Rouge Magazine AW23

ROUGE MAGAZINE VOL. V, ISSUE I A/W 2023

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insta: @rouge.mag email: editors.rouge@gmail.com web: rougemag.squarespace.com

Rouge Magazine is the official fashion magazine at the University of Georgia, founded in August 2007 by three students within the College of Family and Consumer Sciences who recognized a need for a fashion oriented publication. It became a registered student organization in 2008. Rouge is a biannual, full color publication funded by dues and a once-yearly allowance from the University’s College of Family and Consumer Sciences.

The community of Athens, Georgia is one that Rouge is devoted to supporting through featuring local boutiques in the styling process, photographing various locations around the area, and engaging with the fashion-loving population through events and social media. Each issue is designed entirely from scratch by members of the Rouge staff 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. Rouge 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 it be style inspiration, knowledge of the fashion industry, or an aesthetically pleasing graphic design scheme.

2023

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Beauty Assistants

Graphic Designers

Cody Murray Gianna Uvari Laura Ross Pamela Alatrista

Digital Writers Designers Camille Mosier Grace Grant Jolie Bellaff Sheena Deepak Sophie Difusco Srujana Sivakumar

Stylists

Akash Jain Alexandra Miller Annabel McCarthy Ava Gomez Desirae Linn Emily Arreola Emma DuBard Ephese Germain

Adriana Zumaeta Camilla Perez Isabella Klug Sophie Evans Lucy Swearingen Meg Cooper

Ally Thompson Katherine Fivgas Corinne Cookson Lucy Swearingen Haley Pearson Naia Meyers Heather Harris Nicole Moreno Helen Sorme Savanna Waddell Julia Filosa Srujana Sivakumar Kaitlyn Talsky Stella Turner Kate Riopelle Sydney Annis

Faith Ferrer Grace Benson Grace Jones Haley Pearson Hannah Smallwood Julia Filosa Katelyn Porter Katie Embry

Social Content Creators

Adriana Zumaeta Dahlia Cousineau Emma DuBard Gianna Uvari Grace Jones Isabella Klug Khushi Valliani

Marisa Gu Meg Cooper Meredith Conger Nick Cucchi Rachael Lalor Sarah Punjani Sierra Bolin

Communications Coordinators

Lexi Lewis Liliana Guilfoyle Marisa Guritika Soren Dinkins Sydney Fogarty Tara Ravindranathan

Annabel McCarthy Grace Grant Heather Harris Katelyn Porter Khai Clay Khushi Valliani Laasya Ananthu

Photographers

Charlotte Williams Hannah Smallwood Katie Lee Keegan Nelson Leilani Kelly

Laine Pendergast Leilani Kelly Lexi Lewis Lovely Grace Pilibino s Madeleine Douglas an lliv Su an Megh Meredith Conger Mili Gandotra

Liliama Guilfoyle Mackenzie Glenn Nicole Collier Sheena Deepak

Rachel Roberts Shelby Hardin Sophie Evans Stella Turner Tyanna Tejada

Blog Committee Dahlia Cousineau Emily Arreola Emma DuBard Helen Sorme Kaitlyn Talsky Katherine Fivgas Lovely Grace Pilibno Madeleine Douglass Naia Meyers

Nicole Collier Rachel Grace Odling Sarah Myers Sarah Punjani Savanna Waddell Sydney Annis

Editor-in-C hief Marga ux Binder Creative Dir ector CG Sigman Communic ations Director of C ommunicatio ns Smriti Tayal Fashion Director of F ashion Jor dan Long Womenswea r Editor S ophia Bradle Menswear E y ditor Jey S irmans Beauty Director of B eauty Lucy Marshall Beauty Edit or Julia O’N eal Digital Con tent Director of D igital Conten t Evie Krak ovski Director of B log Emily S lepsky Visual Cont e n t Director of V isual Conten t Savannah Hernandez

esign Graphic D ren Sahar e K n ig s e Graphic D Director of Writing Derickson is x le A g Writin Director of ia ski Social Med ne Jankow li e d a M t cial Conten o S f o r to c Dire ru Finance ana Kondu t r e e K e Financ 7 | AW ‘23 Director of

TABLE OF CONTENTS 10–33

IN THE BEGINNING The Spinner’s Thread Fashioning Fate Vivinne Westwood: Queen of Punk History of Sexism and Pockets The Creations of War Medievalism’s Fashion Influences on Contemporary Fashion

34–61

BACK TO OUR ROOTS

Conformity Core Q&A with Airee Edwards of Agora Vintage Culture Uncredited: Who Inspires What We Wear?

