The is Baggy
Freedom Clothing
Written by Julia Leedom
Fashion gives us the freedom to play, explore, create, and express. The ‘90s and early 2000s were a monumental time in fashion history, as a dramatic shift in styles and trends made headway. An overall theme during this period was asserting individual senses of liveliness and quirkiness by experimenting with colors and having fun with diferent types of clothing and accessories. Arguably, one of the most prominent styles of the ‘90s and 2000s was baggy clothing. Oversized jeans, roomy t-shirts, knee-length jean shorts, and parachute cargo pants were all essentials of this era.
The rise of baggy clothing allowed people to lean into the various shapes, silhouettes, and pairings clothing ofers. Iconic rap, pop, and R&B icons such as Beyoncé, Eminem, Missy Elliot, and Jay-Z creatively worked with baggy clothes to convey meaning through their dress. In Beyoncé’s music video for “Crazy in Love,” we
see her mixing materials with her silk, billowy cropped bomber jacket and low-waisted oversized cargo pants. Complementing her look, Jay-Z showcases the art of baggy clothing in his knee-length button-up paired overtop drop-waist baggy pants. In her music video for “Work It,” Missy Elliot plays around with baggy on top of baggy everywhere she goes! We see her rocking big pants with even bigger jackets and shirts in school settings, out to dinner, and with friends.
The musical culture and popular gures of the s and 2000s not only popularized baggy clothing but created efortlessly cool looks that have allowed people then and today to feel comfortable in their own skin. With the playfulness and creative liberty baggy clothing gives us, we are also more inclined to experiment with the shapes and sizes of our bodies. People’s nostalgia for these times, along with today’s eforts to promote body positivity, has brought back baggy clothing, and this time, hopefully, it is for good!
Photography: Zahra Haleem
Modelw: Massimo Mendoza, Tori Garcillano, and Danielle Henderson
Styling: Baba Sogbetun
Layout: Caroline Abella
Author: Margaret Craney
Layout: Kamalani Soriano
Models: Margaret Craney and Nikki Loukatos
Stylist: Margaret Craney
Photographer: Chrissy Thebuwange
lthough it’s a hard pill to swallow, capris are back in fashion. Popularized by glamorous Hollywood stars like Audrey Hepburn and Marilyn Monroe, capris took hold of womenswear in the 50s and again in the late 90s and 2000s. As many of us can recall, the infamous bright checkered capris were a staple in many childhood wardrobes. ere is something so nostalgic about the pastel coloration and the thin texture of the pants that remind us of spring or summer days when we would spend time watching TV, playing outside, or reading. However, it is ironic now that so many people have a distaste for capris—our younger selves were indi erent to capris only because we did not put as much judgment into fashion then as we do now. Clothes are more than just fabric covering the body; they are also a part of the components of our personality and life experiences. We o en like to associate eras of our lives with the clothing we wear. For some, capris are reminiscent of childhood, which may prevent their current selves from exploring the resurgence. For others, however, capris mirror the classic beauty of the 50s or even the chic usage in the 90s with TV characters like Carrie Bradshaw. Capris are not to be the enemy. Although they may not be everyone’s favorite piece in their wardrobe, I believe that there is a reason why these iconic pants are reemerging in mainstream fashion. Our concept of capris relates back to our memory of childhood and the fashion of our younger years. Inspiration can be found in the elements of our youth, like bright and bold checkered capris, that will continue to reveal how fashion trends re ect moments of growth and renewal in our lives. Nevertheless, capris remind us of our carefree younger selves, indi erent to the world around us, which is sometimes necessary to remember in the name of fashion.
