Summer 2017 / The University of Chicago
CO-EDITORS-IN-CHIEF CO-EDITORS-IN-CHIEF EMERITUS PHOTOGRAPHY EDITORS MANAGING EDITOR & COPY EDITOR WRITING EDITORS VISUAL DESIGN EDITOR CREATIVE DIRECTOR STYLING EDITORS BEAUTY EDITOR
Frances Chen & Maya Hansen Daniel Chae & Albert Nam Andie Fialkoff Sucheta Kinger & Krishna Mukkavilli (Abroad) Jen McIntosh Ogonna Obiajunwa Stefan Tesliuc & Jena Yang Saylor Soinski
FEATURES EDITOR
Olivia Jia (Abroad)
BOARD EMERITUS
Michelle DePorto, Amutha Muthukumar, Rohit Satishchandra & Sana Sohail
WRITERS & CONTRIBUTORS
STYLISTS
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Lauren Han & Maya Rodriguez
Sarah Eikenberry, Andie Fialkoff, Kathryn Hicks, Caleb Lugo, Igolo Obi, Karnika Pombra, Jen Teng & Melanie Wang Igolo Obi, Ogonna Obiuajunwa, Katherine Shen & Stefan Tesliuc
PHOTOGRAPHERS
Daniel Chae, Naomy Grand’Pierre & Albert Nam
MODELS
Natalia Delery, Leilani Douglas, Ben Glover, Tatiana Goderstad, Marty Jiffar, Jonathan Lim, Sharon Lopez, Eric Robledo & Qudsiyyah Shariyf
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Letter from the Editors Collaborations Politics in Fashion Etsy-Born Cosmetics Fashion’s Diversity Fail The Impact of Instagram The Profitability of Influencers Avoiding Cultural Appropriation What Labels Don’t Say Glisten A Moment in Movement A Run For Your Money
LETTER FROM THE EDITORS As we reflect on the last few months, the possible opportunities and experiences that come with the summer influence our perspective on what is to come. With this in mind, MODA has decided to have an issue with no true definitive theme. Rather, this issue expresses the desire to explore prominent topics and themes that not only are relevant in the present, but also those that will affect us as we move forward. The shoots teams focused on the different directions fashion is taking us. “A Run for Your Money” invokes a nostalgia for one of the most definitive decades in modern culture while “Glisten” reminds us of the importance of emphasizing our most distinguished features. “A Moment in Movement” gave us the chance to showcase the artistry of movement with the help of those who have mastered dance. It is also with the current issue that we discuss the various authorities and potential impacts that the public is presently dealing with. Melanie Wang and Caleb Lugo examine the leading influences that effect our style choices while Karnika Pombra explores the increasing role of politics in fashion. Themes of representation are discussed by Igolo Obi and Jen Teng as they highlight the importance of diversity in high fashion and stress the issues with culture appropriation as summer festival season arrives. Sarah Eikenberry examines the impactful processes behind the production a clothing staple, showing the need to understand what is occurring in order to have the on trend items. We are optimistic that with this issue we emphasize the significance of present events that will have influence not only the fashion world, but our society at large. We thank those who contribute to the issue and are appreciative for all the passion and enthusiasm you continue to showcase. And those who have been part of the editorial board and are moving on, we are eternally grateful for all you have done. It is our hope that we will make as lasting an impact as you have for this magazine. With gratitude, Lauren Han & Maya Rodriguez
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COLLABORATIONS BY KATHRYN HICKS
t has been a current trend for top designers to collaborate with more accessible stores and brands to spread their designs and reach the masses. For those of us who cannot afford couture for every outfit, these collaborations are bringing the runway to new corners of our malls and shops at an affordable price point. This season has had many, and here are some of the most recent unexpected collaborations.
