Issue 04: Bloom

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TABLE OF CONTENTS TABLE OF CONTENTS

ISSUE 04

PAGE 08-11

NYFW: COLLINA STRADA + MONSE MAISON

PAGE 12-17

BREAKDOWN THROUGH

PAGE 18-23

THE GHIBLI IMPRINT

PAGE 24-27

THE FEMININITY IN FRIDA KAHLO’S FLORAL HEADWEAR

PAGE 28-31

MURAKAMI’S NUCLEAR FLOWER

PAGE 32

RECLAIMED BY NATURE

PAGE 33

REVOLUTION & REBIRTH

PAGE 34-37

FLOWERS, FEMININITY, AND FASHION

PAGE 38-41

THE UNTAMED FEMININE

PAGE 42-45

COVER ME WITH FLOWERS

PAGE 46-49

THE CIRCULARITY OF BLOOM

PAGE 50-53

NO RAIN, NO FLOWERS

PAGE 54-55

SUMMER DELIVERIES

PAGE 56-57

DIOR: BUDS IN BLOOM

PAGE 58-61

DEMYSTIFYING THE FEMALE SEX

PAGE 62-65

IRIS VAN HERPEN

PAGE 66-69

LOVER’S LACE

PAGE 70-73

FLOWER POWER

PAGE 74-77

AN INTERVIEW WITH GAB BOIS

PAGE 78-89

THANK YOU

PAGE 90-91

JOY CHEN + TIFFANY HUE JOY CHEN + TIFFANY HUE MIKAYLA LOBASSO

ANNA-MARIE GUENTHER + LILY GLANTZ JORDAN MULA + LILLIE YAZDI JUSTIN LEE

PAIGE BRUNSON ERIN YEH

RACHEL FENG + ANIKA MURTHY LILLIE YAZDI

SEJUN PARK

ANIKA MURTHY

CATHERINE CHU NICK BROGDON

VANESSA NGUYEN + CATHERINE CHU JULIETTE CORNET + PAIGE BRUNSON LILY GLANTZ

SALSA MAZLAN + JUSTIN LEE NATALIE SEMERSKY + SEJUN PARK JOY CHEN + TIFFANY HUE JOY CHEN + TIFFANY HUE

TABLE OF CONTENTS

LETTER FROM THE CO-FOUNDERS

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BLOOM

EDITORIAL STAFF A. Executive Board Joy Chen / Co-Founder + Creative Director Tiffany Hue / Co-Founder + Editor-in-Chief Juliette Cornet / Arts + Culture Managing Editor Rachel Feng / Fashion Managing Editor Erin Yeh / Politics + Activism Managing Editor

B. Editorial Team Anna-Marie / Arts + Culture Assistant Editor Jordan Mula / Arts + Culture Staff Writer Salsa Mazlan / Fashion Assistant Editor Vanessa Nguyen / Fashion Staff Writer Natalie Semersky / Policits + Activism Assistant Editor

EDITORIAL STAFF ISSUE 04: BLOOM

C. Creative Team Allyza Quiambao / Assistant Director of Editorial Design Sejun Park / Assistant Director of Content Design Anika Murthy / Content Designer Catherine Chu / Illustrator Justin Lee / Content Designer Lillie Yazdi / Photographer Lily Glantz / Illustrator Mikayla LoBasso / Photographer Nick Brogdon / Content Designer Paige Brunson / Content Designer

ISSUE 04

LETTER FROM THE EDITOR-IN-CHIEF

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0 9 It takes a village to raise a child, but our seed was planted from humble beginnings through a short exchange of text messages in September 2020. A year later, our editorial has bloomed beyond our wildest dreams, from print distribution to a growing online following. The talents of our incredible team fertilized the soil that allowed META to grow, and it took tender love and care to cultivate an editorial as beautiful and impactful as META has become today.

What better way to celebrate a year of our publication than to dedicate our fourth issue to the idea of “Bloom”, a word that encapsulates every nuanced feeling of what it means to grow? As we continue to bloom into new versions of ourselves, our editorial grows with us. Despite the past year and a half of turmoil, the world does not stop for anyone, and META is a testament to the perseverance against the blistering environment of today’s world.

We created META to construct a space for artists to share stories that were not being reflected in traditional media. To bloom into the best version of yourself is the foundation of META, and our editorial has forged a community of creatives that represent authentic voices through a global lens.

This summer, META certainly bloomed across the world as we expanded our team beyond the West Coast region to welcome creatives from all over the globe, and we also took the streets of New York Fashion Week by storm. Creativity has no geographical limits, and META is unequivocally showcasing an accessible and independent creative platform that shares meaningful stories and, most importantly, never fails to fight for justice.

Our fourth issue, BLOOM, explores sentiments of identity, sexuality, growth, and expression. The editorial unpacks a new perspective of media that reflects the state of the world today. But what is the best version of you, and how do you become that? Perhaps the exploration of different philosophies and cultural movements may reveal more about ourselves than we will ever know ourselves.

With that being said, to bloom into the best version of yourself is not a goal. It is a never ending process. So, who are we becoming? I encourage you to tap into your subconscious and explore the depths of your identity that have been unlocked in the past year of introspection as we join together to read META’s fourth issue: BLOOM.

With love,

LETTER FROM THE EDITOR-IN-CHIEF

Tiffany Hue Co-Founder + Editior-in-Chief

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Bloom seems to be a word that’s connotation is associated with Spring. It may seem like an odd choice for us to choose for our fourth issue, but like all things: everything happens for a reason. There is something uniquely special about the idea of growth, rebirth, and abundance. To bloom into our best selves is to acknowledge the space you take up and your actions to do more with what you have.

As I write this, META has finished its first year around the sun. She has been nurtured with the care and energy our teams have given her. She is blooming before our very eyes and granting us opportunities and experiences we could only dream of. Tiffany and I started META as a pandemic project, hoping to give space to those who weren’t given a voice in the industries we both loved. It is remarkable what we have been able to achieve within this past year, by being a platform for issues that are too often pushed to the side and allowing creatives to share their visions with the world. The idea of bloom is growth. We hope to continue to use META as a vehicle for growth in the industry, as we make pathways for people that look like us.

This issue is unlike any other META has put out in the past year. It took four months to cultivate, but for good reason. This issue marks many momentous “firsts” for us. This summer, META took the big leap forward by announcing its departure from a university affiliation to finally becoming a magazine that includes global talents and representation. It is an exciting shift that is simply only one more seed we have planted this year, and we cannot wait to have you along for the rest of this journey.

This fourth issue, Bloom, is a culmination of stories of culture, sexuality, and artistic icons. Creatively, it pushed the limits of many designers and photographers on the team. As the pandemic continues to weigh on everyone, the resources many creatives felt became limited. The excitement of creating at the height of the pandemic has all but waned into a monotonous flow of work. This issue was a challenging one for my team, where each member sought to create multiple pieces for the editorial for the first time. Each member took this opportunity to conceptualize work that was personal to them, and thus a continuation of their growth as artists. This issue is something we are all proud of because it is a representation of who we are becoming.

As you read through this issue, enjoy the notions of color as a means of expression. Allow yourself to explore the definition of bloom, outside its traditional conventions of floral motifs. And most of all, let yourself question your recent actions and motives. If we ask ourselves: who are we becoming? We must also know who we were before.

