Lux Magazine

LUX ISSUE 1 10/2018

Beyoncé “I am accepting of who I am!

On her life, her body, her heritage.

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ROYAL FASHION

Diana Effect Markle Effect Fairy Princess

FALL FASHION

Extra Coatings Animal Magic Fringe Benefits

AND MORE ALL DREAMS CAN COME TRUE!

Model with Down Symdrome walks runway at NY Fashion!

LUX COPYRIGHT

PUBLISHER/ ART DIRECTION Rachael Schulman CONTRIBUTING AUTHORS Caroline Leaper Fernanda Eberstdat Joobin Bekhrad Kaitlyn Frey Lindsay Baker CONTRIBUTING PHOTOGRAPHERS Business Insider Cuco Cuervo Daria Shevtsava EVG Photos Facebook Getty Images Jake Wolf JP Yim Kiss PNG Natasha Niklas Hallen Pinterest Pixabay Placeit Plus PNG Tyler Mitchell Wallpaperplay LUX MAGAZINE 15 Nickolane Ave. Minton, NC 01234 987-123-4567 www.LUXmagazine.com COPYRIGHT 2018 LUX MAGAZINE

LUXCONTENTS

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Inside ISSUE 1 | OCTOBER,

COVER: Beyonce In Her Own Words

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How Royal Women Have Shaped Fashion

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The T-Shirt

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The Autumn 2018 Trend Report

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Model with Down Syndrome Walks Runway

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How Royal Women Have Shaped n o i h s Fa There is it seems no stopping the so-called ‘Meghan effect’ – the phenomenon where every item of clothing Meghan Markle wears immediately sells out. The white coat by Canadian brand Line, worn by Prince Harry’s soon-to-be bride for the couple’s engagement announcement, proved so popular that the company’s website crashed – soon after, the brand officially named the coat ‘the Meghan’. Meanwhile, traffic to the website of jewellery brand Birks increased 400 per cent, and even a simple black jumper from Marks and Spencer sold out twice after Markle wore it for a public engagement. And this is even before any sign of the bride’s choice of wedding dress, already sparking febrile speculation in fashion circles, and, needless to say, sure to lead to new bridal trends.

The phenomenon of royal women influencing fashion is nothing new, of course. Look no further than the ‘Kate effect’ still being wrought by the Duchess of Cambridge, not to mention the ‘Diana effect’ in the 1980s and 90s.

But what is perhaps less known is quite how influential the personal styles of certain royal women were – long before the invention of the internet, or any mass media for that matter. So what does it take to be a royal style icon? And how different – or not – was it then from now?

The level of scrutiny today is in a different realm,” Elly Summers tells BBC Culture.

Royal Women which looks at how various royal women helped shape popular fashion tastes with their own personal styles.

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Credit: Niklas Hallen

The Megan Markle Effect

By Lindsay Baker | 24 April 2018

Back in 1863, Princess Alexandra, born into the Danish royal family, married Queen Victoria’s eldest son Prince Albert Edward, otherwise known as ‘Bertie’. Until then, Bertie had been notorious for his string of affairs and was known as a ‘playboy prince’, yet the marriage proved a great success, and the couple were hugely popular.

It seems Alexandra was just the kind of royal women the public were craving.“Queen Victoria had been in mourning dress for years and was quite removed from British society,” explains Summers, “She wore a black austere uniform, and she didn’t attend parties. Edward and Alexandra on the other hand were a dazzling couple who had an active social life, and were seen as more accessible. It was good for the royal family to reconnect with the public again, having been so remote.”

And, as it turned out, the popular Alexandra also became a huge influencer of fashion. “She was a fashion icon and people would copy what she was wearing,” says Summers. “She forged her own look, she was very involved in crafting her image, and she was a trend setter, even if it wasn’t necessarily on purpose.

“Not that the wonderful Danish princess was allowed to complete sartorial freedom and independence.

