Rouge Magazine AW21

ROUGE MAGAZINE VOL. III, ISSUE I A/W 2021

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RO UG E

MAGA ZINE AW 21

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Rouge Magazine is the first fashion magazine at the University of Georgia. It was originally founded in August 2007 as the Little Red Book Magazine by three students within the College of Family and Consumer Sciences who recognized a need for a fashion-oriented publication. It became an official, registered student organization in 2008. Rouge Magazine is a biannual, full color publication funded by member dues and a once-yearly allowance from the University’s College of Family and Consumer Sciences. Rouge Magazine is distributed all over Athens, from multiple locations on campus to various boutiques downtown. Each issue is designed entirely from scratch by members of the general body in conjunction with the executive board, and can best be described as the product of eager passion and a true love for the fashion industry and all associated with it. Rouge Magazine aims to create content that inspires the student body to be bold, to serve as a resource for fashion-related events from a variety of perspectives, and to stitch together a publication each semester that all students can draw something from, whether that be style inspiration, knowledge of the fashion industry, or an interesting graphic design scheme.

Run with Rouge!

Instagram: @rouge.mag E-mail: editors.rouge@gmail.com Web: rougemag.squarespace.com

EDITOR IN CHEIF Christin Walls CREATIVE DIRECTOR Cece Grosz DIRECTOR OF COMMUNICATIONS Margaux Binder

WOMENSWEAR FASHION EDITOR Shira Ben-Simon

DIRECTOR OF VISUAL ASSISTANT WOMENSWEAR CONTENT FASHION EDITOR Anushka Karnik Elaine Garvey

GRAPHIC DESIGN EDITOR Elisa Fontanillas ASSITANT GRAPHIC DESIGN EDITOR Sarah Landmesser

BLOG CONTENT EDITOR Morgan Quinn

MENSWEAR FASHION EDITOR Kelvin Nguyen

BEAUTY EDITOR Erin Hickey DIGITAL BEAUTY EDITOR Taryn Scott

DIGITAL CONTENT EDITOR Mary Renfroe

SOCIAL MEDIA DIRECTOR Rachael Lupton

COPY EDITOR Lillian Maple TREASURER Smriti Tayal

VISUAL CONTENT

Jack CaseyAmal Supariwala Savannah Hernandez Amanda Whylie Sophie McLeod

GRAPHIC DESIGN

Lily Stewart Madhu Ravi Elise Holcomb Georgia Riccobene

FASHION

Ainsley Cole Alyssa Dickson Alexis Derickson Anna Grace Fantucci Becky Sunkin Cayce Sherer Chloe Garrison Hannah Beam Ishi Gupta Julia Harbison Katherine Rhodes Logan Crump Madison Sartain Maia Hall Mkenna Villone Natalie Kramer Patrick Rice Petra Culbertson Piper Rausch Scotland Geurink Sophie Baker Sydney Bolin Sydney Staton

WRITING

Tablow Media Alexis Derickson Alicia Saltsman Taniya Pierce Amelia Sturkie Ellen Cabaniss Angela Canales Haley Wolf Hannah Rieder Sarah Stanley Maia Hall Grace Maneein Mary Margaret Perry

BLOG

Angela Canales Arika Chiluvuri Becky Sunkin Chloe Garrison Elise Holcomb Elizabeth Kim Evie Krakovski Izzy Doulatshahi Katie Barber Katie Slacanin Mariana Mejia Mya Greene Nadia Yankovsky Petra Culbertson Sarah Stanley Tablow Media Trinity Gates Vivana Deyette Elyssa Abbott Hannah Beam Madden Callahan

BEAUTY

Jennifer Hoang Mary Boyett Emily Partain

DIGITAL CONTENT

Alexa Ayala Guzman Ava Watson Edward H Feininger Georgia Riccobene Jacqueline Adams Keller McLaughlin Madeline Bates Sarah Orji S hayla Hadziahmetovic Shaza Mehdi Taylor Lazzari

SOCIAL MEDIA

Alexa Ayala Guzman Areeba Fatima Ava Watson Christina Zaprianova Emily Partain Emma Nestor Frida Gachuz Jackie Fox Joyce Kabuya Julia Prasinos Keely Hallinan Keertana Konduru Lily Stewart Madden Callahan Madison Sartain Maria Van Livingston Mariana Figueiredo Mariana Meja Marisa Gu Morgan Myers Rachael Lalor Sydney Bolin

MARKETING

Lucy Cain Christina Zaprianova Keely Hallinan Isabella Burgelin Isis Mayfield Savannah Hernandez Ellen Cabaniss Taijahnai Scott Areeba Fatima Sydney Fogarty Tori Pasquale Carlee Last Sophie Baker Arika Chiluvuri Frida Gachuz Shreya Sewant Ny’Asia Keys Lily Stewart Miya Grant Gabbi Haskins Katherine Barber Elizabeth Cochran Dolores Trobradovic Joyce Kabuya Emma Nestor Maria Van Livingston Viviana Deyette Sydney Staton Katherine Slacanin Jackie Fox Julia Prasinos Marissa Gu

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TAB OF

LE Letter from the Editor Christin Walls

Alice’s Fashion Fairytale in Whimsical Wonderland

By Alexis Derickson

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Aesthetic Mixing: The New Norm

By Angela Canales

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An Ode to Opulence: How Regencycore is Elevating Modern Fashion

By Maia Hall

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Elsa Schiaparelli: Glamorous Absurdity, As Seen Through (Hot) Pink Tinted Glasses

By Alicia Saltsman

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Bracing Balenciaga: Demna Gvasalia’s Refreshing Take on Classic Couture

By Lillian Maple

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A Contemporary Couturier: Iris Van Herpen as a Surrealist Icon

By Ellen Cabaniss

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The Unconventional Unconscious: Uniting Gender Identity and Self-Expression

By Grace Maneein

Playing With Reality: How Modern Technology is Revamping Retail

By Haley Wolf

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What Dreams are Made of: The Met Gala and the Return of the Surrealist Fashion Movement

By Tablow Media Photo Collection: Welcome to Wonderland

Romanticism in the Countryside: How Cottagecore Makes Fantasy Accessible

By Sarah Stanley

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Photo Collection: A Dream Sequence

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Dopamine Dressing: Color and Its Contribution to Escapism

By Hannah Rieder

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Jonathan Anderson’s Mind-Bending Contribution to Escapism in Fashion

