ESCAPISM: Fashion Society UCF Magazine Issue I by Fashion Society UCF

Escapism

Escapism: Fashion Society UCF Fall 2020 Magazine. Underlying text, images, and works are contained within works. Names, characters, places, and incidents are used fictitiously. Author(s) and Contributor(s) media includes photography, artwork, and writing, contributors own rights to their work. Copyright ÂŠ 2020 Fashion Society UCF. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical means, without permission in writing from the publisher, except for the use of brief quotations in a book review or other non-commercial methods within copyright law.

Fashion Society UCF is an all inclusive club that is determined to create a safe space for any and all student creatives interested in the fashion industry. Our focus is on creating a judgement free zone and in making a positive difference within the industry, giving students of all majors the opportunity to dive into a successful career in fashion. Members are given a creative space to work on their craft through our specialized 5 main committees: Design, Styling, Modeling, Beauty and Photography.

Front Cover photography by Berona Muro. Back Cover photography by Sebastian Espinoza. Publication designed in Adobe Indesign. Printed by Printing Center USA, in the United States of America. First digital & paperback edition November 2020. Publisher: Fashion Society UCF. Contact: fashionsocietyucf@gmail.com.

Escapism

Escapism: Fashion Society UCF Fall 2020 Magazine. Underlying text, images, and works are contained within works. Names, characters, places, and incidents are used fi titiously. Author(s) and Contributor(s) media includes photography, artwork, and writing, contributors own rights to their work. Copyright ÂŠ 2020 Fashion Society UCF. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical means, without permission in writing from the publisher, except for the use of brief quotations in a book review or other non-commercial methods within copyright law.

Fashion Society UCF is an all inclusive club that is determined to create a safe space for any and all student creatives interested in the fashion industry. Our focus is on creating a judgment free zone and in making a positive difference within the industry, giving students of all majors the opportunity to dive into a successful career in fashion. Members are given a creative space to work on their craft through our specialized 5 main committees: Design, Styling, Modeling, Beauty and Photography.

Escapism

A Letter from the Editor For souls seeking distraction from unpleasantries and aching for freedom in fantasy, Fashion Society UCF presentsâ&#x20AC;Ś Escapism, our Fall 2020 magazine issue. In 2020, we experienced history in the making. The world burning and fl oding as we fi ht a deadly pandemic, becoming activists at the height of important social movements, and voting in a passionate American presidential election. Yet, there is beauty in the chaos and inside of us, searching for release. As our 100+ members prepared for our annual spring fashion show early this year, news of the Coronavirus pandemic began circulating, leading to cancellation of the show and our inevitable stay-athome order. Our organization is large and social, full of big personalities who thrive off f each otherâ&#x20AC;&#x2122;s enthusiasm. To stay in contact with our loyal members, the newly elected Executive Board leaders proposed a new idea. A passion project ignited from the minds of past and current Fashion Society members. Our fi st fashion editorial magazine helped us stay engaged. It excited the nonexistent limitations of our creativity and ambition. In less than three months, we brainstormed, produced, and distributed this magazine. Th ough the immense stress of this year, we have learned the strengths of our patience, sensitivity, motivation, and imagination. I am beyond amazed at the level of talent and persistence that can be found in Fashion Society. A long list of thanks and applause are in order for the people that worked determinedly on this. Our craziest aspirations were met as we developed a project that we have never attempted before. I have a world of appreciation for the staff nd organization members who contributed. I thank them for sticking with me as I navigated new waters and for being a part of the large crew that built a strong foundation for future staff to continue work on an established magazine. Fashion Society UCF created this issue to break free from any troubles. Submissions of art and writing are influenced by the fashion world. Together, our members produced this collaborative art form that has emerged from a time of high energy. We hope you enjoy. Breathe lighter. Inspire others. Escape.

Kayleigh Powers Editor-in-Chief

Escapism

A Letter from the Editor For souls seeking distraction from unpleasantries and aching for freedom in fantasy, Fashion Society UCF presentsâ&#x20AC;Ś Escapism, our Fall 2020 magazine issue. In 2020, we experienced history in the making. The world burning and flooding as we fight a deadly pandemic, becoming activists at the height of important social movements, and voting in a passionate American presidential election. Yet, there is beauty in the chaos and inside of us, searching for release. As our 100+ members prepared for our annual spring fashion show early this year, news of the Coronavirus pandemic began circulating, leading to cancellation of the show and our inevitable stay-athome order. Our organization is large and social, full of big personalities who thrive off of each otherâ&#x20AC;&#x2122;s enthusiasm. To stay in contact with our loyal members, the newly elected Executive Board leaders proposed a new idea. A passion project ignited from the minds of past and current Fashion Society members. Our first fashion editorial magazine helped us stay engaged. It excited the nonexistent limitations of our creativity and ambition. In less than three months, we brainstormed, produced, and distributed this magazine. Through the immense stress of this year, we have learned the strengths of our patience, sensitivity, motivation, and imagination. I am beyond amazed at the level of talent and persistence that can be found in Fashion Society. A long list of thanks and applause are in order for the people that worked determinedly on this. Our craziest aspirations were met as we developed a project that we have never attempted before. I have a world of appreciation for the staff and organization members who contributed. I thank them for sticking with me as I navigated new waters and for being a part of the large crew that built a strong foundation for future staff to continue work on an established magazine. Fashion Society UCF created this issue to break free from any troubles. Submissions of art and writing are influenced by the fashion world. Together, our members produced this collaborative art form that has emerged from a time of high energy. We hope you enjoy. Breathe lighter. Inspire others. Escape.

Kayleigh Powers Editor-in-Chief

Escapism

1 2 3 4 5

Affordable Fall Trends 2020 Stay up to date with current fashion on a budget.......14

Anna Sui’s Fabric of Fantasy Creating art in every stitch; Anna Sui’s fashion brand transports you into dreams.......15

3 Fashion Society Members to Keep in Your Radar Th ee dynamic FS members break down their love of fashion.......22

The Sims: Where Fashion Meets Gaming The Sims gives players a way to escape from stress within the world of fashion.......28

A Guide to Styling Leather

A guide to styling everyone’s favorite fall trend— leather.......29

Kendra Brown 7

Escapism

1 2 3 4 5

Affordable Fall Trends 2020 Stay up to date with current fashion on a budget.......14

Anna Sui’s Fabric of Fantasy Creating art in every stitch; Anna Sui’s fashion brand transports you into dreams.......15

3 Fashion Society Members to Keep in Your Radar Three dynamic FS members break down their love of fashion.......22

The Sims: Where Fashion Meets Gaming The Sims gives players a way to escape from stress within the world of fashion.......28

A Guide to Styling Leather

A guide to styling everyone’s favorite fall trend— leather.......29

Kendra Brown 7

Escapism

Fall is my absolute favorite season, whether or not I actually lived in a state that experiences all four seasons for longer than a week, at best. However, there is no debate that autumn fashion reigns supreme with so much opportunity to layer, experiment, and stay cozy. The key to taking on new looks with a budget is to stop looking to fast fashion for your every need. Locations such as Plato’s Closet, Goodwill, and other independent thrift stores, are bound to have the perfect cardigan, thigh high boots, and faux fur jackets that you are dying for. If you’re looking for an online shopping option, the world of thrifting is absolutely thriving on platforms like Depop, Poshmark, ThredUp and Instagram. Shop affordable and sustainable looks from the comfort of your couch. From a simple accent bandana to a reliable pair of boots, here are my top picks for trends this fall season.

CARDIGANS

When the temperature drops, layers are always your friend. There’s no style of layering quite as comfortable as a cardigan. The length of a cardigan can drastically change a look, with longer pieces providing the same comfort as a robe or your favorite pair of pajamas. For my fellow Floridians, there are plenty of fabric options like cotton, linen, or loose knit finishes, that won’t suffocate you on warmer days, making cardigans a simple chic addition to any outfit.

By Kenzie Fox “You have to focus on your dreams, even if they go beyond common sense.” - Anna Sui

CORDUROY

Corduroy was the preferred look of the 70s, and it’s making a comeback in autumn fashion as of late. From overall dresses to statement jackets, there are a variety of colors and styles of this fabric to be found and put to use. Tones like forest green and rust orange make corduroy looks pop and highlight the warm atmosphere of the season.

BLAZERS

Searching for an easy way to make an outfit look more put together? Blazers are the answer and can likely be found at your local thrift store in a multitude of colors, patterns, and sizes. Add a belt to cinch the waist, adding a unique element to an already glamorous fit.

By Caroline Hull

BANDANAS + NECK SCARVES

Styled by Ian ElmowitzCreated with Combyne App

Sometimes a hair accessory is all it takes to complete a look. You can find a variety of bandana patterns on Etsy and Depop shops, but these are also incredibly easy to make yourself with fabric from craft stores or old, unwanted clothing. Tying your hair back brings attention and light to your face, while using a scarf around your neck accentuates your shoulders and collarbones.

As children, our imagination flows out like an endless stream of colors and as we grow, our days become less and less intertwined with fantastical elements. But while the bustling New York City drowns by the clock, Anna Sui uses her gift and devotion for fashion to transport her clothing right from the paintings of dreams. From the time she was four years old, Sui’s goal was to become a fashion designer that would grant those who wore her clothes the ability to travel beyond mundane life. After being accepted into the Parsons School of Design, her obsession with the 70s New York punk scene gave Sui an idea that would ignite her journey to fame by dressing rock stars like Mick Jagger, Nick Rhodes from Duran Duran and Marilyn Manson. In 1981, she launched her first collection and in 1991— with the help of her friends Naomi Campbell and Linda Evangelista — she launched her first runway show. Now, according to her website, Anna Sui has over 50 boutiques in eight countries and her collection and

These are just a few affordable and trendy options to spice up your wardrobe this autumn season.Whether people are seeing your outfits via zoom, at home, or on social media, you have the opportunity to flex your style in unique, fresh ways. Styled by Amber Morris Created with Combyne App

products are sold in 300 stores in over 30 countries. “To me, design is creating that fantasy, that quest for realizing the perfect imagery or perfect world or perfect atmosphere that you have in the back of your brain.” Sui’s style is a combination of nostalgia and otherworldly blends of lace, pattern, color and shape. She starts with a feeling and uses pigments to incorporate those unspoken ideas. From there, she researches and chooses images by shade, making sure they match the mood of what she thinks the collection is going to be. These pictures can be ballet dresses or vintage artwork, but from these photographs comes pairings of patterns and prints until Sui combines all these wonderful creative elements, birthing her final collection. “I think one of the things about my fashion is that it’s really a spirit, it’s not so much an age group.” Anna Sui discusses how life can be so “up to the minute” and spurring people’s imagination and artistry through clothing and fashion can help them escape, even if just for a moment from their everyday burdens. After spending quarantine with her family, Sui researched and drew inspiration from her surroundings to create her Spring 2021 Ready-ToWear collection. She takes inspiration from a documentary about Berthe Morisot—an 1860s female Impressionist painter. With faded tranquil colors and whimsical flowing shapes, Sui titles her new

collection “Heartland,” honoring and celebrating all the dedication to her artform and those closest to her.

Heartland Collection - Sourced from @annasui on Instagram

Considering the current climate, this is the first year she will not be holding a runway show since 1991. And while this comes as a devastating blow to her soul, she adapts to her environment and incorporates masks into multiple pieces, while also picking a location that allows for social distancing. “I’m just trying to make people feel good and transport them to like a fantasy world.” Now more than ever, there is a demand for escapism, and Sui’s fashion is exactly what the world needs. Anna Sui’s fashion is soaring through a sunset with wings outstretched, gliding along silk and lace. With each moment comes new waves of colors that dance across the sky—dance across fabric—and our eyes never glance at the street below; we only look towards the horizon.

1994 Show - Sourced from NBC News

Escapism

CARDIGANS

By Kenzie Fox “You have to focus on your dreams, even if they go beyond common sense.” - Anna Sui

CORDUROY

BLAZERS

By Caroline Hull

BANDANAS + NECK SCARVES

Styled by Ian ElmowitzCreated with Combyne App

collection “Heartland,” honoring and celebrating all the dedication to her artform and those closest to her.

Heartland Collection - Sourced from @annasui on Instagram

1994 Show - Sourced from NBC News

Escapism

ized deal in i y is m son icon , the per gine n o i y h ll ma as ate f lf. Basica at and i .” m i t ul se nt ety “My n of my I galliva in soci o w i t o s a n ver ead th right my h hat I am -Jordyn t

By Miguel Vargas

My last semester as a Fashion Society member is steadily approaching. With this, I find myself feeling an overwhelming sense of nostalgia for all the members I have seen come and go. For so many, myself included, Fashion Society was not just a haven, but more a saving grace. It created a space for me to meet likeminded individuals. This led me to marvel at youthful creatives at the precipice of their artistic journeys and to apply myself creatively in modeling, styling, marketing, and now writing for this publication. I like to think of myself as not only a lover of fashion but more a student of fashion. I aspire to express myself to the world and see what messages I want to present through my clothing. With that in mind, I have an eye for spotting individuals who love fashion and are students of fashion like myself. These three members exemplify just that. Throughout my long run in this organization, I have greatly admired them based on their eye-catching styles, social media presence, and overall auras. I have had an itch for the longest time to interview dynamic FS members and pick apart their uniqueness, so what better time than now?

Fall Issue 2020

I will soon graduate and depart from Orlando; before then, I leave you these people to keep your eye on. Something tells me that you’ll be bragging about knowing them in the future. As they prepare to step out into the world and leave their everlasting mark on it, I’ll be patiently waiting and manifesting nothing but success and prosperity within all their endeavors. I have to thank all three of my interviewees for being vulnerable enough to share their love of fashion and creative processes. No matter what may lie ahead, one thing is for sure: there will always be a loyal fan, right here, wanting to see all three of them win.

“Within m y looks, I e scape in Tokyo th at takes pla to a fashion show ce, like, 1,0 from now. 00 years Whenever I wear an o truly love, u tfi I just feel li t that I ke I’m in th e future.” -DJ

“The world I escape to within fashion is very much pure confidence and expression. The outside world almost doesn’t exist. I create a safe world in my head, where I feel completely comfortable and safe.” -Caroline

Jordyn James, 21 UCF Senior IG: @jordynjames

Darrell Wright Jr. (DJ), 19 UCF Sophomore IG: @inmyinterweb

Knowing Jordyn for the past two years, I have always been in awe of his sense of style. It’s nostalgic, simple, sharp, and always with a twist that separates him from everyone else (in the most subtle yet intelligent way possible). Jordyn recalls understanding the concept of styling back when he was five years old living in Connecticut, in which his mother would let him dress himself. That freedom allowed Jordyn to thrive creatively, stemming an interest in incorporating androgyny and experimentalism within his style. I resonate with that notion entirely. In the future, Jordyn wants to take his runway modeling aspirations more seriously. He even wants to eventually own a design house. Jordyn says he looks beyond his phone/social media for inspiration. Instead, he looks to nature, architecture, and textures to develop outfit ideas or determine where he wants to take his style. As nice as it is to discuss colors and brands that people like, I could tell that Jordyn sees beyond those superfic alities of fashion. With respect for the craft; a olid education on the many layers of personal style; the willingness for self-introspection; and an open mind, the world truly belongs to Jordyn. I’m more than ready to witness his takeover.