Her future mother-in-law Queen Victoria was insistent that Alexandra wear British lace for her wedding, rather than the Belgian creation that the princess had been offered by the King

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A real fairy princess, delicate, graceful, exquisite. of Belgium. “The Queen was adamant that she was becoming British and it was important to display that,” says Summers. “It was a new identity and she was told to align her identity with Britishness.”

As a result the wedding dress Princess Alexandra wore was lavishly decorated with Britishmade Honiton bobbin lace, making a strong statement that she was putting her new country first. There was orange blossom adorning the gown, and it was worn with a voluminous veil. The design of the fabric included delicate

Credit: Getty Image

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roses, shamrocks and thistles, the traditional symbols of England, Ireland and Scotland.

Alexandra did however insist on one alteration, the reduction in the width of the originally vast crinoline skirt. Also, just a few days after the wedding, the dress was, on her unsentimental insistence, whisked away in order to be completely re-made, pared down and simplified. “Alexandra favoured simple designs,” says Summers. “She had a different, more practical, sensibility. She was from a branch of the Danish royals that was not wealthy, didn’t live in luxury, and her wedding trousseau was small.”

Alexandra was the first woman in British public life to favour tailored looks for daytime, which had previously only been associated with riding coats and other sportswear. A cream wool double-breasted yachting jacket by Vernon and a smartly cut waistcoat by Bussbein are two examples in the exhibition of what was then a daring new look. As Summers points out: “Tailored suiting for women’s daywear is now a successful formula, but previously had been only in the male domain.”

In the 20th Century, royal women continued to influence fashion. As the sister of the Queen, the late Princess Margaret had complex and often contradictory expectations put upon her.

She had more freedom to express her own taste, and as a result was considered more of a fashion icon than the monarch.

As a young woman, Margaret was a favourite with the press because of her glamorous, fashionable image, yet she was also intensely scrutinised, and her love life often made headlines. During the post-war years her socialite reputation and the shenanigans of the bohemian ‘Margaret Set’ were a source of great interest to many. And her recent portrayal in TV series The Crown has brought her sense of style – and occasionally maverick ways – to a new audience.

Princess Margaret’s glamorous sensibility was clear early on. She was just 17 when,

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in 1947, she met Christian Dior, who had come to London to the Savoy to show his iconic, groundbreaking New Look collection. Margaret and her mother Queen Elizabeth the Queen Mother were both keen to see the collection, and so after the fashion show, the dresses were secretly smuggled out of the Savoy and taken to the French Embassy, where the two royal women had a private viewing. Christian Dior described Princess Margaret as “a real fairy princess, delicate, graceful, exquisite”.

Certainly she cut a stunning figure in the delicate Dior cream-silk dress that she wore to Royal Ascot in 1952. With its chiffon, boned bodice, skirt and asymmetrical bolero, it was exquisite and delicate. Paired with elegant, elbowlength black gloves and a wide-brimmed cream-and-black hat, the outfit rendered Margaret a model of princessy perfection.

A year later, the black-and-pink lace evening dress by Norman Hartnell that Margaret wore to a performance of Guys and Dolls was another stunning gown. It was just a few weeks after the news of her unsuitable romance with the Group Captain Peter Townsend had broken in the press. The dress was an unapologetically glamorous choice, suggesting a certain grandeur and defiance in the face of criticism.

Margaret had something of a reputation for haughtiness, but she also had her moments of appropriateness and diplomacy. When she wore a red-and-white cotton evening dress, it was an unusual, unostentatious choice of fabric for eveningwear. It was, in fact, a nod to the British textiles industry in times of post-war austerity.

As a member of the royal family, there was always an underlying expectation to promote British industry.This really influenced fashion of that time period.

So how do 21st-Century expectations of royal women differ from the past?

“There are still key considerations in every ensemble, and royal women still need to balance all factors,” says Summers. “Now I think it is similar, but more intensified and more immediate. People have always wanted to have the dresses worn by royalty.