Prabel Gurang for Lane Bryant
Victoria Beckham for Target
With the catwalk historically and strictly reserved for size 0’s and 2’s, modern fashion has taken a push towards more inclusive and body positive messages for fashion. A huge win for shifting the mindset of admiring and impressionable onlookers - Prabel Gurang has introduced a collection of plus sized designs in collaboration with Lane Bryant. Being announced just days after Gurang premiered curvy models in politically charged t-shirts at NYFW, Gurang’s collection Inspired by Beckham’s Victoria, Victoria Beckham line champions his mission to provide options to more women and her everyday life, Victoria Beckham’s collaboration and desire to create a more diverse and inclusive fashwith Target includes designs for babies, toddlers, girls, womion industry. Inspired by Lane Bryant’s “I’m No Anen. With affordable prices and matching outfits for mother and gel” campaign (geared at challenging the restricdaughter, the line celebrates the life of an average family. With most tive beauty standards perpetrated by Victoria’s of the 200+ pieces in the collection coming in at under $40, this line Secret), Gurang’s collaboration celeis high fashion made accessible. As with many Target-Designer collabbrates the many shapes of orations, items flew off the shelves, indicative of the great success and every woman. appeal of high-end design at affordable prices.
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Louis Vuitton x Supreme Collaboration An iconic collaboration between Louis Vuitton and Supreme marries classic with streetwear. With Supreme being a staple that conversations about mens’ streetwear cannot be had without, this collaboration with one of the pinnacles of high-end design such as Louis Vuitton creates an interesting fusion of streets and runways. This unexpected collaboration has garnered much controversy, as the Belgian music artist, Stromae, and fashionable wife, Coralie Barbier, have been typical shoppers of both brands exist well versed in the fashion capsule collaboration world. Their fourth collection in different realms of fashion - Loufor their line, Mosaert, is in collaboration with Repetto and greatly influenced is Vuitton epitomizes the classic; by ballet and dance. Stromae and Barbier desired to create shoes to match their Supreme epitomizes the rebel. This outfits for a complete look, partnering with Repetto and incorporating the French collaboration ultimately illusbrand’s legacy for ballet flats. Unique to this collection is a ballet flat for men, cretrates the casual shift of much of ated more like a slipper, which Repetto created after hearing Stromae’s idea in an the fashion industry - with suits interview. Aside from shoes, the collection also features soft-touch no longer required in workplaces fabrics and floral prints, further epitomizing and sneakers becoming acceptable the ballet and dance inspirations. footwear for most scenarios.
Stromae for Repetto
photos, in order from left to right, from: fasiongonerogue.com, hollywoodreporter.com, footwearnews.com, brandchannel.com
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From Candidate Platforms to Catwalks: The By Karnika Pombra
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t first, fashion and politics may come across as an unexpected combination. Yet, these two societal aspects surely do not exist in separate spheres. Fashion is constantly evolving and responding to its surrounding environment. When snowfall marks the start of winter, cold-weather apparel is in style. When the warmth of spring settles in, runaways showcase bright hues and floral designs. And when the political climate becomes particularly tempestuous, fashion designers respond by incorporating sociopolitical elements in their work. As the fashion designer Thakoon Panichgul once said, “Fashion is a sponge in terms of what’s happening in culture. We take it in and it comes out in certain ways, and I think that the climate will produce a lot of creativity.” When the new year inaugurated considerable alterations in the political environment, fashion designers closely followed protestors, epitomizing themes such as feminism, diversity, and social consciousness in their work. While donning slogans tees and political patches is
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nothing new, one of the most intriguing aspects of 2017’s politicized fashion is famous brands large role in the movements. Clothing with political messages is no longer unique to small stores or individuals. In the current day and age, even big-name brands are making politics one of their premier fashion statements. High-end designers are now incorporating clear political messaging in their products. For example, in March, Dior debuted their famous “We Should All Be Feminists” t-shirt, signaling upscale designers’ newfound involvement in the sociopolitical backdrop. Perhaps the most large-scale display of fashion and politics’ budding relationship were some of the statement pieces and speeches at this year’s New Year’s Fashion Week. Political statements were a primary feature of the show, and many models strode to the beat of empowering political music. Women’s rights and female empowerment took center stage, or rather, center of the runaways during the shows. The Council of Fashion Designers of America introduced their partnership with