By Amelia Sturkie

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Photo Collection: Beauty in the Eye of the Beholder

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Jeremy Scott Brings Pop Culture to Fashion Runways at Moschino

By Taniya Pierce

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lEttEr fRom thE Editor

This issue is a physical representation of what we can create when we allow ourselves to dream. This being my first semester as editor in chief, I wondered how we would be able to create an issue that truly encompassed the current state of reality, or lack thereof, we live in. I think I can speak for everyone when I say the past year has felt unreal, dreamlike almost. This issue embodies the ideals of escapism and illuminates a space in which fantasy and reality become intertwined. Our fashion spreads reveal two collections of fanciful settings in which dreams closely mingle with nightmares. Our tea party reveals the glamour and boldness of falling down the rabbit hole and playing with fire, both literally and figuratively. Our dream escape showcases the whimsical and mischievous, while emphasizing the allure of the endless sky. Our beauty spread accentuates the opposing forces of good and evil, no matter how similar they can be. I am so honored to present you with this brilliant issue of Rouge Magazine. I want you to get lost within the pages and find inspiration through the images. I hope you love this issue because we loved making it. I have no words for how grateful I am to lead this team.

With immense love, Christin Walls

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What Dreams are Made of: The Met Gala and the Return of the Surrealist Fashion Movement

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by Tablow Media

THE MET GALA is one of the most anticipated fashion events of the year. Every spring, the biggest names in media mingle with the biggest fashion designers to create a night filled with memorable dress, matching an even more memorable theme. The Met Gala’s influence on the fashion world is undeniable. The surrealism and outlandishness expected in the couture of the Met Gala fiercely makes its way into the fashion industry year after year — right into our beloved closets. Accordingly, surrealism has made a very real name for itself in the fashion industry, and the movement is only beginning to flourish.

“ ” Surrealism in fashion is a beautiful portrait of the subconscious mind,

In recent years, the Met Gala has been a platform for the dreamers.

Celebrities have been taking the Met Gala themes and using them to pay homage to some of fiction’s best characters, contributing to this dreamy, surrealist perspective in fashion. Just this past year, with the Met Gala’s theme being “America: A Lexicon of Fashion,” celebrities turned to beloved fictional icons. Givenchy’s collaboration with Kendall Jenner produced a breathtaking design that paid respect to Eliza Doolittle, from Audrey Hepburn’s role in My Fair Lady. A modernized interpretation of such a popular character added an element of wistfulness to the dreamy gown, and the use of fashion to dream and become someone else has led to the surrealist looks seen in the fashion industry as a whole (Vogue, 2021). Another remarkable look that created a longing for fantasy was Zendaya in a Tommy Hilfiger Cinderella gown at the 2019 Met Gala, Camp: Notes on Fashion. The dress was surreal, changing color to an iridescent shade of blue when prompted. Definitively, the Met Gala serving as an outlet for dreamy, surreal fashion has propelled the use of surrealist themes in everyday fashion.

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The surrealist fashion movement is not a new one — but it is certainly a re-emerging one. Nearly a century after it was introduced synchronously with the surrealist art movement of the 20th century, surrealist fashion design has returned, a beautiful blending of the irrational with the complexities of real life (Bateman, 2021). The Met Gala has contributed to the rebirth of the surrealistic fashion movement through the sheer extravagance of the couture. Take the 2018 Met Gala: “Heavenly Bodies: Fashion and the Catholic Imagination,” as an example. With a theme centered around religion and heaven, it only made sense for every look to be ethereal. More Met Gala themes that have contributed to the surrealist fashion movement are the 2017 and 2016 Galas: “Rei Kawakubo/ Comme des Garçons: Art of the In-Between,” and “Manus x Machina: Fashion in an Age of Technology.” The fashion of both awe-inspiring events was exquisite, emphasizing surrealist principles with the designs.

Surrealism in fashion is a beautiful portrait of the subconscious mind, and it has re-established itself in this century as a movement in the current fashion industry. The success of this fashion movement can be traced in part to the Met Gala, with themes in recent years producing attire that is innovative, extravagant, and surreal. Truly, the Met Gala’s influence on the return of the surrealist fashion movement is undeniable, and the movement itself is something to discover and interpret to one’s satisfaction.

innovative, extravagant,and surreal

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Alice’s Fashion Fairytale in

WHIMSICAL WONDERLAND

by Alexis Derickson

When Alice first tumbled down the rabbit hole to Wonderland in Walt Disney’s 1951 animation, she entered a world of fantastical dreams while simultaneously floating into a universe paralleling the fashion seen today. As the depiction of a girl impossibly gentle with a marvelous curiosity reached theater screens across the world, Alice’s distinctive azure dress imagined the next era of style in The New Look. Begun by Christian Dior, The New Look’s revolution rejected the plain practicality of women’s fashion in a post-World War II era in favor of an image of ultimate femininity (Tomes 2017). Dior’s desire to rediscover the extravagance of the past resulted in lines of tight-fitting jackets, padded hips, petite waists, and A-line skirts, mirroring the Victorianstyle silhouette of Alice’s iconic ensemble (Tomes 2017). With flounces, full skirts, and lavish elegance, a young Alice led Dior tumbling hand-in-hand down the rabbit hole.

On the modern runway, Vivienne Westwood continues the legacy of Alice over 150 years later. The foundational principles of Westwood’s lines are reminiscent of the iconic Wonderland fashions, featuring corsets, playful prints, and girlish layers of pearls. The influence of the 19th century’s popular hoop dresses in Westwood’s 1986 Mini Crini collection intertwine childlike ruffles and accents with a defining waistline, design choices previously modeled in Alice’s ruffled skirt and sleeves (Singh 2017). In 2015, Westwood paid homage to Lewis Carroll’s classic character by designing the cover of the anniversary book edition along with a tribute storefront collection (Retail Design Blog 2015). While the tea party setting and fictionally-inspired headpieces differed from Westwood’s norm, the outfits themselves illustrated the commonalities between a typical Westwood piece and the Alice aesthetic.

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Meanwhile, Iris Van Herpen uses design processes that seem only possible in one’s wildest dreams to build delicately feminine garments.