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The T-Shirt

A Rebel With A Cause

By Joobin Bekhrad | 2 February 2018

When a virile, brooding Marlon Brando shouted “Stella!” in the 1951 film adaptation of A Streetcar Named Desire, he wasn’t just beckoning his lover, but also heralding – at the top of his lungs – the birth of a fashion icon. While the T-shirt has indeed come a long way from its rise to popularity in the 50s, it has also, in more ways than one, remained the same.

Nearly 70 years after Brando sported one as Stanley Kowalski, and over a century after its advent, what is now a universal fashion staple is the focus of Cult – Culture – Subversion, a major new exhibition at London’s Fashion and Textile Museum. A collaboration between the museum and The Civic in Barnsley, it takes a comprehensive look at the evolution of the T-shirt from its early days to the present, through a plethora of garments, photographs, ephemera, and other archival material sourced predominantly from private, unique collections.

While the garment’s history is a highlight of the exhibition, it isn’t the focus; rather, curator Dennis Nothdruft and team have decided to showcase – as per the show’s title – the various subcultures that have surrounded the T-shirt, as well as its power as a socio-political medium. “It feels quite relevant … it was a matter of the personal as politicised,” says Nothdruft in reference to the exhibition’s premise. “[The T-shirt] is a really basic way of telling the world who and what you are.”

Although T-shirt-like garments, such as the tunic, date back to ancient times, it was only recently (relatively speaking) that the T-shirt as it is now known first appeared. Its origins lie in the ‘union suit’, a sort of button-down onesie worn by both men and women (but particularly male workers) towards the end of the 19th Century in the US. Effective at keeping one toasty in colder temperatures, it wasn’t exactly suited towards heat or warm weather. Frustrated with its design, workers cut them in half, tucking the top bit into the bottom.

Shortly afterwards, the Cooper Underwear Company began marketing the tops — sans buttons — as ‘bachelor undershirts’ (as there was no need to resew buttons back into place), and in 1913, they

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Credit: Spencer Selover

became a part of the uniform of the US Navy, where they were known as ‘lightweight short-sleeve white cotton undervests’.

Until the 20s, the T-shirt was called by every name but its own. Things changed, however, with the publication of F Scott Fitzgerald’s 1920 novel This Side of Paradise, which marked the first-ever appearance of the name. In the same year, it also happened to find its way into Merriam-Webster’s dictionary. “So early in September Amory,” the author wrote of his protagonist, “provided with ‘six suits summer underwear, six suits winter underwear, one sweater or T-shirt, one jersey, one overcoat, winter, etc,’ set out for New England, the land of schools.”

Credit: Jake Wolf

Although the tees worn by Amory could, in the 30s, be found in department stores throughout the States, as well as seen all around American high-schools in the 40s, it wasn’t until heart throbs like Brando in A Streetcar Named Desire and James Dean in 1955’s Rebel Without a Cause rocked them on the silver screen that the T-shirt truly

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became the T-shirt, no matter how plain and simple it still was.

Prior to this, the T-shirt was, by and large, an undergarment meant to be worn beneath one’s ‘proper’ clothes, and was seldom regarded as an article in its own right. “It’s just a white T-shirt, but it already has that kind of disruptive potential,” Nothdruft says of the kind worn by Brando and Dean. “It was rebellious, because [T-shirts] were actually undergarments … It was a tough political statement.”

More than they could have ever imagined, Brando and Dean nailed the style and spirit of what had thitherto been an unassuming piece of underwear to a tee.

The plain white T-shirt may have

T-shirt

caused a stir in America in the 50s, but it had miles to go in realising its full potential for, as Nothdruft terms it, ‘disruption’. By the time A Streetcar Named Desire screened in cinemas, graphic tees were already a thing. T-shirts with the name ‘Oz’ emblazoned on them appeared in 1939’s The Wizard of Oz, and – perhaps inspired by the wonderful wizard’s minions in Emerald City – Republican candidate Thomas E Dewey used the firstever slogan T-shirt in his 1948 ‘Dew it with Dewey’ presidential campaign. While Dewey lost to Truman, he’d still made history, albeit in a very different context.