Political Climate’s Increasing Role in Fashion Photos: Sara Sampaio, Pinterest, Fashionista, Clausette, Cheek Magazine, Pop Sugar
Planned Parenthood, and models and audience members alike wore pink Planned Parenthood pins as statement accessories. T-shirts, such as the ones designed by Prabal Gurung, showcased slogans such as “Nevertheless She Persisted” and the “The Future is Female.” In essence, the women’s march saw a resurgence this spring, migrating from the streets of Washington to New York’s premier runaways. Along with female empowerment, fashion moguls have also began putting greater emphasis on diversity’s role in the industry. Designers responded to the government’s toxic anti-immigrant sentiment with pieces and messages that echoed the importance of cultural heterogeneity. For the first time in the event’s history, the NYFW show included at least one model one each runaway. During the show, designer Christian Siriano debuted a “People are People” t-shirt. Meanwhile, the brand Public School featured the slogan “Make America New York,” morphing the president-elect’s slogan into one that emphasizes the need for cultural diversity
as strong as that which is found in New York. Tommy Hilfiger’s models wore white bandanas to symbolize the necessity of cultural unity. Short films celebrating immigration were played during the show, and many foreign designers exemplified pride in their ethnic diversity through speeches and apparel. The NYFW runaway may only be a couple yards long, but its subject matter truly extended to the rest of the globe. While fashion’s response to female and minority rights has been particularly strong, many brands are also drawing attention to other societal issues that are deeply affected by changing politics. Philanthropic fashion brands have reemerged, and the partnership of prominent designers and charities is becoming more commonplace. Several brands, both in and out of NYFW, have donated parts of their proceedings to organizations that fight against climate change and international poverty. In the future, we are sure to see more and more brands weaving themselves into the political fabric of society.
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THE RISE OF ETSY10 | MODA Magazine | Summer 2017
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ith 45 million items for purchase grossing an annual merchandise sale of 2.84 billion dollars, it is no surprise that you can find almost anything on Etsy.com. The unique online platform allows users to set up their own personal e-boutique, selling items to 29.7 million buyers around the world. Relatively new to the Etsy stage are cosmetic and beauty brands specifically born from the site. In fact, “makeup and cosmetics” is yet to have its own tab, rather you have to go through “home” and then “bath and beauty” before the “makeup and cosmetics” option even shows. You will not find your typical cosmetic companies on Etsy. No Clinique cleansers, Chanel eye shadow palettes, or MAC matte lipsticks for sale here. Rather, Etsy is boasting under the radar brands with items not found anywhere else. At the click of your mouse anti-animal cruelty, eco-friendly products in every shade flood your screen. The small e-boutique brands are taking the beauty industry by storm, offering a specify and
intimacy that big name brands cannot give their consumers. One of the biggest draws to Etsy born brands are the companies making cosmetics in small batches using only natural and eco-friendly products. Vegan lipsticks, lacking beeswax, lanolin, and any scents or perfumes are offered in a wide variety of colors. Even vegan eye glitter comes in dozens of colors! Another trend that Etsy suppliers have jumped on: unicorn everything. Dotted through the makeup and cosmetic page are products like “unicorn skin rainbow highlighter” and “unicorn horn makeup brushes.” And the best thing is, both these products are under 20 dollars. Yet the obvious drawback of not being able to see and test the makeup cannot be overlooked. For this reason, Etsy seems to be great for unique, niche options, but when it comes to your standards one just might be safer with designer brand makeup. Etsy makeup is fun and is sure to capture an audience, whether that’s through brands’ eco-friendly mantras or crazy nail art designs. This little-known section of Etsy is definitely worth the visit.