While Van Herpen’s pieces themselves may not as closely resemble Alice’s aesthetic, her never-before-seen fashion innovations maintain the same air of intense curiosity and adventure as the world Alice created. While Alice added another layer of action to animals that were previously mute via the talking Cheshire Cat, White Rabbit and Blue Caterpillar, Van Herpen established a new layer of dynamism and a sense of motion in inanimate garments with 3D styling effects. Their minds work in similar ways to imagine the seemingly impossible. Van Herpen’s use of 3D printing and laser-cutting developed clothes in motion, including a piece with water appearing to be splashed on it, a dress in the shape of a skeleton and fluid, rolling lines of transparent leather. As Van Herpen seeks the unknown and aims to visualize the imperceptible inspiration behind her lines with an organic sense of the natural world, so too does Alice traipse through a subterranean sphere of natural spaces intensely imagined to fit an altered reality of interaction and movement (Iris Van Herpen).

Beyond a blonde, petite girl, Alice’s character has played a fundamental role in encompassing the very meaning of fashion as a whole. In Wonderland, she got lost in elements of unconscious dreams, exaggeration and a child-like curiosity paired with a certain level of ridiculousness.

Fashion itself explores many of these same concepts, as runway looks are sometimes not meant to be practical or ready-to-wear, but instead explore the deeper subconscious of the designer’s innermost thoughts, dreams and artistic visions. Fashion is an escape down the rabbit hole from the often monotonous industrialization that exists today to a fairytale Wonderland world nostalgic of the unbarred imagination of childhood.

“Iconic Wonderland fashions, featuring corsets, playful prints, and girlish layers of pearls.”

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Modeled by Sydney Belchner, Dolores Trobiadoric, Chloe Senter, Peter Fathke, & Scotland Geurink

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Photographed by Sophie McLeod, Amal Supariwala, & Savannah Hernandez

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LET THEM EAT

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SWEET CONFECTIONS

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SNOITCELFER RETTIB

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Aesthe mixing The New Norm The New Norm The New Norm The New Norm The New Norm The New Norm

The New Norm The New Norm The New Norm The New Norm The New Norm The New Norm

by Angela Canales

tic Fashion has taken its toll on life after a series of social-cultural influences that have emerged within recent years. Readjustment to normal life, trendy TikTok fashion, the Pinterest phenomenon, celebrity genderfluid fashion, and more have all shaken things up in the world of fashion and people’s closets everywhere. In order to find themselves in a time where uncertainty reigns, experimenting with new fashion and mixing aesthetics have fulfilled the extensive creativity that many have longed for.

“In order to find themselves in a time where uncertainty reigns, experimenting with new fashion and mixing aesthetics have fulfilled the extensive creativity that many have longed for.”

In recent years, we have seen many aesthetics and “fashion phases” come and go as media outlets lead people to try things they never thought they would never try. TikTok and Pinterest have become hotspots for fashion inspo for those who can’t seem to just pick one aesthetic and feel like themselves. As a result, we now see fashionable influencers like Emma Chamberlain mixing and combining trendy staple pieces that create something refreshing and true to themselves. Celebrities like Harry Styles and Zendaya have also blurred the borders of “gendered” clothing, which has inspired more and more people to experiment with options outside of their comfort zone.

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“For many people, this could be seen as “trend-hopping” or a dangerous recipe for overconsumption, but if done with the longevity of clothes in mind, fashion-goers can keep developing their own personal style and not have to stick to a certain subculture or aesthetic.”

Personalizing a new trend can show that you know your own style inside and out and can transcend your look in anything you dress in,” says Peyton Lee from College Fashionista.

This summer, we saw the “Coconut Girl” aesthetic become trendy as an ode to the early 2000’s beach babe craze. Last winter, we saw the emergence of the classic or dark academia look: the classic argyle sweater, dainty tennis skirt and trousers which are now staples in so many fashiongoer’s closets. Lately, we have seen the rise of psychedelic looks which embody bold funky prints and bright color. For many people, this could be seen as “trend-hopping” or a dangerous recipe for overconsumption, but if done with the longevity of clothes in mind, fashion-goers can keep developing their own personal style and not have to stick to a certain subculture or aesthetic. ‘ “Different from subcultures in past decades, today’s youth doesn’t feel so attached to one subculture’s aesthetic. It is not uncommon to see Gen Zers dressing cottagecore one day, new age bimbo the next and mixing or matching,” says fashion trend researcher Agus Panzoni.

Finding one’s own personal style comes with experimentation, and as long as media outlets and cultural shifts hold influence over people’s lives, it will remain a constant and consistent cycle that allows people to be whoever they want to be.

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Romanticism in the Countryside: How Cottagecore Makes Fantasy Accessible

by Sarah Stanley

Cottagecore is an aesthetic that focuses on a romanticized, dreamy life in the countryside where average internet users can find a comforting escape from the harsh realities of life. This sweet aesthetic consists of visions of baking bread, sewing, gardening, bathing in a nearby stream, and frolicking through soft grassy fields in the middle of a rural paradise. The hashtag, cottagecore, first arose on the internet in 2018 but gained traction in 2020 on platforms like Instagram, Tik Tok, Pinterest, and Tumblr. Considering cottagecore’s focus on self-care and simplicity, it is no surprise that the aesthetic exploded in popularity during the height of the pandemic, as people were attempting to turn the nightmare outside into a dream. The aesthetic is rooted heavily in escapism and has become a more inclusive way, as it is embraced by people of diverse races, religions, and sexualities, to return to a more traditional, slowpaced form of life. The cottagecore aesthetic promotes the mixing of fantasy and reality in everyday, accessible fashion.

“The aesthetic is rooted heavily in escapism and has become a more inclusive way, as it is embraced by people of diverse races, religions, and sexualities, to return to a more traditional, slow-paced form of life.”

Cottagecore has a recognizable “dress code” that includes, flowy angelic fashion that transports participants from the harsh, modern world. A major staple of cottagecore fashion is prairie dresses. Imagine a 1970s Gunne Sax dress for example. Prairie dresses evoke imagery of farm life and of a simplistic existence. Lace, floral prints, crochet detailing, and loose silhouettes are aspects of prairie dresses that are reminiscent of 1960s and 1970s fashion. These decades were known for their mass movements for anti-consumerism, as with the hippy movement of the ‘60s, which ties in perfectly with the simplicity and self-sufficiency of cottagecore. Modern brands also carry the cottagecore aesthetic. For Love and Lemons is a beloved brand that creates frilly, feminine dresses perfect for twirling around in a field and having outdoor tea parties.

