DWF Fall/Winter 2014

DWFASHION ISSUE 5 | DECEMBER 2014

ISSUE 5 | DECEMBER 2014

1

2

DIVERSEWORLDFASHION.COM

ISSUE 5 | DECEMBER 2014

3

IN THIS ISSUE

24 32 52

4

6

Editor’s Letter

28

Alice In Wonderland

7

Beauty Box

34

How We Dress Does Not Mean Yes

8

Noir

42

Far East Fashion

13

Lessons Oscar Taught Me

44

Take It To The Street

14

Life Is One Big Movie

48

In The Mind of Juju

16

Stitching Up A Spectacle

64

Seasonal Transition

18

Via Vintage

66

Polished Minimalism

26

Men Still Run Womenswear

72

Daytime Dapper

DIVERSEWORLDFASHION.COM

DIVERSE WORLD FASHION EDITOR IN CHIEF MANAGING EDITOR WRITING & WEBSITE DIRECTOR CREATIVE DIRECTOR EDITOR’S ASSISTANTS FINANCIAL DIRECTOR SECRETARY WRITING CONTENT EDITOR

WOMEN’S FASHION DIRECTORS Hokulani Gepp Robyn Mowatt WOMEN’S FASHION TEAM Perla Diaz Katie Telepak Caroline Maroulis Lyndsay Martin MEN’S FASHION DIRECTOR Lamont Howard MEN’S FASHION TEAM Ricardo Moore Kendyl Bell

STYLISTS Rachael Shireman Lexy Henry BEAUTY DIRECTOR Natalia Villafane EVENTS DIRECTOR Emily Lewis EVENTS TEAM Ebonee Gatlin Kendal Creedon Brianna Carmody PUBLIC RELATIONS DIRECTOR Lexy O’Keefe

Robert Bala Kat Ward Kayla Goldstein Jodeci Richards Lauren Sado & Courtney McKeen Alycea Favreau Aubrianna Kress Jacob Bellinger

PUBLIC RELATIONS TEAM Olivia Sanchez Ashley Brown Jasemine Crane Kandice Crawley Silvia Landivar ADVERTISING DIRECTOR Sammy Fries MODEL SCOUTS Holly Whitten Kayla Robilio STAFF DESIGNER Janet Mulberry

BEHIND THE SCENES PHOTOGRAPHER Desiree Caceres

STAFF ARTISTS Melissa Cabigao Cyrelle Bustamante STAFF WRITERS Alyssa Duany Amanda Burrows Brenna Opelka Charlotte Renner Cierra Roth Danielle Fontana Farah Markis Frank Ponce Itopia Mills Jordan Berns Nicole Girten Katrina Blanco Sara Novo

VIDEOGRAPHER Rashida Miller

SPECIAL THANKS TO OUR FACULTY ADVISOR, MICKEY DAMELIO IMAGE COURTESY OF KILL STAR

ISSUE 5 | DECEMBER 2014

5

LETTER FROM THE EDITOR I

n 2012, a group of creative and passionate students launched a new forum of both fashion and diversity. They called themselves Diverse World Fashion, and they strived to create a platform to celebrate the diversity found on campus and around the world. Now, I am attempting to not only continue that original vision, but also make it a staple among the many publications in Tallahassee. This magazine was meant to be “an outlet for students of Tallahassee Universities to realize their creativity and utilize it in a productive manner” as stated by our founder Emmanuel Sanchez-Monsalve.

I personally realized my love for fashion while working as an intern in New York for HUGO BOSS. I brought that Northeastern mentality back to the South a year later to spread fashion and creativity. Being mentored by the last DWF Editor-in-Chief, Emily Maria Wright, I was able to fine tune my fashion skills and expand on the knowledge already instilled in me. Along with my Managing Editor, Kat Ward, we worked hard to bring you a fashion milestone.

This Fall issue had no distinct theme. I wanted to step back and showcase all facets of fashion that are relevant to us as “millennials”. With the help of a talented team, we were able to bring this premier fashion magazine to campus. Women’s Fashion directors Hokulani Gepp and Robyn Mowatt bring a 6

DIVERSEWORLDFASHION.COM

distinct take on both wild and refined fashion trends. Along with the very dapper Lamont Howard, we were able to bring a new creative energy to our men’s editorial pieces. Our writers brought content that stirred both emotions and controversy. With the article “Men Still Run Women’s Wear” Katrina Blanco highlights the connection between fashionable women and the men who dress them, and we remember a fashion pioneer of our time with Frank Ponce’s homage to the late, great Joan Rivers. Last but not least, my Writing/Website Director, Kayla Goldstein, made a huge impact in the editing of all content and overall writing direction for the magazine.

I am thoroughly grateful and proud to showcase the fifth issue of Diverse World Fashion Magazine. Not only did we put all our energy and time into this issue, but also our hearts and souls are in each page. I hope you enjoy this latest issue and that you are excited and inspired.

Keep creativity alive!

In Seminole Pride

Robert Bala II, Editor in Chief

OUTSIDE the BOX The Fascination behind Subscription Beauty Sample Sites

O

ne of the latest developments in the beauty industry is introduction of the monthly box. Customers join online, take quizzes for personalized items, submit their mailing addresses, and receive a new box every month.

The boxes include samples from brands coveted by frequent Sephora shoppers such as Benefit and Smashbox as well as a few new releases. Two of the most popular companies are Birchbox and Ipsy. Birchbox started with Harvard business school alums Katia Beauchamp and Hayley Barna.

Their website launched in 2010 and charges a $10 a month fee where you receive 4-5 beauty and lifestyle samples. The personalization tool of Birchbox is impressive. A customer makes an account and fills out his/her profile to find tailored items that will help if you have allergies to certain ingredients or a specific skin type. Once a box arrives with samples, customers are advised to use birchbox.com because it offers tutorials on

popular products. Ipsy is another beauty box subscription website.

Created by Michelle Phan, a YouTube beauty guru, these bags are customized to fit your beauty needs and desires. On Ipsy, they have a three minute quiz where they ask for your skin type, hair type, what brands interest you, and what type of products you wish to try.

These boxes also cost $10 a month but are called “Glam Bags.”

Ipsy “Glam Bags” also include samples from famous brands such as Urban Decay and NYX. What a lot of customers are doing is testing out both subscription sites instead of choosing just one, but they both offer similar brands which make it hard to pick which site to order from. These companies tailor each monthly sample to a customer’s specific characteristics, which makes them a groundbreaking website for all men and women to enjoy new products. n Amanda Burrows ISSUE 5 | DECEMBER 2014

7

8

NOIR DIVERSEWORLDFASHION.COM

ISSUE 5 | DECEMBER 2014

9

10

DIVERSEWORLDFASHION.COM

ISSUE 5 | DECEMBER 2014

11

12

DIVERSEWORLDFASHION.COM

the lessons

OSCAR T

he death of the incredibly talented designer Oscar de la Renta on October 20th, 2014 rocked the fashion world.

As one of the most influential taste-makers in modern history, Mr. de la Renta dressed an array of important women, from countless first ladies (Jackie Kennedy, Hillary Clinton, and Michelle Obama, to name a few,) to hollywood’s leading ladies such as Sarah Jessica Parker (and Carrie Bradshaw!), Amy Adams, Emma Watson, and many, many more.

DWF reflects on the wise words of this icon and his influence on stylish women for the past 50+ years.