People like DJ don’t come around often; in fact, they only come around once in a lifetime. Individuals whose style and aesthetic you cannot mimic, recreate, or even explain. They have an incomparable aesthetic that they manage to make all their own. When I thought of conducting these interviews, DJ immediately popped into my head for this reason. During our interview, he gave his family credit for fostering a creative atmosphere for him as a child. With his father writing poetry, his mother playing the cello, and his brother playing piano, he said he always felt inclined to express himself creatively in numerous ways. Th s multifaceted view of creative expression makes total sense due to the many artforms that DJ dips his toes into. Not only is he an innovator in fashion, but he also immerses himself into music production/songwriting (his EP Software is currently out on all platforms). Our interview’s pivotal moment was when DJ expressed his relentless refusal to put himself in a box. “If I feel like there is any doubt that I can’t do something, it just makes me want to do it because I don’t want to box myself in or limit myself in any way,” DJ powerfully states. It’s that kind of mentality that has ushered in the world’s most notable creatives. I don’t doubt that one day DJ will have a slot in that elite group of culture-shifters.

Caroline Eichelberger, 20 UCF Junior IG: @carolineeichelberger

I’m just going to say this off the bat and get it off my chest: Caroline is a muse. She has that rare effect where whatever clothing she puts on her body, it instantly looks glittery and brand new. In my brief interview with her, Caroline expressed that she has a true passion for showcasing the art of designers by modeling their pieces. In fact, she mentioned to me that she is going to walk in two separate fashion shows within the next year in hopes of taking her modeling career to new heights. We bonded heavily over our deep admiration for supermodel Bella Hadid, who she claims to be her fashion icon (which makes complete sense). In describing her style, Caroline mused that she enjoys the contrast of simplicity mixed with chaos. These two energies are on entirely different sides of the spectrum yet marry impeccably well. The more I spoke with her about our shared love of fashion, I realized that Caroline is a natural-born model who has the potential to be recognized on a global scale. I have a strong feeling that she will be getting interviewed by several other magazine publications in the future. 23

Escapism

By Miguel Vargas

My last semester as a Fashion Society member is steadily approaching. With this, I fi d myself feeling an overwhelming sense of nostalgia for all the members I have seen come and go. For so many, myself included, Fashion Society was not just a haven, but more a saving grace. It created a space for me to meet likeminded individuals. Th s led me to marvel at youthful creatives at the precipice of their artistic journeys and to apply myself creatively in modeling, styling, marketing, and now writing for this publication. I like to think of myself as not only a lover of fashion but more a student of fashion. I aspire to express myself to the world and see what messages I want to present through my clothing. With that in mind, I have an eye for spotting individuals who love fashion and are students of fashion like myself. These three members exemplify just that. Th oughout my long run in this organization, I have greatly admired them based on their eye-catching styles, social media presence, and overall auras. I have had an itch for the longest time to interview dynamic FS members and pick apart their uniqueness, so what better time than now?

Fall Issue 2020

“The world I escape to within fashion is very much pure confid nce and expression. The outside world almost doesn’t exist. I create a safe world in my head, where I feel completely comfortable and safe.” -Caroline

Jordyn James, 21 UCF Senior IG: @jordynjames

Darrell Wright Jr. (DJ), 19 UCF Sophomore IG: @inmyinterweb

Knowing Jordyn for the past two years, I have always been in awe of his sense of style. It’s nostalgic, simple, sharp, and always with a twist that separates him from everyone else (in the most subtle yet intelligent way possible). Jordyn recalls understanding the concept of styling back when he was five years old living in Connecticut, in which his mother would let him dress himself. That freedom allowed Jordyn to thrive creatively, stemming an interest in incorporating androgyny and experimentalism within his style. I resonate with that notion entirely. In the future, Jordyn wants to take his runway modeling aspirations more seriously. He even wants to eventually own a design house. Jordyn says he looks beyond his phone/social media for inspiration. Instead, he looks to nature, architecture, and textures to develop outfit ideas or determine where he wants to take his style. As nice as it is to discuss colors and brands that people like, I could tell that Jordyn sees beyond those superficialities of fashion. With respect for the craft; a solid education on the many layers of personal style; the willingness for selfintrospection; and an open mind, the world truly belongs to Jordyn. I’m more than ready to witness his takeover.

People like DJ don’t come around often; in fact, they only come around once in a lifetime. Individuals whose style and aesthetic you cannot mimic, recreate, or even explain. They have an incomparable aesthetic that they manage to make all their own. When I thought of conducting these interviews, DJ immediately popped into my head for this reason. During our interview, he gave his family credit for fostering a creative atmosphere for him as a child. With his father writing poetry, his mother playing the cello, and his brother playing piano, he said he always felt inclined to express himself creatively in numerous ways. This multifaceted view of creative expression makes total sense due to the many art forms that DJ dips his toes into. Not only is he an innovator in fashion, but he also immerses himself into music production/songwriting (his EP Software is currently out on all platforms). Our interview’s pivotal moment was when DJ expressed his relentless refusal to put himself in a box. “If I feel like there is any doubt that I can’t do something, it just makes me want to do it because I don’t want to box myself in or limit myself in any way,” DJ powerfully states. It’s that kind of mentality that has ushered in the world’s most notable creatives. I don’t doubt that one day DJ will have a slot in that elite group of culture-shifters.

Caroline Eichelberger, 20 UCF Junior IG: @carolineeichelberger

Escapism

e By Hop

By Deborah Coffy The love of fashion starts at different places for people. For some, it is through the closets of our mothers. For others, it is the fashion that is showcased on TV shows and the merchandise that comes from them. During the late 1990s and 2000s, some have discovered their love of fashion through online games and platforms such as MyScene, Barbie, Bratz, Polly Pocket, Miss Bimbo, or Girls Go Games. These websites allowed us to choose attire that followed the trends of the times such as pink feather boas, princess dresses, mermaid bathing suits, white boots, colored eye shadows, hoop earrings, and many ranges in hairstyles and colors. However, fashion isn’t the first thing that comes to mind when we think of The Sims. The game is known for being a life simulation where the player is responsible for a Sim, and fashion is an integral element of the gameplay. The Sims has been an outlet of escape for many people. Do you want to make a Sim adaptation of your favorite drama or a model? Do you want to make your Sims reflect your personal life but in an exaggerated fashion? The Sims has got you covered. Fashion plays a huge role in the story-telling process with elements such as modders, Custom Content creators, and collaborations with fashion houses. In April 2019, The Sims 4 and Moschino announced a collaboration through a Moschino Stuff Pack and The Sims X Moschino Capsule collection. The pack included new clothing, hairstyles, interior design, and an additional career as a freelance Fall Issue 2020

fashion photographer that allows Sims to hold fashion shoots for models. The official trailer included a combination of real-life and Sims elements. Joey Graceffa, a popular YouTuber, even made an appearance in the promo. Moschino, an Italian luxury fashion boutique founded by the legendary Franco Moschino, is known for its eclectic fashion pieces, specifically through clothing, bags, and shoes. Moschino’s work appeared in the hit TV show, The Nanny, and has been worn by celebrities such as Nicki Minaj, Paris Hilton, Lady Gaga, Keira Knightley, and Britney Spears. The Sims X Moschino Capsule collection debuted on April 13, 2019 through a worldwide online release. The collection consists of a one-piece swimsuit, umbrella, t-shirts, sweatshirts, bras, earrings, and other decorations. The swimsuit, umbrella, and earrings use the design of the plumbob, which is a diamondshaped icon that reflects the mood of a sim. Fashion designer and current creative director of Moschino, Jeremy Scott, enjoyed the collaboration and stated, “I love the idea of being able to imagine, design and bring to life a world of individual personas with The Sims universe. That concept emulates what I get to do for each collection at Moschino as I create a fantasy universe of spectacular storylines and characters.” Lovers of The Sims universe took a stab at producing fashion and lifestyle opportunities through custom content and mods. The Sims 4 staff cannot produce

Sims x Moschino Collection - Sourced from SA Gamer

everything, but numerous clothing options are found through The Sims Resources website, as well as on personal creators’ websites and patreons. For people who love fashion and are unable to keep up with the trends due to financial reasons— especially with the rising prices of thrift stores due to increased demand—The Sims is another alternative in a virtual world. Whether it's through the Moschino stuff pack, the capsule collection, custom content, or every-day looks, fashion is expanding to reach everyone in both real life and the escapism of video games. If you ever find yourself wanting to experiment a look without emptying your wallet, don't be afraid to live vicariously through your Sim. It is economical after all.

Leather is not new. We continually see it trending every year, every season and every day. Leather jackets are a staple and they can pretty much go with anything. But did we somehow get bored of them? Brands have designed new ways to style leather—new colors, new materials, new silhouettes—and we are loving it. The best part about moving away from the traditionally punk, black leather jackets, is the opportunity for different fashion styles to reinvent. Maybe quarantine did a little bit of good for these designers, and for us. Here are a few trendy leather designs and tips on how to style them this fall.

JACKET

Black leather jackets are a classic. This piece is timeless and easy to wear for any occasion. Throw it over your favorite graphic tee if you’re going to the movies or pair it with a dress on a night out. If you want to be in style this season, look into brown, rust colored leathers. They give off such a great fall vibe.

Gorby

You can’t go wrong with neutral tones this season, so try pairing it with cream and beige colors.

BLAZER

From stars to supermodels to fashionistas, oversized leather blazers are everywhere. They are no longer restricted to seeing just the office walls. This streetwear novelty is taking over. It is swiftly becoming everyone’s go-to accent piece. Just like any other oversized top, this blazer goes great with a pair of straight blue jeans, trousers or shorts. Wearing it with a white tee or over a sweatshirt makes casual look effortless. It’s hard to picture wearing trench coats without thinking about The Breakfast Club. This design is giving an ageless style new meaning. Leather trench coats are bold. The best part about this is you can make any outfit—going out in the rain, snow or sleet—look chic. This coat is so hard to live without; it doesn’t matter how hot or cold it may be outside. This staple piece can be worn anywhere, anytime. “These pants are burning up!” Do you get the reference? Ross Geller from Friends isn’t the only one who can pull off this look. Leather pants first took the Rock ’n Roll scene by storm in the 1950s and have been around ever since. We saw them take a sabbatical these past few seasons. But now they’re back and hotter than ever. Leather legging dupes are all the rage too. Leather pants are definitely Sandra D approved.

Styled by Valerie Escobar Created with Combyne App

How many times have you thought about wearing a pair of leather shorts? Yeah... us too. But don’t give up on them just yet. These cropped leather pants are unexpected, maybe a little bit bulky, but they’re daring and dapper. Pairing these with an oversized sweater and your favorite pair of pumps—or your go-to sneaks—makes it an effortless, “I just walked off the runway” look. So before you throw this trend out the window, remember just how easy it is to look high fashion with a pair of leather shorts or culottes.

TRENCH COATS

PANTS

Styled by Alycia Jones Created with Combyne App

SHORTS

Styled by Hannah Vance Created with Combyne App

Styled by Gaby Arcia Created with Combyne App

Whether you’re buying real leather products, or opting for something vegan, this trend is something we’ve spotted all kinds of fashion moguls wearing. And it is sure to stick around. Hopefully this guide to styling leather will help you plan your next outfit this season.

Escapism

e By Hop

By Deborah Coffy The love of fashion starts at different places for people. For some, it is through the closets of our mothers. For others, it is the fashion that is showcased on TV shows and the merchandise that comes from them. During the late 1990s and 2000s, some have discovered their love of fashion through online games and platforms such as MyScene, Barbie, Bratz, Polly Pocket, Miss Bimbo, or Girls Go Games. These websites allowed us to choose attire that followed the trends of the times such as pink feather boas, princess dresses, mermaid bathing suits, white boots, colored eyeshadows, hoop earrings, and many ranges in hairstyles and colors. However, fashion isn’t the first thing that comes to mind when we think of The Sims. The game is known for being a life simulation where the player is responsible for a Sim, and fashion is an integral element of the gameplay. The Sims has been an outlet of escape for many people. Do you want to make a Sim adaptation of your favorite drama or a model? Do you want to make your Sims reflect your personal life but in an exaggerated fashion? The Sims has got you covered. Fashion plays a huge role in the story-telling process with elements such as modders, Custom Content creators, and collaborations with fashion houses. In April 2019, The Sims 4 and Moschino announced a collaboration through a Moschino Stuff Pack and The Sims X Moschino Capsule collection. The pack included new clothing, hairstyles, interior design, and an additional career as a freelance Fall Issue 2020

Moschino x Sims Collection - Sourced from SA Gamer

everything, but numerous clothing options are found through The Sims Resources website, as well as on personal creators’ websites and patreons. For people who love fashion and are unable to keep up with the trends due to financial reasons— especially with the rising prices of thrift stores due to the increased demand—The Sims is another alternative in a virtual world. Whether it's through the Moschino stuff pack, the capsule collection, custom content, or every-day looks, fashion is expanding to reach everyone in both real life and the escapism of video games. If you ever find yourself wanting to experiment a look without spending too much, do not be afraid to put it on your Sim. It is economical after all.

JACKET

Gorby

You can’t go wrong with neutral tones this season, so try pairing it with cream and beige colors.

BLAZER

TRENCH COATS

“These pants are burning up!” Do you get the reference? Ross Geller from Friends isn’t the only one who can pull off this look. Leather pants first took the Rock ’n Roll scene by storm in the 1950s and have been around ever since. We saw them take a sabbatical these past few seasons. But now they’re back and hotter than ever. Leather legging dupes are all the rage too. Leather pants are definitely Sandra D approved. Styled by Valerie Escobar Created with Combyne App

It’s hard to picture wearing trench coats without thinking about The Breakfast Club. This design is giving an ageless style new meaning. Leather trench coats are bold. The best part about this is you can make any outfit—going out in the rain, snow or sleet—look chic. This coat is so hard to live without; it doesn’t matter how hot or cold it may be outside. This staple piece can be worn anywhere, anytime.

PANTS

Styled by Alycia Jones Created with Combyne App

SHORTS

Styled by Hannah Vance Created with Combyne App

Styled by Gaby Arcia Created with Combyne App

Whether you’re buying real leather products, or opting for something vegan, this trend is something we’ve spotted all kinds of fashion moguls wearing. And it is sure to stick around. Hopefully, this guide to styling leather will help you plan your next outfit this season.

Escapism

STYLING COMMITTEE

Designs created with Combyne app. Stylists credited on page 85

Fall Issue 2020

Escapism

STYLING COMMITTEE

Designs created with Combyne app. Stylists credited on page 85.

Fall Issue 2020

Escapism

1 2 3 4 5

A Weight On Our Planet Our planet is dying and the fashion industry is digging its grave.......38

SNKRHDZ: Black Fashion & Basketball The story of Black fashion in Sneakerhead culture.......42

Ghetto Until White People Do It A TikTok video series highlights the whitewashing of fashion trends.......44

The History of Ballroom From glamour to voguing, Ballroom is the blueprint to current fashion and culture crazes.......48

Fast Fashion is a Feminist Issue Itâ&#x20AC;&#x2122;s time we acknowledge the exploitation of women garment workers.......50

Nathalia Beltran 33

Escapism

1 2 3 4 5

A Weight On Our Planet Our planet is dying and the fashion industry is digging its grave.......38

SNKRHDZ: Black Fashion & Basketball The story of Black fashion in Sneakerhead culture.......42

Ghetto Until White People Do It A TikTok video series highlights the whitewashing of fashion trends.......44

The History of Ballroom From glamour to voguing, Ballroom is the blueprint to current fashion and culture crazes.......48

Fast Fashion is a Feminist Issue Itâ&#x20AC;&#x2122;s time we acknowledge the exploitation of women garment workers.......50

Nathalia Beltran 33

Escapism

•

• For the last decade, shopping sustainably has become a leading topic for discussion and change. Local markets and thrift stores are filled with entire generations in search of a good tomato and a pair of mom-jeans. These trends are not only relatively inexpensive, but morally justified. The enemy—“fast fashion”—creates trendy clothing with feeble material; making it light on the wallet but heavy on those who work in horrendous labor conditions and the environmental footprint left behind.