THE
2000sRUNWAY
a revolution in red carpet fashion
It’s 2006
Written by Joshua Auskalnis
your spray tan is running of, your eyebrows are way too thin, the mall is the hottest place to hang out, wear Juicy Couture, and most of all, admire all the runway looks from your favorite pop culture icons. Red carpet looks from the 2000s broke traditional norms, with celebrities replacing elegance with a riot of color, texture, and unorthodox combinations. Celebrities embraced an “I don’t care” attitude, introducing a playful, avant-garde style that refected the vibrant pop culture of the era. Denim, once restricted to casual wear, boldly made its way onto the red carpet, often styled with crop tops and layered over skirts. Paris Hilton epitomized this trend, dazzling in her iconic low-rise jeans paired with bedazzled tops, often accessorized with playful purses and oversized sunglasses. Her outfts encapsulated the carefree spirit of the decade, inspiring countless fans to adopt a more laidback approach to formal wear. Britney Spears, with her eyecatching ensembles like her all-denim outft, complete with matching accessories, demonstrated the bold fashion risks being taken on the red carpet for millions to see. Meanwhile, Avril Lavigne’s punk-infuenced -style, characterized by plaid skirts over baggy jeans and chunky skate shoes, brought an edgy twist to red carpet events, showcasing a blend of rebelliousness and femininity. Lindsey Lohan was another key fgure in this fashion revolution. Lohan was known for her efortless blend of chic and casual, often wearing vibrant dresses layered over jeans or stylishly mismatched outfts that exemplifed youthful rebellion. Her iconic red carpet moments, including the famous Mean Girls premiere, are prime examples of stars pushing boundaries, inspiring creativity, and resonating with a generation eager to break free from convention. The iconic red carpet looks of the 2000s continue to infuence today’s fashion, as we see their boldness and experimentation echo in current trends; perhaps, just like these unforgettable Y2K moments, they’ll make a dazzling comeback.
Photography by Anna Brown | Layout by Kenya Edwards Modeled by Mia Guzzo, Joshua Auskalnis, and Mia Scarpa
Makeup by Nicole Castaneda | Styling by Natalia Alvarez
BlendingIn Or Standing Out? Leopard Print:
Smudged red lipstick. A worn leather bag lled with miscellaneous objects from cigarettes to halfread novels. Messy hair. All you need is a leopard fur coat, and you could just be mistaken for Kate Moss in the 90s.
Regarded as one of the oldest fashion trends, leopard print has cycled from being a timeless status symbol to “tacky” in a few years. Leopard fur had been a symbol of wealth and status, but when massproduced fabrics were introduced, leopard print became widely available to the public.
Leopard print in the 90s and 2000s was all the rage, associated with indie sleaze and Kate Moss. Everyone from supermodels to rockstars such as Kurt Cobain donned the look, but leopard print became outdated
Written by Natalie Kiene
Layout by Liz Lemieux
Photographed by Stephanie Lane
Modeled by Natalie Kiene and Liz Lemieux
Makeup by Colleen Beding eld
Styled by Natalia Alvarez
by the end of the decade. While some considered the trend “trashy,” style icons such as Paris Hilton and Lindsay Lohan still loved the look. Leopard print in the 2010s was mostly popular for children and tweens. Brands such as Lisa Frank and Justice sold a range from leopard-print clothes to school supplies. By 2020, leopard print had its resurgence on TikTok and Instagram, starting with the McBling and Y2K aesthetics, which focused on the nostalgia of the 2000s. Now, in 2024, leopard print has evolved back to 90s grunge. It has become a new “basic,” a simple, neutral pattern perfect for any occasion. From leopard jeans to Adidas Sambas, major retailers have quickly hopped on the trend. Along with bows and burgundy red, leopard print is just one of the rising trends of 2024 that could soon fall back into distaste. Leopard print has always been a bold pattern that stands out, but if everyone is now wearing it, are we blending into the crowd? How will it withstand time in the face of fast fashion and quickening trend cycles?
A special kind of excitement came with walking into your local mall, the fuorescent lights fickering above as you dragged your mom straight to Claire’s. When the glowing lilac sign came into view, the anticipation built—this was the moment every early 2000s tween with a pocket full of crumpled-up cash dreamed of: the iconic “10for-$10” deals and “buy 3, get 3 free” ofers.
