FRINGE X Feminism
Letter from the Editors
F
ashion has had a long history of social commentary and capturing cultural moments. From Coco Chanel’s introduction of the tweed suit for women in the ‘20s, to today’s influx of gender-fluid clothing lines, fashion and feminism have continually overlapped. Though feminists of the past may not have defined the trends, the clothes they wore came to epitomize
the movements they were leading. If you look in your closet today you can trace back many of your articles of clothing to a wave of feminism. Your leather miniskirt is courtesy of the ‘90s Riot Grrrls who reclaimed their sexuality while shortening their skirts. Your favorite denim jumpsuit reflects the incorporation of accessible and comfortable clothing credited to ‘40s
women entering the workplace. Feminism is quite literally in your closet. Fringe x Feminism presents an evolution of five of the most prominent feminist movements and how they are manifested in the closets and runways of today. To emphasize this idea, all clothes found in this issue are pieces from the creative team’s and models’ own closets.
First-Wave Feminism BY SOPHIE FAY SHAW STAFF WRITER
Looking at the below-the-knee hemlines, drop-waist shifts and cloche hats of the 1920s from a modern perspective, the styles may seem conservative and antiquated. But in their day, they were liberating and groundbreaking. The fashion of the ‘20s represents a period in history where women gained social, political and sartorial freedom. The freedoms that American women gained in the 1920s were a result of first-wave feminism. The beginning of the movement occurred at the Seneca Falls Convention, nearly a century before the ratification of the 19th Amendment. Held in 1848, the event spearheaded the women’s rights movement, focusing on women’s suffrage. Women of Victorian America galvanized women’s suffrage campaigns and made their voices heard. Their corsets became armor against their opposers. On Aug. 26, 1920, they emerged triumphant and possessing the right to vote with the passage of the 19th Amendment. Their new political and social freedom reflected the emerging, increasingly liberal mindset. The changing temperament of society translated to changing fashions as well. By the ‘20s, the silhouette of women’s clothing had completely transformed from its Victorian predecessors. Undergarments lay the foundation for a woman’s shape, and the women of the Roaring Twenties shed their constricting corsets, abandoned their weighty knickers and discarded their cumbersome petticoats and bustles. The restricting undergarments not only physically determined a woman’s form, but also metaphorically represented the limitations formerly placed on women. In the 1920s, those structured shapes gave way to the preferred boyish figures. Instead of accentuating their curves, women sought to hide them. Modern women wanted modern lines. Women’s more active lifestyles in the ‘20s required clothes that allowed movement. That meant showing some skin. Hemlines rose to just below the knee and sleeves were cut off to show bare arms. The designs of Jeanne Lanvin and Coco Chanel were the epitome of clothing for the modern woman. They created clothes that were comfortable and dynamic. The chemise or shift dress — defined by its boxy silhouette, drop waist and below-the-knee hemline — became the dominating garment of the period. Adorned with fringe, beading and embroidery, the chemise dress
became synonymous with the flapper style. Both Lanvin and Chanel featured the chemise dress during the ‘20s. Chanel, however, went a step further and brought the little black dress and women’s trousers into the fashion world. The two main components of women’s fashion in the ‘20s were activity and accessibility. Activity was addressed by women’s sportswear becoming increasingly more prevalent as women enjoyed golf, tennis and swimming. Most of the garments were slim-fitting and stretchy to accommodate the various activities, although some outdoor recreation embraced the androgynous look and adopted menswear pieces like plaid wool shirts and Fair Isle sweaters. Accessibility was also the main feature of the flapper style which arose in 1926. After designers made the chemise dress in vogue, the style became easy to find at affordable prices and the pattern was simple enough for women to sew on their own. Women from lower incomes were able to keep up with fashion and be on-trend for the first time in history. Of course, the flapper style was not revolutionary for its design alone; the women sporting the style were known for being radical. They danced, drank, smoked and did the opposite of what society expected of them. Being youthful and carefree were the main components of a flapper’s lifestyle. They took advantage of the freedom the previous generations had won and pushed the limits of society’s progressive mindset. They flaunted their feminine power by sporting looks that completely departed from the womanly dress of the pre-World War I era. They bobbed their hair and and even bandaged their chests to achieve a boyish look. Flappers dipped into androgynous territory not to look or act like boys and men, but to blast down the previous limitations imposed on them. The innovative clothing of the 1920s pioneered fashion as we know it today. Its iconic style has been reimagined and recycled throughout the years, keeping it relevant — just as women’s rights have progressed and developed, repeatedly returning to the forefront of societal dialogue. Firstwave feminism not only paved the way for women to engage in social and political action, but also transformed how they looked doing it.
