sharp and clean-cut, it’s the efficiency of his look that sets him apart. A look that gets him jobs with names like Ralph Lauren. He continues, “but if I was like in a papi store, something like that you know, and I talk to them in Spanish and everything, it’s like they seem a little bit more at ease.” Being a child of mixed descent is to have your first impressions be completely influenced by your perceived identity, which relies heavily on the experiences of the people you meet. This becomes especially important to be aware of when you’re in a career that focuses very heavily on first impressions such as modeling. It’s hard to control the preconceptions of others, and can be frustrating when receiving limited or stereotyped jobs or offers because you don’t look “latino enough”, or can’t fit in to any type of typical mold. However, oftentimes our mixed identities can be our safe havens, something to rest upon, assuring us of things we know, manifesting as food or stories or music. Much like with my Haitian-American experience, DeJesus finds purpose and safety “with family” in the many gatherings that occur at every occasion possible (weddings, Easter, Thanksgiving, a christening, a birthday, you name it). The sharing of food, music and quality time is what DeJesus describes as a “Huge part, especially in Colombian culture and in my household. It was very important, just a sense of communion. That togetherness is just a huge factor.” Another cultural attribute that DeJesus draws strength from is his work ethic. “My mother is the strongest person I’ve ever met in my life and I’m blessed to have her as my mother.” He recollects fondly the ways in which his mother laid the foundation for his life in the US. “She just had to start from the bottom to get to where she’s at now. It’s just a start from zero here, but thinking that this is the United States, you know you’re going to start from here but end up all the way on top- realistically that’s what the mentality is. It is for me to do that and push towards even higher than [what] my mom had originally set the standard to.”
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Ward Kamel is a student filmmaker at NYU. His work is all encompassing, from dark animation, to music videos with bright vivid colors and steady shots. He too grapples with balancing identity in art. “I try my best. I think it’s pretty hard. It’s harder than I ever would’ve thought because, you don’t want to, you know, reduce yourself to your heritage. But at the same time the last thing you want to do is ignore it.” says Kamel, reiterating a statement that has echoed through this entire piece. “I spent like a big part of my childhood maybe trying to ignore it.” My dad, much like his father, has worked so hard to make sure that I am given a good life. That I truly believed that I mattered just as much as anyone else here. That I knew my skin color and my big lips and thick hair and big nose wouldn’t hinder me. He didn’t let me think about my race because it simply wasn’t important as a young girl. But as I get older, and attempt to make art, my identity becomes increasingly more important. My existence as a person of color in this country will never not be a political act, and unfortunately this shadow of bureaucratic overexposure hovers over me when I write, when I act, when I walk down the street. This feeling of pressure to speak to this over-politicized existence, creates a pressure to communicate a non-fluid identity, one that can be swallowed easily. The choice to present and promote an identity can be overdone, and walking the line between self-commodification and self-silencing can be tricky. “I’m still trying to figure it out. You know it’s like I said a pretty difficult task. And I don’t think you can ever do it perfectly.” And there it is. Something so simple that I forget everytime I become reflective and questioning. Perfect does not exist. Certainly there is no one way to be an artist, and so there is no singular way to be an artist of color either. There is no one colored experience, and there is no one way to tackle your identity. I shouldn’t expect to stick the landing on the first try. Part of the fear of being an artist of color is handling multiple processes. Your exploration of your own identity is an ongoing process. Your exploration of your art, and what you want to make is a process. Creation is a process you need to have the guts to put on display. You can fail in front of people. You can look like a mess. People might think of you differently. But so what? If people are going to label me before I even open my mouth, then my screw-ups are just par for the course. In fact, I must fail to maintain authenticity. To stand by my own experience with pride, protecting and encouraging not just the diversity of my work, but the diversity of the experiences that are behind it. Work towards what you want without fear 33
CHAPTER I
“You don’t want to reduce yourself to your heritage. But at the same time, the last thing you want to do is ignore it.” of judgment, because there will always be judgment anyways. “My goal is just to make sure that my family’s ok. Make sure that they’re safe and make sure that they’re financially set and that’s all I want to put emphasis on and work towards.” says DeJesus. “I feel like my mom’s made that very–– like a number one thing for me. And she was just like make sure you always take care of your family make sure they’re always number one and never turn your back on them.” Your family, your heritage, your roots will never turn their back on you. Hold it close when you are feeling unsure, or scared, or very far away from yourself. Kamel notes, “Identity is a living and moving thing, and it cannot grow without deep roots.” In a country that tells me that my family is from a “shithole,” and wants us to leave, it’s hard not to second guess everything I do, but I truly believe that if the whole of the country was to taste my Grandma’s cooking they couldn’t hate her. The art she makes in her kitchen is just too damn good. Made with too much love and care and self. I’ve realized I want to make my art like hers. Make things that warm me from the inside, make me feel safe, make me feel comfortable in my own skin.