1. “I am not interested in shock tactics. I just want to make beautiful clothes.” Oscar believed in doing his job

exceptionally well, and believed that when he did, the results would speak for themselves. Never one to result to elaborate stunts or gimmicks on the runway, he simply presented the best designs he could create and allowed the clothing to be the focus of his shows. Sometimes, less is more.

2. “Fashion is about dressing according to what’s

taught me

fashionable. Style is more about being yourself.”

The difference between fashion and style is often debated, but we tend to side with Mr. de la Renta; when you dress in a way that expresses who you are, displays your own creativity, and makes you comfortable, the result is far more impactful than simply dressing in what is currently “trendy.”

3. “Fashion is about the present and the immediate future. I think in terms of now.” While planning for the

future is important, living in the moment is often forgotten as we fret about where we will be 5, 10, 20 years from now. Take a page from Oscar’s book and learn to slow down and focus on what’s in front of you. That’s the best way to ensure future successes.

4. “There is an emotional element to everything you make.” His creative process was also an emotional one,

something that we at DWF can relate to. Oscar de la Renta, like many designers, poured his heart into his work, and it was evident in the final results. His life’s work is a testament to his passion for timeless designs and making women feel beautiful. n Kat Ward ISSUE 5 | DECEMBER 2014

13

“W

ho are you wearing?” This question not only changed an entire industry and culture, but also created a legacy. However, the overtly funny, materialistic diva behind one of America’s most materialistic phrases was a lot deeper than anyone can imagine. Joan Rivers is one of the most polarizing pop culture figures. Known now as a loudmouth, plastic surgery fanaticized, and fashion diva, Rivers’ full career is an extensive tale of trials, tribulations, and trauma– proving that she was tough as nails and as sharp as her tongue.

Joan Molinksy (which she later changed to Rivers) never wanted to be a comedian. Rivers’ run with fashion began as a consultant at Bond Clothing Store, a men’s clothing company. Rivers built up a small name in New York City for herself by doing stand-up comedy at small clubs in the ‘60s, but her 1965 appearance on The Late Show began solidifying her in the public eye.

The Tonight Show starring Johnny Carson was where Rivers became a star. She was funny, fearless, and cutting-edge. Carson became her mentor, and she became his official guest host for about twenty years. When Carson told her, on air, “You’re going to be a star,” Rivers’ career blasted off. ‘Joan Rivers’ became a household name and the Fox network decided it was time to let her shine on late night– separate from Carson.

The last time she ever spoke with Johnny Carson for the rest of both his and her life, was the day she told him she was getting a late night show. He hung up the phone on her and never spoke to her again. The Late Show starring Joan Rivers would be produced

by Rivers’ husband, Edgar Rosenberg, whom she worked with

on The Tonight Show. Joan and Edgar were fast lovers with both personal and professional chemistry, who married four days after meeting in 1965. By 1968, they had a daughter named Melissa.

Shortly after the show began airing, the show had behind-thescenes problems, and failed to live up to its anticipation. Fox wanted to fire Rosenberg, but Rivers wouldn’t do it. She was fired and her position on The Late Show was dropped.

Following her firing, Joan’s career, finances, and marriage exploded right before her eyes when Rosenberg committed suicide, leaving behind multitudes of debt. The darkest era in Joan’s life had begun. However, she knew that there was only one way to go from here. She began to patch not only her career, but also her personal relationship with her daughter. Starting Again was the first step in this next chapter of her life, a film starring Joan and Melissa Rivers about picking up the pieces of life after Edgar’s suicide. “It sounds so sick, stupid and corny,” Joan said in Joan Rivers: A Piece of Work, the ground-breaking 2010 documentary about the comedienne, “but I think by walking through it again, it absolutely mended us.”

As Rivers’ worked hard to mend her broken career appearing on various TV shows, another primetime opportunity arose for her. In 1989, The Joan Rivers Show, a daytime talk show, got picked up. The show was successful, lasting five years. Perhaps the most epitomic moment of this period was during the 1990 Daytime Emmy Awards, where The Joan Rivers Show won her the Outstanding Talk Show Host award. Rivers tearfully thanked her staff, her daughter Melissa, and her late husband Edgar by saying, “Two years ago I couldn’t get a job in this business; people said I would never work again. My husband always said ‘You can turn things around’ and for one moment he forgot that. This is for him because he was with me from the beginning and I’m so sorry he’s not here today.”

Rivers’ career dipped down again after The Joan Rivers Show in the ‘90s, and she decided it was time to move away from strictly comedy and television. In 1994, she began hosting various preaward shows with Melissa on E!. Here is where Rivers’ cultivated a solidified career in fashion commentary, interviewing celebrities

14

DIVERSEWORLDFASHION.COM

Lif

and asking “Who are you wearing?” Rivers’ pre-award shows spread like wildfire in pop culture and entertainment industries.

Although Rivers wasn’t highly recognized for it during this time, she changed the way we watch award shows, and made commentary on fashion and celebrity culture an intrinsic part of the American household.

Although Rivers was never fully appreciated for the hard work she put into her career, her stand-up acts were always a success, keeping her iconography solidified and allowing her to bounce back more easily as the years went on. She became the poster girl for plastic surgery, and was often discredited for any work she did, based on her reputation as being a loud-mouthed caricature. Still, she took on various roles that were outside of her comfort zone, like a play entitled The Joan Rivers Theatre Project. She also made a bold move by quitting her job at E! to host pre-award shows on TV Guide Channel instead. In 2009, she and Melissa appeared on Celebrity Apprentice, where Joan won the entire competition, giving her a new spotlight once again.

The secret of Joan’s constant comeback success was self-awareness.

She knew how the public viewed her at all times, and used that to her advantage. Rivers was never shy about who she was and was often the butt of her own jokes. But behind these jokes was someone with vast insecurities and vulnerability. When being questioned on a radio show about her book Men Are Stupid, They Like Big Boobs (a phrase told to her by Marilyn Monroe), a plastic surgery memoir and guide, the interviewer argued that people want to be loved for who they are inside, and Rivers responded with, “I just want to be loved.” Rivers was someone who longed for public acceptance, and often took criticism to the heart, and her thick skin was often used as a defense mechanism to hide her vulnerability. “All stand-ups are innately insecure,” Melissa Rivers explained, “Who would stand on a stage by themselves and say ‘Laugh! Laugh with me, laugh at me, I don’t care, just laugh.’

They are very damaged and they need that reassurance. It’s all a cover.” However, Joan Rivers’ passion for being in the entrainment business was something that was believed she was born with.

“Mine [her career] is not a choice. Ask a nun why she’s a nun,” Joan said, tears in her eyes, “That’s where I was from the time I

fe

could figure it out. No question where I was going.”

Joan Rivers’ last four years, in the second decade of the 2000s, really amplified the legend that was she was. Her immense success on E! with Fashion Police, her WE reality show Joan and Melissa: Joan Knows Best, her New York Times best selling books, and her sold-out stand-up world tours kept her on top of her game and busier than ever, into her 80s. In 2012, Joan Rivers performed at the Ruby Diamond Concert Hall here at Florida State. She was hilarious and wildly energetic, starting the night by cracking an FSU versus UF joke. After the show, she was gracious enough to walk down the driveway behind the concert hall to greet and take photos with a handful of Seminoles who waited to show their admiration for her.

What’s so inspiring about Joan Rivers is that she branched out into so many aspects of the entertainment world, but worked hard for each avenue. She was fearless and persistent, never giving up or feeling as though there was nothing left for her to try. She strove to stay relevant, engulfed in fame, and perhaps the easiest part for her to maintain—funny. “She is the master of sticking in there,” acknowledged Kathy Griffin in A Piece of Work. She lived to entertain, and was the definition of “self-made.”