LETTER FROM THE CREATIVE DIRECTOR

With love,

Joy Chen Co-Founder + Creative Director

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LETTER FROM THE CREATIVE DIRECTOR

NEW YORK FASHION WEEK: COLLINA STRADA JOY CHEN + TIFFANY HUE

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NYFW SS’22

META ATTENDS

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NEW YORK FASHION WEEK: COLLINA STRADA JOY CHEN + TIFFANY HUE

NEW YORK FASHION WEEK: COLLINA STRADA JOY CHEN + TIFFANY HUE

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COLLINA STRADA

SNAIL’S PACE

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NEW YORK FASHION WEEK: COLLINA STRADA JOY CHEN + TIFFANY HUE

NEW YORK FASHION WEEK: MONSE JOY CHEN + TIFFANY HUE

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MAISON MONSE

NEW YORK FASHION WEEK: MONSE JOY CHEN + TIFFANY HUE

RESORT 2022

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BREAKDOWN THROUGH

BREAKDOWN THROUGH MIKAYLA LOBASSO

“Breakdown through” is a collaborative series that touches on the long-overdue degradation of gender binaries in fashion.

In recent history, fashion has developed strict gendered boundaries that people are forced to exist within. However, because of the tireless effort from non-binary, androgynous, and transgender people, the social attitude has evolved, enabling those boundaries to melt away.

Fashion is above the concept of gender, rather it is a premise for how we can exist as humans and adorn ourselves. Because fashion can act as a medium to break down gendered systems, people can bloom into the most authentic form of themselves through their fashion choices.

BREAKDOWN THROUGH MIKAYLA LOBASSO

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BREAKDOWN THROUGH MIKAYLA LOBASSO

BREAKDOWN THROUGH MIKAYLA LOBASSO

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BREAKDOWN THROUGH MIKAYLA LOBASSO

THE GHIBLI IMPRINT ANNA-MARIE GUENTHER + LILY GLANTZ

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THE GHIBLI IMPRINT The Ghibli effect is visually arresting, remarkably immersive, and entirely personal.

Typified by dreamlike landscapes and serene color palettes, the rich visuals of Studio Ghibli’s films occupy minds for good reason. The unforgettable visuals are indeed paramount to the studio’s mastery in world-building, but less attention is given to the immense intention behind each and every detail; this is especially true for the wardrobes of all of Ghibli’s beloved characters. Rich with notions of youth, beauty, love, and war, Howl’s Moving Castle (2004) tells the tale of Sophie Hatter, a young milliner destined for an uninspiring life, and Howl, a wizard summoned to weaponize his magic in the nation’s intensifying war. The wardrobe designed for Howl specifically advances the development of his flowering maturation and growth in a world that seems set on ridding him of his innocence.

Through the trials and triumphs of war and love, Howl undergoes changes to his appearance and identity. Clad in a blue and rose diamond-checkered coat atop a billowy white dress shirt accented with a sapphire necklace and emerald earrings, Howl is introduced in attire that reveals his selfindulgent tendencies. Worn during his first encounter with Sophie, his clothing emanates his self-possessed nature, underscoring his allure. Upon introduction, Howl assists

Sophie in evading unwelcome advances from persistent soldiers by, quite literally, floating through the air. His checkered coat and regal jewelry rippling in the wind, Howl’s whimsical appearance and steadfast demeanor contribute to the glamor of his character.

Blooming into a more sincere version of himself and the man for whom Sophie feels affection, Howl’s outward transformation reflects his inner self-searching. Although initially blonde, which the audience later learns is at the credit of Howl’s meticulous care and maintenance, he later appears with raven black hair as his relationship with Sophie blossoms into romance. Allowing his own vanity to slip his mind, Howl’s newfound comfort with dark hair serves as a visual gesture of his fondness for Sophie. This change is also accompanied by the adoption of a simpler rendition of his original apparel with the notable absence of his flamboyant coat. His jovial persona is conveyed further with the reappearance of loose, puffy sleeves as well as once shoulder-length hair, now a more boy-ish, ear-length cut. His departure from his juvenile, attention-seeking behavior is subtly implied by his necklace’s sapphire jewel now permanently hidden underneath his shirt, only recognizable by the familiar gold chain around his neck. While the raven black hair serves as an indicator of flourishing romance and

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THE GHIBLI IMPRINT ANNA-MARIE GUENTHER + LILY GLANTZ

THE GHIBLI IMPRINT ANNA-MARIE GUENTHER + LILY GLANTZ

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The wardrobe designed for Howl specifically advances the development of his flowering maturation and growth in a world that seems set on ridding him of his innocence. maturity, Howl’s darker appearance and morale eventually extend to a full-body transformation, through which he becomes a birdlike creature weaponized for war. His face and humanity protected underneath an abundance of black feathers, Howl agonizes over the brutality of mankind and the difficulty of returning to his human state as his involvement in the war intensifies.

paralleling their first encounter. Howl gazes at the endless horizon sporting a salmon highstand collar blouse adorned with an amethyst jewel. Again less decadent than his attire at the beginning of the film, Howl’s concluding ensemble shows that his renewed sense of self remains intact despite the bleak ordeals of war.

Howl’s Moving Castle’s all-encompassing storytelling, largely propelled by the physical presentation of Howl’s character, hallmarks the collection of Studio Ghibli films that audiences remember and hold dear.

THE GHIBLI IMPRINT ANNA-MARIE GUENTHER + LILY GLANTZ

Frustrations concerning war and modernity are effectively channeled into the character of Howl throughout his physical evolution. Gifted with the powers of wizardry and flight, his character incites awe and romance before being trampled upon and abused for selfish gains.

The character of Howl itself feels otherworldly.

Typified by his delicate, breezy clothing, his carefree disposition, and his miraculous castle made of the clunky remnants of industrialism, Howl is an abstract protagonist yet an ideal accompanist to the serene scenery in which he inhabits. At the cost of his beauty, Howl’s fragility succumbs to militant corruption, sculpted into a mindless soldier. As grim flying battleships drape the surrounding landscape in darkness, Howl wilts amidst the obscurity of death and destruction. It is not until Sophie revives him, physically returning his heart, that Howl reverts to his characteristic color palette.

Aboard his castle with crisis resolved, Howl and Sophie blissfully fly through the sky,

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THE FEMININITY IN FRIDA KAHLO’S FLORAL HEADWEAR JORDAN MULA + LILLIE YAZDI

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T he F emininity in Frida Kahlo’s Floral Headwear

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Despite these rough beginnings, Frida’s persona was flirtatious and flamboyant, and her artwork and choice of wear reflected her unrequited commitment to being alive. In the turbulence of it all, she began painting from the comfort of her bed following the accident.

Kahlo developed a blooming affinity for accessories, and much of her clothing was meant to shift the focus from her physical

ailments. By pinning flowers to her hair, she attracted attention to her shoulders and face rather than her body. And during her 20s, Kahlo embraced her own interpretation of traditional Tehuana dress which consisted of full skirts, embroidered blouses and regal updos suggestive of the matriarchal society from the Isthmus of Tehuantepec in Oaxaca, Mexico. In mixing contemporary dress with modern feminism, she wore indigenous Mexican clothing to remain faithful to tradition yet maintain her liberated, and rather sensual lifestyle.