Overproduction Fashion manufacturing is a key player in climate change. After the oil industry, the fashion industry is the second largest polluter in the world. The Pulse predicts fashion emissions to grow by 63% by 2030 and according to Business Insider, in 2014, people bought 60% more garments than they did in 2000, yet only kept the clothing for half as long. The need for trendy fashionable fits while still staying affordable has launched a widespread movement of brands excessively creating multiple collections each year. In 2019, the EU reported that fashion companies produced two collections a year in 2000, but in 2011 increased to five. With chains such as Zara offering 24 collections annually, this led to clothing being regarded as “nearly disposable” goods. Because of this, the equivalent of one garbage truck full of clothes is burned or dumped in a landfill every second. In total, up to 85% of textiles go into landfills each year. And that’s not even the full story.

Synthetics and Water Pollution The fashion industry is also the second largest consumer of water worldwide and is responsible for 20% of all industrial water pollution. A 2017 report from the International Union for Conservation of Nature (IUCN) estimates that 35% of all microplastics in the ocean come from the laundering of synthetic textiles like polyester. These small pieces of plastic that never biodegrade, which mostly come from washing clothes, releases 500,000 tons of microfibers into the ocean each year — the equivalent of 50 billion plastic bottles. Many of those fibers are polyester, a plastic found in an estimated 60% of garments. Fall Issue 2020

producing polyester releases two to three times more carbon emissions than cotton. Overall, microplastics are estimated to compose up to 31% of plastic pollution in the ocean, and it is estimated that half a million tonnes of these microfibers end up in the sea each year. Water makes up most of our world, and sadly 95% of this water can’t be used for agriculture or drinking. The fashion industry not only pollutes the earth’s water, but takes from the small percentage that can be used for drinking. Wrap reported in 2017 that the average water footprint for a kilo of cotton (equivalent to a pair of jeans and a shirt) is 10,000-20,000 liters. India and Pakistan are major suppliers of cotton to the UK and both countries suffer from high levels of water scarcity. While we might not be able to see these large effects in everyday life, those supplying our demands are in scarce danger of a lack of clean water. In our search of solutions for the environmental impacts of fashion, we have to keep in mind every step of production. There are no quick fi es to the damages that the fashion industry creates, but taking time to modify our spending and clothing usage can drastically change the health of our planet.

Use your clothes for more than one season. Wearing what you already have for longer periods of time is one of the best and easiest things you can do to make your clothing more eco-friendly. Th s includes taking the time to repair and mend your clothes, upcycle your existing pieces, swap with friends, or donate to nonprofit organizations and thrift tores instead of throwing away clothes that are intact. Learn more about sustainable brands and how you can support them. You may not know that your favorite shoe brand promotes deforestation until an article pops out, but researching what you buy takes little time and carries plentiful rewards. Apps like GoodOnYou or websites like Good Trade often address environmental fashion issues and provide alternatives. Some of these brands might be more expensive, but they will last longer. Alternatives to washing your clothes. There are many ways, such as misting your clothes or hanging to breath, that are great alternatives to washing your clothes too often. You may also consider purchasing the “Guppy Friend”, a microfiber laundry bag that you put your clothes in before washing to filter microplastics. Another option is getting a microplastic filter to attach directly to the laundry machine. There are many other ways to get involved and promote sustainable fashion. Little tweaks can make great changes in the long run. Being aware of what your dollar is supporting and how our clothing choices affect the world around us is the fi st step in creating a more sustainable wardrobe and world.

Sustainable Solutions •

Shop more sustainable fabric types. Eco Watch, an environmental news outlet, states that there are more sustainable fabric materials—some including Bamboo, Organic Cotton, Industrial Hemp, Recycled Polyester, Soy Cashmere, Tencel, and Wool. 39

Escapism

•

• For the last decade, shopping sustainably has become a leading topic for discussion and change. Local markets and thrift tores are filled with entire generations in search of a good tomato and a pair of mom-jeans. These trends are not only relatively inexpensive, but morally justifi d. The enemy—“fast fashion”—creates trendy clothing with feeble material; making it light on the wallet but heavy on those who work in horrendous labor conditions and the environmental footprint left ehind.

Producing polyester releases two to three times more carbon emissions than cotton. Overall, microplastics are estimated to compose up to 31% of plastic pollution in the ocean, and it is estimated that half a million tonnes of these microfibers end up in the sea each year. Water makes up most of our world, and sadly 95% of this water can’t be used for agriculture or drinking. The fashion industry not only pollutes the earth’s water, but takes from the small percentage that can be used for drinking. Wrap reported in 2017 that the average water footprint for a kilo of cotton (equivalent to a pair of jeans and a shirt) is 10,000-20,000 liters. India and Pakistan are major suppliers of cotton to the UK and both countries suffer from high levels of water scarcity. While we might not be able to see these large effects in everyday life, those supplying our demands are in scarce danger of a lack of clean water. In our search of solutions for the environmental impacts of fashion, we have to keep in mind every step of production. There are no quick fixes to the damages that the fashion industry creates, but taking time to modify our spending and clothing usage can drastically change the health of our planet.

Use your clothes for more than one season. Wearing what you already have for longer periods of time is one of the best and easiest things you can do to make your clothing more eco-friendly. This includes taking the time to repair and mend your clothes, upcycle your existing pieces, swap with friends, or donate to nonprofit organizations and thrift stores instead of throwing away clothes that are intact. Learn more about sustainable brands and how you can support them. You may not know that your favorite shoe brand promotes deforestation until an article pops out, but researching what you buy takes little time and carries plentiful rewards. Apps like Good On You or websites like Good Trade often address environmental fashion issues and provide alternatives. Some of these brands might be more expensive, but they will last longer. Alternatives to washing your clothes. There are many ways, such as misting your clothes or hanging to breath, that are great alternatives to washing your clothes too often. You may also consider purchasing the “Guppy Friend”, a microfiber laundry bag that you put your clothes in before washing to filter microplastics. Another option is getting a microplastic filter to attach directly to the laundry machine. There are many other ways to get involved and promote sustainable fashion. Little tweaks can make great changes in the long run. Being aware of what your dollar is supporting and how our clothing choices affect the world around us is the first step in creating a more sustainable wardrobe and world.

Sustainable Solutions •

Escapism

The Eighties… Picture this: you’re in your bedroom, listening to your Walkman as Madonna’s Like A Virgin blasts from your headphones. You’re getting ready for a date, picking out the most saturated clothes you can find while struggling to breathe through the thick cloud of hairspray. You scavenge through your closet to choose the perfect shoes to match the outfit you’ve picked out, and you’re panicking because you were supposed to be at the movie theater five minutes ago. The theater’s probably packed by now; you’ll never make it to the Back to the Future showing in time. And then you spot it. Tucked away in the corner, its shoe box is still in pristine shape— the Air Jordans you were gifted for your birthday. You don’t even realize it yet, but you’re one of the first to embrace a subculture that’ll soon take over the world. In the next few years, the trend of sneaker collecting would explode in popularity, especially within the young black community. The seeds of Sneakerhead culture were planted in the place you’d least expect it— the basketball court. Athletic sneakers weren’t anything new. Players of all kinds wore shoes specifically designed for their designated sport, including basketball players. Basketball shoes were fashioned to increase players’ speed and agility; cushioned mid-soles gave flexibility and absorbed shock to prevent injury. It was common for individual players to wear shoes personalized for their playing styles and physical builds. Michael Jordan, a rookie at the time, was no exception. What made him so unique; however, is that in 1984, he and Nike teamed up to release one of the most iconic shoes of all time: the Air Jordans. People of all ages flocked to the shelves, hoping to cop their own pair. This marked the birth of the Sneakerhead. Fall Issue 2020

By Monyka Manoyrine

The Nineties… It wasn’t just basketball that played an influence on the growth of Sneakerheads. The fashion of hip hop was an important factor too. Hip hop artists would help popularize the standard for streetwear (including sneakers) in the 1980s and 1990s. RunDMC launched this street style in hip hop, with their Kangol hats, thick jackets, and most importantly, Adidas. The hip hop group’s partnership with Adidas is still alive and thriving to this day. Across the country, the black community looked up to these rappers and athletes as style icons. The United States always eulogized the idea of the “American Dream”, but it was also clear that this same “American Dream” wasn’t built to include minorities. So, black people made our own. The success of our people as rappers and athletes were the stepping stones of our dreams. We escaped into our fantasies of living a life of freedom and luxury with not just our shoes, but our hair, clothes, cars, and music. This didn’t come without backlash. Racist stereotypes associate the black community, specifically black men, with crimes and gang activity. As black people started to include sneakers in our culture, the shoes we wore became a symbol of criminality. Still, hip hop continued to grow, and so did its fashion. The same people who degraded the black community for wearing sneakers suddenly wanted in on the latest “trend.”

Lainie Jones

The New Millenium… 2000 marked a new millennium, and many changes came with it. Sneakerhead culture was becoming a global phenomenon, and it reached European countries fast. By 2010, it made it to Asia, namely Malaysia, Philippines, India, and China. People began to make platforms with the sole intentions of selling and buying shoes. Sneakerheads were no longer a niche community. People were taking pride in their clean shoe collections. Even more, creatives were utilizing their talents to make careers out of customizing shoes. Parties were held to celebrate releases, and the shoes that were dropped in the 80s set their names in stone as legendary. In the late 2000’s and 2010’s, it was common for celebrities to partner with shoe brands. The collaborations began with athletes, but branched to musicians like Kanye West who made his own branch to the Adidas brand called Yeezy. With the rise of apps and websites like StockX, Goat, and SNKRS, Sneakerheads have gained platforms to buy, sell and talk about shoes. Even as technology and society continue to grow, the Sneakerhead culture has been prominent enough to adapt and work with it.

The Future… The future of Sneakerhead culture is uncertain. Innovation is at an all-time high and the world is changing at a fast pace. One thing is for certain, though. The black community built this entire culture from our love of fashion and appreciation for the streets we grew up on. In a world where black children are constantly being told who we are and how we must express ourselves, we can still look up to the shoes and the legends who wear them. Like most of black culture, what was once described in such a negative light has become one of the biggest fashion subcultures in the world. Sneakerheads are the love children of basketball, hip hop, molded rubber, and the ambition of the black community. Their culture continues to blossom based on these very same principles. 43

Escapism

The Eighties… Picture this: you’re in your bedroom, listening to your Walkman as Madonna’s Like A Virgin blasts from your headphones. You’re getting ready for a date, picking out the most saturated clothes you can fi d while struggling to breathe through the thick cloud of hairspray. You scavenge through your closet to fi d the perfect shoes to match the outfit you’ve picked out, and you’re panicking because you were supposed to be at the movie theater five minutes ago. The theater’s probably packed by now; you’ll never make it to the Back to the Future showing in time. And then you spot it. Tucked away in the corner, its shoe box is still in pristine shape—the Air Jordans you were gifted for your birthday. You don’t even realize it yet, but you’re one of the fi st to embrace a subculture that’ll soon take over the world. In the next few years, the trend of sneaker collecting would explode in popularity, especially within the young black community. The seeds of sneakerhead culture were planted in the place you’d least expect it— the basketball court. Athletic sneakers weren’t anything new. Players of all kinds wore shoes specifi ally designed for their designated sport, including basketball players. Basketball shoes were fashioned to increase players’ speed and agility; cushioned mid-soles gave flexibility and absorbed shock to prevent injury. It was common for individual players to wear shoes personalized for their playing styles and physical builds. Michael Jordan, a rookie at the time, was no exception. What made him so unique, however, is that in 1984, he and Nike teamed up to release one of the most iconic shoes of all time: the Air Jordans. People of all ages fl cked to the shelves, hoping to cop their own pair. This marked the birth of the Sneakerhead. Fall Issue 2020

By Monyka Manoyrine

The Nineties… It wasn’t just basketball that played an influence on the growth of Sneakerheads. The fashion of hip hop was an important factor too. Hip hop artists would help popularize the standard for streetwear (including sneakers) in the 1980s and 1990s. RunDMC launched this street style in hip hop, with their Kangol hats, thick jackets, and most importantly, Adidas. The hip hop group’s partnership with Adidas is still alive and thriving to this day. Across the country, the black community looked up to these rappers and athletes as style icons. The United States always eulogized the idea of the “American Dream”, but it was also clear that this same “American Dream” wasn’t built to include minorities. So, black people made our own. The success of our people as rappers and athletes were the stepping stones of our dreams. We escaped into our fantasies of living a life of freedom and luxury with not just our shoes, but our hair, clothes, cars, and music. Th s didn’t come without backlash. Racist stereotypes associate the black community, specifi ally black men, with crimes and gang activity. As black people started to include sneakers in our culture, the shoes we wore became a symbol of criminality. Still, hip hop continued to grow, and so did its fashion. The same people who degraded the black community for wearing sneakers suddenly wanted in on the latest “trend.”

Lainie Jones

Escapism

Why Does This Matter?

By Jessica Siles

You might know TikTok creator, Taylor Bright, by her username Sustainable Cherub. Her videos about ethical and sustainable fashion have gained her over 140,000 followers and over three million likes. One of her most popular video series is called “Ghetto Until White People Do It.” These videos focus on trends that were originally popularized among people of color and ignored by high fashion until white designers and celebrities brought the trends into the mainstream. Many of the styles that people of color were ridiculed for are now categorized as “best sellers.” Bright’s videos aim to educate people on the history and significance of such trends. Through a discussion of examples and with Bright’s insight, we hope to touch upon the implications of why fashion trends shouldn’t only be deemed acceptable once a white person has done it.

The Rise of Street Wear In her explanation of the video series, Bright stated that her intention was to bring awareness to the fact that many of fashion’s most admired trends were first used to label people of color as “ghetto.” Many of the trends Bright explored were supported by the hip hop industry. In 2017, rap and hip-hop became the most listened to music genre. As the songs gained popularity, so did the fashion trends they inspired. What used to be a genre dominated by people of color was being played by every radio station. Synonymous with this time was the rise in street wear. Instead of high fashion runways dictating trends, music-influenced hype beasts and sneaker culture were the outfit inspirations of millions. All of this transpired without giving any respect or credit to the original designers and trendsetters. Fall Issue 2020

Stolen Trends In Bright’s Tik Toks, she walks through a brief history of the trend and how it became mainstream. One of her videos was centered around how “baggy clothes”—oversized jeans, t-shirts, and jackets—have moved from the street to the runway. Loose-fitting clothes weren’t always the epitome of fashion. Baggy clothes can be traced back to communities of color as early as the 1930s and 1940s in the form of Zoot suits. Prison culture also promoted baggy clothing. Bright considers the 2000s as the peak for baggy clothing and street style. But before baggy clothing made it to the runways, there were articles associating the style with gangs. This defamation of the trend reinforced the racist stereotype that all minorities were involved with gang activity. It was used to call groups of people, particularly black men, “ghetto”, for simply being disadvantaged. But now that white people love oversized vintage tees, baggy clothes are considered fashionable. Bright’s videos tell similar stories of accessories, jewelry, and hair styles. Examples include bucket hats, nameplate jewelry, hoop earrings, grillz, long nails, braids, colored hair, baby hairs/ edges; the list goes on. Consumers should know the history behind what they wear and use that knowledge to hold the fashion industry accountable for perpetuating discrimination.