‘20s
‘40s
War, Women and the Workplace BY CAMILLE LARKINS STAFF WRITER The American public was extremely preoccupied with two major developments in the 1940s: World War II and the invention of the slinky. After its start in 1939, the war became an all-encompassing part of American culture and had implications for the U.S., both abroad and on the homefront. There was a radical social shift as most men, from lawyers to famous movie stars to baseball players, were sent overseas, while women were expected to fill their shoes in the workplace and at home. The Axis powers were reluctant to use their women as assets, instead urging them to be mothers and wives. But the Allies utilized the American women and effortlessly proved that workers and homemakers do not need to be mutually exclusive. The working woman’s day-to-day fashion changed drastically as she entered the factory world. Function came first, which resulted in the rise of trousers and overalls. Elaborate hairstyles also fell to the wayside; working women opted to put their hair back in buns, often covered with a headscarf or hat, instead. Elegant, long skirts of the 1930s were also replaced with more practical ones which fell at the knee or just below. Being feminine and fashionable was no longer the priority for the working woman. She had imperative work to do for the country. This is not to say, however, that fashion had no place in society anymore. Women who used to get their clothes from European designers could no longer do so and began to shop from American designers, whose pieces were influenced by the military. Wide shoulders and Eisenhower jackets based off their male counterparts, for example, were popular, giving women on the homefront a utilitarian and powerful yet chic look. As resources were scarce and usually reserved for the war effort, women became creative with their clothing choices. Some magazines gave instructions for recycling men’s suits and using them as womenswear because the men had no use for them.
The Axis powers were not American women’s only common enemies — they were united in their fight for nylon. When silk hosiery was swiftly replaced by nylon in the beginning of the decade, it radically changed the construction of pantyhose. Naturally, when nylon was later recalled to make parachutes and such, women were upset with the inferior alternatives — cotton and rayon. Frightened by the prospect of bare legs and a diminishing hosiery industry, American retailers marketed these products heavily. Even though they stocked nylon pantyhose whenever possible, retailers could not keep up with demand and physical fights broke out. Women yearned for the war to be over, and not just for their husbands and sons to come home — they needed their nylon. Even though women made huge strides during the 1940s and were a vital part of the war effort, their lives were not free from burdens like slut-shaming. In the early 1940s, a new look emerged that would remain popular through the ‘50s called the “sweater girl.” This look, characterized by a tight sweater over a cone or “bullet” bra, along with pin-up style, created backlash. A police chief told The Brooklyn Eagle in 1949 that “our real problem is...the sweater girls — just kids showing off their curves and apparently liking it. What kind of mothers and wives are they going to be?” Whether men liked it or not, the times were changing: women sat in bars alone and walked unescorted, happily creating what the police chief called “national chaos.” Women in the 1940s did not all look like Rosie the Riveter — some wore full skirts and waist-cinching jackets, others were clad in overalls. However, many of them embodied everything that she stood for: economic power, social equality and a can-do attitude. With wide shoulders and tight sweaters, women in the 1940s entered the workplace and were ready to get the job done, whether men liked it or not.