“The small e-boutique brands are taking the beauty industry by storm, offering a specify and intimacy that big namebrands cannot give their consumers.”
-BORN COSMETICS ARTICLE BY ANDIE FIALKOFF photo from etsy.com
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Photos: Elle, People
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FASHION’S DIVERSITY FAIL: Why Representation Matters By Igolo Obi
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ur customers aren’t interested,” “It doesn’t fit our artistic vision,” “We already have a Black/ Latino/Asian model.” Sentiments like these, among many others, have been echoed within the walls of the fashion industry for years, and are often the kinds of rejection models of color face, sometimes no matter how infantile or internationally-known their careers may be. Even worse, this attitude is shared in most industries that rely heavily on visual marketing and promotion: castings (not just for modeling but also for film and television), commercials, campaigns and advertisements, have a tendency to engage consumers by using subjects of a more “Euro-centric” appearance. Take for instance, recent covers of Vogue, the peak international fashion magazine. At least three times just this year, the magazine missed the opportunity to engage models of color, and subsequently sparked debate concerning this issue. The February 2017 issue featured Karlie Kloss, a white American super model, in full Japanese fashion as a Geisha, accompanied by a sumo wrestler gallivanting in the background. In March, Gigi Hadid, a blonde, blue-eyed model, became the chosen cover girl for the inaugural issue of Vogue Arabia. Just a month later, as if Vogue was aiming to strike out, they featured Hadid’s pal, Kendall Jenner, a reality-star/socialite turned model, on the cover of Vogue India, presumably to commemorate the tenth anniversary of the magazine’s birth. Though the magazine never fully addressed Kloss’s Geisha goof (leaving her to defend herself through Twitter and Instagram), the latter two times the magazine made attempts to address the controversy: Vogue issued a statement on Hadid’s behalf, highlighting her half-Palestinian roots. In addition to this, Vogue clarified that the *actual* tenth anniversary special for Vogue India will take place in October 2017, precisely ten years after its literal publication date, and that Jenner’s cover was a collector’s edition intended to kickstart the tenth anniversary celebrations. Still, these responses are a result of PR disasters and therefore can be taken with a grain of salt: after all, the promotion of the Kendall Jenner cover was, for all intents and purposes, certainly marketed as the primary tenth anniversary celebration until the backlash started. As for Gigi Hadid, the model has received her fair share of criticism regarding the manner in which she chooses to acknowledge her Palestinian roots, particularly when it comes to political issues or otherwise only referencing her genes when the need suits her, à la Vogue Arabia. Further stoking these flames, Hadid received additional criticism for donning a Hijab for the issue. To be clear, Hadid isn’t Muslim. For many people,
this particular detail rang as tone deaf and as a chance for the model to play dress up while receiving praise, when many Muslim women are often ostracized for their choice to don the same garment. Vogue isn’t at all unfamiliar with courting controversy, and has actually exhibited blatant racism and offensive stereotypes before. In October 2009, French Vogue displayed the Dutch model, Lara Stone, in blackface, prompting the obvious question: why not just hire a Black model? Or in Kloss’ case, a Japanese model? An Indian model and so on? For every casting call, there are hundreds, if not thousands, of men and women of color, that show up, only to be turned away. Statistically, someone has to have been a capable fit, right? Last year, at a VOICES event held by the Business of Fashion network, James Scully, a casting director who has been a major player in the fashion world for decades, addressed these issues and denounced the racism of the industry. He detailed his experience, working with professionals who would often refuse to work with models because of their darker or pigmented tones. Scully remarked on the industry as having become “hijacked”, by too many stylists and photographers who focus on a more Western idea of beauty. The casting director proposed a reform of the fashion industry, and called on the fashion’s biggest powerhouses to do more. “It’s unprofessional…and an insult to the person who hired [the stylists and photographers] to do a job,” Scully was reported saying. He emphasized the responsibility of agencies and magazines to investigate the methods of the people hired on their behalf. Furthermore, this kind of cherry-picking poses serious ramifications to people of color. According to the World Demographics Data Bank, approximately 12% of the world’s population is white or “white-identifying”; and yet, this miniscule fraction is amplified in most forms of representation. The detrimental effects on people of color have shown to include lower self-esteem, depression, anxiety, and has been known to influence individuals to seek methods like skin lightening and hair straightening treatments, both of which are often used to conform to standards of “white beauty” and cause serious chemical damage. Now, thanks to the commitment of Scully and others, the claim that there aren’t enough “models of color” is quickly wearing thin as more investigations around the issue arise. The problem isn’t a shortage of minority models, but rather lies in the fashion industry’s systemic racism and opposition to inclusivity. Increasing diversity and making these spaces more inclusive goes beyond simply doing the right thing, and if one thing is certainly clear, it’s that the fashion industry must evolve.