As a kid, Claire’s wasn’t
By: Ava Kokoros
saw it. The only rule? More is more. Bulky fake glasses with oversized leopard print frames made you feel cool in a way that real ones never could, and the pink feather extensions you convinced your mom to buy added just the right amount of edge. Of course, there was also the undeniable rite of passage: your frst real ear piercing, so you could fnally ditch the clip-ons. After spinning the seemingly endless earring rack, you fnally settled on
perfectly complemented your bedazzled fipphone lip gloss keychain. Surrounded by fngerless gloves, rhinestone barrettes, glitter hairspray, gem tattoos, and knee-high socks, the possibilities felt infnite. But amidst it all, you couldn’t leave without grabbing the BFF mood necklace to swap with your best friend at her upcoming sleepover party.
Although you never knew that your last visit to Claire’s
kiss me thru the phone
by: morgan jones Messages
ip gloss fip phones, pastel glittery eyeshadow, and colorful hair clips were major staples while getting all dolled up as a little kid. Our journey with makeup started with Claire’s makeup, which awakened our sense of creativity as we determined what bright colors went together and what pop stars’ makeup looks we wanted to emulate. Hannah Montana’s style took the limelight as we watched her weekly on television: we tried to copy her sparkling and colorful eyeshadow looks, pink blush, and shimmery baby
Then, we got a bit older and delved into makeup tutorials on ouTube, where we learned from the best, such as anny A or atrickStarr. They helped us develop our makeup skills with actual makeup brushes rather than the sponge applicators that came along with Claire’s makeup. We started shopping at lta, to level up our beauty game with bigger and better products. nline tutorials taught us about cut crease eyeshadow looks, highlighter, and contouring. Watching these makeup artists online was fundamental in learning how to skillfully do our makeup, as we still use
As we got a bit older and more social media platforms arose, we began to be infuenced by beauty trends on TikTok. Shifting from ffteen-minute ouTube tutorials to ffteen to thirty-second TikToks allowed us to scroll through beauty trends left and right. uick visits to our For ou- age taught us how to perfect a blowout with curtain bangs using the beloved evlon blowdryer brush or how to address our “blush blindness.” Every week, a new beauty trend is created, and we get to encounter them right at our fngertips on our phones. hile it’s not at the fngertip of Claire’s lipgloss phones anymore, it’s on the phones that we cannot live without, which
Models: Warda Hassan and Morgan Jones
WHatS tHe
Written by Maeve McCurdy
When the mall was the pinnacle of most teens’ social circles, you wouldn’t think to fnd them fipping through the pages of a magazine in their rooms. Yet, dELia*S unique “magalog” instigated a generation of fashionable bookworms.
DeAL WiTh d E L i *A S ?
Beginning in the early 90s, college roommates Christopher Edgar and Stephen Khan aimed to create a fashion catalog aimed at the college women demographic after noticing a gap for them in the market. However, after some lukewarm reactions, they shifted the target demographic of their “magalog” (a portmanteau of magazine and catalog) to teen girls.
But why a catalog? Why not just open up a store in a mall? Since opening a store was pricey, a mail-order catalog was a cheaper and more accessible way to sell products in the 90s. This was pivotal for a brand that relied on word-of-mouth advertising.
Quirky posed models that looked like they were having fun rather than serving face combined with their iconic and engaging mIXcApPEd phrases created the perfect equation for dElia*S to start defning trends rather than merely copying them. “dElia” felt like a cool older sister who loved being herself.
After being nothing but the queen bee, what led to dELia*S social demise? Internet sites transformed how teens shopped in the mid-2000s, and buying/selling online was more efective than catalogs. No longer “da bomb,” dELia*S fled for bankruptcy in 2014. Dollksill’s failed revival of dELia*S in 2018 only confrmed people’s outdated opinions, afirming dELia*S “death.”