Flowers are often referenced in Mexican tradition for their meanings, and Frida Kahlo may be the woman who endowed flower crowns with their enduring legacy. Her appearance defied conventional beauty norms and feminine ideals of the 1940s, exemplified by how she purposely accentuated her facial hair in her self-portraits and never altered these features in real life either. While the press labeled these traits as “masculine,” Kahlo wore her signature flower headpieces to contrast

THE FEMININITY IN FRIDA KAHLO’S FLORAL HEADWEAR JORDAN MULA + LILLIE YAZDI

With a heavy heart dedicated to anti-capitalist endeavors, Frida Kahlo was born rosily on the 6th of July in 1907, three years prior to the beginning of the Mexican Revolution. Though raised in an upper-middle-class Mexico City home, her life soon became saturated with physical suffering. She contracted polio at the age of six and was bedridden for nine months.

Soon thereafter, her right leg was shorter than her left, and she layered socks to regain her balance and wore ankle-long dresses to conceal her limp. At the age of 18, Kahlo’s life was plunged into turmoil once more when a bus she rode had collided with a streetcar, during which a handrail impaled her hip, rendering her infertile.

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The flowers she wore and nourished were a devotion to her femininity as Frida understood that gender and sexuality are not parts of one’s being that should be confined to limitations.

THE FEMININITY IN FRIDA KAHLO’S FLORAL HEADWEAR JORDAN MULA + LILLIE YAZDI

conventional norms with the feminine. During the Victorian Era, floral headpieces were reinforced as symbols of purity and a sort of twisted femininity as women wore them on their wedding days.

While Kahlo may have been comfortable with her femininity when it came to her appearance, being unable to have children was something that she could never come to terms with, which may suggest her signature florals as a self-expressive coping mechanism. She references reproductive failure in numerous paintings by referencing the flowers she accessorized with. Within Roots, produced in 1943, Kahlo herself is depicted naked with stems, rather than clothing, growing from her abdomen as she rests on her side. It is perhaps a meditation of her relationship with fertility as there are no blooming or colorful flowers present in this piece, only green stems with leaves.

Perhaps flowers symbolized to her the creation of life, as the weight of not being able to have children weighed heavily upon her. By adorning her black braids with floral

elements, it is possible that this was her way of connecting with her femininity despite not being able to engage in motherhood.

Presently, La Casa Azul, the garden that inspired Kahlo’s original artwork, continues to flourish in color with gardenias, dahlias, and bougainvillea, all of which the artist wore in her hair. This garden may be a reflection of her art that emulates her emotional yet vulgar persona. Even her traditional skirts and blouses were brimming with rainbow floral embroidery, and she is now known as a modern queer woman for her relationships with both women and men. The flowers she wore and nourished were a devotion to her femininity as Frida understood that gender and sexuality are not parts of one’s being that should be confined to limitations. Flower crowns and floral design persist in the world of fashion as emblems of femininity and fertility. Yet, it was Frida who expressed that a woman should not have to conform to conventional standards of womanhood and beauty to be secure in her femininity.

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THE FEMININITY IN FRIDA KAHLO’S FLORAL HEADWEAR JORDAN MULA + LILLIE YAZDI

MURAKAMI’S NUCLEAR FLOWER JUSTIN LEE

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MURAKAMI'S NUCLEAR FLOWER

Takashi Murakami is a Japanese contemporary artist known for his bright accent colors and bold floral designs.

Much of his inspiration comes from the aesthetics of Japanese culture and tradition, as well as the influence of post-nuclear effects on Japan.

His projects and designs stem from his exposure to the Japanese subculture of “Otaku”, which describes the avid cult following of anime and manga. This social obsession often inspires Murakami’s cute, innocent, and sometimes violent projects.

His “Superflat” vision of Japan’s “flat” art aesthetic, also influenced by the country’s anime and manga craze, translates just as prominently in fashion.

He has collaborated with artists like Pharrell Williams and Kanye West, and brands such as Louis Vuitton and Supreme. As a powerhouse of contemporary art, Murakami is continuing to produce countless projects that reimagine the future of his work each day.

RECLAIMED

BY NATURE

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Humans have altered, transformed, and destroyed landscapes. Nevertheless, Mother Nature continues to bloom in the most unlikely places. From weeds sprouting in sidewalk cracks to ivy creeping up the sides of chimneys, nature always finds a way back into our world. While there has been irreversible damage to the planet throughout industrialization, nature has, on a small scale, managed to reclaim many abandoned places and flourish through decay. Vines and trees have already overtaken many deserted railroads, factories, and other man-man spaces, creating an eerily hopeful juxtaposition. This piece highlights the unconventional beauty of nature’s reclamation of land and destruction.

New growth will always bloom.

RECLAIMED BY NATURE PAIGE BRUNSON

REVOLUTION & REBIRTH: TUNISIA’S FASHION INDUSTRY AFTER THE ARAB SPRING ERIN YEH

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REVOLUTION & REBIRTH

PHOTO SOURCE: TRT WORLD, STANLEY KRISHNER-BREEN, INTERNATIONAL TRADE CENTRE, VOX, AND AP NEWS

WITH THE JASMINE REVOLUTION, TUNISIA’S FASHION INDUSTRY EXPERIENCED A BLOOMING OF CREATIVITY AND BUSINESS THAT HAS SINCE ALLOWED THE GOVERNMENT AND DOMESTIC DESIGNERS TO POSITION THEMSELVES AT THE APEX OF SUSTAINABLE FASHION.

In December of 2010, the beginning of Tunisia’s Jasmine Revolution ignited waves of protest throughout the Middle East North Africa (MENA) region while simultaneously liberating the country’s fashion industry.

Following months of violence, Tunisia’s novel democracy withstood political opposition, inviting fashion industry investments from nearby European countries and cultivating the creativity of local designers. With the Jasmine Revolution, Tunisia’s fashion industry experienced a blooming of creativity and business that has since allowed the government and domestic designers to position themselves at the apex of sustainable fashion.

As Tunisia’s national flower, jasmine symbolizes attachment—yet the flower has become widely associated with the introduction of a new era. Spurred by youth-led protests due to rampant unemployment, political corruption and unfavorable living conditions, the Jasmine Revolution demanded national change.

Throughout history, revolutions have been named after flowers or colors to symbolize transformation. And while credit for the namesake of Tunisia’s Revolution is contested, it was undoubtedly a movement that enacted change across the region.

With the launch of Tunisia’s movement for democracy, similar protests emerged among Arab nations, resulting in what Western media coined the Arab Spring. Though many of these revolts ended in failure, the Arab Spring highlighted Tunisia’s resilience and strength on the international stage.

REVOLUTION & REBIRTH: TUNISIA’S FASHION INDUSTRY AFTER THE ARAB SPRING ERIN YEH

Located on the Mediterranean coast, Tunisia is known to many for its vibrant beaches and rich historical landmarks. Fragrant white jasmine blossoms, the country’s national flower, decorate gardens and are worn by its citizens. Yet, in addition to the small jasmine bouquets known as machmoum, the national flower holds even more meaning in connection to the rise of pro-democracy movements and Tunisia’s fashion industry.

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REVOLUTION & REBIRTH: TUNISIA’S FASHION INDUSTRY AFTER THE ARAB SPRING ERIN YEH

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Tunisia’s stability and newly claimed status as a democracy acted as a catalyst for the fashion industry’s growth in the global market as political uncertainty swept through the region. In the aftermath of the upheaval, the country’s textile industry faced challenges, experiencing a loss in capacity.