Through all the highs and the lows, Joan Rivers was a true crusader of life. She paved the way for comediennes and entrepreneurs everywhere– all while changing and setting standards in pop culture history in her own right. She wasn’t afraid to explore uncharted territory and speak the taboo– qualities that can only create a legendary force. In spite of her age, her gender, her controversy, and her life obstacles, Joan Rivers was a fighter. She ultimately survived 60 years of pop culture and still managed to hold on tight. She grabbed life by the balls, and never gave up on what she was passionate about. She truly lived for this business, and in many ways, the business lived for her.

“If something happens things are fine,” Joan told Melissa on an episode of Joan and Melissa: Joan Knows Best, “Life is so much fun... It’s one big movie!” RIP Joan Rivers (1933 – 2014) n Frank Ponce

is one big movie

The Turbulence and Triumphs of the Late, Great Joan Rivers ISSUE 5 | DECEMBER 2014

15

16

DIVERSEWORLDFASHION.COM

R

ows of color coordinated clothing and shelves of fabrics and materials illuminated the second-floor costume design room. Flying High Circus’s costume designer, Celina Dezzuto, was pulling out a chair and apologizing for the clutter. Dezzuto is Florida State alumni and the primary designer for the student-composed, on-campus circus. She keeps busy with and upholds the flow of costume production for the year-round show. Having started designing costumes with the theater design program years ago, she’s no stranger to methods of composition...though she didn’t always confide her creativity in fashion.

“I studied graphic design,” she mentions, “we still had the fashion design program when I was here, but I was more into art...I did a lot of sculptural things, and a couple of haunted houses.” Though, having now been a part of Flying High for nearly eight years, costuming has turned into an art for her.

Dezzuto gathers new subjects of inspiration biennially, when the circus changes the theme of their shows, turning to things like old TV-series and favored past-times. The theme of the show this year involved movies, and it’s title, “Action,” served as the finest description of what the circus is fully packed with. The costumes made for the multitude of acts initially drew inspiration from the late 1970s sci-fi television series, Battlestar Galactica. “That was the start,” Dezzuto said about her process for designing the clothes, “they were all kind of drab, so I researched the ‘80s and found patterns to pinpoint the feel of the time.”

Though there is a pattern of creating that she tends to follow, the costumes sometimes turn out a bit surprising, compared to the original ideas that they stem from. “I get a lot out of it, because my boss is very open to the way that I work,” she continues, “he understands that I don’t work in a straight line.”

She described her process as “unusual,” considering it’s typical that costume designing be compartmentalized. “You have the person who designs it, and the person who cuts the fabric, and the person who constructs it,” she expounds, comparing the normal procedure to her own, “I don’t think that I would feel as good about having just one thing to do all of the time.”

She makes a vast majority of the costumes by her own hand, but every so often, students involved in the circus will offer her assistance with sewing the pieces together. Some even work part-time with Celina, helping her with machine-sewing and constructing merchandise for the circus out of the things she either sews from scratch, or from the materials she purchases.

“It gets so crazy, trying to produce so many costumes,” she elaborates, and despite her appreciation for how busy the entire process keeps her, “it kind of just makes it a little bit easier.”

Even with the extra hands, there are twenty acts per show, around one-hundred and thirty members, and many quick changes that contribute to how hectic designing can become, especially in the shorter time periods that each show allots. “My boss has asked me how many costumes I make for a single show,” she laughed, “I don’t really know--the number kind of frightens me!” The hundreds of costumes lining the design room served as proof, and the closest she could guess was near one-hundred and fifty per show. Though the piles of loose garments, and hanging pieces sung a colorful medley, there was an underlying order to their hard-earned image of artistry. n Charlotte Renner ISSUE 5 | DECEMBER 2014

17

Top and Pants, Janet Mulberry; Cardigan, Shoes, and Brooches,Curio; Rings, Stylist’s Own

18

DIVERSEWORLDFASHION.COM

VIA VINTAGE The old and the new are united when we combined the original apparel of designer and seamstress Janet Mulberry with the carefully curated vintage collection of Curio’s Jackie Skelding. Adding cozy, nostalgic outerwear to classic silhouettes creates the feeling of mid-century glamour with a modern twist.

Photography: Hilary Katzen Creative Direction: Kat Ward Makeup: Courtney McKeen Hair: Kat Ward Designer: Janet Mulberry Set Assistants: Kayla Goldstein and Courtney McKeen Models: Emily Wong and Camilla Nelson Location: Curio (Railroad Square)

ISSUE 5 | DECEMBER 2014

19

Mini Dress, Janet Mulberry; Coat, Curio; Hat and Knee-socks, Target; Shoes. Banana Republic 20

DIVERSEWORLDFASHION.COM

Dress, Janet Mulberry; Blanket, Brooches, Shoes, and Bracelets, Curio

ISSUE 5 | DECEMBER 2014

21

22

DIVERSEWORLDFASHION.COM

Top and Skirt, Janet Mulberry; Sweater, Necklace, Bracelets, Shoes, and Scarf, Curio 23 ISSUE 5 | DECEMBER 2014

ON T

24

DIVERSEWORLDFASHION.COM

RISE THE Every story has a beginning. Every great adventure begins with one step. Any cliché piece of garbage you’ve ever read has a grain of truth.

Starting a business is a major undertaking. It takes commitment, skill, and passion for what you do. From inspiration, to creation, to branding and marketing—small businesses have to wear many hats to get the job done.

Perla Diaz not only wears these hats, but she can make them too. Perla is a student and has made the jump to entrepreneur as well. She is bursting at the seams with new, creative, and unique designs. You can find/buy her designs at planetperlz.bigcartel.com. Check out her Instagram @planet. perlz to learn more about her designs and inspiration. n Nicole Girten

Photography by Hoku Gepp

ISSUE 5 | DECEMBER 2014

25

History is

Herstory

Men Still Run Womenswear

M

arc, Ralph, Calvin, Michael, Ricardo, Domenico, Stefano, Giorgio, Roberto— gather all these men in the same room and you have billions of dollars’ worth of fashion royalty shoulder to shoulder. You would think fashion has been claimed a women’s arena since, among other factors, the term itself snaps with female prowess. It’s the kind of term old school feminists want to quickly disassociate with for its vain appeal and the kind of term that can just as quickly brand a man as metrosexual or gay. Why then, in an industry we so often accredit to women, have men had the deciding voice? For over a century now, the biggest design houses in the world have been creatively led by men, and many of the iconic shapes women love today were designed by men— Men like Cristobal Balenciaga, for example, and his choice to broaden the shoulders and remove the waistline to create the tunic dress. Or men like André Courrège and his introduction of the all-powerful trouser suit. That same pantsuit design was worn throughout Karl Lagerfeld’s Chanel SS15 show in the form of a women’s rights rally. These shapes and designs have sculpted the path for women to be able to develop their voice for gender equality— a rewarding hike at that— but many overlook the impact that these men have had in getting us there. Fashion is women’s armor, and it happens to be an armor carefully constructed by men.

This ironic reality is embodied in the phrase “we won’t dress for men, but we’ll still let men dress us.” However, is this reality necessarily a bad one?