WARD KAMEL
Filmmaker / Syrian-American CHAPTER I
34
sweater COMME DES GARÇON sneakers BODEGA x SAUCONY skirt BAND OF GYPSIES turtleneck ARTIZIA sweater ARITZIA khakis PAIGE
CHAPTER I
36
page 51 GRADIENT
page 47 CANVAS, RUBBER & REBELLION
CHAPTER II page 39 LET SKATERS BE SKATERS
INDEX OF INDEX
KEY WORDS
SPECIAL THANKS
LOCATIONS
Rebellion (noun):
Lynch Family Skaters For letting us skate and film alongside them.
Canvas, Rubber and Rebellion: Drayton Mayers, Miles Gillespie and Austin Galusza apartment
The action or process of resisting authority, control or convention.
Max Rose For bringing light to our stage for Gradient.
Chuck Taylor (noun):
CONTRIBUTING STYLE:
Let Skaters
Is a model of casual shoe
Let Skaters Be Skaters:
Be Skaters:
manufactured by Converse
Enzo Di Bonaventura
Lynch Family
(a
Quinn Albert
Skatepark
initially developed as a
Gradient:
Gradient:
basketball shoe in the early
Oona Baker
Emerson College
20th century.
Nia Evans
subsidiary
of
Nike,
Inc. since 2003) that was
Street Style (noun): Is a specific fashion style which comes originally from British fashion culture. It is a comprehensive approach to fashion and produces styles which intersect and differ from mainstream fashion considerations.
DiBona Studio A
CONTRIBUTING PHOTOGRAPHERS
PARTNERSHIP
Quinn Albert
Urban Outfitters
Renata Brockmann
Adriana Alavi and
Spencer Brown
the rest of the
Letao Chen
Newbury Street
Yuhan Cheng
Urban Outfitters
Brunei Deneumostier
empolyees.
Francisco Guglielmino Birdhouse (noun): Is a skateboard company formed by ex-Powell Peralta pros Tony Hawk and Per Welinder in 1992. Birdhouse makes decks and wheels, as well as clothing and accessories.
RJ Meyer Sabrina Ortiz Tarik Thompson Maxton Jan Sharif Morgan Sage Logan Wilder
2.
( LET SKATERs editorial DANIELLE JEAN-BAPTISTE photo MAXTON SHARIF RJ MEYER style MILES GILLESPIE model SUNNY ALMONACID AILENE CRUZ SARAH GANN KATE GONDWE HEATHER MORTON KATE NELSON BELA SOUSA
silk satin dress PRADA industrial belt OFF-WHITE socks PALACE 39
CHAPTER II
BE SKATERS )
Skateboarding has never been more appropriated. The popularity of skate brands, as well as the synonymous style that goes in tandem with them has reached new heights of clout. Going through the past decades, skateboarding was seen as something only delinquents took part in. Now you see corporations like Zumiez in most malls across America. Walk just about anywhere and you see both kids and adults alike carrying Birdhouse and Girl skateboards. However, in the past couple years couture brands such as Louis Vuitton, Stella McCartney, and Celine have all taken inspiration from the niche. While this isn’t a new trait, since the 90s skaters have balanced the highs and lows of fashion, many individuals in the skate community oppose the stance taken by high-end brands. One of the first moments of skate culture crossing paths with the high fashion market is Céline’s Spring 2011 Skate Campaign. Creative director Phoebe Philo merged the two distinctively opposing aesthetics by putting skateboards in the hands of models and re-imagining So-Cal’s bright stripes on loose fitting lounge pants and airy blouses. Soon, the “skate aesthetic” was showing up on the runway in shows like Vetements’ FW15 with the introduction of the chopped and skewed Thrasher logo. In Ashish’s SS16, models actually skated down the runway, and the 2016 Dior Homme’s Winter Collection featured a runway outlined by LED lit skate ramps.