However, despite the barriers faced, Tunisia quickly became a major garment and textile supplier to the European Union. EU-based corporations were eager to source apparel from democratic countries, evident by the doubling of Tunisia’s exports in jeans from 2010 to 2018.

In the years since the Jasmine Revolution, Tunisia’s government has initiated programs to upscale garment and textile manufacturing capacity, working towards sustainable labor and environmental practices. In 2019, Tunisia launched the Tunisia Sustainable Fashion Project which aims to reduce the environmental impact of fashion industry companies. And while national efforts towards sustainability have been undertaken, individual designers based in Tunisia are also prioritizing environmentally-friendly fashion.

With the political transition, creativity in Tunisia bloomed. Certain conditions in postrevolution Tunisia remained tumultuous, however, improvements in freedom of expression were seen through a creative resurgence in the fashion industry. And as media representations of the North African country were harrowing amidst the Arab Spring, national efforts to highlight local designers allowed a different narrative to blossom. Young designers took advantage of the opportunity to express their creativity under an increasingly global spotlight.

Held in Tunis, the country’s eighth annual fashion week in 2013 followed the theme “Spring is Here to Stay.” Featuring prominent Tunisian designers such as Salah Barka, the event represented the liberation of designers—and the country—from political

Through twenty-eight days of protest, the Jasmine Revolution planted the seed for the blooming of Tunisia’s fashion industry and the beginning of the Arab Spring. As a symbol of youth and progress, the 2011 spring of democratic movements gave way to the sustainability initiatives seen in Tunisia’s fashion industry today. From corporate steps towards closed-loop denim production to local designers upcycling old textiles, Tunisia sits at the cusp of inciting another revolution with global implications— the sustainable fashion revolution.

REVOLUTION & REBIRTH: TUNISIA’S FASHION INDUSTRY AFTER THE ARAB SPRING ERIN YEH

turmoil. Just as revolutions recognize the past in attempting to transition to a more stable future, fashion designers in Tunisia draw inspiration from historical and regional Mediterranean, French and Arab influences.

This confluence of Tunisia’s cultural heritage and geographic location culminates in a range of traditional and fashion-forward designs, and Barka’s Spring 2013 collection drew inspiration from historical influences and contemporary fashion. In the years that have passed, Barka has continued to garner global attention, especially for his sustainable designs. In addition to upcycling second-hand garments, Barka works with young Tunisian fashion students to mentor the rising generation of Tunisian designers.

Similar to the Jasmine Revolution, the younger generation has been at the forefront of change in Tunisia’s fashion industry.

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FLOWERS, FEMININITY & FASHION RACHEL FENG + ANIKA MURTHY

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FLOWERS, FEMININITY & FASHION Flowers are inextricably linked to the ideas of femininity, romance and sex—think floral perfumes sprayed on date night, bouquets flourished as a sweet surprise gift, and rose petals sprinkled atop the duvet. This rich symbolism associates blossoms with women and sexuality in a myriad of ways, from the white lily, which stands for virginity and purity, to the red rose, emblematic of love and desire.

Throughout history, this language of flowers has been an abundant source of inspiration for many, particularly in fashion.

The discovery of sexuality in flowers and the subsequent obsession with connecting floral fertility and womanhood dates back as early as the 18th century when naturalists began describing the flower as “womblike” and the rosebud as a metaphor for the vagina. Ever since then, the flower has been nearly universally understood as a symbol of femininity and sexuality. This imagery remains bountiful in today’s culture; for instance, the term “deflowering” is still used to describe a woman’s first time having sex.

Due in part to its popular symbolism and in part simply to its beauty and elegance, the flower has made itself a permanent spot in Western fashion. From Marie Antoinette’s over-the-top floral coiffures in the 1770s to

Mainbocher’s rose-adorned peplum cocktail apron in the 1940s, the floral has been integrated into nearly every major fashion moment.

Today, a wide variety of designers from Christopher Kane to Simone Rocha have adopted floral imagery into their work, speaking to topics like sex education, vulnerability and, of course, womanhood.

Christopher Kane, a London-based Scottish fashion designer, has been known since his 2006 debut as a master of the quirky and the loud. His Spring 2014 Ready-to-Wear collection is no different. Taking a different approach to the typical floral pattern, Kane began his collection utilizing a motif of teardrop-shaped metal cutouts, reminiscent of flower petals, as a subtle nod to the sexuality of both flowers and women. The understated nature of these cutouts paired with Kane’s long, loosely-fitting dresses is a combination of effortlessly cool and vaguely suggestive.

As the show progressed, however, his floral representations became more bizarre and more blatant. Inspired by the failure of science and sex education in schools, Kane marked his silk dresses with yet more cutouts, this time shaped as detailed scientific diagrams of the flower’s reproductive system, complete

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FLOWERS, FEMININITY & FASHION RACHEL FENG + ANIKA MURTHY

From Marie Antoinette’s over-the-top floral coiffures in the 1770s to Mainbocher’s rose-adorned peplum cocktail apron in the 1940s, the floral has been integrated into nearly every major fashion moment.

FLOWERS, FEMININITY & FASHION RACHEL FENG + ANIKA MURTHY

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This time around, her collection featured tulle explosions, girlish puff sleeves and blush-toned pinks, but also knee-high chunky boots, black satin three-dimensional roses and structured harnesses, creating a perfect harmony of romance and ferocity.

4 1 The finale pieces featured blown-up versions of Kane’s beloved floral diagrams, like a science textbook plastered on a dress.

with labels and all. Later pieces in the collection saw these diagrams enlarged, embroidered onto sweaters, and adorned with sequins. Yet other looks were composed entirely of sheer fabrics patterned with the same diagrams, along with dozens of large, black arrows, intended to remind one of the arrows used in textbooks to illustrate the process of photosynthesis. The finale pieces featured blown-up versions of Kane’s beloved floral diagrams, like a science textbook plastered on a dress.

Perhaps part of the appeal of flowers and an explanation for their longevity in the world of fashion is their versatility—whether it’s suggestive petal-shaped cutouts or delicately embroidered roses, flowers are consistently able to convey a variety of ideas and emotions. It’s no wonder that designers with such drastically different aesthetics are able to create equally provoking collections. What better muse than a rose?

FLOWERS, FEMININITY & FASHION RACHEL FENG + ANIKA MURTHY

Such a literal portrayal is, of course, not the only way to play along with the long-established relationship between flowers and femininity; in her Fall 2021 Ready-to-Wear collection, Simone Rocha, an Irish-Cantonese designer, used more traditional floral details to create an ode to the balance between the softness associated with femininity and the hardness of masculinity.

Rocha frequently and successfully plays with this dichotomy as a signature aspect of her designs. This time around, her collection featured tulle explosions, girlish puff sleeves and blush-toned pinks, but also kneehigh chunky boots, black satin threedimensional roses and structured harnesses, creating a perfect harmony of romance and ferocity.

One look layers a pleated floral dress below a leather puff-sleeved top while another pairs floral-embroidered tulle with a utilitarian army green coat. Citing influence from the contrast of a rose’s velvety petals and prickly thorns, Rocha confidently melds together the two extremes, accessorizing with both blood-red jewels and shimmering white pearls.

Aptly named “Winter Roses,” this collection interprets vulnerability—and femininity—not as a weakness, but rather as a type of bravery, the daring to be gentle in one’s toughness.