Every year, the Council of Fashion Designers of America (CFDA) present the annual CFDA Fashion Awards to recognize the immense contribution and impact designers have made towards American fashion (consider it the Oscars for the fashion industry). In the past fifteen years alone, eleven of the Design Excellence in Womenswear awards have been rewarded to male 26

DIVERSEWORLDFASHION.COM

recipients. Meaning that for eleven out of the past fifteen years, a man has had the strongest hand in depicting a woman’s ideal of femininity. Although alarming at first, a closer look at these design ideals prove a progressive trail of silhouettes and staples that enable women to feel powerful and feminine without being constricted at the waist or at the mercy of a miniskirt as history once defined. Pieces like the blazer, leather pants, wide leg silk trousers, capes, military inspired jackets, and chunky heels were all created and reinvented by these men whose main focus was to empower the woman wearing their clothes, not infantilize them— we’re looking at you, Scott. These strides towards gender equality are definitely progressive, but various questions still arise when taking note of men’s role in womenswear. Primarily: Are men’s perspectives of femininity accurate?

And, if so, do men have the authority to define this perspective?

In a recent interview with Refinery 29, the design duo for Public School NYC, Maxwell Osborne and Dao-Yi Chow, were asked how being two straight men affected their design process for their recently-launched womenswear line.

Their response? “We know what we want to see on a woman, and what we want to do to get her there, and knowing our point of view and how to bring that to women, while also working with a great team to help bring that to life… it’s great. But specifically, I think we know how we want to see our girl, not necessarily every girl, but our girl — the Public School NYC girl.”

This Pubic School girl just happened to switch out her baby doll dress and pumps for leather boxer culottes, over-sized knits, and thick-soled brogues, Downtown girl meets Brooklyn guy.

This unstructured play on conservative textures and proportions juxtaposes the ease of masculinity with a woman’s nonchalant sex appeal, creating a new template for menswear inspired ensembles in the realm of womenswear. Likewise, Marc Jacobs has taken many different routes but in his past FW 2014 collection, he

designed with the comfort and loud prints inspired by the ubermasculine oriented sport, motocross. These included dresses with a simple, box-like silhouette, modal stretch fabrics, little to no details or craftsmanship in the design, and very very chunky sneakers with wavy soles that can rescue any damsel in street wear distress. Male designers like Osborne, Chow, and Jacobs have expanded the boundaries for the ‘feminine’ stencil and introduced a revolutionary aesthetic beyond a lace dress or silk chiffon blouse that prove male designers today are working to define sexy WITH women, not for women. WARNING: A lot less leg and a lot more ‘tude.

It’s easy to try and denounce a dress as a sign of fragility and timidness and instead turn to menswear inspired everything to get the point across of “women are equal to men.” Power has often been easily identifiable by pants, but some of the most powerful women in the world today choose the elegance of a beautifully beaded gown or a taffeta statuesque dream as their podium, and do so exquisitely. The late Oscar de la Renta was one man who celebrated powerful women and garnered their admiration through his dramatic gowns. A handful of women who fight for gender equality yet love a great Oscar tulle train include Hilary Clinton, Michelle Obama, Elizabeth Arden, Naomi Campbell, Faye Wattleton, and now Amal Clooney. These women have learned that through the power of fashion, one can have a voice and still be a lady knowing that it is they who wear the dresses, the dresses don’t wear them.

In short, fashion is no longer locked between wooden panels of ruffled skirts. Dolce and Gabbana can dress their ideal beauty in head to toe lace with red lipstick and Italian crafted sling backs while Alexander Wang has his girl sporting a neoprene sweater and jersey track pants. The male perspective in fashion is now more than ever an option, not a requisite. On the other hand, women today have decided femininity can be in a floor-length haute couture embroidered vision just as much as in a pair of mom jeans and crew neck tops. A prominent woman knows for herself that regardless of the gender or intent of the designer, fashion is the canvas and they are the true artists, composing whatever ideal they want to portray through the power of clothes.

Because in the end, it is perfectly okay to fight for gender equality in a skirt, whether it is Emma Watson delivering an impassioned speech addressing a renewed vision of feminism to the entire UN conglomerates in a chic and tailored Raf Simons for Dior silk coat dress or male students from all over France wearing skirts to school this past spring to protest against sexism. Let it be known that although fashion can be provocative, alluring, and influential, it isn’t made to demean women. Fashion praises women, their bodies, their views, their passions, and their stories. It should never be seen as this rampage to strip women of their authority or make them feel inferior. It’s the indulgence women crave the most and the holster to their quick-witted ammo. The choice and power to portray whoever you are is up to each individual woman and the men that help embody that fervor season after season. n Katrina Blanco

Karl Lagerfeld, (left page) Tom Ford, and Alexander Wang; three men whose names are synonymous with elegant, timeless, well-dressed women.

ISSUE 5 | DECEMBER 2014

27

28

DIVERSEWORLDFASHION.COM

in W o n d e r l a n d

I

t’s a breezy October morning outside the Delta Gamma sorority house. Alice Palay and I are seated at a table on a small patio surrounded by a rainbow variety of flowers and plants. Behind Alice sits a mannequin and beside her sits her sewing machine. We’ve just met for the first time and already I’m taken with her sweet personality and easze at conversation.

Alice is a student here at Florida State University, a Delta Gamma sorority sister, and a budding gown designer. Her creative talent caught DWF’s attention and we sat down with her for a Q&A about her experiences as an aspirant dress designer.

Photography by Phazon Mitchell

ISSUE 5 | DECEMBER 2014

29

DWF: When did you first start designing and why gowns?

Alice: I started designing in 7th grade so I must have been 12. I actually bought myself my first sewing machine with $100 I got for getting straight A’s. I’ve always been crafty and I just wanted to try it. I fell in love. Dresses are so simple; you can just throw it on and feel beautiful. You don’t have to layer things; you don’t have to do too much, just simple accessories. There’s just something about that that I love.

DWF: Do you have any professional training?

A: In the 7th grade when I bought my sewing machine, I completely taught myself. But when I got to high school, for two years there was a period where I had a really great sewing teacher.

She taught me a lot about patterns and all that. Those two years are when I learned most of my skills.

DWF: Where do you draw inspiration from for your gowns?

A: I draw inspiration from anything to everything, from leaves to food to prints. I’m very creative in that sense, which is a blessing.

DWF: So how do you start designing a gown?

A: I sketch a lot. I doodle mostly. It’s really quick tops or things that I see that I like. And it’s mostly incorporating different aspects of stuff and thinking about what fabrics I like and just being inspired by the fabric.

DWF: After sketching, how do you begin the sewing process?

A: That’s the most difficult part for me. I take hours draping the fabric and seeing how it falls, how it stretches. Just standing in front of a mirror and thinking, “Oh, will this look good?” I’m so indecisive so this takes hours, because once you cut something, its forever. So I put a lot of time into just thinking about what I really want to do. And when I finally make my decision, I cut out pieces. I don’t use patterns; I do it from scratch.

I’m also a very free-for-all kind of person so the structure of patterns is never what I really want to design. I just start pinning things to my mannequin. From there I would pin it and put it on me and then if it fits right, I’d sew it and try it on. There are so many mistakes you make, but from each mistake there’s a lesson and it helps me grow. It’s a learning process for sure.

The one downfall from doing it from scratch is the finishing. That’s one thing I was not really taught. I always start a project and never finish it, and start something else.

So the final products are not “finished” but they look good. For me right now, that’s all that matters.

DWF: How long is the gown-making process, roughly?