Shortly afterwards, a company by the name of Tropix Togs obtained the exclusive right to print official

Fashion

Disney T-shirts after Disneyland opened in the mid-50s, realising the immense profits to be made from graphic tees. By the early 60s in America, improvements and innovations in printing technology, such as the proliferation of the silkscreen method popularised by Andy Warhol, as well as an overall surge in popularity, had firmly entrenched the graphic T-shirt in not only the fashion world, but also popular culture as a whole.

Across the pond, the story was somewhat different. In the early

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and mid-60s, the T-shirt (in all its iterations) had yet to become popular amongst the masses in Britain. They certainly couldn’t be seen in high-schools across the island, as was the case in America in the 40s, and still had a way to go in becoming socially acceptable.

Fashion designers like Barbara Hulanicki, however, were bent on breaking the status quo and marketing the T-shirt to fashionconscious youth. “They were very new,” she says, also noting that they were considered too casual to be

worn in certain places, such as offices. That didn’t stop Hulanicki from pursuing her ideals, though. “[We started selling them] in 1964, just before we opened the first shop,” she says of her massively popular brand Biba, which first began selling clothes via mail-order catalogues.

Less than 10 years later, with the opening of the ‘Big Biba’ department store on Oxford Street, the story would be entirely different.

By then, the T-shirt had become a fixture in British fashion, and the cult brand’s graphic tees featuring its signature Art Nouveau

typography were essential elements of its offering.

“The T-shirt was sort of our lifeline,” she candidly remarks.

Although the story begins, more or less, in the early 50s, it was in the 70s that the T-shirt truly emerged as something revolutionary. The rising popularity of band logos, such as John Pasche’s tongue and lips for the Rolling Stones, as well as concert tees, saw fans expressing their musical inclinations and affiliations across their chests.

The T-shirt also became a way to protest against issues such as the Vietnam War,

Credit: Placeit

Credit: Daria Shevtsova

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The Autumn 2018 Tre Everything You Need To Know About The New Season Caroline Leaper | 6 September 2018

Animal magic

Python, zebra, cheetah, croc and more animal prints roamed free and wild across the catwalk shows this season. Victoria Beckham showed devotion to leopard print, Isabel Marant backed snake pattern trousers, while Tom Ford couldn’t decide and spliced together as many patterns as he could in a single look.

Leopard print is undoubtedly the season’s first runaway trend, but once you’re sick of seeing it everywhere, try something snakier for size. As well as the obvious animal lovers, unlikely handlers like Emilia Wickstead have coaxed it into some extremely pretty dresses. Gucci, as you’d expect, took the trend literally; models carried plastic king snakes (and baby dragons) as accessories.

The new neons

Miuccia Prada is bringing back neon. But not garish, Niceday highlighter neon. The new hues are fruitier, with watermelon, lemon and lime making for a delicious palette. Best worn as a stand-out pop of colour amongst a navy, black, grey or beige outfit.

Cardi, be

Natty cardigans have come in from the cold.

Grandad knits with elaborate intarsias and teddy textures were spotted at Miu Miu, Roksanda and Erdem. Wear brightly coloured ones with oversized proportions for day, or try pulling one off the shoulder and belting it around the waist, over an evening dress.

Brown is the new black

From tan to sludge, all you need to do is find the right hue for you, or go tonal in a top-to-toe effect.

Natacha Ramsay-Levi at Chloe showed us how to do it right; mix a glossy chocolate leather coat with a peanut satin shirt, and tweed trousers.

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Super-sized sparkle

The jumbo sequin is here and ready to meet all your party needs. Preen’s looks were encrusted with pearls and giant paillettes, Balmain’s models were positively iridescent. Julien Dossena at Paco Rabanne wins best in show; his silver chainmail dresses were meshed with pixel-style sequins so big that they would look beautifully blurry as you twirl in them on the dancefloor.