While considered obsolete today, in its prime, dELia*S provided fashion accessibility and inspiration to teens across a generation, making a major factor in teen existence possible from the comforts of their home. Photography by
Wesley Scott
I used to wait patiently for my Delia’s and Alloy catalogs every month. My mother reluctantly allowed me to get them, knowing she would never let me buy anything from them, let alone at full price. When the day came, I would run to the mailbox after school, pull the catalogs out of their plastic wrapping, lie on the couch, and obsessively thumb through the pages.
written by Harmonie Chang
Death of The catalog The
I loved seeing the carefully designed sets with beautiful girls modeling clothes I wish I could own. Their perfectly updoed hair, carefully candid poses, and sharp eyes staring back at me enthralled a young girl’s psyche. While I may not have been able to appreciate it then, now I realize how much time, efort, money, creativity, and care went into cultivating these spreads. These catalogs were so integral to fashion in the Y2K era - so it’s surprising to think about how they slowly, quietly, but surely left the sphere of fashion importance. I can’t remember the last time I received a catalog in the mail or even heard about them being sent out. How did they become so obsolete, so irrelevant, and so fast?
It’s fascinating to think about how catalogs—the curated photoshoots that incorporated groundbreaking photography, innovative styling, and creative graphic design to create a comprehensive and eye-catching print that could convince any young girl to beg her parents for an outft are no longer a part of the fashion industry. Instead, we see Instagram slideshows of clothing items displayed on mannequins in front of white backgrounds with basic descriptions of these fashions.
When I think about how much technology has advanced, with high-tech graphic design software and a new generation of creatives who have more freedom than ever, it’s almost bafling to see the lack of creativity in fashion advertising today. It often feels that the passion behind fashion advertising has completely left our world. Is fashion for the sake of art dying?
styling by Colleen Beddingfield
Layout by Harmonie Chang
Modeled by Maeve McCurdy, Zoe Gilson, and Nina Collins
Finding Creativity in Uniformity
Author: Molly Chamberlain
Photographer: Niamh Cogley
Models: Andy Meeker & Meghan Mahaffey
Stylist: Molly Chamberlain
Layout: Rachel Erickson
Does wearing a uniform in a school environment ultimately harm a student’s creativity and self-expression? As a product of the Catholic school system, I see both perspectives in answering this question. On the one hand, my plaid, pleated jumper, knee-high socks, and Mary Jane’s provided me a sense of belonging and security—I also got to sleep longer in the morning without the painstaking decision of what I was going to wear to school that day. On the other side of the argument, uniforms can be limiting and su ocating, both literally with tight buttons and strict guidelines and guratively, in terms of creative expression and identity building.
Opinions will always di er on uniforms, but now, as a college student with the freedom to choose what I put on each day, I have come to appreciate my time in the plaid kilt and monogrammed polo shirt. While wearing a uniform, I had to take a unique approach to my selfexpression, most
through hairstyles (thanks Mom for all the French braids), fun headbands, and colorful bracelets, which made me think more artistically about the state of my appearance. I knew everyone was showing up to school in the same out t, so my focus shi ed to how I could stand out in other ways.
Considering I spent 13 years wearing varying uniforms, I’m not sure when I concluded that I wanted to study and work in fashion or when the switch from loathing my school Mary Jane’s to reaching for my Dr. Marten Mary Jane’s on a daily basis occurred. However, I know wearing the same plaid skirt and polo shirt for most of my life has made me appreciate the creativity in getting dressed every day. Whether I’m dressing in jean shorts and a cropped tank, sweatpants and an old t-shirt, or a skirt and Ralph Lauren polo shirt that feels awfully close to my Catholic school uniform, I will always see getting dressed as an opportunity to express myself. In a world where fashion is o en equated with freedom of choice, uniforms taught me that creativity can thrive even when choices are constrained. Today, as someone who dreams of a career in fashion, I realize that uniforms gave me an unexpected gi : a sharpened ability to nd beauty and self-expression in the little details.
the Start” and “Falling Behind.” Her music and unique sense of fashion embrace simplicity and remind us of girlhood. I attended her Bewitched tour, and fans everywhere donned large bows in their hair, on their bags, and intertwined with their outfits. Maxi-length, flowy skirts with ballet flats were abundant.