Like flowers blooming through concrete cracks, Rocha’s leather-clad princesses are what she calls “fragile rebels”: soft and savage all at once.

THE UNTAMED FEMININE LILLIE YAZDI

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THE UNTAMED FEMININE

THE UNTAMED FEMININE

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THE UNTAMED FEMININE LILLIE YAZDI

THE UNTAMED FEMININE LILLIE YAZDI

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When it comes to thinking of the stages of a woman’s life, society hyper-fixates on early-stage puberty and the much-later transition into becoming middle-aged. Arguably, the most important and transformative period of a woman’s life is when she is growing out of her childhood personality and begins experimenting with herself in her 20s. These tumultuous years are filled with confusion, tears, heartbreak, and happiness.

Having to figure out one’s place in the world is a daunting and stressful time.

This period of her life is consumed with experimentation of sexuality, drugs, and discovering her own identity by exploring a unique personal style.

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Growing up as a woman is an extended period of trial and error, riddled with mistakes and becoming connected with your own body and femininity.

The Untamed Feminine is a series of photos that embodies this period of a woman’s life--a period often overlooked, yet a period integral to her self-identity as she blooms into who she truly will become.

THE UNTAMED FEMININE LILLIE YAZDI

COVER ME IN FLOWERS SEJUN PARK

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COVER ME IN FLOWErS SEJUN PARK

COVER ME IN FLOWERS SEJUN PARK

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COVER ME IN FLOWErS SEJUN PARK

In addition to serving decorative purposes, elaborate floral arrangements continually find their way back onto the runway, elevated from atmospheric decoration to a widely embraced seasonal trend. Major fashion houses and designers including Moschino, Alexander McQueen, and Christian Dior have time and again outfitted models in elegant blooms and garments, ranging from handheld bouquets to impressive wearable floral displays. Timelessly, flowers return to the catwalk to bring freshness and blooms of vibrant color, calling on audiences’ innate love for nature and natural beauty.

THE CIRCULARITY OF BLOOM ANIKA MURTHY

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THE CIRCULARITY OF BLOOM ANIKA MURTHY

THE CIRCULARITY OF BLOOM ANIKA MURTHY

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THE CIRCULARITY OF BLOOM ANIKA MURTHY

NO RAIN, NO FLOWERS CATHERINE CHU

5 NO RAIN, NO FLOWERS 4

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In one of his strongest tracks, “Where This Flower Blooms,” Tyler compares himself to the blooming of a flower, signifying his maturation as he returns to his roots. Flowers remain a symbol in Tyler’s image and identity, as seen in his sneaker collection with Converse, Golf le Fleur.

The soft style of the asymmetrical and pastel flowers of the collection is a stark departure from the bold Tron Cat emblem accompanied by upside-down crosses that was a staple in Odd Future’s merch. Today, Golf le Fleur and Tyler’s original Golf Wang brand are both incredibly successful and influential brands with multiple collections that solemnly reflect Tyler’s personal style.

Undeniably, the Flower Boy era truly was a pivotal moment in his career. Tyler’s persona continues to evolve as expressed through the music and fashion world, as he continues his never-ending journey through self-discovery.

NO RAIN, NO FLOWERS CATHERINE CHU

From founding the controversial hip hop collective Odd Future to winning his most recent Grammy for Best Rap Album in 2020, Tyler, The Creator’s personal evolution has proved to be a transformative journey as conveyed through his music and style. In his earlier music, loud, offensive lyrics were known to be his brand. However, with the release of his Flower Boy album, Tyler vulnerably lays out his emotions and addresses themes relating to love, loneliness and isolation, and sexuality. He acknowledges his growth through the entirety of Flower Boy as he uses the action of driving as a symbol of his transition through life and makes flowers a recurring motif.

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SUMMER DELIVERIES SUMMER DELIVERIES NICK BROGDON

TOMBOGO + RODARTE

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SUMMER DELIVERIES NICK BROGDON

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DIOR: DIOR: BUDS IN BLOOM VANESSA NGUYEN + CATHERINE CHU

BUDS IN BLOOM Perhaps one of the small miracles of life is the certainty that no matter how cold the winter is, spring will always follow, marked by the blossoming of flowers and signifying a new beginning for life. With the bright eyes of a child, Christian Dior witnessed this magic of nature with wonder. It was in his mother’s garden that Dior internalized a great reverence for Mother Nature, which has deeply impressed itself onto his life’s work. Dior’s fabrication of this profound admiration into the physical plane has its roots in his debut couture line; drawing inspiration from blossoms, he created pieces that served as an avenue through which women could intimately reconnect with their femininity after a devastating world war: one in which they had been forced to take on traditionally masculine roles. By using flowers to commemorate this renewed beginning for women, Dior not only paid homage to nature as the original mother but planted the seeds for what would later become his legacy. The maison’s everlasting use of flowers has become its beloved signature, with each up-and-coming creative director fabricating novel ways to preserve this heirloom.

With every new creative director comes a new keeper of the Dior garden, each with their own vision of how to weave blossoms into their collections with meaning. As John Galliano beautifully explained, “[he is simply] here to tend the blooms that [Dior] already planted.” For his Fall/Winter 2010 Haute Couture collection, Galliano predominantly used tulle to fashion billowy, flowy skirts that boldly resembled the petals of a flower. This, coupled with how he ingeniously wrapped the models’ heads with striking cellophane made them the mirror image of certain blossoms, specifically tulips. With a color palette consisting of bright oranges, royal purples and electric blues, Galliano curated an eccentric bouquet of human flowers. His creative, unconventional choices allowed him to utilize floral elements in a way that was exhilarating, straying away from the softness that often characterizes floral collections. Thus, Galliano’s collection is also a testament to the new woman, expressing not only their graceful delicacy but the brazen boldness that can also embody femininity.

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DIOR: BUDS IN BLOOM VANESSA NGUYEN + CATHERINE CHU

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DIOR: BUDS IN BLOOM VANESSA NGUYEN + CATHERINE CHU

It was in his mother’s garden that Dior internalized a great reverence for Mother Nature, which has deeply impressed itself onto his life’s work.

6 1 Strewn across many of her pieces in her debut haute couture collection are delicate blossoms, emblems of femininity to signify the maison’s long-awaited embrace of a female creative director.

Since Galliano, many have tended to the Dior garden, but the torch has most recently been passed to Maria Grazia Chiuri. Perhaps no one has carried Dior’s legacy of using floral ornaments to celebrate new beginnings quite like she has. To begin, Chiuri presented her debut haute couture line in an extravagant labyrinth in Paris, one that houses a secret garden, setting the stage for the creation of a picturesque fantasy. Strewn across many of her pieces in her debut haute couture collection are delicate blossoms, emblems of femininity to signify the maison’s long-awaited embrace of a female creative director.

Chiuri’s brilliant focus on cherry blossoms is one of the ways she has chosen to preserve the intimate relationship between Dior and floral elements—one that speaks to the reverence of nature that is deeply rooted within the maison.

Like the creations of Galliano and Chiuri, the work of each of Dior’s creative directors builds upon one another, holistically memorializing their namesake’s legacy. Although their designs may radically differ in appearance, the curation of each showcases how what is found in nature can be used to illustrate universal, human experiences.