Skate trends also popped up off the runway in many Hypebeast “must have” lists. This included Prada’s 2018 FW collection, to OFF+WHITE collaborations with Golf Wang, Nike, and Converse (just to name a few). It also increased the popularity of staple skate brands like Palace, Quartersnacks, and most notably, Supreme. Streetwear and “skate-wear increasingly appeared in the public eye of fashion, so much so that in 2016 Vogue had a whole week dedicated to skate, which included sloppily-written articles paying awkwardly-misplaced homage to the “buttery lengths” that are “skater hair” and “flip kicks.” An important figurehead in 80s and 90s skateboard culture is Thrasher. The small Bay Area-based publication was created by and for skaters--and continues to be. The periodical comments on the latest tricks, best skate spots, and “steeziest” pros. The classic iconography of Thrasher has been co-opted in the fashion world, most commonly showing itself on t-shirts and hats adorning the brands logo. It has also found its way onto the runway, causing copyright infringement and outrage from the skate community. This discourse between Thrasher and the fashion is not the only instance of the two worlds colliding.
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Due to all of the media attention their aesthetic was getting, the skate community had an almost immediate, and understandable, backlash. Thrasher’s Editor, Jake Phelps,
argued that, “The reason they wear the gear is because it’s stylish and people went and bought it for them, they don’t know what Thrasher is.” Another prominent skate figure Brendon Babenzien and founder/designer of NOAH NYC, addressed this phenomenon: “Skaters… they’ve historically been outcasts… One day you’re an outcast and the next day everybody wants to wear the clothes you’re into and lay claim to it? You’re going to be a little annoyed by that.” Many who wouldn’t even be able to afford these brands found refuge within skating from the difficulties of lower socioeconomic status. So, the appropriation of skate culture reads as contrived and elitist, whereas it is quite the opposite. So here’s the question: Is skate-style inherently ignorant and appropriative or is it an appreciation of the culture? With skating, it is all about intent as opposed to product. Skating was founded on the principles of dedication and trust. The motivations are simple: having the will to go for a trick, your reasons for skating, involvement with the community, and who you are when nobody’s looking. Fashion, on the other hand, is about who you are and what you’re wearing when everybody’s looking. There is too much potential for neglectful and outright indolent representation of the skate community within fashion for there not to be a thorn in somebody’s side. However, the mainstream consumption of this culture increases access to the safe haven it previously has been to so many, particularly those in the lower class, and women of color.
cargo pants OFF-WHITE print sweatshirt GIVENCHY t-shirt HERON PRESTON turtleneck HERON PRESTON button down IMRANPOTATO baseball jersey LOUIS VUITTON x SUPREME
Skateboarding has a diverse community of female players in the game. However, like many maledominated sports, they’ve just never gotten the coverage or respect from their male counterparts. Sexism is still very much alive and kicking on the halfpipe, and women are rarely taken seriously. Women are often treated as “ramp-tramps,” sex objects, or inexperienced. Lately, though, this stereotype has begun to break. Lacey Baker, a pro rider for Nike and one of the sport’s foremost competition skaters, won the 2016 Nike SB Super Crown World Championship. Along with Baker, other pros like Lizzie Armanto (who appeared on Thrasher’s 2017 front cover) and Nora Vasconcellos (a member of the Adidas skate team) have made names for themselves. A seasoned skater and writer for skate periodical Jenkem, Linnea Bullion notes, “As a woman, skateboarding has also taught me to tread carefully. I’ll be asked whose girlfriend I am over and over again both at the park and at events––a question at best prodding my relationship status, at worst assuming my right to be somewhere is only earned through my relationship to a man.” Because the culture has always existed within a male-centric society and continuously caters to the man, it cyclically reinforces the dominance and self-imposed “superiority” of the male skater without ever giving space for female success. CHAPTER II
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“Sexism is still very much alive and kicking on the halfpipe, and women are rarely taken seriously.” With Vasconcellos and Baker paving the way for the professional side of the sport, it has mostly been up to all-girl skate crews on Instagram to evangelize skateboarding to women of color. This is where Skate Kitchen, a New York City based collective, comes into the picture. In 2016 filmmaker Crystal Moselle discovered the group of girls, putting them in a short film for Miu Miu. From there Skate Kitchen blew up on Instagram garnering almost ninety thousand followers. Both Vogue and T Magazine have called them “New York’s coolest all-girl skate crew,” and “Fashions favorite girl skateboarders.” Following their social media success the team, comprised of noticeable faces like Dede Lovelace and Kabrina Adams, just released their debut film aptly titled, Skate Kitchen. With a premise comprised of a girl from Long Island sneaking out to hang with a downtown skate crew despite her mom’s wishes it is hard not to compare the critically acclaimed move to 2018’s hit Mid90s. While both movies cover the trials and tribulations of growing up within the sport there are still hang ups with skateboarding. Perhaps not with skating