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Many of the dresses are white or pastel-colored and include lace, flowers, and delicate straps that create a soft, feminine image. The company was founded in 2011 in Wyoming and has information on their website about sustainability and employee working conditions, but their level of sustainability is questionable due to their collaboration with Victoria’s Secret. Another brand that has taken Instagram by storm is Selkie. This brand has a strong focus on fairytale aesthetics and is known for their famous Puff dress. The dress is made mostly of organza, a transparent, feminine material, and consists of a tight bust that poofs out into a cupcake-like skirt. It is also known for its large puff sleeves, for which the dress is named after. The dress comes in every pastel color imaginable including pink, yellow, and lilac and can be made in sizes XXS through 5X. The femininity and size inclusivity of the brand are what especially appeal to the cottagecore community. Cottagecore is an aesthetic heavily embraced by young women who draw inspiration from Renaissance paintings and their childhood fairytale dreams, which explains cottagecore fashion’s emphasis on the dainty and ethereal. Farm life and fantasy are at the core of this aesthetic and the fashion certainly does not shy away from these visions.

“The emphasis on self-sufficiency within the cottagecore movement has encouraged many fashion lovers to learn how to make their own clothing, which once again deters buying from fast fashion.”

Cottagecore encourages sustainability through its embrace of nature and do-ityourself activities. Some of the core values of cottagecore are living amongst and caring for nature, which encourages the cottagecore community to care about sustainability. Fast fashion has taken the world by storm and has encouraged environmental destruction and excessive waste. To counter this, many brands that base their identity around the cottagecore aesthetic are sustainable, small brands. The simplistic, timeless designs of cottagecore clothing encourage wearers to keep these garments long-term rather than discard them as new trends]and fads arise. Another prominent aspect of cottagecore is do-it-

yourself activities like crochet, sewing, and embroidery. The emphasis on selfsufficiency within the cottagecore movement has encouraged many fashion lovers to learn how to make their own clothing, which once again deters buying from fast fashion. Also, crochet is an art that can only be done by hand, which means even crochet pieces bought from brands have a minuscule environmental impact. Vintage dresses are another cottagecore fashion staple, which encourages second-hand shopping, which has a minor to obsolete environmental impact.

“Cottagecore fashion eliminates the aspect of exclusivity in fashion due to the emphasis on secondhand clothing and simple designs.Thrifting is a cheap and easy way to find cottagecore inspired clothing, as the aesthetic already cherishes vintage designs.”

Cottagecore’s popularity can be attributed, in part, to its accessibility and detachment from the materialism present in the high fashion world. Many areas of the fashion world are exclusive in regards to price, sizing, and availability to the masses. Cottagecore fashion eliminates the aspect of exclusivity in fashion due to the emphasis on second-hand clothing and simple designs.

Thrifting is a cheap and easy way to find cottagecore inspired clothing, as the aesthetic already cherishes vintage designs. Since cottagecore fashion veers in a more simplistic direction that counteracts the avante-garde style of the high fashion world, people can easily find cottagecore style clothing within their own closets. The lack of avante-garde clothing within cottagecore style adds to its accessibility because even those that know nothing about fashion can enjoy revamping their wardrobe. People may not understand how to analyze the artistic vision of a strange look, but they can certainly decide what they find beautiful or not. Cottagecore is about comfort and simplicity, which is highlighted within the clothing that accompanies the aesthetic and allows for all kinds of people to take part in the movement.

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AN ODE TO

How Regencycore is Elevating Modern Fashion

by Maia Hall

As we return to normalcy in the aftermath of a melancholy world riddled with isolation, health concerns, and financial instability, the fashion world is aiming to bring joy back into our everyday lives through a renewed incorporation of experimental fashion choices. One such way that young innovators are accomplishing this is through an embrace of escapism in the form of experimental aesthetics. In the past, escapism, or the engagement in fantasy as a distraction from unpleasant realities, has often been portrayed as a childish fancy to mature out of.

However, unbeknownst to many, escapism permeates everyday life in numerous areas. Each time an ordinary person such as you or I watches a period drama, or chooses an outfit for its “retro feel,” wishing we could be a part of another, more glamorous, time period, we are partaking in everyday escapism. This trend comes to its ultimate modern culmination through the recent popularization of the regencycore aesthetic.

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Social media users have adopted experimental trends in an effort to incorporate and appreciate beauty in their everyday lives. Such trends include inspiration from a variety of romanticized lifestyles such as cottagecore which can be described as a dream of rural self-sufficiency; dark academia which centers around the gloomy intellectual tones of classical education; or my personal favorite, regencycore. Regencycore, inspired by the 18th century Regency era, has become especially prevalent this year due to the release of the 2020 Netflix Original Series Bridgerton. Regencycore is characterized by dreamy opulence and the blending of glamorous elegance with reserved simplicity. Inspired by classic Greek and Roman styles in the aftermath of the French Revolution, garments of the Regency period were functional yet beautiful, sporting empire-waisted silhouettes, detailed embroidery, and vibrant pastel color palettes, making this style the perfect candidate for a modern revival. Although the average person can’t be expected to throw on a ball gown to pick up groceries, there are many ways to escape into the beauty of this aesthetic through small alterations of personal style.

“ FUNCTIO

YET BEAU

“Regencycore is characterized by dreamy opulence and the blending of glamorous elegance with reserved simplicity.”

The first step in incorporating a new style is always finding inspiration. Look to beloved period dramas such as Bridgerton for classic styling, or designers such as Vivienne Westwood for modern-day interpretations of Regency style. Specific collections can also serve as inspiration (my personal favorite being Christain Dior’s Spring 2021 Couture). Once you have immersed yourself in the style, begin to seek out specific garments or fabrics. One of the most popular modern interpretations of Regency style is the utilization of corsets as outerwear. One could also go in the direction of pearl motifs, puff sleeves, lacy gloves, or classic headpieces. Stay true to your personal style while incorporating these more elegant, fantastical elements; and bringing the joy of escapism into your everyday life will be a breeze.

ONAL, UTIFUL”

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WELCOME

Photographed by Amal Supariwala, Jack Casey, Savannah Hernandez, Sophie Mcleod, Amanda Whylie Modeled by Taylor Bond, Jillian Mitchell, Anna Johnson, Arika Chiluvuri, Patrick Rice, Chito Ogbeufi, Aldofo Martinez, Limi Okala

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A Nightmare?

Perhaps more of a daydream.