A: It really depends. It doesn’t take that long. The meticulous finishing of the edges takes a long time. But when I make them for others, I take the longest. I go back and forth. I’ll start, cut the 30

DIVERSEWORLDFASHION.COM

pieces, pin and start again the next day. But I can do a dress in a couple of hours if I’m really focused.

DWF: Do you custom design the gowns for each person? How many dresses have you made?

A: I’d say around seventy dresses. I can’t keep track of them. I used to make gowns for the fashion show in my high school, but most of them recently have just been something my friends want. They give me an idea and I go from there. Every fashion show I would make up to seventeen dresses. I never got them back afterward.

DWF: What was the first piece you ever made?

A: A dress, I’ll always remember it. It had this blue ombre fabric with blue print flowers on it. It was a triangle, tight, and very ugly dress. And I put the zipper in backwards so the whole zipper was completely on the outside of the dress. But it was an accomplishment for me because it was my first dress.

DWF: What has been your favorite piece to design so far?

A: 100%, my homecoming gown. I spent hours slaving over it. It was one of the dresses I finished and tailored to perfection. It was like a wedding gown. It’s got a southern feel to it; it was huge and has an under layer that’s shiny and silky, and it was cut so you can see your shoes a little. There’s beading that took me like twenty hours. I meticulously sewed one little bead after another. I actually did this the night before. I got no sleep.

DWF: Do you sell your gowns or give them away for free?

A: I don’t sell them. I tell people it’s not a finished dress, but it’s an original that no one else will have. And it’s practice for me. I’ve made three gowns for my old roommate. She buys the fabric and asks me to do something with it. People give me the materials and I make them a dress.

DWF: In the future, would you want to sell your dresses as a career?

A: Yes, 100%. I would love to start a business here, especially with semi-formals and formals, there’s such a business. But I need the practice and the ability to finish and tailor a dress. I don’t use patterns, but I do my best to make things symmetrical.

Right now I’m doing retail merchandising.

For me it’s getting the business aspect, just getting my foot in the door. I really want to do grad school and go to New York, L.A., or Paris and get that design schooling, and maybe someday go on Project Runway.

DWF: Who is your favorite designer that you’d like to work for?

A: Ellie Saab. I’m very into beading and having the fabric speak for itself. He makes simplistic gowns with the most beautiful beading; they’re enchanting. They are gowns that take my breath away. I could also work for Michael Costello. He’s kind of the opposite of Ellie Saab. He’s very edgy and I could see myself making every one of his gowns. n Jordan Berns

ISSUE 5 | DECEMBER 2014

31

32

DIVERSEWORLDFASHION.COM

Fall into a Creative Director: Hokulani Gepp Model: Janna Rasch Hair: Hokulani Gepp // Kat Ward MU: Natalia Villafane Photographer: Perla Diaz Stylist: Rachel Shireman Dress, Avant Garb; Belt, Henri Girl; Flower crown, Henri Girl

ISSUE 5 | DECEMBER 2014

33

Crown, Tallahassee Nurseries; Top, stylist’s own; Shorts, MB Drop; Boots, stylist’s own

34

DIVERSEWORLDFASHION.COM

Hat, stylist’s own; Kimono, Goodwill; Top, stylist’s own

ISSUE 5 | DECEMBER 2014

35

Top: Pearla’s (Thrifted); Scarf: Curio; Belt: Kendall’s (Steve Madden); Skirt: Curio; Shoes: Rachel’s (Aldo); Purse: Curio

36

DIVERSEWORLDFASHION.COM

Backwards crown: Forever 21; Necklace: Urban Outfitters; Fur Jacket: Thrift store; Dress: Free People ISSUE 5 | DECEMBER 2014

37

38

DIVERSEWORLDFASHION.COM

ISSUE 5 | DECEMBER 2014

39

How we dress does not mean yes.

Imagine if you were violently attacked and robbed only to have the police inform you that you shouldn’t have been wearing an expensive watch if you didn’t want to be robbed. Now the case is dismissed and you go to class the next day only to be met with harsh stares, whispers, and derogatory names all because, somehow, your peers blamed your flashy accessory for your status as a victim. You’re robber runs free and it is your reputation that is ruined all because your watch was too nice.

Unfortunately that hypothetical is the stark reality many rape victims face when they are blamed for their own sexual assault because their “skirt was too short” or they “looked like they were asking for it,” only they have more to lose than just a fancy watch.

According to RAINN (Rape, Abuse, & Incest National Network), 60% of sexual assaults are never reported to the police. Women feel threatened to even report violence against them because of how often and how severely rape victims are shamed since it is assumed they were raped because of some fault of their own.

Another reason rape goes unreported is because once the claim is made, there is no promise the rapist will be prosecuted. In fact, RAINN also reported that a whopping 97% of rapists never spend a day in jail. Many girls don’t see a point in potentially throwing away their reputations and having their outfits scrutinized only to have their rapists incur no consequences. This cycle of shaming and silence is a side effect of rape culture that must be ended in order for social justice to prevail.

Almost every girl has been called a slut or some similar slur in her lifetime regardless of her actual sex life (not that it’s okay to call 40

DIVERSEWORLDFASHION.COM

a woman such names even if she has a sex life you don’t approve of). If a girl wears clothes people think are too revealing, she’s a slut. If a girl covers up too much, she’s prude. Both these are supposedly bad things. Women just can’t win, now can they? So what’s a girl to do? For starters, women can start dressing however they want regardless of what other people think. There will of course be adverse reactions, but exposing the injustice in these actions is the only way to begin to correct them.

How a woman dresses says nothing about her character and one can simply not excuse sexual assault based on the victim’s clothing choices. “Clothes cannot consent to sex for their wearers,” say FSU Women’s Studies major Georgia Howard, “no outfit justifies any violating or violent act against its wearer.” For example, a short skirt or a pair of “hooker heels” is not synonymous with verbal consent. Consent is direct and affirmative according to Howard.

It is not that difficult of a concept to understand, yet still some are claiming that the lines of consent are “blurred” and people in positions of authority are spewing misinformation, much to the detriment of the feminist movement and of women in general.

During a visit to the Osgoode Hall Law School in Toronto Canada, a police officer named Michael Sanguinetti had the following to say, “I’ve been told I’m not supposed to say this— however, women should avoid dressing like sluts in order not to be victimized.” It was the sheer ignorance of his statement that lead Sonya Barnett and Heather Jarvis to organize the first ever Slut Walk on April 3rd, 2011. Over 3,000 attendees marched in Queen’s Park to reclaim the word slut and to fight against rape culture. Events like slut walks are important because personal/ sexual safety should not have to be dependent upon on what one wears. You should be able to go out dressed in your cutest LBD without fear of that dress somehow causing someone to rape you.

Statements like the one made by Sanguinetti are harmful to men as well because it makes them seem like savage beasts that lose all control when they see a short skirt. If women are tired of being blamed for their own victimhood and men are tired of being put out to be sexual deviants with no self control, then why don’t we

are told they have no self respect if they attend class or even a football game in short-shorts or miniskirts, but most of the people disrespecting women—interestingly enough—seem to be men.

start blaming rapists for rape instead of “sluts” and tiny skirts?

Women are called sluts and whores solely based on how they dress, as if clothes are any indication of a person’s morals and as if having sex makes someone a bad person. Slut-shaming is “defaming a woman for the presumed frequency of her sexual activity,” according to Psychology Today contributor Rebecca Coffey. FSU is no stranger to slut-shaming. After the Jameis Winston case became public, many students were quick to call the alleged victim a “slut” or a “whore” and to bring up all sorts of details—mostly lies—about her past. It was like a tornado of insults and anti-woman slurs hit the entire student population.