itself, but with the brands that have begun to appropriate it. In recent years brands like Supreme and Palace have begun to collaborate with companies beyond the realm of skateboarding. For years Comme des Garcons has had annual collaborations with Supreme, ones that are revered and heavily sought after come drop day. And as recently as November Palace announced a capsule collection with Ralph Lauren, a company so enveloped in American brand identity it came as a surprise for British brand to work with them. However, the capitalization of the sport also perpetuates racial and class divide. Brands will charge upwards of $800 for t-shirts and hoodies, and as pro skater Jaime Reyes states, “[I think] skateboarding is kind of a rich sport. I don’t really know how to articulate this but fuck, boards cost money… Skateboarding isn’t cheap.” In a 2016 article for Vibe another female skater of color, Jaz, emphasized this point on a more macro level. “It’s easier to get a skating park in a white middleclass neighborhood than it is on the West Side. They’ve been trying to get a skate park on the low-end for years,” and now with skating being included in the Tokyo 2020 olympics, it’s audience will broadened significantly, but will it be accessible? The common sentiment for skaters in regards to couture’s appropriation is this: “It’s for everyone and you can’t try to claim it as your own. I think it’s flattering to skateboarding that it’s reaching other areas and other lifestyles, but it sucks if they don’t do it properly or get the right people involved,” said Nathan, an employee at KCDC, a popular skate shop in Brooklyn. I do believe that some of the fashion industry’s impulses have had a positive effect. By promoting and popularizing the brand, more girls are beginning to feel comfortable and safe in the scene. Up and coming competitive skater Nicole Haus noted in an interview with Jenkem, “one out of every fifty people at the skatepark were girls even just a year ago. Now it’s like five or six in a crew. Imagine being nine years old and having three other girls to skate with. It’s so sick.”
vest FUCK THE POPULATION sequin shirt ALICE & OLIVIA
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If you’re someone like me, the first thing you notice about a person is the shoes they wear. I see it as a quiz with myself to make the monotonous ritual of walking down the street more entertaining. You will probably see the colors first; if they are light or dark, cold or warm. Then you may look closer and notice the patterns or texture, what kind of stitching is present, are there zigzag patterns, and if there are layers. Lastly, you may try to figure out what the brand is. One shoe that never stumps me, but always surprises me, is Converse. Their diverse selection of shoes can blend in yet also stand out like black paint on a white canvas.
What originally started off as a basketball sneaker brand became a shoe for outcasts, rebels, and surfers of concrete waves. Skate culture made it accessible for those who didn’t feel like they belonged, to belong.
The Massachusetts-native brand have become leaders in sneaker fashion ever since their rising popularity after World War II. What originally started off as a simple basketball shoe from Marquis Mill Converse’s rubber shoe company in 1908 became a rising sensation in the 1920s. As propaganda fell in popularity, advertising took to the billboards to boost the appearance of companies such as Converse. A salesman and professional basketball player Chuck Taylor (sound familiar?) revamped the shoe by helping alter its design and appearance to look similarly to our modern version. It was only until the 1950s when the classic black and white canvas shoes were spreading throughout a young rocker community and changing from athletic purposes to alt-aesthetic.
I do not consider myself a skater by any standards. I used to skate often when I was younger because I looked up to my older brother, Alex. He saw skating as apart of his identity. He got me my first board, showed me how to take care of it, and taught me to perform tricks. Even though he’s only two years older than me, I still idolized him because he was doing something he not only loved, but needed to do. Alex was respected in the skate park while forgotten in our own home. I forgot about my siblings (admittedly me too) teasing him for “doing a fake sport” or being a “skate rat” among other dismissive and demeaning insults. Doing what you love can be difficult, and that comes with wearing what you love. Wearing sweats all the time did not make my parents happy, but Alex was ecstatic.
Slowly, the shoe’s look progressed and modernized with more familiar touches throughout the decades. The shoe went through a revolution in the 70s when the “One Star” was introduced and became another best-seller available to us today. The “One Star” was worn religiously by a famous rock band, The Ramones. The rocker aesthetic from the 50s persisted throughout the 80s and 90s--what a time for fashion. I can imagine myself as an oversized t-shirt and baggy cargo pant wearing, skateboard-pumping, ear-piercing teenager rocking worn white Converse while listening to Nirvana on my Walkman. A dream.
Skating can make someone big, if they are lucky and stick with it. The deals people make with skating brands or possibly shoe brands like Converse can give skaters more opportunities. Skating for some can be a way out, either from someone’s neighborhood or their own heads. Doing what you love every day and getting paid for it sounds perfect, so why not pursue those dreams? Many young skaters were able to in the heat of the 90s. Skating hasn’t been just a hobby, but for many it is a way of life, a set of lungs for those who are trying to breathe freely.