Stealing the work of stylists and designers without giving proper recognition further disadvantages people of color. A perfect example of this is “fashion outlaw,” Dapper Dan. Dapper Dan was a prominent designer in the 80s and 90s that popularized the trend logomania, or logos printed all-over. As a Harlem native, he was especially well-known among streetwear and hip-hop artists. According to a New York Times article, many people cite Dapper Dan as the one responsible for improving upon luxury brands. As he rose in popularity, he caught the attention of big names. He was forced to go underground when his boutique was run out of business by litigation. Although he was unable to have his own store, logomania had reached the runways. Gucci has recently collaborated with Dapper Dan, likely as a form of damage control after receiving backlash online. Not giving credit to the original designers is morally wrong and can result in fi ancial repercussions. In the case of Dapper Dan and his business, sometimes brands go out of their way to steal designs and keep the profits for themselves. Th s further disadvantages marginalized communities, robbing them of not only their creations but also of economic opportunity. Trend-stealing reveals the white-washing of fashion. Many of the big couture brands that stole from stylists of color slightly altered these trends and put them on white models. According to an article from the Guardian, 78.2% of all the models featured in spring 2016’s fashion adverts were white. The New York Times’ article, Fashion’s Racial Divide, highlights that the disparities on the runways only symbolize power structures that are persistent behind the scenes. They found that approximately 12 out of 470 members of the Council of Fashion Designers of America are African-American designers. Not only are they eradicating people of color’s voices from the design board, they are no longer being represented in their own trends.

What We Can Do The goal of Bright’s series is not to tell people what they can and can’t wear. Bright’s videos highlight the need for consumers to educate themselves and support the right brands. Watch her videos to learn more, and do research on ethical designers. Watch documentaries like Netfli ’s “The Remix: Hip Hop x Fashion,” which highlights the work of young, undiscovered black stylists and fashion icons. Read fashion magazines that feature people of different backgrounds on the front cover. One way to ensure that BIPOC voices are being heard is to give them a seat at the table. The fashion industry needs to showcase more identities—from runway models, to designers, to magazine editors. Including more perspectives in a creative process will only lead to more innovation benefiting us all. How do consumers push for more inclusivity? Speak with your money. Support clothing, jewelry, and makeup brands owned by people of color and women. It is time to stop gatekeeping the fashion industry. Our generation can change fashion for the better.

Escapism

Why Does This Matter?

By Jessica Siles

Stolen Trends In Bright’s Tik Toks, she walks through a brief history of the trend and how it became mainstream. One of her videos was centered around how “baggy clothes”—oversized jeans, t-shirts, and jackets—have moved from the street to the runway. Loose-fitting clothes weren’t always the epitome of fashion. Baggy clothes can be traced back to communities of color as early as the 1930s and 1940s in the form of Zoot suits. Prison culture also promoted baggy clothing. Bright considers the 2000s as the peak for baggy clothing and street style. But before baggy clothing made it to the runways, there were articles associating the style with gangs. Th s defamation of the trend reinforced the racist stereotype that all minorities were involved with gang activity. It was used to call groups of people, particularly black men, “ghetto”, for simply being disadvantaged. But now that white people love oversized vintage tees, baggy clothes are considered fashionable. Bright’s videos tell similar stories of accessories, jewelry, and hair styles. Examples include bucket hats, nameplate jewelry, hoop earrings, grillz, long nails, braids, colored hair, baby hairs/ edges; the list goes on. Consumers should know the history behind what they wear and use that knowledge to hold the fashion industry accountable for perpetuating discrimination.

Stealing the work of stylists and designers without giving proper recognition further disadvantages people of color. A perfect example of this is “fashion outlaw,” Dapper Dan. Dapper Dan was a prominent designer in the 80s and 90s that popularized the trend logomania, or logos printed all-over. As a Harlem native, he was especially well-known among streetwear and hip-hop artists. According to a New York Times article, many people cite Dapper Dan as the one responsible for improving upon luxury brands. As he rose in popularity, he caught the attention of big names. He was forced to go underground when his boutique was run out of business by litigation. Although he was unable to have his own store, logomania had reached the runways. Gucci has recently collaborated with Dapper Dan, likely as a form of damage control after receiving backlash online. Not giving credit to the original designers is morally wrong and can result in financial repercussions. In the case of Dapper Dan and his business, sometimes brands go out of their way to steal designs and keep the profits for themselves. This further disadvantages marginalized communities, robbing them of not only their creations but also of economic opportunity. Trend-stealing reveals the white-washing of fashion. Many of the big couture brands that stole from stylists of color slightly altered these trends and put them on white models. According to an article from the Guardian, 78.2% of all the models featured in spring 2016’s fashion adverts were white. The New York Times’ article, Fashion’s Racial Divide, highlights that the disparities on the runways only symbolize power structures that are persistent behind the scenes. They found that approximately 12 out of 470 members of the Council of Fashion Designers of America are African-American designers. Not only are they eradicating people of color’s voices from the design board, they are no longer being represented in their own trends.

What We Can Do The goal of Bright’s series is not to tell people what they can and can’t wear. Bright’s videos highlight the need for consumers to educate themselves and support the right brands. Watch her videos to learn more, and do research on ethical designers. Watch documentaries like Netflix’s “The Remix: Hip Hop x Fashion,” which highlights the work of young, undiscovered black stylists and fashion icons. Read fashion magazines that feature people of different backgrounds on the front cover. One way to ensure that BIPOC voices are being heard is to give them a seat at the table. The fashion industry needs to showcase more identities—from runway models, to designers, to magazine editors. Including more perspectives in a creative process will only lead to more innovation benefiting us all. How do consumers push for more inclusivity? Speak with your money. Support clothing, jewelry, and makeup brands owned by people of color and women. It is time to stop gatekeeping the fashion industry. Our generation can change fashion for the better.

Escapism

Y H P A R G PHOTO E E T T I COMM

Fall Issue 2020

Photographers credited on page 4785

Escapism

Y H P A R G PHOTO E E T T I COMM

Fall Issue 2020

Photographers credited on page 85.

Escapism

By Deborah Coffy Contour. Bold colors. Trophies. Modeling. Voguing. Shade. Tea. Extravagant clothing. Dance. Lip-syncing. These are all seen in the mainstream media today through our favorite and most iconic influencers and celebrities. From YouTube Beauty Gurus such as Patrick Star and Manny Mua to popular drag queens that appear on television shows such as RuPaul’s Drag Race, fashion has transformed into a bigger space that allows for a spectrum rather than one thing. Musicians and performers’ dances, lip-syncing, and certain postures allowed for the music and modeling industry to increase their appeal during shows and concerts. Belonging to a cis, heternormative world leads to the failure to give credit to the creators of these projects. These visionaries come from the LGBT community and are primarily Black and Latina trans women. Documentaries and shows like Paris Is Burning, How Do I Look, and Pose showcase the artistry these magnificent people possess while dealing with the hardships of a world that shows distaste and evil toward them. Ball Culture, otherwise known as Ballroom, consists of houses that are built in a similar dynamic of the nuclear family. There are the parents (which are referred to as mothers and fathers) and there are children. Mothers and fathers are the elders of the ball scene, and they provide knowledge and guidance to their children when it comes to life in and outside of the ball. Each house has its own name, which the family members use as their last name. According to the Missed Opportunities: Youth Homelessness in America study, LGBT youth—from ages as young as 13—have a 120% higher risk for homelessness. If they come out of the closet, LGBT youth are more likely to be kicked out or run away, being forced onto the streets to fend for themselves. This unfortunately leads to dangerous scenarios, such as committing survival sex and doing drugs. Ball Culture became and is still known for being a refuge for these kids, with mothers and fathers taking them home and introducing them to the world of balls. Fall Issue 2020

Contrary to bigoted conversation, LGBTQ+ people have always been here, and this includes their safe spaces. William Dorsey Swann who was known as the “Queen of Drag’’ was an African American slave. His balls allowed a space for black men to gather and included folk music, dances, food, and feminine clothing. He was arrested many times, once for stealing party supplies for ballroom itself. Swann and his family were exposed to multiple police raids bringing them harm. In The National Republican, many of the people who attended these balls had their names listed. The mention of names increased susceptibility to beatings, rape, and lynching. In 1869, the first-ever ball was held at the Hamilton Lodge. From there, balls started to spread in secret throughout the queer community. There was finally a solid space where everyone could meet safely, despite society thinking negatively about them. During the Harlem Renaissance in the Roaring 20s, newspaper clippings showed gatherings happening in Harlem with queer men and women not adhering to gender roles. Legendary Harlem Renaissance poet, Langston Hughes, witnessed these balls himself and wrote about them in his autobiography. Ballroom went through a strong transformation in 1977 where the first house, the House of LaBeija, was born. Its founder was Crystal LaBeija who was a Black trans woman who participated in the 1967 Miss-All America Camp Beauty Contest in New York City as Miss Manhattan. As seen in the documentary, The Queen, LaBeija reached fourth place in what she felt was a fixed race with the pageant judges only favoring and valuing white queens. Because of white drag queens’ segregationist mindset about black drag queens, Drag Queen Lottie asked if Crystal could help promote a ball in Harlem for Black queens. This later led to the two women creating the first annual House of LaBeija Ball in Harlem, New York. Other houses started to form in response, like the iconic House of Xtravaganza, House of Mizrahi, and House of

Ninja. Famous drag queens such as RuPaul and Aja were inspired by LaBeija’s work. RuPaul credited his fi st experience within the drag sphere to seeing LaBeija lipsyncing at a nightclub in Atlanta. Balls consisted of competitions where houses would compete against each other and receive scores during each round, or “categories”. Whoever received the highest points in a category would win a trophy. One of the crucial points of ballroom was voguing, which contained a mixture of Breakdance, Martial Arts, and Jazz. Voguing is credited to Willi Ninja, who was the founder of the House of Ninja and known as the godfather of voguing. However, it has been used in ballroom before. Voguing consists of three waves, with the former being Old and New Way; the current and well-known version is Vogue Fem. It has five characteristics: Hand and Arm Performance, Catwalk, Duckwalk, Spins & Dips, and Floor Performance. Further attention was brought to this dancing style when Madonna released her single, “Vogue” in 1990. Ballroom also has certain lingo which many people throughout pop culture now use such as, “tea,” “shade,” “femme queen,” “butch queen,” “butch,” “snatch,” and “reading”. Femme queen, butch queen, and butches are terms to refer to certain members of the ballroom. Trans women are femme queens, butch queens are gay or bisexual men, and butches are women who dress masculinely. Friends and siblings spill tea when it comes to the scoop that they overheard, or when they have been told something juicy. Shade is used as a non-verbal communication which exhibits facial expressions and is used along with reading. Ballroom is pop culture. It dictates the trends and pushes unique forms of expression to be the norm-which would not exist without the sacrifice f many drag and house figu es who challenged a racist, homophobic, and transphobic world. Despite the world accepting the creations that come from this very community, Black Trans women are still dying at a high rate, with their average lifespan being 35. Even though sharing art is a beautiful thing, we must take care of the creators in the same way we take care of the art. Consuming art does not make one an ally, but supporting, defending, and giving unconditional, positive support does. And that’s what the members of the LGBTQ+ community need regardless of whether or not they’re involved in ballroom or drag.

Raymond Veliz 49

Escapism

By Deborah Coffy Contour. Bold colors. Trophies. Modeling. Voguing. Shade. Tea. Extravagant clothing. Dance. Lip-syncing. These are all seen in the mainstream media today through our favorite and most iconic influencers and celebrities. From YouTube Beauty Gurus such as Patrick Star and Manny Mua to popular drag queens that appear on television shows such as RuPaul’s Drag Race, fashion has transformed into a bigger space that allows for a spectrum rather than one thing. Musicians and performers’ dances, lip-syncing, and certain postures allowed for the music and modeling industry to increase their appeal during shows and concerts. Belonging to a cis, heternormative world leads to the failure to give credit to the creators of these projects. These visionaries come from the LGBT community and are primarily Black and Latina trans women. Documentaries and shows like Paris Is Burning, How Do I Look, and Pose showcase the artistry these magnificent people possess while dealing with the hardships of a world that shows distaste and evil toward them. Ball Culture, otherwise known as Ballroom, consists of houses that are built in a similar dynamic of the nuclear family. There are the parents (which are referred to as mothers and fathers) and there are children. Mothers and fathers are the elders of the ball scene, and they provide knowledge and guidance to their children when it comes to life in and outside of the ball. Each house has its own name, which the family members use as their last name. According to the Missed Opportunities: Youth Homelessness in America study, LGBT youth—from ages as young as 13—have a 120% higher risk for homelessness. If they come out of the closet, LGBT youth are more likely to be kicked out or run away, being forced onto the streets to fend for themselves. Th s unfortunately leads to dangerous scenarios, such as committing survival sex and doing drugs. Ball Culture became and is still known for being a refuge for these kids, with mothers and fathers taking them home and introducing them to the world of balls. Fall Issue 2020

Contrary to bigoted conversation, LGBTQ+ people have always been here, and this includes their safe spaces. William Dorsey Swann who was known as the “Queen of Drag’’ was an African American slave. His balls allowed a space for black men to gather and included folk music, dances, food, and feminine clothing. He was arrested many times, once for stealing party supplies for ballroom itself. Swann and his family were exposed to multiple police raids bringing them harm. In The National Republican, many of the people who attended these balls had their names listed. The mention of names increased susceptibility to beatings, rape, and lynching. In 1869, the fi st-ever ball was held at the Hamilton Lodge. From there, balls started to spread in secret throughout the queer community. There was fi ally a solid space where everyone could meet safely, despite society thinking negatively about them. During the Harlem Renaissance in the Roaring 20s, newspaper clippings showed gatherings happening in Harlem with queer men and women not adhering to gender roles. Legendary Harlem Renaissance poet, Langston Hughes, witnessed these balls himself and wrote about them in his autobiography. Ballroom went through a strong transformation in 1977 where the fi st house, the House of LaBeija, was born. Its founder was Crystal LaBeija who was a Black trans woman who participated in the 1967 Miss-All America Camp Beauty Contest in New York City as Miss Manhattan. As seen in the documentary, The Queen, LaBeija reached fourth place in what she felt was a fi ed race with the pageant judges only favoring and valuing white queens. Because of white drag queens’ segregationist mindset about black drag queens, Drag Queen Lottie asked if Crystal could help promote a ball in Harlem for Black queens. Th s later led to the two women creating the fi st annual House of LaBeija Ball in Harlem, New York. Other houses started to form in response, like the iconic House of Xtravaganza, House of Mizrahi, and House of

Ninja. Famous drag queens such as RuPaul and Aja were inspired by LaBeija’s work. RuPaul credited his first experience within the drag sphere to seeing LaBeija lip-syncing at a nightclub in Atlanta. Balls consisted of competitions where houses would compete against each other and receive scores during each round, or “categories”. Whoever received the highest points in a category would win a trophy. One of the crucial points of ballroom was voguing, which contained a mixture of Breakdance, Martial Arts, and Jazz. Voguing is credited to Willi Ninja, who was the founder of the House of Ninja and known as the godfather of voguing. However, it has been used in ballroom before. Voguing consists of three waves, with the former being Old and New Way; the current and well-known version is Vogue Fem. It has five characteristics: Hand and Arm Performance, Catwalk, Duckwalk, Spins & Dips, and Floor Performance. Further attention was brought to this dancing style when Madonna released her single, “Vogue” in 1990. Ballroom also has certain lingo which many people throughout pop culture now use such as, “tea,” “shade,” “femme queen,” “butch queen,” “butch,” “snatch,” and “reading”. Femme queen, butch queen, and butches are terms to refer to certain members of the ballroom. Trans women are femme queens, butch queens are gay or bisexual men, and butches are women who dress masculinely. Friends and siblings spill tea when it comes to the scoop that they overheard, or when they have been told something juicy. Shade is used as a non-verbal communication which exhibits facial expressions and is used along with reading. Ballroom is pop culture. It dictates the trends and pushes unique forms of expression to be the norm-which would not exist without the sacrifice of many drag and house figures who challenged a racist, homophobic, and transphobic world. Despite the world accepting the creations that come from this very community, Black Trans women are still dying at a high rate, with an average lifespan of 35 years. Even though sharing art is a beautiful thing, we must take care of the creators in the same way we take care of the art. Consuming art does not make one an ally, but supporting, defending, and giving unconditional, positive support does. And that’s what the members of the LGBTQ+ community need regardless of whether or not they’re involved in ballroom or drag.