As a trend, outfits have slowly become more modest compared to the surge of crop tops and Fashion Nova-style outfits that plagued the late 2010s. In 2024, individuals have shifted their preferences to preppier fashion, focusing on more reserved, timeless pieces. In addition, trending content includes women posting their outfits on social media; many wear dresses, hues of pink, and sequins, trying to emulate all things “girly.” Gen-Z is reclaiming
when they felt they grew up too fast. This trend reflects a theme of healing and deconstructing internalized misogyny, ultimately allowing women to embrace their femininity without shame.
Laufey has amassed a considerable following, and her influence is greatly reflected in the fashion and attitude of her audience. Her lyrics resonate with vulnerable womanhood, as she sings in “Letter to My 13 Year Old Self:”
“I wish I could go back and give her a squeeze Myself at thirteen
THROUGH THE LENS OFLAUFEY : FASHION, MUSIC, AND
THE
REIMAGINING OF GIRLHOOD
Photographer: Emma Joa
Models: Kelly Cimaglia, Lainey Nguyen, Kamalani Soriano KamalaniSoriano
Author:
Layout: Cindy Liu
In an era where Barbie dolls were all the rave came the emergence of a new line of dolls. With their distinctively oversized heads, fashionable outfits, and bold makeup, Bratz dolls were more than just toys; they were a statement. These dolls were diverse, each from a different ethnic background, sassy, fashionable, and, to put the cherry on top—Barbie’s biggest rival. Not only did they revolutionize the toy industry with their incomparable style, they became one of our generation’s biggest pop culture and fashion icons.
If you grew up in the early 2000s, you probably remember Bratz dolls. As an Asian-American girl, Jade, of AsianAmerican descent, became an idol with whom I resonated with personally. Her outfits reflect her eclectic style, featuring bold colors, patterns, and textures. Think edgy crop tops, stylish outerwear, and statement accessories that exude her confidence and style. She’s recognized for establishing trends that combine street style with high fashion, symbolic of the classic Y2K style. She was an inspiration to me and many and encouraged my personal “passion for fashion.”
The Bratz’s influence continues to dominate today’s fashion trends. The revival of Y2K aesthetics—a style defined by vibrant colors, showy accessories, and low-rise jeans—can be traced back to the brilliant appearance of Bratz dolls. Recent trends on social media, especially TikTok and Instagram, have encouraged the Bratz resurgence. Many influencers on these platforms reference the dolls in their content, displaying outfits inspired by their bold looks. #Bratz has received thousands of videos on TikTok as people celebrate and showcase their love for overthe-top fashion reminiscent of these childhood dolls.he legacy of Bratz dolls is undeniably woven into the fashion world as we know it today. They taught a generation the importance of selfexpression, creativity, and boldness—principles that continue to inspire and empower girls today. As we look back on these dolls’ impact on our childhoods, it’s clear that their influence is far from over. With its unapologetic embrace of individuality, the Bratz aesthetic remains a powerful force in the world of fashion and beyond.
Written By Brooke Swanson
Like most 10-year-old girls in 2014, my favorite place to be was browsing through sportsoriented hot pink graphic tees, lace-trimmed camis, or wildly patterned PJ sets inside a Justice store. Even now, I can close my eyes and clearly picture the purple carpet and endless amounts of sequined merchandise. However, Justice seems to have disappeared from malls today. Relegated to a measly online store and a section in Walmart, what is left for the “tween” market Justice always catered to?
In the mid-to-late 2000s and early 2010s, Justice, formerly known as Limited Too, built their brand on bold and fun clothes advertised specifcally towards tweens ages 10-12. This marketing left younger girls who longed to feel like their older, cooler teen counterparts fending over the store’s items. Tweens wanting to mimic older teens is a trend that has never waned in societal prevalence. However, it seems to take on a new form in the 2020s. Now, Justice’s cultural relevance is miniscule, and nothing similar has emerged to take its place. This means that “acting older” requires even more of a mental age jump today.