Not only was the grunge aesthetic an epitome of cultural significance in the 90s, but skating was also. What comes to mind is Jonah Hill’s recent film, Mid90s, a period piece hitting on the skate culture tropes of resisting authority (parents, police, or otherwise), comparing tricks with your skate team, and most importantly, expressing your freedom through the love of skating. Converse sales resurged due to a growing skate community.
As the 20th century exhaled its last breath, Converse reached its prime. They sold millions of their canvased rubber kicks in the latter ‘90 years to skaters and non-skaters alike. The 21st century marked a stark change for Converse. All of a sudden, the shoe company’s monetary influx zipped shut and the sneaker market wasn’t ready to bring Converse up on top into the 21st century. In 2001, sales plummeted and they needed a quick turnaround. Like a hero, Nike came to the rescue in 2003. Not only did they buy and collaborate with Converse, but the sneaker world today wouldn’t be where it is without the significant acquisition. CHAPTER II
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The partnership has opened up many doors for both companies in a time where collaborations are plenty and flourishing. Whether it’s the brightly alluring colors of Golf Le Fleur, the minimalist black and white stripes of Off-White, or the elegant J.W. Anderson printed high tops, Converse is interacting with a wide variety of brands in the fashion arena. Converse is a brand of rebellion. Whether it’s skaters or punk rockers, classic canvas or bombastic print, Converse shoes are a statement of both high fashion and casual streetwear. Most people wear them or at least own a pair today. And when Converse collaborates with other highly regarded brands, individuality and creativity become more specific and representational. It’s a shoe that gives you supportive roots from the ground up.
sneakers CONVERSE CHUCK TAYLOR ALL STAR CORE UNISEX HIGH TOP
sneakers CONVERSE UNISEX HIGH TOP x J.W. ANDERSON
Brands have been attempting to team up more with skate groups and the larger skater community (take Converse and CONS, the brand’s very own sponsored team). Yet, many companies profit from the skater appearance, like Urban Outfitters. The opportunity to appropriate skate culture from actual skaters is an issue that’s prevalent currently. I don’t believe Converse is attempting to do so, but skaters’ voices have only recently been taken more seriously. Magazines like Thrasher or Big Brother have given skaters a platform for a little while, but is the market becoming oversaturated because of other non-skater brands? Are corporate brands like Urban Outfitters or possibly Converse taking advantage of marginalized people’s aesthetic? The answer is rather complicated. Converse, with the help of Nike, has joined the fashion industry’s marketing stratagems, but in a different way. Yes, collaborations with brands consisting of limited releases is restricted to a very few select group of people, but it isn’t financially selective like St. Laurent or Gucci, where a pair could cost you hundreds. Limited releases are for those who are quick enough to get a chance to purchase them, perpetuating a “first come, first serve” mentality. Highly idolized collaborations aren’t strictly what Converse focuses on, as everyone knows. In fact, the recent collaborations are just another way to broaden the brand’s rebellious vision of taking risks. Everyone takes fashion risks daily to represent their identity. Converse opens the ability for everyone to take those risks and feel individualized with their shoes. Whether you’re going to skate with some friends or going to prom, Converse makes a defiant statement everywhere they appear. So, where does Converse go moving forward? The brand is only just beginning to flourish and will seek greater, more significant changes as the years progress. Much of the growth is due to company’s collaborative decisions today. In other words, fashion platforms are paving roads for Converse and rebels alike. And personally, I think the roads should be better suited for marginalized voices sharing their concerns and stories. All it takes is a board, an open mindset, and quite possibly, a pair of Converse.
sneakers CONVERSE ONE STAR x TYLER THE CREATOR GOLF LE FLEUR
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INDEX OF INDEX
SPECIAL THANKS Francisco Guglielmino For
going
above
and
beyond in all aspects of the magazine. A talent and passion unmatched.
Logan Wilder For making our school your own. The quickest editor with a creativity like no other. Alejandra Valdez For all your support and love, a beacon of energy, inspiration, and strength.
EXTRAS / MODELS
LOCATIONS
From Dusk Till Dawn:
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Bean Mclean Callie Kennedy Claire Layden Colleen Leayer Denise Garcia-Torres Elinor Bonifant James Curry Jared Quinn Julia Christian Lily Gandell Jane Moritz Sarah Mots
Oona Baker’s Apartment Park Street T Station
Lamont, Demir, & Addison’s apartment Downtown Boston & Chinatown Faux Pas: Tarik Thompson’s apartment
KEYWORDS
THANK YOU
ADVISOR
Faux (adjective): Made in imitation; artificial.