Raymond Veliz 49

Escapism

Fall Issue 2020

Unfortunately, her story is not uncommon. She was one of the millions of girls that worked long, difficult hours in often dangerous conditions to produce clothing for us to wear. According to the campaign Labour Behind The Label, poor ventilation and heat, lack of access to water, and chemical exposure lead to frequent fainting and malnutrition among factory workers. With hazardous working conditions and unlivable wages, working within these garment factories can be outright deadly. As consumers, we often turn a blind eye to the conditions of women like Akter because it’s easier for us to adopt an out of sight, out of mind perspective. Human rights violations are rampant in the clothing industry. Labour Behind the Label puts it best, “it is an industry built on exploitation and growing under a lack of transparency that makes holding brands accountable difficult.” Widespread problems which affect garment workers include but are not limited to: low wages; long hours; forced overtime; unsafe working conditions; sexual, physical, and verbal abuse; repression of trade union rights; and short-term contracts. Approximately 80% of workers within the clothing industry are women aged 18-35. These women earn as little as $21 a month. Many are the main or only source of income in the household, and must provide for their children and families. Since the majority of people responsible for creating our clothing are women, it’s time we treat fast fashion and the unethical treatment of garment workers for what it is—a major feminist issue. Labour Behind the Label explains that it’s no accident the majority of garment workers are women. In fact, it’s the “result of discriminatory practices from start to finish.” Women are

considered desirable workers by employers because of prevailing stereotypes that women are passive or submissive. Responsibilities such as cleaning, cooking, and childcare limit women’s ability to seek other types of employment. Women often don’t have the same opportunities to speak out about injustices or to improve their working conditions as men do. Indonesian garment workers detail the abuse of power within factories: “they [the male managers] come on to the girls, call them into their offices, hisper into their ears, touch them, bribe them with money and threaten them with fi ing if they don’t have sex with them.” Some factories will only hire unmarried, childless women and force them to agree not to have children during their term of employment. Women who do become pregnant often try to hide it, resulting in birth defects and other health issues. When we decide whether or not to buy an article of clothing, we often consider how it will fit, what it will match with, how we will style it, and how much it will cost. We neglect to question where the piece was manufactured, how long the process took, how it will affect the environment, or whose hands it passed through before ending up in our closets. However, times are changing. With increased concern over the environmental impacts of fast fashion, consumers are taking a deeper dive into the dirty truths of the industry. The documentary, The True Cost, received substantial attention for shedding light on the topics of sustainability and ethics in the fashion industry. It revealed that the fashion industry is the secondmost polluting industry only after oil. According to Fashion United, the global fashion industry was valued at 3 trillion dollars for the year 2020, so it’s no surprise that the industry has such an impact on people and the planet. The 2013 Rana Plaza disaster was a big wake-up call for the fashion industry. In Bangladesh, Rana Plaza was a large manufacturing site for global

Escapism

At 12 years-old, she worked in a garment factory to support her family. Her dad was sick and her mom was home caring for her two monthold sister. She was the only one who could work, so it was up to her to put food on the table. A typical day for a garment worker in Bangladesh starts at 4:30 a.m. when she has to wait in line to use communal stoves and toilets. She arrives at work on time—8 a.m.—since being late three times means being docked a full day’s pay. During work, she is expected to meet production targets, or make them up with unpaid overtime. These pressures are so intense that there are no breaks— not even time to drink water. The work day doesn’t end until around 9 p.m. when she goes home to cook dinner. Her name is Kalpona Akter. Akter, now 39, is the executive director of the Bangladesh Centre for Worker Solidarity. She advocates for women that are harassed and mistreated in the workplace and left u protected by a lack of labor laws. Anyone speaking out or attempting to organize a union faces lifethreatening consequences. Akter herself has been arrested and imprisoned; a male colleague of hers was abducted, tortured, and killed in 2012.

“The minimum wage in Bangladesh is about $67 per month. That is not enough for one person to live and definitely not enough to support a family, buy healthy food, or live in a nice house.” Fall Issue 2020

Unfortunately, her story is not uncommon. She was one of the millions of girls that work long, difficult hours in often dangerous conditions to produce clothing for us to wear. According to the campaign Labour Behind The Label, poor ventilation and heat, lack of access to water, and chemical exposure lead to frequent fainting and malnutrition among factory workers. With hazardous working conditions and unlivable wages, working within these garment factories can be outright deadly. As consumers, we often turn a blind eye to the conditions of women like Akter because it’s easier for us to adopt an out of sight, out of mind perspective. Human rights violations are rampant in the clothing industry. Labour Behind the Label puts it best, “it is an industry built on exploitation and growing under a lack of transparency that makes holding brands accountable difficult.” Widespread problems which affect garment workers include but are not limited to: low wages; long hours; forced overtime; unsafe working conditions; sexual, physical, and verbal abuse; repression of trade union rights; and short-term contracts. Approximately 80% of workers within the clothing industry are women aged 18-35. These women earn as little as $21 a month. Many are the main or only source of income in the household, and must provide for their children and families. Since the majority of people responsible for creating our clothing are women, it’s time we treat fast fashion and the unethical treatment of garment workers for what it is—a major feminist issue. Labour Behind the Label explains that it’s no accident the majority of garment workers are women. In fact, it’s the “result of discriminatory practices from start to fin sh.” Women are

considered desirable workers by employers because of prevailing stereotypes that women are passive or submissive. Responsibilities such as cleaning, cooking, and childcare limit women’s ability to seek other types of employment. Women often don’t have the same opportunities to speak out about injustices or to improve their working conditions as men do. Indonesian garment workers detail the abuse of power within factories: “they [the male managers] come on to the girls, call them into their offices, whisper into their ears, touch them, bribe them with money and threaten them with firing if they don’t have sex with them.” Some factories will only hire unmarried, childless women and force them to agree not to have children during their term of employment. Women who do become pregnant often try to hide it, resulting in birth defects and other health issues. When we decide whether or not to buy an article of clothing, we often consider how it will fit, how we will style it, and how much it will cost. We neglect to question where the piece was manufactured, how long the process took, how it will affect the environment, or whose hands it passed through before ending up in our closets. However, times are changing. With increased concern over the environmental impacts of fast fashion, consumers are taking a deeper dive into the dirty truths of the industry. The documentary, The True Cost, received substantial attention for shedding light on the topics of sustainability and ethics in the fashion industry. It revealed that the fashion industry is the second-most polluting industry only after oil. According to Fashion United, the global fashion industry was valued at 3 trillion dollars for the year 2020, so it’s no surprise that the industry has such an impact on people and the planet. The 2013 Rana Plaza disaster was a big wake-up call for the fashion industry. In Bangladesh, Rana Plaza was a large manufacturing site for global

Escapism

fashion brands. Over 1,100 people died in the garment factory collapse, and another 2,500 were injured, making it the fourth largest industrial disaster in history. A vast majority of the casualties were women, along with several children. This horrific and entirely preventable catastrophe served as inspiration for the Fashion Revolution organization, which created Fashion Revolution Week. The event occurs every year during the week of April 24th, the anniversary of the Rana Plaza collapse. They started the hashtag “#WhoMadeMyClothes” to persuade consumers to start thinking about the origins of their clothing. Their mission is to unite everyone in the fashion industry—designers, makers, distributors, and consumers—and to work towards changing the way clothing is sourced, produced, and sold. The trending hashtag, #IMadeYourClothes, puts a face to the workers responsible for creating our clothing. This hashtag informs people that the choices they make each day can impact real individuals and families across the world. Fashion Revolution has a plethora of resources consumers can use to educate themselves on the ethics and sustainability of fashion brands. In addition to information and events, Fashion Revolution has two significant projects: the Fashion Transparency Index and the Garment Worker Diaries. According to their website, the Fashion Transparency Index 2020 reviewed 250 of the world’s largest fashion brands and retailers and ranked them according to how much they disclose about their social and environmental policies, practices, and impacts. Their objective is to push major brands to be more transparent by disclosing more information about their policies, practices, and supply chain. Similarly, the Garment Worker Diaries is Fashion Revolution’s collaboration with Microfinance Opportunities. Their website states that the Garment Worker Diaries collects data on the lives and wages of workers so that consumers can see for themselves what these women’s lives look like. Good On You is an app that rates brands based on how they impact the planet, people, and animals. According to their website, they believe choosing and rewarding responsible fashion brands over brands that use unethical practices, “can drive the whole industry to become more

Fall Issue 2020

sustainable and fair.” Their rating ranges from “we avoid” to “great”, and they provide an explanation and analysis for each score. It’s a simple tool which illustrates the environmental footprint of your favorite fashion brands. In addition, Good On You publishes articles on ethical fashion to help consumers make informed decisions. Some of these articles aid consumers to identify responsible, women and minority-owned businesses to support as a sustainable alternative. So, what can you do to help the millions of women across the world being exploited for their labor? Educate yourself. It’s not that difficult or time-consuming. Sign up for the aforementioned campaigns’ newsletters and read through their resources. Watch The True Cost documentary if you haven’t already. Use the Fashion Transparency Index and apps like Good On You to evaluate a brand’s ethics. Take to social media to hold your favorite brands accountable and ask the simple question #WhoMadeMyClothes. Vote with your dollar and be a conscious consumer. We can collectively turn to ethical shopping to change the industry for the better. Next time you’re at a Women’s March or looking for a feminist T-shirt, make sure you are keeping the women that made the clothes on your back in mind, too.

Escapism

fashion brands. Over 1,100 people died in the garment factory collapse, and another 2,500 were injured, making it the fourth largest industrial disaster in history. A vast majority of the casualties were women, along with several children. Th s horrific nd entirely preventable catastrophe served as inspiration for the Fashion Revolution organization, which created Fashion Revolution Week. The event occurs every year during the week of April 24th, the anniversary of the Rana Plaza collapse. They started the hashtag “who made my clothes?” to persuade consumers to start thinking about the origins of their clothing. Their mission is to unite everyone in the fashion industry—designers, makers, distributors, and consumers—and to work towards changing the way clothing is sourced, produced, and sold. The trending hashtag, #IMadeYourClothes, puts a face to the workers responsible for creating our clothing. Th s hashtag informs people that the choices they make each day can impact real individuals and families across the world. Fashion Revolution has a plethora of resources consumers can use to educate themselves on the ethics and sustainability of fashion brands. In addition to information and events, Fashion Revolution has two signifi ant projects: the Fashion Transparency Index and the Garment Worker Diaries. According to their website, the Fashion Transparency Index 2020 reviewed 250 of the world’s largest fashion brands and retailers and ranked them according to how much they disclose about their social and environmental policies, practices, and impacts. Their objective is to push major brands to be more transparent by disclosing more information about their policies, practices, and supply chain. Similarly, the Garment Worker Diaries is Fashion Revolution’s collaboration with Microfinance Opportunities. Their website states that the Garment Worker Diaries collects data on the lives and wages of workers so that consumers can see for themselves what these women’s lives look like. Good On You is an app that rates brands based on how they impact the planet, people, and animals. According to their website, they believe choosing and rewarding responsible fashion brands over brands that use unethical practices, “can drive the whole industry to become more

Fall Issue 2020

Escapism

1 2 3 4 5 6

Fashion of Our Body What does it mean to accept and love your body?.......62

Fenty Beauty: Turning Makeup Into A Movement

Diversity in makeup changes forever with the arrival of Fenty Beauty........68

Running A thought provoking piece designed to urge the individual to practice deep self-refl ction........69

Alexis Gabriel: A True Visionary A memoir of a former Fashion Society member leading a fascinating life in design........72

How I Liberated Myself Through Fashion How I used my love of fashion as a tool to aid me in coming to terms with my authentic self........78

Confidence in Modeling Everyone struggles with body image insecurities, and that is completely okay........80

Raymond Veliz 61

Escapism

1 2 3 4 5 6

Fashion of Our Body What does it mean to accept and love your body?.......62

Fenty Beauty: Turning Makeup Into A Movement

Diversity in makeup changes forever with the arrival of Fenty Beauty........68

Running A thought provoking piece designed to urge the individual to practice deep self-reflection........69

Alexis Gabriel: A True Visionary A memoir of a former Fashion Society member leading a fascinating life in design........72

How I Liberated Myself Through Fashion How I used my love of fashion as a tool to aid me in coming to terms with my authentic self........78

Confidence in Modeling Everyone struggles with body image insecurities, and that is completely okay........80

Raymond Veliz 61

Escapism

“Now more than ever, people are discovering what fashion means to them and their lifestyle.”

By Kenzie Fox For ten years, I had been a competitive swimmer and during that time, I had no escape from my body. I would squeeze into swimsuits five sizes too small, in which young boys commented on how my flesh would bulge from the tight material. I was stuck facing a reality that I did not fit the standard of beauty meant for women and athletes. Across the world, women experience disapproval whether from a stranger or the front page of a magazine. There is no freedom from society’s gaze. We learn from a young age our body is never our own. I remember walking through the mall and staring enviously at massive billboards with Victoria’s Secret Angels lounging on sofas, ribs protruding through their skin and I couldn’t help but touch my own sides as I passed. In 1977, Roy Raymond first launched Victoria’s Secret so that men could feel comfortable shopping for lingerie for their wives. Ironically, this brand that had set beauty standards for women was created with men in mind, rather than those wearing their garments. After I discovered this, I thought back to all those envious gazes upon seemingly perfect women and am unsurprised that those photographs—which haunt my childhood—were not meant for me. However, when we embrace our bodies for ourselves, clothing and fashion can be an incredible part of selfexpression and love. In May 2018, Rihanna launched Savage x Fenty, an inclusive lingerie line that ignited self-empowerment throughout the industry. Like Victoria’s Secret, most lingerie lines struggle to identify whether their target audience is exclusively for women or men shopping for women. On the other hand, Savage x Fenty identified their target audience, which is inclusive of all genders and is a comfortable space for people to shop for themselves. After her first runway show, Rihanna said she envisioned this concept to transcend the expectations of lingerie. “What we hope to see in the future. Women being celebrated in all forms and all body types and all races and cultures,” Rihanna said in The New York Times. For years before Savage x Fenty, lingerie companies paved a stiff, unchanging path. Rihanna’s launch not only displays but promotes beauty in all shapes and sizes, which speaks volumes compared to other predecessor lingerie companies. At the University of Central Florida, there is a health and fitness organization that uplifts women and their relationship with self-esteem. CHAARG focuses on empowering women to embrace their bodies with group exercises and activities. CHAARG member Ashley Vassallo, 22, said growing up as an athlete, she felt ashamed of her body—no matter how active she was. For years after receiving comments on her appearance, she remembers never wanting to wear anything that exposed her body. “Victoria’s Secret was a no-go, along with any petite fitness brand, as they assumed the largest girl would be a size six,” Vassallo said. After watching empowering women like plus-size model Ashley Graham and the U.S. Women’s National Soccer Team, Vassallo remembers that’s when she “truly connected with fashion and activewear.” For once, she didn’t have to fear a lack of options and inclusivity. Surrounding herself with strong women from the CHAARG community serves as a constant reminder to love herself in and out of clothing. With brands exploring new diverse styles and sizes, we’re moving towards understanding how important the body is for fashion and confidence. These steps have now sprung incredible movements of self-expression and artistry. Now more than ever, people are discovering what fashion means to them and their lifestyle. For creativity and innovation, discussions of physique, sexuality, gender, and ethnicity are essential in representing diversity across the board. Without a body, there is no such thing as fashion, and we are finally basking in this realization.

Fall Issue 2020

Escapism

“Now more than ever, people are discovering what fashion means to them and their lifestyle.”