DIOR: BUDS IN BLOOM VANESSA NGUYEN + CATHERINE CHU

The genius of Chiruri lies in the multidimensional nature of her work. Through embroidery, print, or by simply binding the physical flowers to her dresses, Chiuri gracefully weaved cherry blossoms into eight of the pieces, ones created specifically for the reshowing of her debut collection in Tokyo.

Known for both their astounding beauty and impermanence, cherry blossoms are viewed as an allegory for life in Japanese culture. On the surface, the inclusion of this emblem of Japan celebrates the maison’s opening of their largest store in Tokyo. However, it is upon closer examination that the broader implications can

be realized. The creation of couture pieces that are more wearable in itself honors modern women, as they are more suited to the wideranging roles that women now have in the public sphere. However, this, coupled with the incorporation of such a culturally significant symbol allows Chiuri to make the powerful statement that these changes in women’s roles are reflected everywhere. Thus, it can be said that her commemoration of the space that women are beginning to hold in the world of couture is universal.

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DEMYSTIFYING THE FEMALE SEX: FROM

FLOWER

PAINTINGS

DEMYSTIFYING THE FEMALE SEX JULIETTE CORNET + PAIGE BRUNSON

All of these expressions are examples of a longstanding history of comparing women and female genitalia to flowers. This intricate floral symbolism stems from influences of the male gaze, aiding in the perception of women as the weaker sex. Like a flower, women are painted as beautiful, delicate and defenseless––sometimes, even limp. However, this once-detrimental symbolism has found a commonplace in art, culture and fashion with the representation of flowers being reclaimed by female artists to hide sexual or vaginal imagery in plain sight.

Long known as a pioneer for female painters back in the 1920s, Georgia O’Keeffe is best known for her close-up paintings of flowers.

Her large-scale floral portraits are often interpreted as metaphorical depictions of female genitalia. When considering the vulvalike appearances of the flowers in some of her most famous works, such as Red Canna (1924) and Gray line with blue, black, yellow (1926), these interpretations do not feel out of place whatsoever. However, O’Keeffe has never validated this interpretation of her work, claiming her fascination with flowers is rooted in their intricate designs and vibrant colors–not their vaginal appearance. Indeed, O’Keeffe painted during a time when male artists and arts critics dominated the field. The immediate association between O’Keeffe’s flowers and female genitalia is a sexually

TO

PUSSY

PANTS

charged interpretation of a female artist’s work from the male gaze. According to this train of thought, female artists couldn’t create without it in some way relating to what male critics considered “female topics.” Therefore, it was impossible for O’Keeffe’s flowers to simply be paintings of flowers. Her paintings had to have another meaning–a sexually charged meaning art critics of the time promoted that influenced the interpretations of flowers depicted by female artists today. Despite the misconception that O’Keeffe intentionally rendered this taboo part of female anatomy, she inspired generations of future women artists to reclaim the depiction of vaginas as something powerful in their work.

Among such artists is singer Janelle Monáe, whose hit song ‘PYNK’ praises vaginas and women’s desirability without objectifying them.

Not only does the song itself contain an array of direct allusions to the body part, but her music video also contains a range of vaginal imagery. The brainchild of Dutch designer Duran Lantink, an outspoken supporter of sex workers’ rights in Cape Town, a pair of genitalia-inspired pants balloon out at the legs, layered with pink tulle to imitate the folds of genitalia. Worn by Monáe and her backup dancers, every individual pair of pants looks like it has a body of its own. However, when lined up next to each other, the women make a powerful portrait of human art: the pants come

Blooming into womanhood. Taking her flower.

Rosebud. Tending the monthly flower.

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DEMYSTIFYING THE FEMALE SEX JULIETTE CORNET + PAIGE BRUNSON

However, this once-detrimental symbolism has found a commonplace in art, culture and fashion with the representation of flowers being reclaimed by female artists to hide sexual or vaginal imagery in plain sight.

DEMYSTIFYING THE FEMALE SEX JULIETTE CORNET + PAIGE BRUNSON

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Instead of hiding behind metaphorical representations of the body part, Namilia wanted to embrace and expose it’s true form.

together to make one large blooming vagina, as if the bottoms were always meant to be worn together. In fact, the portrait of these pants has an uncanny resemblance to the colors and forms found in O’Keeffe’s Red Canna (1924) and My Autumn (1929).

Monáe and Lantink are not the first artists to create vagina inspired clothing in an attempt to redefine the taboo narrative surrounding this controversial body part. In an attempt to normalize the image of vaginas, contemporary fashion brand Namilia debuted a genitaliathemed spring collection at New York Fashion Week in 2018. While Lantink took a more abstract approach when designing Monáe’s pussy pants, Namilia pulled out all the stops in creating pieces of clothing that clearly represented vaginas. From poofy labia sleeves and vulva inspired collars to sporadically placed vagina appliqués, Namilia used a range of dark and light pink stuffed satin fabrics to emulate the labia folds and pearls to represent the clitoris. Namilia’s collection caused waves at New York Fashion Week but the intention was not to make a shocking display; the inspiration behind the collection was to normalize the true image of a vagina as something beautiful, powerful and normal. Instead of hiding behind metaphorical representations of the body part, Namilia wanted to embrace and expose it’s true form.

In fact, one of the pieces, a black pantsuit with a twist seems to be making an ode to the pussy bow–the name given to a vagina-esque piece of neckwear commonly found on the collar of women’s blouses. Namilia embraced the vaginal aspect of the neckwear, scraping the bow all together and replacing it with a blossoming vagina at the collar.

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Despite the misinterpretation of O’Keeffe’s art, the significance of her floral portraits and her influence as a feminist icon paved the way for redefining the narrative surrounding vaginas.

Contrasting the male gaze’s oversexualized representations of women through media and art, the female gaze presents a different narrative: the raw, sensual body as it is.

Rather than being sexualized and typecast as taboo, female artists have undoubtedly been influenced by O’Keeffe to redefine the vagina from something vulgar to something powerful.

Once again, the fashion industry is at the forefront of such movements, helping change outdated perspectives as society blooms into a more inclusive environment.

DEMYSTIFYING THE FEMALE SEX JULIETTE CORNET + PAIGE BRUNSON

Rather than being sexualized and typecast as taboo, female artists have undoubtedly been influenced by O’Keeffe to redefine the vagina from something vulgar to something powerful.

IRIS VAN HERPEN: EARTHRISE AND COUTURE COSMOLOGICAL HORIZON LILY GLANTZ

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Dutch fashion designer Iris Van Herpen’s latest collection Earthrise highlights the beautiful intricacies of Earth by shifting from an anthropocentric perspective to one that views our home planet as one “living and breathing organism.” Utilizing laser-cut reliefs, 3D printed elements, and kinetic components that mimic the rippling nature of the oceans, Van Herpen’s work embodies the dynamic qualities of coral reefs, microbial structures, and other detailed features of the natural world.

In addition to highlighting the importance of preserving the environment through aesthetics, many of the intricately made pieces are entirely constructed of recycled plastics sourced from Parley for the Oceans, a project that is working to combat ocean pollution. In the collection’s launch video, Van Herpen even took one of her sculptural garments to just below the stratosphere in a collaboration with female world-champion skydiver Domitille Kiger, who wore a piece from the collection in an aerial performance that physically epitomized the intersection of science and art.