Second-Wave Feminism “I am woman, hear me roar.” These commanding lyrics from Helen Reddy’s 1972 pop anthem encapsulate the feminist attitude, which multiplied throughout the 1970s. The 1970s feminist grew increasingly aware of her oppression and the silencing of her voice, amplifying her want and need to violently break out of the mold of the stereotypical, submissive woman. As feminism moved away from inequality issues such as suffrage and property ownership, broader issues such as sexuality, family and reproductive rights took center stage. Fashion proved itself as one of the most powerful and effective ways for a woman to safely illustrate her independence and reveal her sexual freedom. After the passing of the Civil Rights Act of 1964, which — specifically in Title VII — prohibits gender discrimination during the employment process, feminists sought to resolve sexuality and exploitation issues within the workplace. Flight attendants began to use Title VII to combat sexist rules, such as mandatory retirement for women in their thirties and the prohibition of continuing work as an attendant once married. These National Airlines flight attendants, often forced to wear buttons with the slogan “Fly Me,” grouped together to resist man’s attempt to sexualize the workers’ uniforms for male satisfaction. Instead, these women responded to their exploitation by replacing the button’s slogan with “Go Fly Yourself.” This independent attitude reflected itself through the evolution of women’s fashion from conservative in the 1960s to rebellious, casual and chic in the ‘70s. In 1972, casual sportswear gained rapid popularity, as it enabled the busy, modern woman to appear effortlessly at ease, while simultaneously ensuring its functionality within the workplace. In 1974, Diane von Furstenberg designed her infamous wrap dress. The wrap dress began to symbolize women’s empowerment and liberation, as the dress allowed the working woman to maintain her professional functionality, while the v-shaped neckline and curve-hugging waist tie simultaneously accentuated the femininity of every woman’s body. Alongside the development of the working world, the 1970s experienced a power shift from the moralities rooted in Christian tradition towards permissive societies, which reveled in greater sexual freedom and experimentation. Feminists insisted upon sexual liberation for women on both the physical and psychological level. An acceptance of sex outside of the traditional heterosexual, monogamous relationship followed the development of birth control in 1960. The pill provided women with the opportunity to prevent pregnancy, no longer forcing them into early motherhood. Instead they were granted with the freedom to pursue a higher education and a greater career. With the help of a contraceptive, a woman was not only entitled to economic independence, but was also at liberty to embrace her sexuality. Experimentation with sexuality and promiscuity found its outlet in the form of midi-skirts, emphasizing the midriff, waist and hips of a woman’s body. Knee-high boots, often paired with these skirts, worked to lengthen female legs. The celebration of form-fitting garments characterized sexual liberation, ranging in forms from tight bell-bottoms to the infamous short-shorts known as “hot pants.” While many feminists condemned the popularity of sexy fashions, other women believed in their personal right to claim ownership of their bodies by accentuating the female figure in whatever way they deemed fit. The legacy and strength of the historical liberation movement remains forever encapsulated within the chic, casual styles of the 1970s fashion industries.
BY CARSON KESSLER STAFF WRITER
‘70s
Third-wave feminists were fed up with the patriarchy, gender roles and sometimes even the second wave of feminism that their mothers learned. Writer Rebecca Walker is often associated with the creation of third-wave feminism in 1992 when she announced, “I am the Third Wave.” With Shannon Liss, Walker formed the Third Wave Foundation to mobilize young women. She describes in her book “To Be Real: Telling the Truth and Changing the Face of Feminism” the differentiation between second-wave and third-wave feminism: “For many of us it seems that to be a feminist in the way that we have seen or understood feminism is to conform to an identity and way of living that doesn’t allow for individuality, complexity, or less than perfect personal histories.” Though the second wave and third wave of feminism share many beliefs — like commitment to ending violence against women, expanding reproductive rights and dismantling gender hierarchies — the formation of the third wave was a reaction to some problems of the second wave. While second-wave feminism was often controlled by straight white women, the third wave introduced intersec-
‘90s
BY NATALIA BARR STAFF WRITER tionality and was committed to representing all races and sexualities. The third wave refused to fall in line with the thinking of the second on multiple accounts, including the second’s propensity to think all feminists are man-haters and all women are victims in sexual situations. Feminist writer Naomi Wolf encouraged “power feminism” — women could be sexually liberated and still be empowered. Jennifer Baumgardner and Amy Richards also coined “girlie feminism,” which described how women could embrace feminine activities or behaviors and still be feminists. Women could wear makeup, talk about sex, cook and still be feminists. Bitch magazine, a publication that became popular in the ‘90s, explains, “Today, ‘third-wave feminism’ is often used to describe a kind of companionable, man-friendly, pro-sex, pro–femininity-if-you-want-it feminism that reflects the successes of the second wave’s struggle for equal footing.” The clothing and accessories we associate with the ‘90s — whether it’s grunge or girly — find their roots
Third-Wave Feminism in third-wave feminism. Part of the reason ‘90s fashion remains iconic is because women with their own senses of style were entering the public eye in entertainment. Female rock stars like Liz Phair, Lisa Loeb and Courtney Love showed off their own takes on grunge. Even the androgynous Britpop styles of the Spice Girls and girly schoolgirl looks made popular by the character Cher from Clueless made their way into ‘90s feminists’ closets. The sexual liberation and reclamation of girliness that the third wave birthed gave rise for entertainment icons to make more impactful statements with the way they dressed. The Riot Grrrl movement, initially an underground feminist hardcore punk movement, became much more than a fashion statement. It spread art, zines and ideas that formed our current conception of feminism and united thousands of young women around the world. The movement was culturally enriching and the way Riot Grrrls dressed reflected the goals of the movement and added to its advancement.