XOXO! BFFS!
Today, a tween wanting to look older skips straight to clothes that might also be worn by a senior in high school, or even a college student. A Lululemon store might contain soccer moms and eager 11-year-olds looking for the same jacket; a Sephora might contain both college students and 10-year-old girls looking for the same Sol de Janeiro body mist. Whatever the reason for this phenomenon, it pushes tweens away from the stage of their lives where they are allowed to be kids and have fun in favor of getting older faster than ever before. But should tween girls really be pushed to grow up so fast? It may be only natural on their parts, but it also may be time for the trend cycle to give way to the rise of another fun tween brand like Justice.
Photographer: Cayden Reich, Models: Daniella Grono, Elspeth Fraser, Elise Trousdale, Stylist: Brooke Swenson, Layout: Anna Brown
S hesGotaLudicrously... Chunk y . . . gaB
Written by Fiona Dunphy
With school over and homework done, your mom is letting you watch television as she cooks dinner. As we turn on the TV to watch Lizzie McGuire or Hannah Montana, we hardly notice how the maximalist, chunky purse has become an iconic symbol of early 2000s fashion trends.
Whether the characters are retrieving a sophisticated school lunch or securing their journals with a key-and-lock combo, these iconic early 2000s purses are adorned with accessories that refect each character’s personality.
Not only does the maximalist purse fnd itself on TV, but celebrities are accompanied by these bags while shopping in Hollywood, during nights out, and on set with their scripts pouring out. TV personalities parallel the early 2000s style both on and of televised media, with overfowing purses portraying a silent staple of this era.
We see this style revamping itself across university campuses and Gen-Z corporate ofices. it checks” always involve some sort of maximalist tote, zippers unzipped, charm bracelets dangling, and bows and ribbons hanging of the sides. To state the obvious, an early 2000s fashion trend that we grew up watching in the media has grown up with us.
In addition to being a fashion staple, the maximalist purse of the early 2000s became a cultural icon representing independence and selfexpression. or many, these oversized bags symbolized a transition from childhood to adolescence, when carrying more personal items—like a diary, makeup, or even a phone—became an expression of individuality, creating statements of personal identity.
The maximalist purse has grown up with us and our styles. rom childhood to adulthood, this bul y accessory has given us the ability to adjust designs according to our youth, interest, and growth—a secret reminder that, as we grow, we are still quietly in touch with our childhood selves.
Photographed by Cayden Reich
Layout by Kate Dowd
Modeled by Fiona Dunphy, Makachi Ani, Natalia Alvarez
Styled by Lilly Thompson
Author: Ashley Holbrook
Photographer: Meghan Cattani
Stylist: Malgorzata Gorska
Models:
Ashley Holbrook, Ella Keddy, Mia Ortega
The Tumblr Takeover.
Layout: Amelia Ferguson
Divas, Mustaches, and All Things Pastel
When deciding what to wear nowadays, an “I Heart Mustaches” graphic tee may not be your frst choice. However, this trend, along with pastel colors and rhinestones, was typical in the early 2000s. Thanks to the emergence of social media platforms like Tumblr, the Y2K era saw distinctive fashion trends arise and difuse rapidly.
What is Tumblr?
Although we may have heard of it, the social networking site is less commonly used in 2024. To know Y2K is to know Tumblr. Users posted a wide variety of content on the site, including photos, texts, quotes, links, audio, and video. Personal blogs were customized, giving users the freedom to express their creativity. As a result, trends were created, viewed, and shared by the entire Tumblr community. Most notably, Tumblr is attributed to its niche sects that render fashion, books, politics, and more. It is how velvet tracksuits with “DIVA” tags rhinestoned
across the waistline became popularized. It is where light pink, baby blue, and pale yellow surfaced across the main photos. Then came the rise of mustaches on just about everything. Mustache necklaces, fake glasses, and press-on nails? Thank you, Tumblr. There is no doubt that a variety of sources infuence our fashion trends. Often, we don’t know why we lean towards wearing a particular item. However,
Tumblr’s accessibility, freedom, and collaboration abilities sparked a creative outlet for trends to radiate through the fashion world.