IRIS VAN HERPEN: EARTHRISE AND COUTURE’S COSMOLOGICAL HORIZON LILY GLANTZ

IRIS VAN HERPEN: EARTHRISE AND COUTURE’S COSMOLOGICAL HORIZON

IRIS VAN HERPEN: EARTHRISE AND COUTURE COSMOLOGICAL HORIZON LILY GLANTZ

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IRIS VAN HERPEN: EARTHRISE AND COUTURE’S COSMOLOGICAL HORIZON LILY GLANTZ

LOVER’S LACE SALSA MAZLAN + JUSTIN LEE

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Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate

o Lover’s Lace

Light, intricate, and blooming across one’s collar, bust, or sleeves, lace lures one in with its delicate yet sultry detailing. Found on the borders of pillows, tablecloths and clothing, the fabric adds an air of graceful intimacy to each garment it is attached to. Throughout history, it has been used to elaborate plainness, soften severity and ignite the imagination. Though typically worn behind closed doors and in formal settings, lace has transitioned into the mainstream, from being meticulous, handmade designs to carbon copies of mass-produced material embedded into all kinds of clothing today.

While the origin of lacemaking is disputed by historians, it is likely that the craft originated in many places. Lace is classified by the type of thread work and is at times named after the town where the technique was devised. There are two main threads of lace: needlepoint lace and bobbin lace, their names a reference to the tools used. On the one hand, needlepoint lace is made with a single-thread technique using embroidery stitches. Bobbin lace, also known as pillow lace, is made by winding spools of thread on several different bobbins, which are then weaved around pins to create a design.

The latter was originally developed to provide more sturdy and long-lasting fringes for caps and cushion covers, among other pieces, with its tough but still ornate elements. Lacemaking has since expanded to take on hundreds of different methods and patterns, all creating different pedigrees of lace.

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The 18th century saw the perfection of lacemaking—whatever design that could be conjured was produced by trained artisans.

This was a period characterized by opulence and frivolity, with heavy use of gros point de Venise, a needle lace thread created in 17th century Venice known for its dense Baroque floral and scroll motifs. The largest and most decorative pieces were seen fluttering across the aristocracy’s ruffs, collars, dress sleeves and cuffs, a blatant display of one’s sumptuous life and status. The painstaking effort and time required to produce lace made it a highly coveted luxury, affordable by only the affluent.

Furthermore, the material’s capacity to move from one garment to another made it a form of portable wealth, and thus was stored in trousseau alongside precious jewels, and in wills and estates.

The saccharine elegance and high-class history of lace made it the perfect material for more formal celebrations of romance. Queen Victoria’s white satin gown flounced with Honiton lace popularized the incorporation of both white and lace into wedding dresses, a combination connoting a newfound sense of grandiose purity fit for the marriage between two. Lace’s lightness and common motifs of flowers, vines and trees add to this innocence and intrigue, as it intertwines and binds nature to the body. It is no wonder why this tradition triumphs today despite its high level of technicality, as exemplified by Meghan Markle’s bridal train embroidered with the 53 flowers of the Commonwealth.

LOVER’S LACE SALSA MAZLAN + JUSTIN LEE

The largest and most decorative pieces were seen fluttering across the aristocracy’s ruffs, collars, dress sleeves and cuffs, a blatant display of one’s sumptuous life and status.

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o Lover’s Lace

This exquisite quality of lace, however, takes on a different meaning behind closed doors.

Decorating undergarments with dainty motifs sewed into lace adds a refined seduction to the piece of clothing, the playful chastity supplemented by its sheerness hinting at the bare body underneath. Whether these were gossamer nightgowns of the 1900s, lacy closed-crotch underpants of the 1910s, or the enamored corsets of modern-day makers, lace, throughout time and space, has come to embody all forms of intimacy.

LOVER’S LACE SALSA MAZLAN + JUSTIN LEE

Lace has since stepped out of the bedroom to become outerwear. Brands like Victoria’s Secret revolutionized the spaces in which lace could be worn, with its flamboyant and explicit showcases of lingerie at the annual VS Fashion Show. Spilling over to consumer habits, the proliferation of Victoria’s Secret stores also marked the mass production of lace, simultaneously cultivating a more overt practice of purchasing and wearing lingerie as a whole. Bustier and corset tops have

become commonplace for many brands, reemerging as one of today’s latest trends, as fashion influencers pair lacy machine-produced garments with blazers, high-waisted pants, dresses—anything of the sort. No longer is there a hush around donning these garments; lingerie-wearers have embraced the sensual sophistication of lace, bringing this air of romance with them wherever they go.

While lace holds a history reflecting a more prosperous time and merchant class, machines today continue to pave the way for a much more mainstream and accessible future. Either way, it is clear that lace is here to stay with its versatile utility, romantic intrigue and timeless nature.

No longer is there a hush around donning these garments; lingerie-wearers have embraced the sensual sophistication of lace, bringing this air of romance with t hem wherever they go.

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LOVER’S LACE SALSA MAZLAN + JUSTIN LEE

Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate Light + Intricate Lover’s Lace Lover’s Lace Light + Intricate

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FLOWER POWER NATALIE SEMERSKY + SEJUN PARK

FLOWER POWER During the Vietnam War, protestors flooded the streets of San Francisco. They donned floral patterns and presented flowers to riot police in peaceful protest, symbolizing the harmony and non-violence of the protests against US military intervention in Southeast Asia. Flowers acted as powerful anti-violence symbols, and their use in clothing and during protests inspired the Flower Power movement. The Flower Power activists protested the Vietnam War while using floral symbolism to contrast the militaristic presence of policemen and Hells Angels gang members, changing activist culture and fashion.

The Flower Power movement began in 1967, using floral symbolism to make peace with riot police in the California Bay Area. Protestors extended flowers as gestures of non-violence and empathy when confronted by members of the military, allowing them to seem unthreatening to young militia members. The innocence and peace associated with flowers gave the Flower Power movement purpose, creating a powerful statement from an easy gesture.

Protestors donned floral garments to continue this theme, creating a pattern of floral imagery alluding to the non-violent demonstrations.

Young protestors wore flowery dresses and hats while bringing flowers to protests. These patterns became synonymous with the antiVietnam protests themselves, portraying the youthful tranquility of the protestors and their cause while simultaneously symbolizing the rebirth of the dovish society the activists stood for. Flowers became a key part of activist fashion, and their pattern was found in garments, signs, slogans, media and art related to the movement and consequently the 60s as a whole. This symbolism made both protestors and policemen more comfortable, all the while supporting the peaceful narrative the counter-Vietnam War activists preached. At the University of California, Berkeley, activists began wearing floral patterns, contributing to the beginning of hippie fashion and culture.

These flowery prints were not initially associated with the hippie lifestyle the media portrays today, but instead were references to protesting American youth and historical floral symbolism in Southeast Asia.

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FLOWER POWER NATALIE SEMERSKY + SEJUN PARK

FLOWER POWER NATALIE SEMERSKY + SEJUN PARK

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The Flower Power movement rejected the dark, structured garments worn by motorcycle gang members and created a lighter, positive style of protest.