Haute heritage

The Queen’s Balmoral look served as inspiration for many, with tweeds everywhere, from Marc Jacobs to Miu Miu, but it was, as always, Karl Lagerfeld at Chanel, who proved the most devoted, as dozens of models crunched through his carpet of crisp autumn leaves wearing the fabric.

Elsewhere, the type of loud print that you might usually reserve for a small area like a square silk scarf has been extrapolated. New gen designers Marine Serre and Richard Quinn have taken the heritage look to extremes; inspired by the Balmoral look, the latter covered all possible surfaces on every model with his patchworked floral designs, while Her Majesty herself watched on from the front row.

Blanket coverage

The new wraps are bigger, snugglier and cut a more dramatic silhouette than those that came before.

Swag a patterned blanket nonchalantly over your shoulders as seen at Roksanda, or take care to artfully drape and tuck it as at Giorgio Armani. Pick belts and brooches to literally tie the whole look together.

The ankle-grazing midi skirt

A hero item to buy this season; a midi skirt

end Report that falls a little longer than those you already own. The spot you want the hem to hit is just above the ankle, as championed by Maria Grazia Chiuri at Christian Dior.

Fringe benefits

The other skirt style to add to shopping list is one that’s slashed to ribbons. The great swooshing noise made as models walked by at Givenchy, Proenza Schouler and Dolce and Gabbana was strangely soothing, if a little impractical as daywear.

What to wear in 1985

Yes, there are power shoulders and oversized ruffles to behold once again. But the special things to note about this season’s reincarnation of Eighties fashion are all in the fabric. Shimmering lurex, foils and the bodycon bandage dress are back, and ready to see us through every Saturday night for the entirety of party season. There is nothing understated about Balmain’s Instagram-ready electric jackets.

Also worth noting, everyone had a pop at the party dress.

The majority of Anthony Vaccarello’s 87 Saint Laurent looks were one-shoulder mini dresses, while Sarah Burton sculpted taffeta into enormous shoulders at Alexander McQueen.

Credit: EVG Photos

Credit: Pixabay

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BeyoncĂŠ in Her Own Words

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Her Life, Her Body, Her Heritage Fernanda Eberstdat | 6 August 2018

Credit: Business Insider

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Pregnancy & Body Acceptance After the birth of my first child, I believed in the things society said about how my body should look. I put pressure on myself to lose all the baby weight in three months, and scheduled a small tour to assure I would do it. Looking back, that was crazy. I was still breastfeeding when I performed the Revel shows in Atlantic City in 2012.

After the twins, I approached things very, very differently.

My kids and husband did, too.

I think it’s important for women and men to see and appreciate the beauty in their natural bodies. That’s why I stripped away the wigs and hair extensions and used little makeup for this shoot.

of power, and mistrust. Only when I saw that clearly was I able to resolve those conflicts in my own relationship.

Connecting to the past and knowing our history makes us both bruised and beautiful.