By Kenzie Fox For ten years, I had been a competitive swimmer and during that time, I had no escape from my body. I would squeeze into swimsuits five sizes too small, in which young boys commented on how my fle h would bulge from the tight material. I was stuck facing a reality that I did not fit the standard of beauty meant for women and athletes. Across the world, women experience disapproval whether from a stranger or the front page of a magazine. There is no freedom from society’s gaze. We learn from a young age our body is never our own. I remember walking through the mall and staring enviously at massive billboards with Victoria’s Secret Angels lounging on sofas, ribs protruding through their skin and I couldn’t help but touch my own sides as I passed. In 1977, Roy Raymond fi st launched Victoria’s Secret so that men could feel comfortable shopping for lingerie for their wives. Ironically, this brand that had set beauty standards for women was created with men in mind, rather than those wearing their garments. After I discovered this, I thought back to all those envious gazes upon seemingly perfect women and am unsurprised that those photographs—which haunt my childhood—were not meant for me. However, when we embrace our bodies for ourselves, clothing and fashion can be an incredible part of selfexpression and love. In May 2018, Rihanna launched Savage x Fenty, an inclusive lingerie line that ignited self-empowerment throughout the industry. Like Victoria’s Secret, most lingerie lines struggle to identify whether their target audience is exclusively for women or men shopping for women. On the other hand, Savage x Fenty identifi d their target audience, which is inclusive of all genders, and is a comfortable space for people to shop for themselves. After her fi st runway show, Rihanna said she envisioned this concept to transcend the expectations of lingerie. “What we hope to see in the future. Women being celebrated in all forms and all body types and all races and cultures,” Rihanna said in The New York Times. For years before Savage x Fenty, lingerie companies paved a stiff, unchanging path. Rihanna’s launch not only displays but promotes beauty in all shapes and sizes, which speaks volumes compared to other predecessor lingerie companies. At the University of Central Florida, there is a health and fitness organization that uplifts omen and their relationship with self-esteem. CHAARG focuses on empowering women to embrace their bodies with group exercises and activities. CHAARG member Ashley Vassallo, 22, said growing up as an athlete, she felt shame for her body—no matter how active she was. For years after receiving comments on her appearance, she remembers never wanting to wear anything that exposed her body. “Victoria’s Secret was a no-go, along with any petite fitness brand, as they assumed the largest girl would be a size six,” Vassallo said. After watching empowering women like plus-size model Ashley Graham and the U.S. Women’s National Soccer Team, Vassallo remembers that’s when she “truly connected with fashion and activewear.” For once, she didn’t have to fear a lack of options and inclusivity. Surrounding herself with strong women from the CHAARG community serves as a constant reminder to love herself in and out of clothing. With brands exploring new diverse styles and sizes, we’re moving towards understanding how important the body is for fashion and confide ce. These steps have now sprung incredible movements of self-expression and artistry. Now more than ever, people are discovering what fashion means to them and their lifestyle. For creativity and innovation, discussions of physique, sexuality, gender, and ethnicity are essential in representing diversity across the board. Without a body, there is no such thing as fashion, and we are finally basking in this realization.

Fall Issue 2020

Escapism

Original Artwork by Kazimir Malevich “Suprematist Compostion” (1916)

Original Artwork by Pablo Picasso “Les Demoiselles d’Avignon” (1907)

Escapism

Original Artwork by Kazimir Malevich “Suprematist Compostion” (1916)

Original Artwork by Pablo Picasso “Les Demoiselles d’Avignon” (1907)

Escapism

Original Artwork by Wassily Kadinsky “Composition 8” (1923)

Escapism

Original Artwork by Wassily Kadinsky “Composition 8” (1923)

Escapism

By Monyka Manoyrine Colonization and racism have promoted an idea that associates whiteness with greatness, and anything that doesn’t fit into that criteria has always been deemed wrong, ugly, or inappropriate. The effect of this is evident in practically everything we do. Lack of diversity is an issue found in most industries, and the inclusion of people of color in the work and educational environment has been a problem that many companies and schools struggle with. This is no different with makeup. For the longest time, shade ranges were always limited. Darker shades weren’t included whenever cosmetic companies released foundation. Dark-skinned people were forced to wear shades much lighter than their actual natural skin. The lack of range groomed people into seeing darker skin as something to hide. It wasn’t meant to be celebrated—it had to be covered up. Makeup represents expression. People use it to learn about their beauty and shape it to fit their own style. Except the small span of skin color shades told those with darker tones that they weren’t included in this. Instead, they had to fit their body into a light-skinned world instead of expressing themselves. The backlash for this in the past was minimal, but it still happened. In response to the small criticism, cosmetic brands continuously used the same excuse: “black women didn’t buy makeup.” It was a ridiculous claim, but it worked enough so these brands were allowed to keep saying it. In 2017, the makeup industry changed forever. Rihanna, a longtime celebrity due to her success as a musician, announced the release of her own makeup brand, Fenty Beauty. Not Fall Issue 2020

much was expected to come from it, at first. History had seen plenty of celebrity cosmetic brands before and they never really brought anything new to the table. However, Fenty Beauty promised something almost unheard of: inclusivity that would break the borders of skin tones and gender identities. The singer released Fenty’s Pro Filt’R foundation to have people of all shades represented in the line, especially those with darker skin tones. The company opened with a release of 40 foundation shades. It was a total gamble, never before seen in the makeup industry. Typically, foundations are released in small numbers with a focus on light shades. Richer shades would sometimes be added past the initial release as an afterthought, though they usually were never thought of at all. That risk would soon turn legendary as Fenty Beauty was an instant hit. In its first month of release, the brand reached $72 million in sales. Within days, shades were being sold out—specifically, the darker colors, which blew the “black doesn’t sell” excuse out of the water. The prejudiced curtain many big beauty brands were hiding behind had finally opened, and people began to see the industry for what it really was: racist, colorist, and whitewashed. Because of Fenty Beauty, the inclusion of darker colors and wide shade assortments became an expectation. Companies couldn’t get away with excluding deep skin tones anymore. Brands like KKW, Beauty Blender, KimChi Chic Beauty, and Tarte were subject to criticism from the public. These brands swore they would add more variety to their shades later in the future, but this promise had been run dry after Fenty’s release. Dark-

skinned people were no longer a footnote for future review. They were a necessity. The impact Fenty had on beauty didn’t stop at the criticism being received. The skyrocketing sales of Fenty Beauty were quick to be noticed by companies, old and new. The profit was clearly there, and suddenly everyone wanted a piece of the cake Rihanna just baked. Darker skin tones weren’t subject to isolation anymore; the industry now saw them as cash grabs. Brands went to work, attempting to out-do Fenty’s initial 40 shade launch. After 2017, releases were dropping with up to 100 shade colors as diversity was now a selling point for these companies. Expansive shade ranges are profitable and necessary. People have more options than ever before to find their perfect foundation match. Fenty Beauty has left many companies scurrying to rack up as many colors as they can into their foundation lineup. Rihanna changed the entire beauty world with just her Fenty Beauty line, finally giving those with darker skin a place where they’re allowed to express themselves without misrepresenting their natural skin tone. While Fenty didn’t completely perfect the makeup industry’s shade range problem, it surely changed it forever.

By Cynara Freeman When you lay your head down at night, and the conscious mind shuts off, time keeps moving. The second you awake in the morning, you realize that time has passed because the birds are chirping and the sun has made an appearance. Life has a way of continuing even when you don’t want it to. It passes day-by-day without a care for anyone’s well-being. It doesn’t ask you how you’re doing or what it is you need. It just moves without permission and without remorse. Sometimes it moves so fast that it feels like you can’t keep up. For the fi st time in a long time, life seemed to stop. Cities became ghost towns, and a feeling of emptiness fell on the hearts of many. It was foreign. Th s silent intruder locked everyone inside and forced us to be with ourselves. There was no escape—nowhere to run. But why did we feel like we needed to go somewhere? Why did we feel the need to run from ourselves? Everyone knows what running feels like. The wind skims your face while your feet beat the pavement. Your arms pump by your side to the rhythm of your legs, and your lungs expand and fall, causing the heavy breathing in your ears. For those who run for recreation or sport, there’s a point where runner’s high kicks in. It’s not your legs propelling you forward anymore but your heart. Medical professionals say this movement is great for the body. It increases cardiovascular health, strengthens muscles, reduces stress, etc. However, one rarely hears about the dark side of running. In the long term, this glorious form of exercise can become highly addictive and cause many injuries due to the repetitive impact on the joints. Now, I don’t know as much as a medical professional, but something I do know is that everyone around us is dealing with something. And I also know that many people are running from it. I’ve known beautiful human beings with a fie ce beat hunch their shoulders as if they don’t want to be seen. There are those with the brightest of personalities

who cover themselves in clothes that cause them to blend in with the mundane. These contradictions make me ask myself, are these fashion choices helping people run from themselves and their problems? Sometimes the answer is yes, and other times it’s no. For instance, there are people who wear lingerie underneath frumpy, unflattering clothing because it makes them feel sexy. It doesn’t matter that people can’t see it because it is for them, and no one else. Some individuals dress to accomplish something, whether that be to hide themselves or stand out from the crowd. Either way, how we choose to present ourselves to the world is a way of expressing who we are or want to be. I’m guilty of running from who I am, and I didn’t realize it for a very long time. I believed myself to be this structured, straight “A” student who could handle anything and everything. I was the perfect daughter, perfect girlfriend, and perfect friend because I was told I was. Then I realized I was actually a huge screw up with nerdy tendencies that preferred living life on the edge. I’m still a wonderful daughter, friend, and student, but I’ve come to realize that I am not only those things. I am multifaceted and flex ble. I like a hint of danger or mystery, and I can’t handle anything and everything. Running from who I actually am was ehausting and extremely detrimental. I became fix ted on who I was supposed to be, and it felt as if I was being chased by other’s expectations. When you are running from something rather than toward something, you become focused on what is behind you instead of what is in front of you. When you wake up in the morning and look in the mirror, ask yourself: are my decisions helping me become who I truly am, or causing me to run from who I’m meant to be?

Escapism

By Monyka Manoyrine Colonization and racism have promoted an idea that associates whiteness with greatness, and anything that doesn’t fit into that criteria has always been deemed wrong, ugly, or inappropriate. The effect of this is evident in practically everything we do. Lack of diversity is an issue found in most industries, and the inclusion of people of color in the work and educational environment has been a problem that many companies and schools struggle with. Th s is no different with makeup. For the longest time, shade ranges were always limited. Darker shades weren’t included whenever cosmetic companies released foundation. Dark-skinned people were forced to wear shades much lighter than their actual natural skin. Th s lack of dark skin tones groomed people into seeing darker skin as something to hide. It wasn’t meant to be celebrated—it had to be covered up. Makeup represents expression. People use it to learn about their beauty and shape it to fit their own style. Except the small span of skin color shades told those with darker tones that they weren’t included in this. Instead, they had to fit their body into a light-skinned world instead of expressing themselves. The backlash for this in the past was minimal, but it still happened. In response to the small criticism, cosmetic brands continuously used the same excuse: “black women didn’t buy makeup.” It was a ridiculous claim, but it worked enough that these brands were allowed to keep doing it. In 2017, the makeup industry changed forever. Rihanna, a longtime celebrity due to her success as a musician, announced the release of her own makeup brand, Fenty Beauty. Not Fall Issue 2020

much was expected to come from it, at fi st. History had seen plenty of celebrity cosmetic brands before and never really brought anything new to the table. However, Fenty Beauty promised something almost unheard of: inclusivity that would break the borders of skin tones and gender identities. The singer released Fenty’s Pro Filt’R foundation to have people of all shades represented in the line, especially those with darker skin tones. The company opened with a release of 40 foundation shades. It was a total gamble, never before seen in the makeup industry. Typically, foundations are released in small numbers with a focus on light shades. Richer shades would sometimes be added past the initial release as an afterthought, though they usually were never thought of at all. That risk would soon turn legendary as Fenty Beauty was an instant hit. In its fi st month of release, the brand reached $72 million in sales. Within days, shades were being sold out—specifically, the darker colors, which blew the “black doesn’t sell” excuse out of the water. The prejudiced curtain many big beauty brands were hiding behind had fi ally opened, and people began to see the industry for what it really was: racist, colorist, and whitewashed. Because of Fenty Beauty, the inclusion of darker colors and wide shade assortments became an expectation. Companies couldn’t get away with excluding deep skin tones anymore. Brands like KKW, Beauty Blender, KimChi Chic Beauty, and Tarte were subject to criticism from the public. These brands swore they would add more variety to their shades later in the future, but this promise had been run dry after Fenty’s release. Dark-

skinned people were no longer a footnote for future review. They were a necessity. The impact Fenty had on beauty didn’t stop at the criticism being received. The skyrocketing sales of Fenty Beauty were quick to be noticed by companies, old and new. The profit was clearly there, and suddenly everyone wanted a piece of the cake Rihanna just baked. Darker skin tones weren’t subject to isolation anymore; the industry now saw them as cash grabs. Brands went to work, attempting to out-do Fenty’s initial 40 shade launch. After 2017, releases were dropping with up to 100 shade colors as diversity was now a selling point for these companies. Expansive shade ranges are profitable and necessary. People have more options than ever before to fi d their perfect foundation match. Fenty Beauty has left any companies scurrying to rack up as many colors as they can into their foundation lineup. Rihanna changed the entire beauty world with just her Fenty Beauty line, fi ally giving those with darker skin a place where they’re allowed to express themselves without misrepresenting their natural skin tone. While Fenty didn’t completely perfect the makeup industry’s shade range problem, it surely changed it forever.

By Cynara Freeman When you lay your head down at night, and the conscious mind shuts off, time keeps moving. The second you awake in the morning, you realize that time has passed because the birds are chirping and the sun has made an appearance. Life has a way of continuing even when you don’t want it to. It passes day-by-day without a care for anyone’s well-being. It doesn’t ask you how you’re doing or what it is you need. It just moves without permission and without remorse. Sometimes it moves so fast that it feels like you can’t keep up. For the first time in a long time, life seemed to stop. Cities became ghost towns, and a feeling of emptiness fell on the hearts of many. It was foreign. This silent intruder locked everyone inside and forced us to be with ourselves. There was no escape—nowhere to run. But why did we feel like we needed to go somewhere? Why did we feel the need to run from ourselves? Everyone knows what running feels like. The wind skims your face while your feet beat the pavement. Your arms pump by your side to the rhythm of your legs, and your lungs expand and fall, causing the heavy breathing in your ears. For those who run for recreation or sport, there’s a point where runner’s high kicks in. It’s not your legs propelling you forward anymore but your heart. Medical professionals say this movement is great for the body. It increases cardiovascular health, strengthens muscles, reduces stress, etc. However, one rarely hears about the dark side of running. In the long term, this glorious form of exercise can become highly addictive and cause many injuries due to the repetitive impact on the joints. Now, I don’t know as much as a medical professional, but something I do know is that everyone around us is dealing with something. And I also know that many people are running from it. I’ve known beautiful human beings with a fierce beat hunch their shoulders as if they don’t want to be seen. There are those with the brightest of personalities

who cover themselves in clothes that cause them to blend in with the mundane. These contradictions make me ask myself, are these fashion choices helping people run from themselves and their problems? Sometimes the answer is yes, and other times it’s no. For instance, there are people who wear lingerie underneath frumpy, unflattering clothing because it makes them feel sexy. It doesn’t matter that people can’t see it because it is for them, and no one else. Some individuals dress to accomplish something, whether that be to hide themselves or stand out from the crowd. Either way, how we choose to present ourselves to the world is a way of expressing who we are or want to be. I’m guilty of running from who I am, and I didn’t realize it for a very long time. I believed myself to be this structured, straight “A” student who could handle anything and everything. I was the perfect daughter, perfect girlfriend, and perfect friend because I was told I was. Then I realized I was actually a huge screw up with nerdy tendencies that preferred living life on the edge. I’m still a wonderful daughter, friend, and student, but I’ve come to realize that I am not only those things. I am multifaceted and flexible. I like a hint of danger or mystery, and I can’t handle anything and everything. Running from who I actually am was exhausting and extremely detrimental. I became fixated on who I was supposed to be, and it felt as if I was being chased by other’s expectations. When you are running from something rather than toward something, you become focused on what is behind you instead of what is in front of you. When you wake up in the morning and look in the mirror, ask yourself: are my decisions helping me become who I truly am, or causing me to run from who I’m meant to be?