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MI R

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wa ke up

I DON’T WANT TO

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Elsa Schiaparelli: Glamorous Absurdity As Seen Through

HOT PINK

Tinted Glasses

by Alicia Saltsman

The lobster dress, a pair of trouser skirts, the shoe hat, runways becoming stages, and of course, hot pink. We owe our deepest respects to Elsa Schiaparelli for these revolutionary and ever present garments and pieces of fashion and society.

Her expressions of the abstract are the most solid and concrete presence of escapism and the imagination in modern day fashion.

The designer’s physical appearance and aesthetics were of stark contrast to her chic counterpart, Coco Chanel, and as a child, Schiaparelli naturally moved towards Surrealist expressions of herself. She was not particularly fond of her face, so she would stick flowers and petals in her mouth, nose, and ears in the hopes they would combine with her features and grow into beauty. At the age of twenty one, the designer published her first piece of art, an overtly sensual poetry book. The child of Italian aristocrats and intellectuals, Schiaparelli was expected to be a philosophical and worldly figure, but not in the ways of eating flowers and writing borderline erotic poems. She was a Surrealist at heart, rejecting all reason and logic in her work and her vulnerabilities.

The designer first made connections with the Dada movement when she befriended Gabrielle Picabia, whose husband held a fair amount of avant garde influence and she herself was seen as an individual within the Dada movement.

This movement laid the groundwork for Surrealism, and along with her friendship to the Picabias and natural affinity to reject norms, her fate to be one of the most beloved and innovative designers was sealed when she was introduced to French haute couture in the 1920s.

According to the official Schiaparelli website (2021), the designer began her career as a freelance designer in the mid 1920s and by 1927, she had her own business. Her first revolutionary pieces were the jumpsuit, culottes, the first evening gown, and the iconic black pullover sweater with the trompe-l’œil effect of a white ribbon and cuffs. The site describes her ingenuity as becoming a global sensation and she began working with creatives and artists in order to present herself four times a year. She opened her own fashion house, Schiaparelli - Pour le Sport, which focused mainly on knits and sportswear but would soon expand as her reputation and influence dramatically increased.

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The world soon fell in love with Schiaparelli. She had a way of understanding the socio-political realm she and other women found themselves in post WWI and could articulate the tension between past expectations of femininity and what femininity looked like in rapidly changing and confused society. “In her creations one can chart the shifting roles of women and the social revolution that inspired them. Practical and whimsical at the same time, Elsa Schiaparelli called upon the muses of irony, eccentricity and function without detracting from the sensuality of a woman’s form,” writes Olivia la Roche (2016) for Lone Wolf Magazine. Her understanding and appreciation for Surrealism and mid century womanhood gave Schiaparelli eyes for art, fashion, and practicality and led her to the most spectacular collaborations of the 20th century.

As young millennials and Gen-z, our generations often think we were the first witnesses to celebrity collaborations (or collabs), but Elsa Schiaparelli and Salvador Dali did it first. They are the reason music plays at fashion shows, ad campaigns are purely imaginative, and why designers work with photographers and artists to this day. In a Vogue article, Steff Yotka (2017) discusses the most influential collaboration the fashion world had ever seen. “What’s more is that the irony—the mix of high and low materials, and the multimedia promotional materials that they pioneered—are still used by artists and designers today,” says the Vogue writer (2017); they continue, “The sense you’re supposed to get as a reader is that these two iconoclasts were more than just a wacky mustache and a shoe hat; they altered the course of art and fashion in the 20th century.” Think of any fashion ad - what comes to mind? Rarely is it “normal” people wearing “normal” clothes but a fantasy world, barring all societal norms and expectations.

You are taken to where the clothes make you feel. It is insanity but you understand it so innately. You want to be there, not here. Schiaparelli and Dali opened this door to purely escape in fashion, they were the first to turn reality into a dream.

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We want to ESCAPE and live in our DAYDREAMS, and fashion gives us that FREEDOM

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Perhaps one of Elsa’s least attributed contributions to the fashion world is her creation of “shocking pink”, also known as hot pink (yes, the hot pink). Ever since she was a girl, her aesthetics were daring and loud and she needed a color that was purely hers and unlike any other at the time. In a September 2020 Elle Decoration article, Kassia St. Clair (2020) discusses Schiaparelli’s role when it comes to hot pink and explains it did not have the overly feminine/girly association it does today but more of a firm stance of a woman’s confidence. St. Clair comments on the magnitude of Schiaparelli’s influence, noting women who embraced the shocking pink, such as Diana Vreeland, Marilyn Monroe, and Daisy Fellowes. Out of her subconscious need to express herself, Schiaparelli invented the color of risk taking and confidence that continues to appear well into the 21st century.

Fashion would not be what it is today without Schiaparelli. The “modern woman” aesthetic is most often credited to Coco Chanel’s chic simplicity but Schiaparelli’s elegant absurdity captured sentiments of the 20th century felt today. As we continue to live in a Covid-19 world, we better understand the motivations of Schiaparelli and other Surrealists. We want to escape and live in our daydreams, and fashion gives us that freedom.

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DOPAMINE DRESSING:

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Amidst the typical fall jewel tones and winter whites, there has been an emergence of a bigger and brighter wave of color in clothing. Recent times have called for an entire change in lifestyle, and with these changes bring fresh inspiration for fashion.

From vivid crimsons embraced by Collina Strada to the sequin and jewel-donned muses of Versace, the attention of the world has gravitated towards vibrant and bold colors.

One such notable hue has been the resurgence of surrealist designer Elsa Schiaparelli’s signature color: shocking pink. Used by Schiaparelli in a multitude of her designs, shocking pink was a way for her to “disconnect from the global conflict at hand and find a source of inspiration” (Kelly, 2020). Pink has created many memorable fashion moments since its rise in popularity, from Elle Woods in Legally Blonde to Jackie Kennedy’s pink Chanel suit.

In fact, even Kim Kardashian recently hosted Saturday Night Live donning a velvet, hot pink Balenciaga catsuit, sending an immediate buzz throughout social media.

However, it is more than just shocking pink that has taken hold of fashion.

Electric blues and vibrant oranges pepper the streets, and these bold colors go past a declaration of someone’s character as fun and out there - they are daring and surreal.

Now more than ever, color is being used as a distraction from everyday life and problems, whether they are social, political, or environmental.

Fashion is an emotional release; people are able to express themselves through the clothes they wear.