New England
Nadine Grant
Reptile Shows For providing us with
Pleather (noun): Imitation leather made from polyurethane.
beautiful models
Capri Holdings (noun): Is a multinational fashion company, incorporated in the British Virgin Islands, with principal executive offices in London and operational headquarters in New York.
PARTNERSHIP
and an experience like no other.
Kendall Press Thank you endlessly for helping us get our vision to paper.
For her continual support and guidance. Her knowledge and time and were key to our journey.
3.
editorial OLIVIA HAMMOND style QUINN ALBERT photo FRANCISCO GUGLIELMINO QUINN ALBERT
From World Wars to the runway, leather has been a staple in fashion for many years. Its durability and uniqueness has been timeless, dating back to the prehistoric era when instead of chemicals to process and dye the leather, it was conveniently curated in the fatty oils from the animal hide. Since then, leather has travelled on a journey through practicality to aesthetic, gracing the shoulders of soldiers to modifying models - leather has truly been through it all. But not everyone has been rooting for leather. Many oppose the animal hide, advocating for animal rights by promoting vegan leather instead. Pleather has not only been a favorable option for animal rights activists, but also for environmental activists as well, given the dark secrets that lie behind the process of leather tanning. Whether it’s real or fake, leather has dominated the fashion industry for many years and, by the looks of it, for many years to come. But when did this stylish and sleek piece break into the industry? In the 1920s, leather was introduced to fashion through the most social and turbulent event that was happening - the first World War. Aviator-esque jackets took hold of the fashion world but ultimately made their debut when the one and only Harley Davidson made their first motorcycle jacket, which was sold for a whopping $5.50. Leather was shipped off yet again when the second World War broke out. It must have made an impact because soon after, in the 1950s, it was introduced to glitz and glamour, gracing the hills of Hollywood. The 1960s brought groovy music and a opportunity for leather to shine on the shoulders of the music industries favorable singers. Soon after came the 1970s and 1980s, where leather became armor for protestors marching for what they believed in. Once the 1990s hit, leather had made a name for itself, fueling the grungy, rebellious era. From then till now, leather has remained a staple component of the fashion industry based upon its edgy aesthetic, versatile use, and long-lasting durability. But with the debates on whether or not leather is the way to go, many environmental studies have been done on the fabric, specifically the waste product from the tanning process. Before the animal hide can become leather, there are a few steps it has to go through. It all starts with the hide from animals that were used for consumption. After being cleaned with a sodium CHAPTER III
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concentrate to remove any excess hair, the hide is put into an acid bath to prepare for tanning. Once it goes through its bath, the hide is pressed down to ensure that it is all the same width and then once pressed, it goes through another tanning process which makes it the darker color usually associated with leather. This is a gentler processes than the first tanning thus making the hide softer. Once it dries, the fabric has officially become leather. But as everything has its vices, the dyeing process comes with some repercussions. The toxic waste from the excess hair, chemicals, and by-products that go into creating the leather produce a runoff. This runoff pollutes nearby waterways because of the massive rate in which it is generated making it harder to clean and keep up with. With this information, it is safe to say it is not the most eco-friendly option. So any alternative to leather has been widely preferred.
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Diana Cartier, President of Cease, a Boston-native animal rights advocacy group stated, “I know that leather is a very popular fashion item, worn by many TV personalities as well as others in the public eye.” Cartier continues, “[But] I think the best solution, from a moral point of view, is to use imitation leather instead.” Faux leather, or pleather, is a synthetic leather-substitute made out of plastic and vinyl. It feels and looks like leather, but does not harm any animals in the making of it. First, a machine pumps many chemicals such as petroleum based plasticizer into a mixing base. Once all is mixed, a powdered vinyl is poured in until the mixture reaches a consistency of pancake batter. Dyes are then added to recreate the specific color of real leather. The mixture is then poured out onto a paper that mimics leather texture and put into an oven to harden. Once it is out of the oven, the mixture is official faux leather.
“... both leather and pleather have their repercussions.� sneakers GUCCI
Faux leather, although passing the animal rights test, falls short environmentally. A popular chemical that is used in the creation of faux leather is polyvinyl chloride (PVC). PVC is a toxic chemical, releasing toxins which have been found to cause cancer as well as fostering reproductive and developmental problems. It is not good for the environment either, creating polluted air conditions. With both leather and pleather, there are some new options that are being used to help either one become more environmentally friendly. For those who prefer leather over pleather, there is a new eco-friendly leather that some companies, such as DeepMello, are using. What is eco-friendly leather? Well, instead of the deep chemical process that was mentioned before, eco-friendly leather takes it old school and either opts out of dyeing the leather or instead of chemicals, uses natural ingredients like vegetable oil. This version of dyeing prevents the toxic buildup of the waste water. The same thing is happening with pleather. Instead of PVC, brands such as Stella McCartney and Veja are using alternatives such as cork or waxed cotton. These options are not only better for the environment, but are also more biodegradable than the vinyl that is usually used. So overall, the real truth behind this ongoing debate is a stalemate - both leather and pleather have their repercussions. Leather, while durable and timeless, is a byproduct of an industry that is not only harming animals for the sake of fashion but is harming the environment as well. Faux leather, while cruelty-free, is still leaving its mark on our eco-system. Both products are still in demand, though, so what does that mean for the industry?