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the impact
of instagram
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ocial media has become increasingly prevalent in today’s society as each generation finds themselves more and more attached to their smartphones. In many ways, the smartphone takeover has led to a dependence on social media; people make decisions on what to wear, where to eat and vacation, and how to work out all based on a few clicks. One app in particular that has reached
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BY MELANIE WANG
a new height of popularity is Instagram, the photo-sharing application which has led to the rise of new products and celebrities alike. Social media stars are now born and bred on Instagram giving companies a new platform to advertise. Since its debut in 2010, Instagram now has over 700 million users worldwide, making it the perfect app for companies to advertise. The range of people using Instagram is incredibly
diverse, with different ages, genders, and races all being represented in one form or another. In recent years, both small brands and new startups along with large corporations have begun to market themselves on Instagram. Even big name celebrities–such as Kylie Jenner and Selena Gomez–have taken to Instagram to advertise their new products and collaborations with overwhelming success. Yet, even in our cyber filled world there is still room for error. Recently, the swimsuit brand Sunny Co. Clothing ran an Instagram campaign that went viral. What started as a mildly popular swimsuit company that had made its name on social media decided to partake in the increasingly popular “Instagram giveaways” promotions. This entailed participants reposting a photo from the company’s page, and tagging the company in the photo in addition to following them. A flood of the now iconic red swimsuit photos quickly popped up in thousands of newsfeeds. In the end, the company simply posted the code for the “free” swimsuit (not including shipping and handling fees) in another post, making it available
to all, not only the ones who had dutifully reposted the photo. While many felt scammed, Sunny. Co Clothing succeeded in their efforts to create noise over their products, greatly increasing their notoriety and boosting sales. Whether the public notices the paid adds inserted into their newsfeeds, or influencer posts that promote certain products, there is no doubt that Instagram is the perfect place to advertise. The recent phenomenon of Sunny Co. Clothing was just one of many to successfully sell their clothing online through promotional events. People have become increasingly inclined to buy certain brands because of their carefully crafted marketing campaigns that build their image and lead Instagram users to click through the links and purchase more products. The presence of brands on Instagram is quite apparent. Brands develop their legitimacy through advertising on the social media app, which has led to increased sales. This new marketing tool has taken the industry on by storm, and it looks like the trend is here to stay. Photos: Pinterest, Medium, Vanity Fair, Daily Mail, People, Classy, iPhone Byte, Facebook Lay, Know Your Meme, Capital Blonde, Kirbie’s Cravings
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photo from betches.com
The Profitability
OF INFLUENCERS T ARTICLE BY CALEB LUGO