The 2000s saw the emergence of a “Tumblr Takeover,” changing how we see, spread, and express clothing and accessories.
Wesley Scott
Maeve McCurdy, Zoe Gilson, Nina Collins
Styled by: Colleen Beddingfield
Written by Jacquelyn Harris
The How TikTok Overshadowed the True In uencers
C LEANGIRL EA S TH C
Characterized by slicked-back hairdos, gold hoops, glowy “nomakeup” makeup, and feathered brows, the “clean girl” aesthetic has taken over social media. Capitalized on TikTok, this aesthetic actively alienates many away, highlighting class, body positivity, and general inclusivity issues. The “clean girl” image is typically dominated by white women with unmistaken Eurocentric features, smaller figures, and clear complexions. While the sentiment about amplifying one’s natural beauty sounds empowering, the result of this particular craze instead reinforces the American beauty standard that inordinately dismisses women of color. Ultimately, this aesthetic entirely removes itself from its originators: Black and Brown women and femmes.
Black and Brown women have
established this effortlessly puttogether look with cultural influences for several decades, but this trend has falsely insinuated that these beauty looks are a rather new invention. In reality, essentially every aspect of this well-known aesthetic has been adopted, or rather appropriated, from a community of color. As seen when Hailey Bieber coined “Brownie Glazed Lips” back in 2022, conversations surrounding cultural appropriation are at the center of the “clean girl” movement.
Hoop earrings were first worn by Sumerians in present-day Iraq, later seen in African and Asian cultures. Such influence progressed to the gold hoops that mark Black and Latine fashion, symbolizing resistance, triumph against societal challenges, and refusal to assimilate. Gold hoops aided the celebration of Afrocentric styles during the Black Power Movement in the ‘60s and
‘70s, worn by icons like Angela Davis and Nina Simone. Hip-hop group Salt-N-Pepa notoriously rocked gold door-knocker hoops as part of their brand, fostering dialogue surrounding being Black women in a maledominated industry.
The Chicano Movement, led by Mexican Americans, similarly combated systemic discrimination and displacement by channeling forms of resistance into their style. Wearing baggy jeans, simple tops, and gold hoops with glossy lips and slickedback hair was a common look in ‘90s Chicana fashion. The Chola subculture further threatened boundaries as Latina women rejected pressures to conform to the social standard of white femininity. By the same token, this look has been
overshadowed by mainstream, white society.
“Clean girls” have begun experimenting with the Indian practice of hair-oiling, originating from the centuries-old Ayurveda medicine system. Hair oiling has been a traditional custom to stimulate healthy hair growth and moisture nourishment. In mimicking South Asian and Arab women without giving credit, the originators have been made invisible to their own cultural practices. Hair oils promoted for Brown and Black people have even sold out in stores or been bought out; these beloved brands have changed their formulas to accommodate mainstream society despite being advertised to people of color, who disproportionately have less options accessible to them anyway.
Layout by Harmonie Chang
Photography by Kayla Hart
Makeup by Sue Wari
Communities of color have been overlooked and judged in the lines of beauty and fashion despite initiating practically all of social media’s trends. Witnessing mainstream society poach the qualities that they ridiculed communities of color for and popularizing it on the prevalent white beauty standard causes the “self-love” intention and appreciation of one’s natural beauty to be undercut by the greater systemic function of white supremacy.
Styling by Morgan Jones
Modeled by Gianna Fernandez and Brooklin Warner
The “clean girl” aesthetic may not have poor intent, but the impact of this trend has made its actual influencers, Black and Brown communities, fall into the background when instead, they should be the point of emphasis in the styles that they have created.