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A manager of the Wilsons Leather in Somerville, Mass., who would like to be unnamed, comments on this debate. She states that, “I think that [choosing leather or faux leather is] just depending on who you are.” The manager continues, “Some people are really passionate about it, some people really care about the quality of their leather... I think it is just based on who you are and what you are willing to spend.” When asked if her customers prefer one over the other, the manager states, “It just depends on who’s walking in, because a lot of people do like the price of the faux leather, [but] our loyal customers, because we have been here such a long time, will always be looking for the real leather.” So whether it be leather or pleather, real or fake, the solution to the debate can be summed up in one word: preference. Those that prefer a long-lasting fabric but are concerned with the environment can opt for the eco-friendly leathers being produced by Loopt Classics and Moto. Those who are hard-core animal rights activists and earth-loving folks can find their taste in the vegan, eco-friendly leather produced by HFS Collective or Raven & Lily. Thrifting leather pieces is also a great option because you wouldn’t be contributing to the leather industry, but rather performing pseudo-recycling, ensuring that the already curated fabric does not go to waste. Some nice thrift stores to check out (especially if you are in the Boston area) are Buffalo Exchange, Thrive, and the infamous Garment District. So whatever your preference, with the many options available, you will be able to find your friend or faux.
blouse MSGM jacket REBECCA TAYLOR
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F WITH A CAPITAL
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The whole world seems to be going through a transition; in politics, in ideologies, with “silence breakers” covering Twitter and TIME Magazine and marches against gun violence and proposed immigration policies storming down the streets; but also in the way we dress.
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Conscious consumption and rebellion has enveloped our lives, popularizing thrift stores and ethically produced materials. The world that we experience is reflected through clothing; the people we are and who we want to represent ourselves to the world. That has always been the case in terms of styles, but the clothes themselves now have become part of the revolution. Tommy Hilfiger, Phillip Lim, Dior, Thakoon, and Diane von Furstenberg all showed solidarity with the ACLU and UN Refugee Agency for inclusivity on their runway shows in 2017. Nike partnered with Colin Kaepernick for their 30th anniversary “Just do it” campaign, showing solidarity with the Black Lives Movement and taking a knee. And yet some transitions are more subtle, no models marching down the runway in pink pussy hats like at Mossoni’s 2017 show. If you loved fashion as a child or have a thing for Meryl Streep, you’ve probably seen The Devil Wears Prada. It’s her famous monologue about belts and cerulean blue that reigns true. Everything on the street has gone through an evolution, a transformation in the eyes of the public, sometimes by season and other times decades. Trends revive themselves and fanny packs hit runways yet again, unironically. Within the last year, trends like bike shorts and dad sneakers have become the trademark look of the runway and street-style advocates. Shoulder pads and wide-legged pants have become all the rage again, popping up at Fendi, Prada, Christian Siriano, and Stella McCartney. And yet in 2003, Carrie Bradshaw shunned the scrunchies now donned all over Boston in an episode of Sex and the City. Fashion trolls the masses, seeing how far we can and will go in the name of style. It always makes us think, question our values and look at the world differently. That’s the beauty of it. Bulky puffer coats are taking over Fashion Week, ranging in shows from Balenciaga to Vetements. And yet just a few years ago, no one would go within a mile of their fluff. That concept of “designer” vs. “luxury” continues off of this concept, differentiating Balenciaga from Louis Vuitton, though the water becomes murky as brands like Gucci sell slides and T-shirts for the masses, but keep trademark brightly colored patterned suits for runways and red carpets. Some focus on the physical quality of the fabric and others design for the season. It’s the difference between a long-standing classic leather Chanel purse and Stella McCartney fall collection pieces.