The victim was told that she was either making the whole thing up or, if it did happen, that it was her own fault because of the way she acted or the way she dressed even though, historically, women have been raped regardless of what they wear. Slut-shaming on campus creates a harsh and uncomfortable environment for women where they feel they cannot wear shorts to class even when it’s upwards of ninety degrees outside because some boy might make a comment about her clothing choice—or worse— physically attack her because of her clothing choice. Women

street and they have to be aware that in the event they are sexually assaulted, someone somewhere is going to blame it on how they dressed. Organized religion also plays a role in indoctrinating beliefs about some mythical link between clothing and morality.

Many religions depict women as sexual deviants and temptresses who must cover their bodies so that they don’t incite lustful or impure thoughts in men. These teachings, some of which date back to ancient times, contribute to the often unfair criticism placed on women’s clothing choices.

Where does this harsh judgment come from? Some scholars believe stringent school dress codes designed to prevent young boys from “getting distracted” have significant effects on the way people view women’s clothes (and women in general) later in life. Annie-Rose Strasser and Tara Culp-Ressler of thinkprogress. org cite the banning of yoga pants and strapless prom dresses in schools as examples of rape culture in action. The regulation of what women can and can’t wear doesn’t stop after grade school, it just becomes monitored by society rather than educators. Women enter the real world thinking they can wear what they want, but dressing for yourself comes at a cost. Women learn the hard way that if they want to dress up, they have to prepare themselves for insults to be hurled out car windows as they walk down the

Believe it or not, everyone has a body under their clothes. So what if you can see some of that body? It’s not like you didn’t already know it was there. So you saw a shoulder or a thigh? Big whoop.

Nothing should be sexy about a shoulder or a thigh or even a breast since they exist for providing sustenance to infants, not to sexually gratify men. The clothes a woman chooses to wear—or not to wear—have nothing to do with her sexuality or her morals.

Sexy clothes are not consent, a short dress is not a yes. Only a yes can be a yes and assault is assault regardless of how short the victim’s skirt was or how low-cut her top was. n Kayla Goldstein ISSUE 5 | DECEMBER 2014

41

Far East

FASHION

A

bout 20 years ago, a highly individualistic and revolutionary fashion movement planted its roots in the Harajuku district of Tokyo. Japanese street fashion, a distinct form of street style that focuses on individuals over brands and designers, has developed into a movement so massive that each group within it has countless other subgroups and classifications. Street wear’s name is grounded in the fact that its trends are exposed and performed primarily on the streets of Tokyo, and is open to anyone. And these trends aren’t always as casual as you’d expect—each group of street fashionistas pushes the boundaries of the everyday.

The really great thing about Japanese street fashion is that it is not limited to a niche community on some obscure forum. Fruits, one of the most popular magazines for capturing outfits on the streets of Japan, has been transferred into two books, has two side magazines, and has been in publication since 1997. Fruits’ sole purpose is to capture the trends on the streets and bring them to readers by deconstructing each person’s outfit in a lookbook-style format. It has gained a sort of cult following not just in Japan, but all over the world because of its unique way of capturing the pop culture of Japan. The magazine also has minimal ads, only including ones for stores in the Harajuku district. This is how Harajuku became the fashion hotspot for young Japanese people who want to express themselves. There are plenty of other magazines like Fruits that publish street wear-specific fads and styles—spreading and setting the distinct styles in stone.

One might think the styles found on the streets of Harajuku all blend with one another—but that’s completely wrong! They are all so different from one another that you would easily be able to point out one from another. Each style has its own set of standards, but that’s not to say they can’t eventually branch off or mix with others. The evolution of styles has had many come and 42

DIVERSEWORLDFASHION.COM

go, but a few have stayed grounded and influential.

1. Gyaru is one of the most iconic looks that can be found in Harajuku. Though gyaru in its original sense is slowly declining, it is probably the first thing you imagine when you try to picture what Japanese street fashion looks like. Gyaru, being the Japanese pronunciation for gal, can be identified by all that is fake: fake nails, fake lashes, fake hair color, fake tans, and, of course, don’t forget lots of makeup! Gyaru girls are usually thought of as rebellious youths, mostly because gyaru style strongly opposes the traditional standards of Japanese feminine beauty.

2. Lolita fashion has remained possibly one of the most wellknown trends to develop in Harajuku outside of Japan. The Lolita style aims to imitate Victorian-era clothes, with petticoats, corsets, headdresses, and so on. Lolita fashion is such a large part of Harajuku fashion that it’s usually divided into two separate subgroups: sweet Lolita and gothic Lolita. Sweet Lolita aims for a more fantasy inspired look, usually doing so through pastel colored and child-like clothing. Gothic Lolita is much darker, using a lot more intense makeup and lots of black prints and patterns. Lolita fashion has extended far outside of Harajuku and has a large community of international followers.

3 3. Decora originates from a shortening of the word decoration, which encompasses this look: highly and heavily accessorized and embellished everything. If you are familiar with the Japanese pop idol Kyary Pamyu Pamyu, you can get a clear image for this kind of fashion. Decora incorporates many pastel and bright colors, but the focus is on the accessories. Items like hairclips, rings, bracelets, pins, legwarmers, socks, armwarmers, and any other accessory you could think of are layered on top of each other, oftentimes to the point that the initial piece of clothing underneath is barely visible. If you can’t see the shirt, you’ve succeeded!

4. If there could be an equivalent to boho style in Japanese street fashion, it would be the mori style. Mori, literally meaning forest in Japanese, attempts to look as much like a wood nymph as possible. Their outfits are characterized by loose-fitting clothes, earthy tones and natural, soft looks. They also have an appreciation for vintage or antique aesthetics and clothing. Since their clothing is so grounded in nature, much of their lifestyle choices reflect this interest as well. Mori girls seem to be very interested in organic and natural substances, ranging from the clothes on their body to the food on their plates. Though it is possibly the most subdued of the street fashion trends, it still has a huge following in and outside of Harajuku.

4

Japanese culture greatly values the group over the individual, and these young people who are a part of street fashion try their hardest to break away from the expectations placed on them.

For many of these young adults, the subcultures of street fashion provide a group for them to be a part of and to belong. So, while they are breaking the mold of their overall culture, they are safely grouped together with other members of their community in the fashion world, and feel comfortable expressing themselves within these limitations. For these growing, unique individuals, this is what street fashion means to them. n Sara Novo ISSUE 5 | DECEMBER 2014

43

Models: Gabrielle Monae, Maanami Phillips Hair: Victoria Ferguson Women’s Wear Director: Robyn Mowatt Stylists: Lexy Henry, Tyshane Franisco

44

DIVERSEWORLDFASHION.COM

$6, Pour Moi Red Lace Bra (Asos): $35, Chelsea & Violet Sequin Skirt(Dillard’s): $128, Red Socks (Target) $1, Me Too Black Heels: Model’s Own, Gold Necklace (Asos): $30, Vintage Gold Earrings, Black Harajuku Lovers Fanny Pack: $40

TAKE IT TO THE STREETS

Adidas Red T-Shirt: $20, White House Black Market Pencil Skirt: $88, White House Black Market Blazer: $150, Banana Republic Necklace: $100, Kenneth Jay Lane Earrings: $75, Jeffrey Campbell Platforms : $100, Vintage Socks ISSUE 5 | DECEMBER 2014