he concept of the Instagram Influencer has gained great notoriety in the past couple of years as their profiles take over the screens of our smart phones. This new breed of “celebrity” is consistent with reality stars and pop icons, coming with invitations to red carpet events, exclusive product launches, and high fashion runway shows. The stereotypical Instagram Influencer has a highly secretive business model which is dependent upon various factors including but not limited to: the number of followers they have, their demographic, and their highly curated and perfected aesthetic. Perhaps Instagram users have started to notice the revealing “#sponsored” or “#ad” hashtags cleverly concealed in a post’s caption, a new regulation that was recently enacted by the Federal Trade Commission in efforts to enhance advertising visibility. There is nothing carefree about the Instagram Influencer’s profile, rather it is scrupulously curated, presenting a revolutionary new business model for brands to follow. In a world fueled by snaps, tweets, and texts, the Instagram Influencer is that of a close friend, an aspiration, a friendly voice, and most importantly, a trusted consumer. This recent phenomenon has attracted brands of all sizes, ranging from mom-and-pop startups, to international conglomerates. For the Influencer, they are able to receive compensation for their creativity and handwork channeled into building and maintaining their audience, while on the other hand, brands are able to engage with audiences on a more intimate level since consumers trust friend’s recommendations more than advertisements. However, brands and Influencers have experienced difficulties due to the inability to gage effectiveness, and thus, convey its importance to new brand pitches. Although the effectiveness of Influencer marketing has proven to be a slightly complicated matter, the issue of compensation and payment for Influencer’s work is all the more varied and secretive. The matter of compensation resides at the center of attention for Influencers and brands alike. With the vast spectrum of Influencers—ranging from accounts with a couple thousand followers to accounts featuring multi-million followers—it comes as no surprise that the degrees of compensation vary. Accounts with less followers have less leverage with bigger brands, and
thus, often times receive compensation by way of free samples and exclusive products. For example, Swedish watchmaker Daniel Wellington managed to grow his $110,000 business into a $220 million dollar empire in less than five years by extensively partnering with Influencers from varying backgrounds. In return, those who partnered with Daniel Wellington received free watches from the watchmaker, as well as future discount codes. Accounts with tens of thousands of followers usually yield hefty charges per post. According to Adweek.com, a sponsored post averages $300 with modeling accounts earning the most on average ($434) and lifestyle accounts earning the least on average ($172). Perhaps most interesting is the development of various platforms that cater to Influencer marketing and compensation. Various websites exist for brands to accurately locate and target specific influencers that could be of use to them for specific campaigns. These websites allow brands to refine their search of influencers by specifying the number of followers, engagement rate, country (state, and city), niche market/category, age, and gender. Each Influencer has their rates clearly displayed, as well as examples of their previous campaigns with various brands. In a sense, these websites act almost like a modeling or advertising agency in which clients have access to all potential candidates with the click of a mouse. Luxury Influencer agencies have emerged, spawning a clientele roster that features Instagram’s most elite accounts with hundreds of thousands of followers. Two particular examples are INF whose rooster has collaborated with Yves Saint Laurent Beauty, Giorgio Amani Beauty, and Betsey Johnson, in addition to Fohr Card whose rooster has collaborated with Marc Jacobs, Coach, and Hugo Boss. Despite questionability of Influencers as a legitimate professionals, their cultural and social impact is undeniable. Scrolling through Influencer agency websites, the phrase “Influencers are the new celebrity” conveniently pops up on INF’s website homepage. Although a succinct statement, it is nevertheless relevant today in an increasingly hyper-socialized world where these persons straddle the fine line delineating stranger, friend, celebrity, and icon.