Both Gucci and Louis Vuitton have definitely taken advantage of the blurring distinction between hype-styles and couture, “hypebeasts” as stated by the Guardian. They buy for the status of it, rather than the pieces themselves. Society tells them that the brand itself, not necessarily the clothes, are “fashionable” and therefore need to be added to their repertoire to be seen as important. However, brands like Supreme and Champion have also benefited from this middle ground, growing to become fashion rather than appropriate it for financial gain. It’s a plan that’s taken 12 years to execute, Champion’s global brand ambassador Manny Martinez told Esquire. “My whole thing was to take it from an urban phenomenon to pop culture,” he added. In the ‘90s it was strictly cheap workout wear, but now, in the age of athleisure, celebrities wear their emblem daily. It’s a similar nostalgia to other old looks coming back into the light––the late Princess Diana wearing bike shorts and sweaters before the turn of the millenium––with a bit more strategy behind it.
bag MOSCHINO
With collaborations with Comme Des Garcons and Louis Vuitton, it wasn’t hard for Supreme to gain traction within the fashion community. Both fashion houses sustain seasonal high fashion runway styles and signature looks within their brand. They understand the complexities of both genres of fashion. With long-standing and dedicated fanbase, Supreme also has brand equity consider. The Carlyle Group, buying a major stake in the company is attempting to beef up the brand, presumably to sell it off in three to five years. But, Louis Vuitton is going through some changes of its own right now. Virgil Abloh, American fashion designer, DJ, music producer, and close friend with Kanye West was appointed the Creative Director of their menswear collection as of last spring. He had an internship at Fendi with Kanye in 2009, which is how they met. He then founded Off-White, a fashion-house he founded in 2013, being marked in TIME Magazine’s 100 most influential people in the world.
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A huge component of his pieces is that street style capability is everywhere. When a brand has concepts of relevance in its collections, it’s going to register with the consumer market well. But, that’s also where other brands are struggling right now. There’s a difference between Michael Kors bags sold at Marshalls and custom-made Versace. It’s a hierarchy of sorts; and yet, maybe not for long. Despite talks between the two brands starting more than a year ago, the world was shocked when luxury brand Michael Kors bought out Versace, a symbol of Italian excellence for decades. It was the end of an era, covered everywhere from Vanity Fair to The New York Times. Michael Kors has been looking to boost their luxury and high fashion persona after taking a hit from its availability in department stores like TJ Maxx and Macy’s, buying Jimmy Choo for $1.2 billion last year. It was Donatella, Creative Director of Versace, since the death of her brother Gianni, who signed off on the deal. The joint-company will be renamed Capri Holdings, Kors wrote in a statement, but Donatella will still have entire artistic freedom over the company. Versace and her daughter will stay on as shareholders as well as management team will still be led by CEO Jonathan Akeroyd. It’s merely a transaction based on economic stability, Kors trying to hike their brand up from department-store-chic, rather than bring Versace down. And yet, the business model includes expanding from 200 to 300 stores and accessories and footwear from 35% to 65% of production. They hope that this will increase revenue to $2 billion globally.
Coach has always been a classic leather-based fashion brand, known for its signature Cs and simple patterns. However, their sales have dipped since 2013, losing part of its reputation as a luxury brand in its 2014-2015 slump. Over the past few years, trying to crawl into a stronger name in terms of luxury brands, they have experimented more in terms of styles and colors. They bought designer shoe company Stuart Weitzman in 2015 and Kate Spade this past summer for $2.4 billion, hoping to increase the youth and creativity associated with the brand. But, growing irrelevance isn’t necessarily the worst that could happen to a brand. 71
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Mergers have been increasing rapidly throughout the fashion industry this year: Ermenegildo Zegna bought 85% of Thom Browne shares for $500 million, Puig took a major stake in Dries Van Noten, and Coach bought Kate Spade.
Backlash has been growing towards notorious designers Dolce and Gabbana, wearing their political incorrectness on their sleeves, hand-sewn designerdegree clothes walking down the runway as homophobia and racism streams down Twitter. Both gay men, though Gabbana denounces the label, saying he feels like a man, have criticized IVF, calling it “synthetic” in terms of the LGBTQ+ community. They’ve dressed Melania Trump and they frequent outdated and racist stereotypes of Black women in their shows. Well, the public isn’t having it anymore. Many celebrities and stylists are boycotting the brand on the red carpet and refusing to wear or pull looks from their collections. With #MeToo covering women more than Chanel No.5 and androgynous fashion on the rise, their sparkle may be dwindling in the eyes of the public. As nostalgia creeps back onto the runway and streets from San Diego to New York City, the lines of gender through the fashion world are being blurred and forgotten. Balenciaga, Ludovic de Saint Sernin, Louis Vuitton, Amrich, and Gucci showed as much in their recent runway shows. We’re in the age of transition; of changes both to ourselves and the world around us, all instrumented by the public. Because it’s not only fashion that influences individuals, but the people that influence it.
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