I researched my own ancestry To this day my arms, shoulders, recently and learned that I come breasts, and thighs are fuller. I from a slave owner who fell in have a little mommy pouch, and love with and married a slave. I I’m in no rush to get rid of it. I had to process that revelation think it’s real. Whenever I’m over time. I questioned what ready to get a six-pack, I will it meant and tried to put it into go into beast zone and work perspective. I now believe it’s I was 218 pounds the day I my ass off until I have it. But why God blessed me with my gave birth to Rumi and Sir. right now, my little FUPA and twins. Male and female energy I was swollen from toxemia I feel like we are meant to be. was able to coexist and grow and had been on bed rest in my blood for the first time. for over a month. My health Opening Doors I pray that I am able to break and my babies’ health were in Until there is a mosaic of the generational curses in my danger, so I had an emergency perspectives coming from family and that my children C-section. We spent many different ethnicities behind will have less complicated lives. weeks in the NICU. My the lens, we will continue husband was a soldier and such to have a narrow approach My Journey a strong support system for and view of what the world There are many shades on every me. I am proud to have been actually looks like. That is journey. Nothing is black or a witness to his strength and why I wanted to work with white. I’ve been through hell evolution as a man, a best friend, this brilliant 23-year-old and back, and I’m grateful for and a father. I was in survival photographer Tyler Mitchell. every scar. I have experienced mode and did not grasp it all If people in powerful positions betrayals and heartbreaks until months later. Today I continue to hire and cast only in many forms. I have had have a connection to any parent people who look like them, disappointments in business who has been through such an sound like them, come from partnerships as well as personal experience. After the C-section, the same neighborhoods they ones, and they all left me feeling my core felt different. It had grew up in, they will never have neglected, lost, and vulnerable. been major surgery. Some a greater understanding of Through it all I have learned of your organs are shifted experiences different from their to laugh and cry and grow. I temporarily, and in rare cases, own. They will hire the same look at the woman I was in removed temporarily during models, curate the same art, my 20s and I see a young lady delivery. I am not sure everyone cast the same actors over and growing into confidence but understands that. I needed time over again, and we will all lose. intent on pleasing everyone to heal, to recover. During my The beauty of social media around her. I now feel so much recovery, I gave myself self-love is it’s completely democratic. more beautiful, so much sexier, and self-care, and I embraced Everyone has a say. Everyone’s so much more interesting. being curvier. I accepted what voice counts, and everyone has And so much more powerful. my body wanted to be. After a chance to paint the world six months, I started preparing from their own perspective. Freedom for Coachella. I became vegan I don’t like too much structure. temporarily, gave up coffee, Ancestry I like to be free. I’m not alive alcohol, and all fruit drinks. I come from a lineage of many unless I am creating something.

But I was patient with myself broken and difficult male and I’m not happy if I’m not creating, and enjoyed my fuller curves. female relationships, abuse if I’m not dreaming, if I’m not

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Credit: Tyler Mitchell

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Credit left to right: Wallpaperplay, Pinterest, KissPNG, PlusPNG, Natasha

creating a dream and making it into something real. I’m not happy if I’m not improving, evolving, moving forward, inspiring, teaching, and learning .

Coachella I had a clear vision for Coachella. I was so specific because I’d seen it, I’d heard it, and it was already written inside of me. One day I was randomly singing the black national anthem to Rumi while putting her to sleep. I started humming it to her every day. In the show at the time I was working on a version of the anthem with these dark minor chords and stomps and belts and screams. After a few days of humming the anthem, I realized I had the melody wrong. I was singing the wrong anthem.

One of the most rewarding parts of the show was making that change. I swear I felt pure joy shining down on us. I know that most of the young people on the stage and in the audience did not know the history of the black national anthem before Coachella. But they understood the feeling it gave them.

It was a celebration of all the people who sacrificed more than we could ever imagine, who moved the world forward so that it could welcome a woman of color to headline such a festival.

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OTR II One of the most memorable moments for me on the On the Run II tour was the Berlin show at Olympiastadion, the site of the 1936 Olympics. This is a site that was used to promote the rhetoric of hate, racism, and divisiveness, and it is the place where Jesse Owens won four gold medals, destroying the myth of white supremacy. Less than 90 years later, two black people performed there to a packed, sold-out stadium. When Jay and I sang our final song, we saw everyone smiling, holding hands, kissing, and full of love. To see such human growth and connection—I live for those moments.

can explore any religion, fall in love with any race, and love who they want to love.

I want the same things for my son. I want him to know that he can be strong and brave but that he can also be sensitive and kind. I want my son to have a high emotional IQ where he is free to be caring, truthful, and honest.

It’s everything a woman wants in a man, and yet we don’t teach it to our boys.