Escapism

Beauty Committee

Makeup Artists credited on page 85

Fall Issue 2020

Escapism

Beauty Committee

Makeup Artists credited on page 85

Fall Issue 2020

Escapism

In April 2019, the enormously popular “The Gardens” fashion show hosted by Fashion Society was organized, designed, styled, advertised, modeled (you name it, they did it) entirely by student members to showcase their creations. “After the show, the Downtown Arts Collective reached out to the former design chair and said they were interested in having Fashion Society designers participate in their fashion show.” Alexis Gabriel confesses, “We were all very cocky and we were like, ‘Oh, we’re all gonna create completely new garments and it’s gonna be great because we’re all fashion moguls.’ People who just started sewing the other day,” he wittingly adds. Trying to recall the experience, Alexis emphatically picks up with, “I decided to create this long ass sheer gown with a mermaid cut and, mind you again, I have almost no experience sewing.” This bit of information makes his story so much more intriguing. “It was the day of the show and I still hadn’t finished my garment.” Alexis attributes his triumph in finishing the gown to Sam, who he calls his “sew sister.” “I remember she was in my apartment and I had a full mental breakdown.” Alexis was immediately consumed with negativity and self-doubt as he cried out, “I’m not going to be able to finish this! I’m a fraud!” Sew Sister Sam was able to relieve and calm Alexis’ nerves by reminding him, in a tranquil voice, that he had five hours to put his garment together. “It was a mess,” Alexis says admittedly. “It looked nice the way it was walking down the runway because it was a quick walk, but if you look at the details of that dress right now, it’s just sloppy.” He interrupts the thought to turn to a more positive Fall Issue 2020

outlook on the experience “But it was a product. It was the second garment I had ever made, and it was a reflection of my work then.” Laughing a little Alexis concludes the memory saying, “I remember finishing that garment and feeling the happiness of accomplishing something, even though it wasn’t what I consider my best work.” Alexis closely details and recollects his journey in fashion. Despite his very conservative, southern Puerto Rican family’s perception of him, he found his own individual self-expression. Becoming dazzled by drag culture in newfound individuality ultimately initiated his immense interest in fashion. “I remember my first semester, I was a STEM major back then,” which is shocking, yet predictable considering Alexis’s intellect. “Spring 2019, I went into Fashion Society and I just went bonkers.” His fascination

with the club, the passion, the diversity, the perspectives and the art created by members, led Alexis into his aspirations today. Overwhelmed and empowered beyond comparison, Alexis designed and created his first ever garment for “The Gardens.” The fierce, dramatic look engulfed the runway and audience members with a lemon green face and sharp sweetheart neckline. Sewing was not second nature to Alexis, but trial and error, frustration, and determination turned a piece of fabric into a bold, unforgettable work of art. Regardless of Alexis’ sophomoric designing experience, he was elected the new chairman of the design committee in Fashion Society. Leading sewing classes, mentoring designers, all while learning himself, was a difficult feat to pursue. But he took on the challenge for the sake of leadership, involvement, and, of course, passion. This decision ushered in Alexis’ spectacular new project and ambition for

Alexis Gabriel

By Hope Gorby

the future. As he continued to prepare the members for the successor to “The Gardens”, inspiration spurred. He was passionate about working on a collaborative project that would exhibit multiple designers’ creations, so with help and support from key people, project Inferno was born. Many hours of collaboration produced a phenomenal costume exhibit and Alexis felt the true power of each and everyone’s work becoming a concerted harmony of designs. Reminiscing on the project, “Nothing is really individual, and I think there is strength within a collective product.” Alexis managed to connect with Tina Bridges, the Founder of Orlando Fashion Week. After discussing the vision for Inferno, Tina made an offer no amateur designer could ever refuse. Tina decided she wanted to exhibit Inferno as a program of OFW to set the launch of the entire event. Alexis was ecstatic about her idea. “Just being able to say one of my projects, especially my first project, was affiliated with a fashion week, gave me such a rush. I was riding a high wave,” he trumpeted. Though unfortunately unable to receive fame from OFW due to COVID-19, Alexis assembled and carried out the design and multimedia project, Inferno, which inspired his individual brand: House of Gémeaux. Intensely intrigued in the production aspect of Inferno, Alexis decided he wanted to continue designing an individual line, but also develop the content and concepts to showcase the brand. “I am thinking about ways it can manifest itself in the future,” Alexis pondered. It is evident he wants to incorporate culture and individuality into the brand,

catering to “the fearless femme-presenting person who is not afraid to take risks within fashion, not necessarily in an edgy way.” Alexis’ attraction to drama shapes the crux of the brand’s designs. “I’m a sucker for that,” he bashfully admitted. Although he is weighted with coursework to attain a Ph.D in Anthropology, House of Gémeaux is not just a college fantasy. “I want to take this time to develop my brand as much as I can and develop a successful package.” Alexis continues to design and aspires to have a future in fashion. A storefront in his hometown of Puerto Rico with in-house alterations and garment making, the entire production under one roof, is a dream. But producing work and “helping other people feel like their authentic selves is the ultimate goal.” Alexis credits Fashion Society in multiple ways: influence, community, acceptance, diversity, but most importantly, impact. “I would not be the same person I am today without Fashion Society,” he unequivocally stated. “In Latin and minority communities, there is such an emphasis on finding stability within the economy. Sadly, the fashion world, the music world, or really anything related to the arts, is not viewed as something lucrative. It’s not seen as something you can make a living out of. That negative influence and perception went away when I joined Fashion Society and met people in the fashion world. It was no longer this thing that was far away. It was this thing that I could easily tap into, and it is all because of Fashion Society.” Alexis unwaveringly promotes positivity, celebration, and hope for what is to come. He manifests his dreams full of passion and conviction into acts of pure ambition and talent. He is someone who strives to understand his identity—who he was, is, and is going to be, despite what others set out for him. It is safe to say we are all looking forward to the unveiling of “House of Gémeaux” in the future, and the growth and influence of the true visionary who is Alexis Gabriel.

Escapism

In April 2019, the enormously popular “The Gardens” fashion show hosted by Fashion Society was organized, designed, styled, advertised, modeled (you name it, they did it) entirely by student members to showcase their creations. “After the show, the Downtown Arts Collective reached out to the former design chair and said they were interested in having Fashion Society designers participate in their fashion show.” Alexis Gabriel confesses, “We were all very cocky and we were like, ‘Oh, we’re all gonna create completely new garments and it’s gonna be great because we’re all fashion moguls.’ People who just started sewing the other day,” he wittingly adds. Trying to recall the experience, Alexis emphatically picks up with, “I decided to create this long ass sheer gown with a mermaid cut and, mind you again, I have almost no experience sewing.” Th s bit of information makes his story so much more intriguing. “It was the day of the show and I still hadn’t fin shed my garment.” Alexis attributes his triumph in fin shing the gown to Sam, who he calls his “sew sister.” “I remember she was in my apartment and I had a full mental breakdown.” Alexis was immediately consumed with negativity and selfdoubt as he cried out, “I’m not going to be able to fin sh this! I’m a fraud!” Sew Sister Sam was able to relieve and calm Alexis’ nerves by reminding him, in a tranquil voice, that he had five hours to put his garment together. “It was a mess,” Alexis says admittedly. “It looked nice the way it was walking down the runway because it was a quick walk, but if you look at the details of that dress right now, it’s just sloppy.” He interrupts the thought to turn to a more positive Fall Issue 2020

outlook on the experience “But it was a product. It was the second garment I had ever made, and it was a refl ction of my work then.” Laughing a little Alexis concludes the memory saying, “I remember fin shing that garment and feeling the happiness of accomplishing something, even though it wasn’t what I consider my best work.” Alexis closely details and recollects his journey in fashion. Despite his very conservative, southern Puerto Rican family’s perception of him, he found his own individual self-expression. Becoming dazzled by drag culture in newfound individuality ultimately initiated his immense interest in fashion. “I remember my fi st semester, I was a STEM major back then,” which is shocking, yet predictable considering Alexis’s intellect. “Spring 2019, I went into Fashion Society and I just went bonkers.” His fascination

with the club, the passion, the diversity, the perspectives and the art created by members, led Alexis into his aspirations today. Overwhelmed and empowered beyond comparison, Alexis designed and created his fi st ever garment for “The Gardens.” The fie ce, dramatic look engulfed the runway and audience members with a lemon green face and sharp sweetheart neckline. Sewing was not second nature to Alexis, but trial and error, frustration, and determination turned a piece of fabric into a bold, unforgettable work of art. Regardless of Alexis’ sophomoric designing experience, he was elected the new chairman of the design committee in Fashion Society. Leading sewing classes, mentoring designers, all while learning himself, was a difficult feat to pursue. But he took on the challenge for the sake of leadership, involvement, and, of course, passion. Th s decision ushered in Alexis’ spectacular new project and ambition for

Alexis Gabriel

By Hope Gorby

the future. As he continued to prepare the members for the successor to “The Gardens”, inspiration spurred. He was passionate about working on a collaborative project that would exhibit multiple designers’ creations, so with help and support from key people, project Inferno was born. Many hours of collaboration produced a phenomenal costume exhibit and Alexis felt the true power of each and everyone’s work becoming a concerted harmony of designs. Reminiscing on the project, “nothing is really individual, and I think there is strength within a collective product.” Alexis managed to connect with Tina Bridges, the Founder of Orlando Fashion Week. After discussing the vision for Inferno, Tina made an offer no amateur designer could ever refuse. Tina decided she wanted to exhibit Inferno as a program of OFW to set the launch of the entire event. Alexis was ecstatic about her idea. “Just being able to say one of my projects, especially my first project, was affiliated with a fashion week, gave me such a rush. I was riding a high wave,” he trumpeted. Though unfortunately unable to receive fame from OFW due to COVID-19, Alexis assembled and carried out the design and multimedia project, Inferno, which inspired his individual brand: House of Gémeaux. Intensely intrigued in the production aspect of Inferno, Alexis decided he wanted to continue designing an individual line, but also develop the content and concepts to showcase the brand. “I am thinking about ways it can manifest itself in the future,” Alexis pondered. It is evident he wants to incorporate culture and individuality into the brand, catering to "the fearless femme-presenting person who is not afraid to take risks within fashion, not necessarily in an

edgy way.” Alexis’ attraction to drama shapes the crux of the brand’s designs. “I’m a sucker for that,” he bashfully admitted. Although he is weighted with coursework to attain a Ph.D in Anthropology, House of Gémeaux is not just a college fantasy. “I want to take this time to develop my brand as much as I can and develop a successful package.” Alexis continues to design and aspires to have a future in fashion. A storefront in his hometown of Puerto Rico with in-house alterations and garment making, the entire production under one roof, is a dream. But producing work and “helping other people feel like their authentic selves is the ultimate goal.” Alexis credits Fashion Society in multiple ways: influence, community, acceptance, diversity, but most importantly, impact. “I would not be the same person I am today without Fashion Society,” he unequivocally stated. “In Latin and minority communities, there is such an emphasis on finding stability within the economy. Sadly, the fashion world, the music world, or really anything related to the arts, is not viewed as something lucrative. It’s not seen as something you can make a living out of. That negative influence and perception went away when I joined Fashion Society and met people in the fashion world. It was no longer this thing that was far away. It was this thing that I could easily tap into, and it is all because of Fashion Society.” Alexis unwaveringly promotes positivity, celebration, and hope for what is to come. He manifests his dreams full of passion and conviction into acts of pure ambition and talent. He is someone who strives to understand his identity—who he was, is, and is going to be, despite what others set out for him. It is safe to say we are all looking forward to the unveiling of “House of Gémeaux” in the future, and the growth and influence of the true visionary who is Alexis Gabriel. 73

Escapism

Even if I dig into the deepest crevices of my memory, I cannot remember a time when I was not obsessed with fashion and styling. It’s always been deeper than merely wanting to look “chic” or “stylish.” I’ve been chasing a specific ind of aesthetic, one that I knew I could make all my own. However, this boisterously creative side of myself had to be concealed for a majority of my childhood and into my adolescence. Growing up, my environment never felt safe enough for me to unleash my genuine sense of style, the version of myself that I felt destined to be. In my head, I envisioned myself as fie ce, androgynous, sexuallyliberated, and confide t. I would put outfits together in my head. Most of them consisted of stripper heels, latex, leather, sheer, and full-fl dged nocturnal energy. What I envisioned in my head; however, did not match the outside in the slightest, nor my wardrobe which at the time consisted of oversized American Eagle T-shirts and cargo shorts. I would wonder how I could possibly meet these visions and have them come to life. For a few years, I came to an agreement with my doubts and insecurities, accepting that I simply had to keep these visions and urges tucked away in the back of my mind. Whether I processed this feeling at the time or not, it felt like an assassination of my true character. As dramatic as that may sound, for a true student of fashion, it felt despairing. As a freshman in high school, I began giving up on myself altogether. I dropped some toxic friends and barely cared for the few I still had. My grades were suffering due to my habits of never studying or pushing homework until the very last minute. Dating or exploring my sexuality was not yet a thought, for more reasons than I can count. I didn’t care for my body. I had stopped all kinds of physical activity. Instead I would get home from school and lay around all day on my iPad. I stopped caring about my diet and how I would nourish my body. I had severe acne, which I did not care to treat in any way. Mirrors, at this point, had become intense triggers for me, so I would avoid looking at myself at all costs. Clearly, I had reached rock bottom but did not realize it at the time. Little did I know that my rock bottom was simply a catalyst for the long journey I would embark upon. One that would lead me to realizing not only my fashion aspirations, but also complete love and acceptance of myself.

Looking back at that version of myself, and even writing about it right now, makes me realize how far I have come. Not only as an overall person but also with my style. For the majority of my life, I have shoved all the beautiful, exciting aspects of myself deep inside, to a point out of reach. It wasn’t until I got to college where I felt comfortable being as loud and outlandish with my style as possible. However, none of this happened overnight. It’s important for one to know that patience is one of the greatest qualities to possess. Transformation happens one day at a time; remain mindful that an endgoal can’t be reached because with self-development, there is no such thing. We are constantly evolving and changing, and all we can do is continue to elevate and move in the direction we feel is most natural for us. When it comes to ourselves, there is no end-goal or destination of any kind. It’s safe to say that I’ve done a full 180 physically and mentally. I wish I could determine an emotional, epiphanic reason for how I managed to come so far with my confide ce, but I really have to praise my love for fashion. It was the driving force that urged me to venture into my sexuality and gender identity and portray them in dynamic ways through my style. Fashion has allowed me to embrace my sexuality and put it at the forefront of my style to take the power back from all my detractors. Anyone who has a deep interest in fashion develops some kind of staple that they use to their benefit, and mine happens to be my sexuality and my connection to femininity. There is a sense of liberation in knowing that what you were ridiculed so intensely for in your past is ultimately what you’re embracing the most about yourself. My hope with sharing my story is for anyone reading to feel inspired, seen, or not alone. I know that for many young people, trying to figu e out who we are can easily lead to feeling stuck or uninspired. All it takes is that one thing that we love, a passion that fills us with purpose, and using that as a tool to get back into our lives. Use whatever attribute you were criticized for and own it before anyone else can even point it out; that is when you will become invincible.