L OR Further, people are even able to manipulate our emotions with the colors that they choose to put on their bodies, referred to as “dopamine dressing” (Maguire para. 2).

There is now a conscious effort in dressing to be carefree, bright, and fun.

People are searching for a reason to escape, even if for a moment, and that can be through neon accessorizing to an entire vibrant ensemble.

And ItS Contribution to Escapism

by Hannah Rieder

As we move further into the decade, people will continue to use fashion and color as escapism. Whether it is bright colors, clothing has been and will continue to be used as a declaration of strength, creativity, and power. Communities can connect with one another amidst various twists and turns, forever turning gloom into glamour.

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Demna Gvasalia’s Refreshing Take on Couture

by Lillian Maple

BALENCIAGA’S return to couture has arrived, and Demna Gvasalia has an innovative yet celebratory vision for the house’s new direction.

Finally straying from the casual yet serious streetwear that has become synonymous with the house, the experimental and imaginative creations of Gvasalia were exciting and transformative, With Balenciaga’s July 2021 collection, the house is reawakening its roots in Haute Couture and exploring its capabilities to capture a new, more versatile consumer.

The collection features exquisitely tailored suits, classic Balenciaga accessories, and many elements of streetwear. One of the most notable pieces includes a pair of couture denim pants that were hand-woven and specially tailored with 12 fittings. The fresh contrast of exuberant taffeta gowns and shimmering evening wear standing next to windbreakers and hoodies was youthful and clever, especially when compared to previous Balenciaga ready-to-wear collections.

Demna Gvasalia notes that he ”wanted to create a conversation with a modern customer who can be a couture customer of Balenciaga,” (Prant, 2021). By combining the modern definition of luxury with the classic vision of Cristobal Balenciaga, GVASALIA IS FOSTERING A NEW KIND OF LUXURY CUSTOMER WHILE PAYING HOMAGE TO THE PAST. While including the iconic Balenciaga wedding dress in its near-original form, the collection still featured many casual, functional garments as well. The July show also paid tribute to Cristobal Balenciaga by using a soundtrack of silence, a tradition of the historic Balenciaga couture house that works in an effort to “focus the audience on the line, cut, and presence of his clothes,” (Mower, 2021). These choices allow the modern Balenciaga to adapt the hallowed couture house of Cristobal Balenciaga to meet traditional expectations while still experimenting and stepping out of the usual Balenciaga niche. Gvasalia says “It was a challenge to find a balance between the fusion of the architectural legacy, the history, and what I stand for,” (Mower, 2021).

Even Gvasalia himself has taken strides to experiment with his own style.

He explains that he has recently begun to delve into couture in his own closet and that his first experience was a made-to-measure suit- a wardrobe staple for many in the fashion industry. He says that he realized how COUTURE IS TRULY AN IMMERSIVE TYPE OF FASHION which no doubt aided him in the development of the July 2021 Couture collection.

He says that Couture is “an experiential thing. It’s something that only the wearer can know and it gives you confidence, (Prant, 2021).”

Balenciaga’s revitalization at the hands of Demna Gvasalia is a modern testament to how tradition can influence us even decades later.

Experimental fashion and the relevancy of Haute Couture has remained over the years, but the July 2021 show was a rebirth of a legacy house that showed how youthful ready-to-wear can still translate to the traditional definition of high-fashion.

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Jonathan Anderson’s

contribution to escapism in fashion AMELIA ST URKI E BY AMELIA STURKIE

Creative director of Loewe, Jonathan Anderson, debuted his Spring/Summer 2022 Collection early this fall. The futuristic forms of the innovative collection presented the audience with brand new concepts, compositions, shapes, and molds. As Anderson’s first collection since coming out of the pandemic, his priority for fashion experimentation and escapism made for a massive shift in Loewe’s creative direction.

Anderson says that it feels fashion shows are an “odd form of a surrealist act somehow … because everything is kind of normal, but it’s not really,” and that he “didn’t want something which was completely grounded in reality,”(Socha, 2021). Watching the show felt transcendent and the surrealist, dreamlike silhouettes tickled the brain, effectively sending any viewer to an energy fueled creative high.

The show took place in an empty, off-white, natural-lit room. Guests sat in a square that lined the blanched white walls, no room for distractions- the audience was focused only on the clothing. The quiet, meditative music and warmly lit room made for a serene, dreamlike landscape. Anderson, inspired by the influence of Renaissance painter Pontormo, pulled inspiration from the artist’s color palette and stylized work. He utilized vibrant greens, pinks and oranges as well as draped robes and intense sculpture reminiscent of Pontormo’s subjects.

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“WE ARE TRULY LIVING IN SURREAL TIMES NEW BEGINNINGS AND CREATIVE E X P LO R AT I O N S ARE AHEAD.”

As the first long black dress emerged on the floor, an ode to Pontormo’s work was promptly paid ado. Anderson worked the human form by installing angular wire contraptions underneath five ankle-length, minimalist, dresses. Anderson designed for a different dimension and these distorted midsections, hips, arms, and chests were highlights of the show. Backwards trench coats plated with gold shields, draped fabrics clinging the body in perpense ways, spuming parkas, transparent breast plates encasing the shells of models; the collection progressed through chapters, and successively continued “elevating the normal” as Anderson put it (Mower, 2021). Topping it off, eye-catching pumps modeled after dried roses, birthday candles, nail polish, and soap were strapped to each gliding model. Disturbing the clean minimalist lines of Anderson’s past, this collection expanded Loewe’s attachment with the art world and escapism.

We are truly living in surreal times. New beginnings and creative explorations are ahead.

Anderson not only understands this but displays it in the show that he describes as “neurotic, psychedelic and completely hysterical,” (De Leon, 2021). Today, it is rare to come across such progressive, surrealist, and experimental designers as Jonathan Anderson. Without the contributions of his avant garde and mindbending work, the future of surrealist fashion would be in question. And now more than ever, the public is in need of collections that make you think, is this our future?

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IRIS VAN HERPEN: A CONTEMPORARY

COUTURIER

by Ellen Cabaniss

In a world of referencing and replication, it becomes difficult to identify anyone as truly original. When it comes to fashion, an industry that has been around for decades, originality in designs are rare; however, Iris Van Herpen takes inspiration from the worlds of science and technology, creating truly original designs and opening a new door in the world of fashion. The Dutch designer started her brand in 2007, and started showing in Paris in 2011, focusing on creating techniques that reach beyond what couturiers have ever dreamed of.