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avoiding cultural appropriation
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ver the past few decades, music festivals have evolved from small-scale gatherings to extravagant multimillion-dollar events. Gone is the grassroots history of rocking out to Indie bands with ticket prices at under ten dollars. Now “medium” and “large” sized festivals range from 15,000 to 50,000 participants on average. This phenomenon has been dubbed the “Super Concert,” yet is known to the public as a music festival to propagate the illusion of freedom and eccentricity. Yet, the market side of this is what has really become a dream come true for enterprising companies, leading to a lucrative empire for select few. What has fueled this dramatic change? Technology. Large massive, lighted stages create an otherworldly atmosphere for festivalgoers longing to escape the insipidness of everyday life. Air travel and electronic booking have led to an increased ease in planning. However, the most powerful tool of all is the social media takeover of such events. Through social media, individuals can document themselves within the realms of events such as Coachella, Lollapalooza, and EDC, to name a few. This new platform seems to give festivalgoers another way to interact with the ethereal environment through elaborate and eccentric costuming. However, the social media platforms that have spurred this cultural phenomenon also highlight a darker side to these seemingly innocuous events: cultural appropriation. According to novelist and journalist Zukiswa Wanner cultural appropriation is “the taking of an original idea by members of a dominant group from a minority without acknowledgement, and insidiously refashioning it, so that said idea appears as if it had always belonged to the dominant group.” The idea of cultural appropriation itself is not new and has occurred for millennia dating to civilizations that existed before the Common Era. However, this idea has prominently continued into the trends of today, particularly within the realms of music festivals. One reoccurring article of adornment displayed irreverently in its incorrect context is the headdress. In this circumstance, understanding the difference between “non-restricted items” and “restricted items” is crucial. Restricted items are those that illustrate a specific or certain level of achievement and cannot be simply bought or obtained. Examples include:
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by jen teng
Photos: Angie Wirsing, Vogue, Not Just A Label, Telegraph, E Online, Emaze, Thought Co, Huffington Post, Daily Mail, Only GFX
awards such as the Nobel Peace Prize, military honors, college diplomas, and headdresses. Despite the somewhat common misperception, Native American peoples are not one homogenous identity, but are composed of various tribes with their own unique practices and cultures. The headdresses most commonly worn by non-natives are those that mimic the Plains warriors. These headdresses are earned, not simply given, and have a definitive sacredness that is defaced when worn by those who have not earned the honor. The beauty of Native American artwork cannot be denied. Native American artists and artisans provide a wide variety of beautiful treasures that can be displayed and acquired respectfully. The Indian Arts and Crafts Act of 1990 prevents those who are not part of a state or federally recognized tribe to sell products specific to a tribe or those made by Native Americans. Not only does this bring Native American products to the forefront in their correct context, but promotes the livelihood of the artists so they can continue their work. The daring and beautiful Amandla Stenberg brought another instance of cultural appropriation to the forefront when she noted Kylie Jenner wearing cornrows. Stenberg posted a thought provoking video to Youtube where she defined appropriation as occurring when “a style leads to racist generalizations or stereotypes where it originated, but is deemed as high fashion, cool or funny, when the privileged take it for themselves.” Stenberg then asked the question, “What would America be like if we loved black people as much as black culture?” Stenberg’s question rings true in an era when prejudice, police-violence, and hypersexualization of African American women is all too common. Yet, as all this occurs, there is a stark juxtaposition aspects of the culture that are deemed “cool” are emulated without giving credit or consideration to their origins. Instead, contemplate the fact that these hairstyles are sometimes prevented from the workplace and deemed unprofessional. It is essential that before choosing to emulate a culture you understand its history and the potential implications of doing so. Joining activist organizations in the community that promote understanding and equality can be a powerful way to help assure necessary changes in societal perceptions. Currently, several petitions on Change.org and other platforms with thousands of supporters are circulating on the web. These documents ask festivalgoers to consider the ramifications of garb choice and ask companies to place restrictions on appropriate festival wear.