I hope to teach my son not to fall victim to what the internet says he should be or how he should love. I want to create better representations for him so he is allowed to reach his full potential as Legacy a man, and to teach him that the real My mother taught me the importance magic he possesses in the world is not just of being seen but of seeing the power to affirm his own existence. myself. As the mother of two girls, I am in a place of gratitude right now. it’s important to me that they see I am accepting of who I am. I will themselves too—in books, films, and continue to explore every inch of my soul on runways. It’s important to me that and every part of my ancestry. I want they see themselves as CEOs, as bosses, to learn more, teach more and live and that they know they can write the in full. I’ve worked long and hard to script for their own lives—that they to be able to get to a place where can speak their minds and they have no I can choose to surround myself ceiling. They don’t have to be a certain with what fulfills and inspires me. type or fit into a specific category. They don’t have to be politically correct, as long as they’re authentic, respectful, compassionate, and empathetic. They

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I’ve worked long and hard to be able to get to a place where I can choose to surround myself with what fulfills and inspires me.

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Model with Down Syndrome Walks Runway at New York Fashion Week: ‘There Are No Barriers’ Runway of dreams!

Kaitlyn Frey | 10 September 2018

Credit: Facebook

A 21-year-old Spanish model with down syndrome achieved her goal of walking at New York Fashion Week thanks to designer Talisha White.

Marian Avila made her runway debut at the designer’s Saturday show wearing two different looks: a red gown and blush mini design with a a matching cape. Afterwards, Avila told reporters through a translator, “I felt really happy and I really loved the runway. I wanted to show the world that there are no barriers.”

She added that she “practices every day” and is “studying modeling

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and [wants to] become an actress.”

The Atlanta-based designer recruited Avila to walk in her show after she learned of her fashion week dream and story on Facebook.

“She’s been a busy supermodel, meeting with all types of people,” White said.

“I’m very glad for her. She’s been meeting with Vogue. She’s been meeting with Harper’s Bazaar. She’s been meeting in different showrooms, different modeling agencies all around.”

According to the brand’s website, White’s mission is “to change the world one stitch at a time, through the dresses we create and the moments our

customers will never forget. We know our dresses alone aren’t going to change the world, but we are confident the women who wear them absolutely will.”

“She’s been a busy supermodel, meeting with all types of people,” White said of Avila. “I’m very glad for her. She’s been meeting with Vogue. She’s been meeting with Harper’s Bazaar. She’s been meeting in different showrooms, different modeling agencies.”

White’s mission as a designer, according to her website, “has always been to change the world one stitch at a time, through the dresses we create and the

Credit: Cuco Cuervo

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moments our customers will never forget.”

The statement continues: “We believe every girl is royalty and deserves to be treated and feel accordingly. Media, modeling, and even pageantry often portray the ‘it’ girl. While she is beautiful, we believe she is not the only definition of beauty. That’s why we have diverse representation of our label to show that beauty is in everyone, and we are all the ‘it’ girl.”

Besides Avila, White showed diversity in all forms on her runway by including one model in a wheelchair, Tae McKenzie from North Carolina, and another young girl with down syndrome.

“People like Marian Avila and Tae McKenzie, who are breaking boundaries in the fashion industry,” White said. “I like to showcase all types of girls [and] giving girls opportunities to blossom and fulfill their dreams.”

“I wanted to show not just on type of girl is beautiful,” White said.

“I like to showcase all types of girls, from pageant girls to models in wheelchairs, models with Down syndrome, models who are 4 feet and told they can never be a model. They are my ‘it’ girl.” Designer Talisha, who creates glamorous evening wear, first heard about Marian through another model online. Marian became a natural choice for Tasha’s line as the designer prioritises inclusivity. The show also featured Tae McKenzie, a model who uses a wheelchair.

Talisha said she felt proud of Marian for breaking boundaries in the industry. ‘Marian’s been a busy supermodel, meeting with all types of people,’ said Talisha. ‘I’m very glad for her. She’s been meeting with Vogue. She’s been meeting with Harper’s Bazaar. She’s been meeting in different showrooms, different modeling agencies.

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Credit: Getty

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I felt really happy and I really loved the runway. I wanted to show the world that there are no barriers.

Credit: JP Yim

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COVERGIRL Katy Perry

FLAWLESS NO DISAPPEARANCE!

Katy Perry wears Clean Oil Control Foundation

EASY BREEZY BEAUTIFUL