Riot Grrrl icon Kathleen Hanna, of the rock band BikiniKill,wasknownformakingfeministstatements through her own clothing. In an effort to reclaim derogatory words for women, Hanna was often seen performing in her underwear with the word “slut” written across her torso. Hanna also challenged the preconception that women who are the victims of sexual assault are asking for it based on their dress. Hanna wore a dress that said “Kill Me” across the front with the idea that, according to New York Magazine, “If you wear a dress that says ‘kill me’ on it, does that mean you’re asking for it?” Fashion was not an irreplaceable pillar of thirdwave feminism and Riot Grrrl was not strictly a fashion movement. Ideas of representation, intersectionality and sexual freedom are much more important in describing the third wave than any outfit is. However, third-wave feminism did help us form ideas of liberation and it made it okay for us to wear clothes that are sexy, androgynous or attention-grabbing. As long as it makes us feel good, it works.
FourthWave Feminism BY DAVID BOLOGNA STAFF WRITER Intersectionality is the study of how overlapping social identities and systems of oppression relate to one another. This facet of contemporary fourth-wave feminism is the crucial cornerstone for the inclusion of transgender individuals, people of color and body diversity that is so necessary in today’s fight against patriarchy. The fashion industry has fostered female creativity and self-expression since its inception. Today, women continue to be some of the most influential people in the industry. Designers like Phoebe Philo, Rosie Assoulin and Sandy Liang create coveted pieces that empower the female body while Man Repeller’s Leandra Medine and StyleLikeU’s mother-daughter duo Lily Mandelbaum & Elisa Goodkind create a space for female voices to be heard in the world of fashion.
Unfortunately, the world of fashion has perpetuated gender-biased norms of society that persist season after season. Fortunately, as fast as the fashion world moves, it can begin to change those norms with just one collection, and that is no more present than in today’s global, digital age. Little by little, the fashion world is realizing how imperative it is to recognize the validity of all genders, all races, all bodies and all selves as expressive and creative beings in this world of performative dress. As transgender presence expands in mainstream culture, the fashion world has had a helping hand in increasing awareness. For their Spring 2014 campaign, Barneys New York cast an entire transgender team of models. This presence of trans-inclusivity has grown in the media quite swiftly, but the trans community is largely unseen in other fields, such as design. Gogo Graham, a local New York designer, aims to combat that with a celebration of the trans body through her edgy and stunning collections for which she also exclusively casts trans models. Men can be feminists with their closets today, too. Since Alessandro Michele’s first collection for Gucci, the menswear industry has seen a major swing into androgynous, genderqueer aesthetics. While womenswear certainly had its moments to appropriate menswear in the past, today’s fashion era is largely welcoming of all things feminine for men. For example, in a recent Spring 2016 campaign, luxury house Louis Vuitton included the precocious Jaden Smith donning
a leather motor-chic skirt to much acclaim. While this media representation is a step up, a real-world implementation is even more important for action. Genderqueer fashionistas are gaining more prominence than ever with blogs such as Qwear and DapperQ as they promote individual style for those who “transcend social norms through fashion performance and gender expression,” as Qwear’s online mission states. As for the inclusion of race, progress is sluggish but budding. Standout womenswear brands like Cushnie et Ochs and Harbison have gained popularity for black designers Carly Cushnie and Charles Elliott Harbison, the latter among whose clients include Beyonce. Harlem’s Fashion Row spotlights multicultural designers to break the industry standard of a white majority. Past collections have included The Fashion Deli (by creative director Thulare Monareng) and Telfar (by creative director Telfar Clemens), shining a well-deserved spotlight on these and many other designers of color. Along with racial injustices, a lack of trans-inclusion and a minority presence of genderqueer aesthetics, the fashion world still has much to pursue in reaching its incredibly diverse community. With the means of technology and inclusive dialogue that the millennial generation of feminist consumers can utilize, it is up to the future carriers of this wave to not only celebrate the victories we are making but also continually push for what more we can do to make fashion the ultimate feminist.
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