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What Labels Don’t Say: The Dirty Process Behind a Clean Cotton Tee
Photos: Wallpaper Safari, Sunspel
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By Sarah Eikenberry
he fashion world has built itself up on the promise of beauty; beautiful clothes, shoes, hats, bags, you name it. It is a world of ever-changing trends and styles, each one vowing to help you stand out, make waves, get the guy, or get the job. Your clothing, they say, is the key to your future. That clothing, however, might also be destroying the future. Your clothing comes at a cost that is far more than what it says on the price tag. In this age of fast fashion and increased consumption, the fashion and textile industry has become a major contributor to environmental destruction. To begin with, it’s huge; Americans buy over 22 billion items of clothing each year, and clothing production has more than doubled since 2002. But its size does not necessarily mean it must be an environmentalist nightmare. To examine the effects of this industry on the environment (and people), let’s take your favorite basic T-shirt. Say your favorite shirt is cotton, that all-American laid-back fabric. The seeds for the cotton were maybe grown in Benin, the plant harvested in Uzbekistan, then sent to be spun in India. Even though it only takes up 2.4% of global cropland, cotton accounts for the use of 10% of all agricultural chemicals and 25% of insecticides. Not only are those chemicals harmful to the environment, but also the World Health Organization estimated that 20,000 people die each year due to harmful chemicals used in cotton production alone. And even if you’re thinking, well, that’s why my
shirt is organic cotton, don’t jump on your high horse quite yet; your organic cotton has made the same costly international journey. Cotton is one of the most water intensive crops in the world—it takes over 2000 liters of water to produce just one cotton t-shirt, regardless of whether it’s organic or not. Once the cotton is spun in India, perhaps its sent to Indonesia to be dyed and assembled. More than half a trillion gallons of fresh water are used to dye fabrics each year, and most dyes contain hazardous chemicals that are then flushed, untreated, into local rivers, contaminating water and presenting serious health risks for nearby peoples while killing all forms of aquatic life. And in each step of your t-shirt’s journey, the work to produce it may have been child labor. It is estimated that the majority of the world’s 170 million children forced into child labor work in the fashion supply chain; children are sources of cheap, obedient labor that allow companies to cut costs. Even if the person who dyed your shirt was not a child, the textile industry is notorious for its human rights violations and complete lack of worker safety—but that’s for another article. Now the perfect shade of millennial pink, your t-shirt is finally ready for consumption; To get to its eagerly awaiting customer, the shirt must first travel across the world, probably transported by a behemoth container ship like 90% of clothing. Though better than shipping items individually, these ships still burn up to 380 tons of fuel per day at sea. Finally, your
t-shirt makes it to the store where you found it, a brand-new t-shirt at a reasonable price that will likely go out of style next season. Much of this was probably new information, and all of it was undoubtedly depressing. The fact of the matter is that most Americans have no idea where their clothing came from because companies are not required to provide that information, much less humane and sustainable production chains. Awareness about the realities of fast fashion is the first step to changing the industry. In addition, being eco-friendly doesn’t mean you have to wear a burlap sack. There is an increasing number of clothing companies that focus on sustainable production, like The Reformation, SVILU, Patagonia (which has been using recycled water bottles to make fabric since 1993), and Noah. H&M, the world’s largest ‘fast fashion’ retailer, even launched an “H&M Conscious Collection,” which uses local and sustainable fabrics. Of course, most sustainable clothing companies will cost more, because production costs more; the gap between environment-friendly and wallet-friendly has yet to be closed. Despite that, these companies along with countless other (mostly effortlessly cool European) brands have started a commitment to sustainability that will hopefully raise awareness about and lower the harmful effects of the fashion industry on both people and the environment. In the meantime, a simple rule of thumb: buy less, buy better, buy smarter.
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glisten
Photography: Daniel Chae Beauty: Saylor Soinski Models: Tatiana Goderstad, Marty Jiffar, Jonathan Lim & Qudsiyyah Shariyf 23
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a moment in movement Clothes: Ad Hoc 1948 W. Chicago Ave. Photography: Albert Nam Models: Natalia Delery & Leilani Douglas Stylists: Igolo Obi & Ogonna Obiajunwa
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A RUN FOR YOUR MONEY Clothes: Boneyard Chicago 917 N. Ashland Ave. Photography: Naomy Grand’Pierre Models: Ben Glover, Sharon Lopez & Eric Robledo Stylists: Katherine Shen & Stefan Tesliuc
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