45

Forever 21 Barbie Sweater: $30, White House Black Market Plaid Skirt: $88, Pink Socks (Target) $1, Jeffrey Campbell Platforms: $100, Betsey Johnson Purse: $125

Dimepiece Sports Bra: $50, American Apparel Tennis Skirt: $54, Juju Jellies (Asos): $47, Headphones: Stylist’s Own, Vintage Gold Earrings

46

DIVERSEWORLDFASHION.COM

Nike Yellow Hoodie (Dillard’s): $80, Nike Black Leggings: $80, Joyrich Jersey: $90, Pink Reebok Sneakers: $60, Vintage Gold Earrings, Red Socks (Target): $1, Smiley Backpack: Vintage Kenneth Jay Lane Earrings: $75, Nike Yellow Sports Bra (Dillard’s): $40, Black Skirt: $30, Jeremy Scott Adidas: $150, Pink Socks (Target) $1

ISSUE 5 | DECEMBER 2014

47

INS the mind of

48

DIVERSEWORLDFASHION.COM

j

SIDE

juju

The dim light given off by the crystal tree in the corner of the room along with the sun peeking in through the blinds sets the perfect atmosphere for asking 21-year-old up and coming rapper Juju Ozbourne about his music career. His wall is covered in album covers and original art pieces that highlight his love for music and art alike. Dressed in denim paired with Nikes and a bandana tied in a way reminiscent of Tupac, Juju introduces us to his space that acts as a breeding ground for creativity.

ISSUE 5 | DECEMBER 2014

49

When did you know you wanted to be a musician?

How did your upbringing influence your music?

“Eight years old. I like to think I have a unique upbringing. I was born in South Bend, Indiana and raised in Orlando, Florida. I was southern raised because I was raised in Orlando. Nobody was from up north. All they knew was the south. It gives me a different perspective when I make music because I want to reach all types of people.”

What sort of music did you grow up listening to and how did it help develop your own sound?

“Outkast, real southern artists. My dad was raising me and he used to listen to them and that made me into the person I am today. I’m not really into the social norm. I don’t take the southern approach with everything I do. I feel like I’m a little smarter than what they depict smart as. In my music I try to pick beats and the content. I try to put my own spin on it, not just trying to keep it one genre but at the same time it can be respected as a lyrical song.”

What influenced 6x7 Purple?

“It came naturally. I used to think about the name a lot. What happened was, I woke up one morning and that’s what came in my head. I started getting a close relationship with God and talked to my mom about it a lot and she schooled me. I’m 21 years old and I want to be able to listen to this 10 years later and I want to be able to give this to my kids and grandkids.”

What was your favorite track on 6x7 Purple?

“That changes with the seasons. Right now the song I would send to somebody that’s never heard me is ‘Screwface.’ That was my favorite song to make through the whole process. Obviously ‘Swing My Way,’ I didn’t think it was going to be that big of a deal.

People like it a lot.”

50

DIVERSEWORLDFASHION.COM

When creating, where is the one place that gives you the best ideas to come up with your songs/art?

“That could be anywhere. I’ll be walking around campus and lines will come. Sometimes I’ll be upset because I’m sitting by myself and people come up and ask ‘why are you sitting alone?’ and I’m like man, I’m creating, you’re interrupting my thoughts. I try to capture your attention the first lines. Your delivery and keeping them there is what really matters. One line could come to me and produce a whole song at any given moment.”

Can you give a description of your writing process and what goes into creating a song?

“It definitely varies, but at any given moment I could go and want

Photography by Rick Moore

to write something. I feel like I’m trying to write, but it’s like a writer’s block. I’m really big on feeling natural. If it’s not coming at that moment, I stop until I really feel it. But I have dates and deadlines, so I’m good under pressure. With this new music, I’m not putting a release date on it. I’m just going to finish it and drop it.”

How would you describe your sound?

“Southern hip-hop soul. I really thought about that.”

What’s in store for the future of Juju Ozbourne?

Any new projects in the works?

“Surprises. Unfortunately my music is no longer free. I really

think about me being a consumer too. I wanted to give that away for free as a marketing strategy. Just surprises and new music. I can say I’m working on video that’s also a short film. I’ll drop it when it’s ready.”

Keep an eye out for more powerful, strong music and videos from Juju Ozbourne. He is definitely the rapper to watch. His soulful lyrics with southern vibes create a unique and refreshing sound.

His music tells of real life stories; each song has a deep meaning behind it, something to keep the listener wanting more. Juju keeps his audience hooked by creating music that captivates and resonates with listeners. Juju Ozbourne is the rapper to follow for impassioned, pure music. n Lauren Sado & Robert Bala (Interviewer) ISSUE 5 | DECEMBER 2014

51

He said / 52

DIVERSEWORLDFASHION.COM

//She said Creative Director: Rachel Shireman Styled By: Hoku Gepp, Robert Bala Photographer: Perla Diaz Makeup: Natalia Villafane & Carolin Maroulis Set Assistants: Lexy Henry, Lamont Howard, Robyn Mowatt, Lauren Sado Models: Addison Kane & Lauryn Roca ISSUE 5 | DECEMBER 2014

53

Shirt: Asos; Sweater: H&M; Leather Shorts; Boots: Hugo Boss; Sunglesses: Avant garb Shirt: Urban Outfitters; Jacket: Curio; Boyfriend Jeans: Zara; Boots: Nasty Gal; Sunglasses: Urban Outfitters; Bag: Target

54

DIVERSEWORLDFASHION.COM

ISSUE 5 | DECEMBER 2014

55

56

DIVERSEWORLDFASHION.COM

57 ISSUE 5 | DECEMBER Jacket: 2014 Mark Ecko

Blouse: Curio Skirt: H&M Shoes: Curio Bag:Target Shirt: Asos Jacket: Mark Ecko Pants: American Apparel Shoes: Hugo Boss 58

DIVERSEWORLDFASHION.COM

ISSUE 5 | DECEMBER 2014

59

Shirt: H&M Jacket: Asos Skirt:Asos

60

DIVERSEWORLDFASHION.COM

Blouse: Zara Jacket: K. I. D collection Pants: Classiques Entier Shoes: Urban Outfitters Scarf: The Other Side Vintage

ISSUE 5 | DECEMBER 2014

61

62

DIVERSEWORLDFASHION.COM

ISSUE 5 | DECEMBER 2014

63

64

DIVERSEWORLDFASHION.COM

seasonal transition comfort is key

T

his generation has seen a first in fashion. One that may not be revolutionary, but altogether one of the sharpest turns menswear has ever taken. For the first time in history, the style is being motivated by something you’d think is quite alien to the world of avant-garde. The biggest flair for men this season is comfort.

With comfort comes a new wave of transitional pieces. Maybe the modern man is more on his feet and maybe the world is ready for a little more practicality. Men are able to foster looks made from the runway and into the weather. This is 2014, a time when suits and ties are not always a staple of a high-end gentleman. The styling is key, layering is everything, and a wardrobe that rolls with the seasons is essential.

Now it’s not that gym shorts and tank tops are taking over D&G and Chanel. There is a refined nature to the versatility of clothing.

Men’s clothing this Fall drifts easily from the Summer nights.

Denim jackets, an American classic, are an investment this year.

They can be paired with a cutoff t-shirt or keep you warm over a knit sweater. Dress shoes have become less narrowed in selection, paving the way for rubber soles, slip-ons, and showing off your socks.