Whether it is 3D printed gowns or hand sewn pieces that look like they came out of the ocean, Van Herpen’s work seems to be almost in a state of hypnosis, as though she is trying to escape the boundaries of fashion that have been set forth before her. Innovation is not only the cornerstone of her brand, but the DNA of it, as she expands past the boundaries of fashion and brings in the worlds of science and technology in every one of her collections, as she has “always been at the vanguard of fashion and technology, while maintaining her focus on the beauty of the human body and its movement” (Borrelli-Persson, 2020).

In her Spring 2021 couture show, Van Herpen focused on sustainability, and came together with Parley from Oceans Ocean Plastic to create gowns made from debris found in the ocean, all while keeping the quality of her pieces beyond the standard, and pushing the boundaries of couture for the better (BorrelliPersson, 2021). Van Herpen has a unique ability to release her creativity in a way many designers of our time would not even dream of, reminding viewers of the harmony that exists between fashion, technology, and science. Her willingness to experiment has resulted in critical acclaim from those within the fashion industry, and has created an open conversation of what it truly means to explore freedom in the industry. In a world that is changing rapidly, many designers are staying stagnant in their ways, making the industry seem bland and not in line with the current zeitgeist, but Van Herpen fluidity in her designs and exploration with surrealism has set a new standard for designers around the world. Her pieces are works of art, but still ones that can be worn, and they are frequently seen on the red carpet.

“Expands past the boundaries of fashion” 77

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“3d printed plisse organic sil

d lace, textures, houettes” Van Herpen’s references feel new and fresh, such as Crystallization in 2010, Escapism in 2011, or even Hacking Infinity in 2015. In her 2011 escapism collection, she collaborated with architect Daniel Widrig to showcase a collection full of 3D printed lace, plissé textures, and organic silhouettes.

It’s unique that her designs reference anything except fashion, which truly sets her apart making her designs feel truly original. Van Herpen’s innovation has only grown throughout the years, as in 2019 she had meticulously laser cut her dresses thousands of times, creating movement that could not be achieved with any average textile. Iris Van Herpen is a designer that will be remembered as one of the most innovative figures in fashion of our time, going on to inspire millions not only because of her clothes, but because of her conscious efforts to push boundaries and expand the true meaning of fashion.

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Photographed by Amal Supariwala, Amanda Whylie, Savannah Hernandez Modeled by Taryn Scott, Ryleigh Holloway, Anna Grace Fantucci

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The Unconventional Unconscious: Uniting Gender Identity and Self-Expression

by Grace Maneein

In the realm of dreams exists our manifestation of the unconscious: differing in landscape and expression by individual, just waiting to be explored beneath the thin veneer of perceived reality. A movement that first arose between the First and Second World Wars, Surrealism was first led

by French poet André Breton as a complete rejection against the rational thought and logical tension that resulted in the horrors of World War I. “In a violent reaction against the impoverishment and sterility of thought processes that resulted from centuries of rationalism, we turned toward the marvelous and advocated it unconditionally” (Breton, MoMa Learning).

Once again, current beauty trends are turning toward the unconventional in an effort to better showcase the spectrum that is gender identity and sexuality: men in dresses, women in shags, outfits from another era.

Harry Styles’ 2019 album release, “Fine Line,” was accompanied by a photoshoot that featured him wearing long dresses and lacy blouses. Not only was Styles blurring the lines between clothing gendered traditionally male and female, Styles also blurred the lines between today and yesterday, reality and dreamland, by paying a direct homage to the vertical stripes and wide-leg pleated trousers of the 1930s. In true Surrealist fashion, the proportions of the items worn were distorted on film and in actuality: his tie is wider than the conventional necktie, the photos are taken from a low angle very close to him. Both of these give him the impression of being larger than life, something that cannot possibly exist. The subsequent inspiration from this photoshoot has been everlasting, and its effects are being felt more now than ever.

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Unconventional Unconscious:

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In the realm of dreams exists our manifestation of the unconscious: differing in landscape and expression by individual, just waiting to be explored beneath the thin veneer of perceived reality.

Amongst the plethora of recent micro-trends has included slip dresses, chunky footwear, traditionally tomboyish haircuts, and chunky jewelry.

Shags and mullets are increasingly popular and can be found on people of all genders. While we might think of these trends to be a hallmark of post-COVID-era fashion, all were actually first introduced in the 1920s. In an effort to move away from logic, reason, and their traditionally assigned gender role, women in particular started wearing underwear as outerwear and seeking a more androgynous style. Eccentricity replaced femininity then, and we can see the same shift now with drop-waist fashion making an appearance on high fashion runways as of late (Navas). Everything, from fast-fashion mass consumerism to the pandemic, points towards the resurgence of the Roaring 20s. Much like how Surrealism made its mark then, the same is forecasted to happen now.

This sublimation from tradition, be it during an era before our recollection or today: it’s freeing. It allows us unrestricted and unparalleled access to just exist at the cross sections of everything we are and who we want to be.

Here, there are no rules, there is only self expression. We are human, and Surrealism has allowed us to realize that we deserve not to be categorized, but to create our own categories.

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by Taniya Pierce

jeremy scott brings pop culture to fashion runways at moschino.

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Pop culture meets high fashion at Moschino with fashion pioneer Jeremy Scott as the creative director. The brand itself is best known for its extravagant collection themes, and over the top runways shows that push the boundaries of traditional Italian fashion. In the early 80’s, Moschino was founded by the late Franco Moschino in Milan. From the start, the Italian fashion house went against fashions norms, and displayed innovative, playful and eccentric designs that continue to bridge the gap between youth and adulthood.

When Jermey Scott took creative direction of Moshino in 2013 he brought with him his ‘cheap and chic’ satire with a mix of American pop culture, and 1980’s fashion. Scott is credited as pop culture’s designer, and incorporates urban fashion into high fashion designs. Prior to Moschino, Jeremy Scott dressed some of the biggest names in the industry such as: Rihanna, Miley Cyrus, A$AP Rocky, and pop superstar Brittany Spears. Jermey Scott’s Fall 2014 ready-to-wear debut collection featured consumer culture inspired looks, and paid homage to the brand’s founder Franco Moschino. McDonald’s stole the show with its recognizable colorway and golden arches reconstructed as the brand’s iconic heart design. Happy Meal handbags were displayed on a tray as models walked down the runway. Scott’s first show as creative director at Moschino set the tone for the brand’s future going forward.