Escapism

Even if I dig into the deepest crevices of my memory, I cannot remember a time when I was not obsessed with fashion and styling. It’s always been deeper than merely wanting to look “chic” or “stylish.” I’ve been chasing a specific kind of aesthetic, one that I knew I could make all my own. However, this boisterously creative side of myself had to be concealed for a majority of my childhood and into my adolescence. Growing up, my environment never felt safe enough for me to unleash my genuine sense of style, the version of myself that I felt destined to be. In my head, I envisioned myself as fierce, androgynous, sexuallyliberated, and confident. I would put outfits together in my head. Most of them consisted of stripper heels, latex, leather, sheer, and full-fledged nocturnal energy. What I envisioned in my head; however, did not match the outside in the slightest, nor my wardrobe which at the time consisted of oversized American Eagle T-shirts and cargo shorts. I would wonder how I could possibly meet these visions and have them come to life. For a few years, I came to an agreement with my doubts and insecurities, accepting that I simply had to keep these visions and urges tucked away in the back of my mind. Whether I processed this feeling at the time or not, it felt like an assassination of my true character. As dramatic as that may sound, for a true student of fashion, it felt despairing. As a freshman in high school, I began giving up on myself altogether. I dropped some toxic friends and barely cared for the few I still had. My grades were suffering due to my habits of never studying or pushing homework until the very last minute. Dating or exploring my sexuality was not yet a thought, for more reasons than I can count. I didn’t care for my body. I had stopped all kinds of physical activity. Instead I would get home from school and lay around all day on my iPad. I stopped caring about my diet and how I would nourish my body. I had severe acne, which I did not care to treat in any way. Mirrors, at this point, had become intense triggers for me, so I would avoid looking at myself at all costs. Clearly, I had reached rock bottom but did not realize it at the time. Little did I know that my rock bottom was simply a catalyst for the long journey I would embark upon. One that would lead me to realizing not only my fashion aspirations, but also complete love and acceptance of myself.

Looking back at that version of myself, and even writing about it right now, makes me realize how far I have come. Not only as an overall person but also with my style. For the majority of my life, I have shoved all the beautiful, exciting aspects of myself deep inside, to a point out of reach. It wasn’t until I got to college where I felt comfortable being as loud and outlandish with my style as possible. However, none of this happened overnight. It’s important for one to know that patience is one of the greatest qualities to possess. Transformation happens one day at a time; remain mindful that an endgoal can’t be reached because with self-development, there is no such thing. We are constantly evolving and changing, and all we can do is continue to elevate and move in the direction we feel is most natural for us. When it comes to ourselves, there is no end-goal or destination of any kind. It’s safe to say that I’ve done a full 180 physically and mentally. I wish I could determine an emotional, epiphanic reason for how I managed to come so far with my confidence, but I really have to praise my love for fashion. It was the driving force that urged me to venture into my sexuality and gender identity and portray them in dynamic ways through my style. Fashion has allowed me to embrace my sexuality and put it at the forefront of my style to take the power back from all my detractors. Anyone who has a deep interest in fashion develops some kind of staple that they use to their benefit, and mine happens to be my sexuality and my connection to femininity. There is a sense of liberation in knowing that what you were ridiculed so intensely for in your past is ultimately what you’re embracing the most about yourself. My hope with sharing my story is for anyone reading to feel inspired, seen, or not alone. I know that for many young people, trying to figure out who we are can easily lead to feeling stuck or uninspired. All it takes is that one thing that we love, a passion that fills us with purpose, and using that as a tool to get back into our lives. Use whatever attribute you were criticized for and own it before anyone else can even point it out; that is when you will become invincible.

Escapism

By Caroline Hull

Iâ&#x20AC;&#x2122;m someone who has struggled with body image and confidence issues for as long as I can remember, and I know Iâ&#x20AC;&#x2122;m not the only one. For a long time I hesitated to put myself out there for fear of being compared to the bodies of others who might be more athletic, more experienced, and more capable. Over the course of my life I have come to learn that the secret to confidence in modeling is embracing your differences and accentuating the parts of you that make you unique, rather than trying to hide them. The beauty of being a human is in our individuality, and modeling can showcase that in so many different ways. I encourage everyone to try, even if it is with a cell phone in the comfort of your own home. Beauty can be found anywhere. Beauty can be found in you.

Fall Issue 2020

Escapism

By Caroline Hull

Iâ&#x20AC;&#x2122;m someone who has struggled with body image and confide ce issues for as long as I can remember, and I know Iâ&#x20AC;&#x2122;m not the only one. For a long time I hesitated to put myself out there for fear of being compared to the bodies of others who might be more athletic, more experienced, and more capable. Over the course of my life I have come to learn that the secret to confide ce in modeling is embracing your differences and accentuating the parts of you that make you unique, rather than trying to hide them. The beauty of being a human is in our individuality, and modeling can showcase that in so many different ways. I encourage everyone to try, even if it is with a cell phone in the comfort of your own home. Beauty can be found anywhere. Beauty can be found in you.

Fall Issue 2020

Escapism

President’s Letter With the introduction of COVID-19 and the continued political turmoil that propelled Gen Z to the front lines of constant protests and advocacy in the fight for change, our intent for this magazine issue was to continue to foster connections amongst pent-up, student creatives. To provide an outlet after months of continued quarantine and frustration at the world; to ensure that this organization remained a form of escapism for myself and many others. Speaking from my own experience, there’s so much to say about this club, so many personal ups and downs throughout my years on both the Executive Board and as a member. From the intensity of directing our past annual fashion shows—The Gardens and The Lola— to the many phases of myself (personal style and identity alike) throughout these past few years, Fashion Society has always been a reflection of my growth. Waves of my creative energy have flooded into this organization, and I can’t help but call it a part of myself. I would like to thank Fashion Society in its entirety, past and current members alike, for helping to shape me as a creative and as a person. What pushes me further every semester and after every passion project is the possibility of helping other lost creatives who are in search of an outlet and community dedicated to their self-exploration and expression. I am happy to say that this magazine issue is a reflection of that. From the endless remote meetings and zoom calls, to the high-speed schedule of photo shoots and overall spontaneity of it all, I would like to thank everyone who contributed to this project. Wishing you all safety and sanity. We hope you enjoyed it. <3

Eric J. Orengo President

Escapism

Eric J. Orengo President

Escapism

Magazine Staff Co-Creative Directors Eric J. Orengo Kayleigh Powers

Editor-in-Chief Kayleigh Powers Layout Assistants Emmilee Brent Caitlyn Distasio Madison Walker

Production Directors Nicole Buttrick Zulmaris Garcia Eric J. Orengo Art Director Raquel Gonzales

Writing Director Cynara Freeman

Assistant Art Director Abby Thurston

Staff Writers Deborah Coffy McKenzie Fox Hope Gorby Caroline Hull Monyka Manoyrine Jessica Siles Miguel Vargas

Graphic Designers Bianca Dimov Raquel Gonzales Madelyn O’Halloran Alejandro Zeledon

Copy Editors Kristina Bartha Brianna Bradley Valentina Duarte Shannon Ganeshram

Photo Editors Collin Fells Alyssa Holmberg Caitlyn Lombardo Chloe Lomelli

Committee Member Involvement Styling Committee Page Break (pages 30-31) (In Order of Appearance: Left o Right)

Photography Committee Page Break (pages 46-47) Sebastian Espinoza & Ethan Hudson

(Page 30) Alexandrina Wolfgramm Alexandrina Wolfgramm Alondra Xaymara Micala Cunningham Alyssa Alim Alyssa Alim Amber Morris Amber Morris Amelia Karadsheh Ben Lewandowski Ben Lewandowski Blake Parker Blake Parker Blake Parker Bri Brebnor Caitlyn Distasio

Beauty Committee Page Break (pages 70-71) Alejandro Correa, Emily Haws, & Caroline Smith

(Page 31) Dani Byrnes Dina Al-Hasan Dina Al-Hasan Gaby Arcia Gillian Stewart Isa Jones Isabella Acosta Isabella Acosta Madelyn O’Halloran Erin Michelle Madelyn O’Halloran Thalia Cross Weston Hamilton Julia Berman Juliette Francis Kassandrah Martin

Design Sketches Kendra Brown (page 7) Nathalia Beltran (page 33) Raymond Veliz (pages 49 & 61) Samantha Petersen (page 63) Additional Visuals Stylist: Ian Elmowitz (page 14) Stylist: Amber Morris (page 14) Stylist: Alycia Jones (page 29) Stylist: Valerie Escobar (page 29) Stylist: Hannah Vance (page 29) Stylist: Gaby Arcia (page 29) Illustrator: Lainie Jones (page 43) Photographer: Raquel Gonzales (page 43) Designer: Alexis Gabriel (page 72) Photographer: Berona Muro (page 72) Model & Photo Editor: Miguel Vargas (page 78) Photographer: Eric J. Orengo (page 78)

Escapism

Magazine Staff Co-Creative Directors Eric J. Orengo Kayleigh Powers

Editor-in-Chief Kayleigh Powers Layout Assistants Emmilee Brent Caitlyn Distasio Madison Walker

Production Directors Nicole Buttrick Zulmaris Garcia Eric J. Orengo Art Director Raquel Gonzales

Writing Director Cynara Freeman

Assistant Art Director Abby Thurston

Staff Writers Deborah Coffy McKenzie Fox Hope Gorby Caroline Hull Monyka Manoyrine Jessica Siles Miguel Vargas

Graphic Designers Bianca Dimov Raquel Gonzales Madelyn O’Halloran Alejandro Zeledon

Copy Editors Kristina Bartha Brianna Bradley Valentina Duarte Shannon Ganeshram

Photo Editors Collin Fells Alyssa Holmberg Caitlyn Lombardo Chloe Lomelli

Committee Member Involvement Styling Committee Page Break (pages 30-31) (In Order of Appearance: Left to Right)

Photography Committee Page Break (pages 46-47) Sebastian Espinoza & Ethan Hudson

Beauty Committee Page Break (pages 70-71) Alejandro Correa, Emily Haws, & Caroline Smith

Escapism

Humans Are Like Plants (pages 34-37)

Production Teams Escapism (Front Cover)

Model: Alyssa Alim Stylists: Gaby Arcia, Ian Elmowitz, & Eric J. Orengo MUA: Andrea Efres Location Scouts: Nathalia Beltran & Brenna Bonene Photographer: Berona Muro Photo Editors: Eric J. Orengo & Kayleigh Powers

Escapism (Back Cover)

Photographer: Sebastian Espinoza Photo Editors: Eric J. Orengo & Kayleigh Powers

Escapism II (page 4)

Hand Model: Kayleigh Powers Photographer: Berona Muro Photo Editor: Kayleigh Powers

Editorial Makeup (pages 8-13)

Director: Nicole Buttrick Models: Brenna Bonene & Stokes Harvey Stylists: Isabella Acosta & Camila Espinosa MUAs: Emily Hawks & Johamia Michaud Photographers: Isa Jones & Carlos Napoleoni Photo Editor: Alyssa Holmberg

Monochromatic (pages 16-21)

Director: Zulmaris Garcia Models: Tyre Hill, Paloma Lopez, Patricia Urena, Kadambari Vyes, & Darrel Wright Jr. (DJ) Stylists: Dani Byrnes, Cynara Freeman, & Riley Lauria MUAs: Alejandro Correa, Caroline Smith, & Patricia Urena Photographers: Damian Jimenez Lazarte, Vanessa Salas, & Christian Yancey Photo Editor: Chloe Lomelli

Gucci-Inspired (pages 24-27)

Director: Nicole Buttrick Models: Jared Booth, Kathleen Corrado, & Adreana Jones Stylists: Isabella Acosta, Camila Espinosa, & Alondra Pacheco MUAs: Emily Hawks & Juliette LaMagna Set Designer: Gaby Arcia Photographers: Isa Jones & Carlos Napoleoni Photo Editor: Alyssa Holmberg

Director: Eric J. Orengo Model: Adreana Jones Stylists: Brianna Brebnor & Ian Elmowitz MUA: Thalia Cross Set Designers: Gaby Arcia, Nathalia Beltran, & Eric J. Orengo Photographers: Caitlyn Lombardo & Christian Yancey Photo Editor: Caitlyn Lombardo

Reflections (Water) (pages 40-41)

Director: Eric J. Orengo Assistant Directors: Brianna Brebnor & Juliette Francis Models: Alyssa Alim, Julianna Diaz, & Nâ&#x20AC;&#x2122;yani Strowbridge Stylists: Gaby Arcia & Ian Elmowitz MUA: Andrea Efres Location Scouts: Nathalia Beltran & Brenna Bonene Photographers: Daniel Cajiao & Berona Muro Photo Editors: Collin Fells & Caitlyn Lombardo

Face Covering (pages 54-59)

Directors: Brianna Brebnor & Juliette Francis Models: Nathalia Beltran & Caroline Eichelberger Stylists: Nathalia Beltran & Ian Elmowitz MUAs: Juliette LaMagna & Caroline Smith Set Designer: Brenna Bonene Photographers: Daniel Cajiao & Berona Muro Photo Editor: Collin Fells

Modern Art Era-Inspired (pages 64-67)

Director: Zulmaris Garcia Assistant Director: Eric J. Orengo Models: Bianca Dimov, Laine Jones, & Yaire M. Cruz Stylist: Dani Byrnes MUAs: Alejandro Correa & Andrea Efres Photographers: Damian Jimenez Lazarte & Vanessa Salas Photo Editor: Collin Fells

Grunge (pages 74-77)

Director: Zulmaris Garcia Concept Artist: Nathalia Beltran Models: Ethan Hudson & Abby Thurston Stylists: Dani Byrnes & Cynara Freeman MUAs: Andrea Efres & Emily Hawks Location Scout: Alondra Xaymara Photographers: Caitlyn Lombardo & Vanessa Salas Photo Editor: Chloe Lomelli

Milk Bath (pages 81)

Director: Nicole Buttrick Model: Mackenzie Logan Stylist: Nicole Buttrick MUA: Mackenzie Logan Photographer: Isa Jones Photo Editor: Alyssa Holmberg

Escapism

Humans Are Like Plants (pages 34-37)

Production Teams Escapism (Front Cover)

Escapism (Back Cover)

Photographer: Sebastian Espinoza Photo Editors: Eric J. Orengo & Kayleigh Powers

Escapism II (page 4)

Hand Model: Kayleigh Powers Photographer: Berona Muro Photo Editor: Kayleigh Powers

Editorial Makeup (pages 8-13)

Monochromatic (pages 16-21)

Gucci-Inspired (pages 24-27)

Reflections (Water) (pages 40-41)

Face Covering (pages 54-59)

Modern Art Era-Inspired (pages 64-67)

Grunge (pages 74-77)

Milk Bath (pages 81)

Director: Nicole Buttrick Model: Mackenzie Logan Stylist: Nicole Buttrick MUA: Mackenzie Logan Photographer: Isa Jones Photo Editor: Alyssa Holmberg

Escapism

Fall 2020 Executive Board Members

President: Eric J. Orengo Vice President: Nicole Buttrick Event Director: Kayleigh Powers Treasurer: Zulmaris Garcia Secretary: Alexzha Garcia Social Media Coordinators: Gabrielle Arcia, Alejandro Correa, & Mackenzie Logan Marketing Director: Raquel Gonzales Campus Relations Director: Juliette Francis Public Relations Director: Brianna Brebnor Design Co-Chairs: Samantha Petersen & Raymond Veliz Styling Chairs: Brianna Brebnor & Juliette Francis Beauty Co-Chairs: Alejandro Correa & Shannon Ganeshram Photography Chair: Caitlyn Lombardo

Escapism

Fall 2020 Executive Board Members

Escapism

Fall Issue 2020