While the use of flowers in American protests was a revelation for Californian social justice movements, the floral symbolism alluded to in these demonstrations historically existed in Southeast Asia, creating an even stronger connection between the patterns and the cause they represented. In Vietnam, flowers like the lotus are a powerful symbol of purity and optimism for the future, elegantly represented in historical songs and artwork. The cultural connection of floral imagery between the antiVietnam War protests in the United States and the traditional message the flower carried in Vietnam adds to its significance, allowing the messages of the Flower Power movement to have a deeper meaning.

policemen on the front lines of protests and the Hells Angels members. This peaceful symbol soon blossomed into handing out toys, candy, chocolates, crosses and other symbols of innocence and peace. Between these peace offerings and talks between Ginsberg and the motorcycle gang, the tensions subsided.

Powerful moments of peaceful confrontation like Ginsberg’s created a strong contrast between the Flower Power activists and Hells Angels.

The Flower Power movement rejected the dark, structured garments worn by motorcycle gang members and created a lighter, positive style of protest. Using floral garments as a tool, these activists created a new, progressive style, shifting away from harsh, militaristic clothing to softer, hippie-like fashion.

Flower Power’s impacts on social change movements in the 1960s allowed protestors to symbolically represent their peaceful message while impacting fashion and culture as a whole.

The floral patterns became representative of the anti-violence hippie culture originating from Berkeley’s protestors, acting as a powerful image in American politics and activism. The bloomed flowers represented both the natural peace of the protests but also the rebirth of society that activists demanded, as the integration of flowers as a widely recognized symbol of peaceful protest consequently changed activism fashion.

FLOWER POWER NATALIE SEMERSKY + SEJUN PARK

The floral imagery of the Flower Power movement also posed a stark contrast to the policemen and motorcycle gang members on the other side of their struggle. The contrast of the peaceful floral patterns of the Flower Power demonstrators and the black leather uniforms of the Hells Angels motorcycle gang created a bold statement. The Hells Angels supported American efforts in Vietnam, attending demonstrations and threatening violence against the peaceful protestors, especially at the Flower Power protests in Berkeley. At one protest, the confrontation between the motorcycle gang and the anti-violence protests escalated to violence, inspiring poet Allen Ginsberg to use Flower Power as a defensive tactic. The protestors handed out flowers to both the

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AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

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INTERVIEW WITH

GAB

BOIS

Gab Bois is a Canadian multidisciplinary artist with a focus on photography. With messages of sustainability, her work blurs the lines between reality and simulation with visual manipulation that leaves audiences in a charming sense of wonder. Having worked with brands and individuals such as John Yuyi, Marc Jacobs, and more, to describe Bois’ work as eccentric is an understatement.

AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

This past summer, META sat down with the artist to discuss her creative process and inspiration behind her endeavors. Read on to discover how Bois continues to cultivate out-of-the-box imagery that shakes both the fashion and art worlds, one vegetable accessory at a time.

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Q: All of your work is incredibly inventive and transformative in how you repurpose common household items, even dating back to your first series delving into textures. Where do you find your inspiration, and what led you to create with these mediums?

AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

Gab Bois: As far as inspiration goes, I like to think that I work at two speeds, with one of them being ideas that just come out of nowhere at the most random times. But that’s something I can’t really control, so I also like to sit down and brainstorm around things I have around the house, or go on walks and look around at the world around me.

The other day, I saw these huge leaves that reminded me of the bikini tops that people wore this summer, and I thought to myself, there’s something to do with that.

When inspiration doesn’t come on its own, I go and search for it. I see inspiration as a muscle. Brainstorming and consciously looking for ideas is like a workout that needs to be done in order for the spontaneous ideas to come on their own.

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AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

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Q: In recent years, you’ve been able to take your art and create work for various fashion brands like Reebok, Jacquemus, and Nike. How did it feel to share your innovative art and creative voice with these global brands?

Gab Bois: It always comes as a surprise for me, every time a brand wants to work with me. It’s always a really nice feeling. I treat every time like it’s my last, but that just makes it really fun.

When the client’s happy, it’s a personal success that I got to take a product and bring it into my imagery as seamlessly as possible. I really like brand partnerships and I don’t see commercial work as any type of limitation.

I don’t feel like I’m losing creative freedom or selling out, it’s more of an extra challenge that I enjoy.

AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

I like working with a certain form of guidelines between both personal work and commission work. Some kind of limitation is a good challenge that pushes me to develop another kind of skillset to do whatever I want.

It’s nice because it’s having to find a balance between my style and the brand’s style, so it’s up to me to make something cohesive to compliment both parties icely.

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Q: Despite conventional definitions of the word “Bloom”, how do you think this word encapsulates your journey as a creative?

Gab Bois: I think it’s actually a really nice fit for my creative process and something I relate to a lot, especially thinking of it in terms of spring. It’s something that comes around each year, almost like a rebirth. I’ve only been in this career for five years, but I’ve gone through a point where I want to reinvent myself or push myself in a different direction because I’m still evolving a lot in my opinion.

AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

For me, bloom is definitely something that resonates a lot with me on both a professional and personal level. It’s all about making important changes for the better and all of it coming out into a beautiful result.

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AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

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Q: What has been your favorite piece that you have created? What was that process like creating it?

Gab Bois: About two winters ago, I made an ice cream cone with dirty snow, and that came from my childhood. When I was younger, dirty snow reminded me of cake or icing, or some really good caramel ice cream. I would never eat it because I knew what it was, but I would always look at it and think it looked good, almost like a dessert. I’m from Quebec and over here there’s this dessert called sucre à la crème which translates to sugar and cream, and it’s a beige-colored dessert that’s just pure sugar.

That was my favorite as a child, and I would eat tons of it and be zooming around the house.

AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

So my dirty snow cone came from that childhood anecdote because I feel like my process today is some extension of my childhood. And with that, it’s a project that is really close to my heart.

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Q: Do you have any advice/words of wisdom for anyone who is seeking to find their voice and space in the creative and fashion industry?

AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

Gab Bois: In the beginning, it’s normal to find inspiration from other people, I think everyone does that. It’s not true that you need to find your voice right away. There’s a lot of pressure to have a defined path and style right away, but it’s fine to hold space for exploration at any point of the process.

The road to creative work is not linear. It moves in different ways. Make space for anything and everything that comes to mind. Work with things you hold close to your heart, things you relate to. It’s normal to be resultmotivated because it’s human nature, but try not to fall into that trap as much as possible. Find something fulfilling for you deep down so it makes sense to you.

I don’t really relate to the pained, tortured artist, so I try to have some fun throughout the process. If the end result makes you happy, or some parts of the process fulfill you in some way, that’s a good sign.

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AN INTERVIEW WITH GAB BOIS JOY CHEN + TIFFANY HUE

THANK YOU

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META SAYS: THANK YOU

THANK YOU MERCI XIÈ XIÈ BEDANKT SALAMAT KIITOS DANKE SCHÖN MAHALO IĀ ‘OE TERIMA KASIH GRAZIE ARIGATŌ GAMSA HAEYO GRATIAS TIBI TEŞEKKÜRLER ASANTE

THANK YOU

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Thank you for reading and following along our journey of exploring the future of our identities. As an independent publication, this would not have been possible without all your incredible support.

To our staff–thank you for being the best team we could possibly ask for. Together, we have been through thick and thin, and it is with all your skill and talent that we were able to cultivate a publication that exhibits such creativity and artistry.

As Issue 04: BLOOM celebrates our first anniversary as a publication, this new era is only the beginning for the future of META. Thank you to everyone who has helped our dreams come true. It is only with our collective spirit that we can continue to operate as a publication dedicated to making our voices heard.

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THANK YOU