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Spring/Summer 2015- Barbie Collection The iconic Moschino and Barbie mashup for Spring Summer 2015 was a moment in pop culture, and took the fashion world by storm, selling out in under an hour on release. Scott transformed models into life size Barbies in platinum blond wigs down the runway. The nostalgia Mattel logo was recreated as Moschino’s in bubblegum pink crop two piece sets, oversized logo sweatshirt dresses, and the infamous Moschino iPhone mirror case. A Moschino Barbie was released as part of the collection as Jeremy’s muse. “The thing I love most about Barbie, is that she is the ultimate muse, she’s worn every style and design imaginable and at the same time she’s had every possible profession you can dream of.”, said Moschino creative director Jeremy Scott.

“I don’t speak Italian, but I do speak Moschino,”

Fall 2019 - Tv game show inspired For Moschino’s Fall 2019 collection, Jeremy Scott drew inspiration from the game show, “The Price is Right”. The collection’s theme included consumerism references to household items, with handbags shaped like toothpaste, washing machines, hand irons, and laundry detergent. The show stopper was the mystery meat cooked tv dinner with a train of peas, carrots, and mashed potatoes on the side as a kimono. This collection showcased consumerism through fashion, incorporating experimental elements of everyday objects.

Spring/Summer 21 - “Ladies who lunch” Jeremy Scott presented his latest collection from Moschino during New York Fashion week. The Spring Summer 2022 collection took playfulness up a notch, which is nothing but expected from Moschino. The collection titled “Ladies who lunch” featured childlike designs, a range of pastel colors, chucky accessories, and ‘60s skirt suits. Cartoon animals were present on many of the collection pieces, along with stuffed animals, toy block purses, quilted coats resembling baby blankets as patch work.

Jeremy Scott continues to evolve the Moschino brand as the playful pop culture fashion house who is not afraid to incorporate escapism in fashion.

Scott’s creativity comes from a place of creativity and individualism and this is vividly represented in his work as a designer and creative director.

Without a doubt, Jeremy Scott has proved to be the fashion industry’s most influential experimental designers.

“We need escapism now more than ever, We’re all trying to escape one scenario or another” - Jeremy Scott

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HOW MODERN TECHNOLOGY IS REVAMPING RETAIL

by Haley Wolf

digital dressing

A fundamental objective in the fashion industry is the ability to keep up on trends, so embracing technology and digitalization has become not only a concept of the future, but also of the present. The emergence of such advanced technology is making unexpected waves in the fashion world, and this innovation of clothing as a digital item that you could just photoshop onto yourself is groundbreaking to say the least. However, with the rise of social media and influencing, no one is shocked to see people posting pictures of themselves wearing fake items.

Digital dressing has become a new phenomena in the past few years where people can purchase virtual clothing items that will then be photoshopped onto specific photos of that individual. Companies will do this all for you, so no expert Adobe Suite skills needed. One of the first brands to implement this was Carlings, a Norwegian fashion house. This original collection, Neo X, came out in November of 2018 and only cost between $9 and $30 per item. This collection contained all of the crazy eccentric pieces we all hope and desire to have in our wardrobe, but can’t justify spending money on usually. The collection included: “a bright yellow crocodile skin coat, blue latex chaps covered in computer code print and a black visor emblazoned with the slogan ‘Eat The Glitch’” according to Eco Warrior Princess (2020).

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Several other brands have also executed this digital design such as Dress X and the Fabricant. They each share similar missions that hope to allow for customers to rock designer items for a fraction of the cost, while also working towards limiting textile waste in landfills. Textile waste makes up over 11.3 million tons of the waste in landfills, and contributes greatly to pollution every year. Digital dressing will decrease this number by a significant amount, and still allow people to show off their true sense of self by not weighing them down by the cost of garments. Making clothing more easily accessible to all groups will only add to the amazing styles and pieces we see coming out each year.

While this is certainly a novel trend, it has swiftly expanded into other areas of the fashion world. Retailers are providing customers with the ability to virtually try on clothing in simulated dressing rooms before purchasing. Elise Dopson from Shopify explains, “Augmented reality (AR) or artificial intelligence (AI) technology places the item over live imaging of the customer, so they can check the size, style, and fit of a product they’re thinking of buying” (Shopify, 2021).

These dressing rooms have elevated the shopping experience to blend online spaces with brick-and-mortar retailers, and I’m curious to see where this virtual world goes next.

Escapism is one of the largest trends going into 2022, and with these new technological advancements clothing can become even more eccentric and individualized than ever before.

Escapism is defined as “the tendency to seek distraction and relief from unpleasant realities, especially by seeking entertainment or engaging in fantasy.”

Without the constraints of tangibility and cost, people will be able to escape reality to expand their sense of style however they please. The unconscious mind has no barricades in a world where anything can be at your fingertips. Is your next big fashion move going to be a digital one?

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WHAT DREAMS ARE MADE OF: THE MET GALA AND THE RETURN OF THE SURREALIST FASHION MOVEMENT

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AESTHETIC MIXING: THE NEW NORM

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ROMANTICISM IN THE COUNTRYSIDE: HOW COTTAGECORE MAKES FANTASY ACCESSIBLE

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AN ODE TO OPULENCE: HOW REGENCYCORE IS ELEVATING MODERN FASHION

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ELSA SCHIAPARELLI: GLAMOROUS ABSURDITY, AS SEEN THROUGH (HOT) PINK TINTED GLASSES

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DOPAMINE DRESSING: COLOR AND ITS CONTRIBUTION TO ESCAPISM

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BRACING BALENCIAGA: DEMNA GVASALIA’S REFRESHING TAKE ON CLASSIC COUTURE

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JONATHAN ANDERSON’S MIND-BENDING CONTRIBUTION TO ESCAPISM IN FASHION

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A CONTEMPORARY COUTURIER: IRIS VAN HERPEN AS A SURREALIST ICON

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THE UNCONVENTIONAL UNCONSCIOUS: UNITING GENDER IDENTITY AND SELF-EXPRESSION

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JEREMY SCOTT BRINGS POP CULTURE TO FASHION RUNWAYS AT MOSCHINO

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PLAYING WITH REALITY: HOW MODERN TECHNOLOGY IS REVAMPING RETAIL

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