Another great element of Men’s fashion this season is the rebirth of the crewneck t-shirt. Gone are the “White Under Your Actual Shirt” t-shirts. They are taking front and center with bold prints and memorable graphics. Often the length is well below the belt line and the cut of the shirt accentuates a flat chest and broad shoulders, a flattering silhouette for any man’s height.

It isn’t the demise of Men’s fashion in the classic sense. Plenty of tailored suits with vests and elaborate coats went down the runway this season, but the fact is: comfortable versatility is a staple of this decade. n Jacob Bellinger ISSUE 5 | DECEMBER 2014

65

POLISHED

minimalism 66

Creative Direction: Lamont Howard Styled by: Robert Bala, Rick Moore, Kendyl Bell Photographer: Chris Horne Model: Seve Kim Set Assistant: Emily Lewis, Ebonee Gatlin, Lauren Sado

DIVERSEWORLDFASHION.COM

H&M white button up, ASOS White Jeans, Nike Sneakers

Hugo Boss bomber jacket, Steve and Barry’s quilted jacket, H&M black button up, American Eagle camo tie, Cole Haan loafers, Hugo Boss black belt, H&M black gloves, PacSun beanie

67

ISSUE 5 | DECEMBER 2014

68

DIVERSEWORLDFASHION.COM

H&M denim top, Zara jeans, ALDO suede loafers

Aldo loafers, Express tie, Hugo Boss chinos, KAMI Denim Brand sweatshirt, Marc by Marc Jacobs jackets, H&M white button up

69

ISSUE 5 | DECEMBER 2014

70

DIVERSEWORLDFASHION.COM

H&M black joggers, Hudson Outerwear textured tee, Legendary Goods flannel, Forever21 leather jacket, Nike sneakers

Armani Exchange scraf, On the Byas tank, Vans varsity hoodie, BDG gray joggers, Armani Exchange duffle bag, Comes Des Garcon Converse high tops.

71

ISSUE 5 | DECEMBER 2014

72

DIVERSEWORLDFASHION.COM

Creative Director: Lamont Howard Styled By: Robert Bala, Kendyll Bell, Rick Moore, Kat Ward Models: Chris Crouch & Jordan Thomas Photographer: Alexis Calhoun Set Assistants: Courtney McKeen & Kayla Goldstein Wool Suit: H&M Shirt: Model’s Closet Bag: Armani Exchange Shoes: Model’s Closet Handkerchief: Thrifted Hat: Designer Collection

ISSUE 5 | DECEMBER 2014

73

Floral Vest: Avant Garb; Shirt: Curio (Thrift); Tie: Daniel Cremieux; Pants: Life After Denim

74

DIVERSEWORLDFASHION.COM

Shirt: Model’s Closet; Shoes: Model’s Closet; Chinos: Hawkins McGill; Hat: H&M; Shades: Rayban; Tweed Bag: Oscar De La Renta

75

ISSUE 5 | DECEMBER 2014

Tweed Jacket: Austin Manor; Shirt: Avant Garb; Shoes: Model’s Closet; Wool Trousers: Van Gils; Driver Hat: Lids; Shades: Rayban; Tweed Bag – Oscar De La Renta (Vintage/ Curio)

76

DIVERSEWORLDFASHION.COM

Slim Fit Jacket: Bar III; Shirt: Curio (Thrift); Pants: Bullhead Denim; Shoes: Hugo Boss; Bag: Banana Republic; Belt: Old Navy; Handkerchief: Fendi ISSUE 5 | DECEMBER 2014

77

78

DIVERSEWORLDFASHION.COM

Vest: Somerton; Shirt: Curio (Thrift); Tie: Daniel Cremieux; Umbrella: J. Crew; Newsboy Cap: San Diego Hat Co.

IMAGE SOURCES

PHOTOGRAPHERS:

Lessons Oscar Taught Me (13) dujour.com/culture/oscar-de-la-renta-exhibit-clinton-presidential-center/

Taylor Brumfield Taylor B. Photographie www.taylorbphotographie.com

History is Her Story (26) Tom Ford: fashion.msn.com.cn/lifestyle/ emotion/26053.shtml Karl Lagerfeld: celebitchy.com/wp-content/ uploads/2013/06/wenn20185726.jpg Alexander Wang: ootdmagazine.com/ wp-content/uploads/2014/01/Alexander-wang-and-terry-richardson.jpg How We Dress Does Not Mean Yes (40) en.wikipedia.org/wiki/SlutWalk Far East Fashion (42) Gyaru: sugargamers.com/kawaii-cornergyaru-vs-world/ Lolita: lolitafashionclothes.blogspot.com/ Decora: origamicupcake.com/2009/10/picof-the-day-decora-girls/ Mori: thelittletreasures.blogspot. com/2014/01/mori-girl-fashion-inspiration.html Seasonal Transition (64) • gq-magazine.co.uk/style/articles/2014-01/10/autumn-winter-2014mens-fashion-trends/viewgallery/3 • dolcegabbana.com/man/collection/ apparel/dolce-and-gabbana-winter-2015man-collection-55/ • balmain.com/en_eu/men/new-arrivals/ cotton-harem-pants-1.html •lp.hm.com/hmprod?set=key[source],value[/environment/2014/3LV_0076_001R. jpg]&set=key[rotate],value[0.5]&set=key[width],value[4221]&set=key[height],value[4936]&set=key[x],value[439]&set=key[y],value[204]&set=key[type],value[FASHION_FRONT]&hmver=1&call=url[file:/product/full • s5.postimg.org/a7mljxprb/Balmain_homme_fall_winter_2014_2015_collection.jpg

Alexis Calhoun ALCA Photography www.alca.4mat.com Perla Diaz Planet.Perlz www.planetperlz.bigcartel.com Hokulanii Gepp Hokulanii.com Hoku.fa.sho.ku@gmail.com Phazon Mitchel Phazonmitchel.com Hillary Katzen H. Katzen Photography hkatzenphotography.com Chris Horne Ambition Production .LLC amplife.com RETAILERS: Curio 1046 Commercial Drive.

Tallahassee, FL 32310 (850) 766-9670 curiogoods.com

Henri Girl 2020 W. Pensacola St. Tallahassee, FL 32304 (850) 575-0952 henrigirl.com Dillard’s 1500 Apalachee Pkwy Tallahassee, FL 32301 (850) 671-2000 dillards.com The Other Side Vintage Railroad Square Park 607 McDonnell Dr. Tallahassee, FL 32310 (850) 224-6666 theothersidevintage.wordpress.com OTHER CONTRIBUTERS: Tallahassee Nurseries 2911 Thomasville Rd. Tallahassee, FL 32308 (850) 385-2162 tallahasseenurseries.com/index.html Forum Apartments 2525 W. Tennessee St. Tallahassee, FL 32304 forumapartments.com New Seoul Oriental Market 2624 W Tennessee St, Tallahassee, FL 32304 (850) 575-7168

MB Drop Apparel 2020 W Pensacola Street Tallahassee, FL 32304 (850) 574-5625

Macork Solutions 4948 6 Oaks Dr. Tallahassee, FL 32303 macorksolutions.com

White House | Black Market Governor’s Square, 1500 Apalachee Pkwy Tallahassee, FL 32301 (850) 877-1497 whitehouseblackmarket.com

Art Contributors; Melissa Cabigao Cyrelle Bustamente

Avant Garbe Vintage 522 W. Gaines St. Tallahassee, FL 32301 (850) 514-4272

ISSUE 5 | DECEMBER 2014

79

80

DIVERSEWORLDFASHION.COM