The Fabric of Our Humanity Matriarchal Muse: How Mothers Can Birth Our Aesthetics Greek Goddess: The Modern Woman

62–87

TIPTOEING THE THRESHOLD Victoria’s Secrets The Age of Disenchantment Blurred Lines: The Story of the Bra Marilyn Monroe: The Danger of Worshiping History Fashion’s Crossroads: Where Tradition & Modernity Converge

AW23

88–111 RUNAWAYRUNWAY

Walking the Runway Picket Lines to Checkout Lines The End of Humanity: AI in the Fashion Industry Profile of Myra Magdalen Cosmic Couture: Exploring Afrofuturism’s Influence on Fashion

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MARGAUX BINDER

“Time Tells All.” This captivating issue stands apart from our previous works. Straying from our more tangible nature and embracing the abstract, “Time Tells All” has challenged our talented team to reimagine the way we showcase our creativity and passions.

Through this thoughtful collaboration, we offer an enthralling account of the lifecycle of modern fashion. But this timeline of truths and revelations in fashion reveals itself through concepts and commentary rather than a mere historical retelling.

The issue’s four chapters present a unique opportunity to explore the familiar rhythm of fashion’s beginnings, evolutions, rebirths, and reinventions. As you turn each page, we welcome you to explore these concepts with curiosity. Delve into origin stories, mysteries, and mythology. Tiptoe fashion’s hidden secrets and uncover its unlikely influences. Wonder with us as we peer into the uncertain future of fashion and technology.

As always, we hope this issue inspires you to expand the way you think about the clothing you wear each day. May our work urge you to create, style, design, and join our reimagining.

With love,

Margaux Binder

LETTER FROM THE EDITOR

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t is with great excitement that we present the Autumn/Winter 2023 issue of Rouge Magazine,

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By:

The Spinner’s Thread Fashioning Fate Creativity, Novelty, & Fashion’s Beginnings

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Since the dawn of time,

within them exists an implied end. Ideas share mortality. One finds a connection with creativity that replicates connections with other humans. Only lasting for a finite amount of time, the novelty of these connections graces only those who stumble upon its short-lived vibrance.

Even if the concept remains over time, it is redone and expanded upon until it is something entirely different.

the Fates have dwelled deep within the recesses of the Underworld.

Day in and day out, the three sisters weave a cloth of destiny inescapable by man nor god.

Greek mythology distinguishes each sister with a divine task. The eldest, Atropos the Inflexible, is positioned at the end of the assembly line with a pair of shears, dictating the end of each life. Next comes Lachesis the Allotter, who passes the thread to her elder sister. Clotho the Spinner sits at the beginning of the process, the youngest of them all. She rules over the origins of all things — she not only creates life, but can revive lives lost.

Continuous change within the fashion industry is just a string of beginnings and innovations bringing new light to the old and blossoming into long-standing dynasties.

Coco Chanel revolutionized women’s fashion with her liberating designs in the 1920’s.

She popularized the idea of the “Little Black Dress”, setting a new standard that remains relevant in our culture to this day. Christian Dior’s post World War II designs and revolutionary “New Look” rang in the new era of the 1950’s. After a tumultuous decade of political turmoil and war in Europe, the 1950’s were a push for normalcy and elegance - a retaliation to the frugality of war time.

Vivienne Westwood railed against these ideals in the late 1960’s and early 1970’s with her edgy, punk-inspired designs that made way for a new wave of fashion.

The creative process behind fashion and artistry mirrors the lives held and dictated by the fates.

Like the Spinner, designers bring their creative visions to life and pass them into the hands of the Allotter. Existing for their allotted time in the world, they eventually fall to the mercy of the Inflexible. Beginnings are one of the most human of exploits – for

It is within human nature to seek novelty.

Craving the possibilities that new or revived things can bring, individuals ache to be surprised and entertained. Yet, one must slow down to find the beauty within the beginnings. Because though the Spinner blesses all with a divine beginning, the Inflexible may not be so kind with her shears.

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Vivienne Westwood: Queen of

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Known for her rebellious and provocative styles and attitude, Vivienne Westwood inspired millions over the decades to dress against the norms of society. The Queen of Punk’s ability to create and fashion personas as an art form while protesting against traditional wear is what catalyzed her popularity as a designer. Westwood did not become well-known in the fashion world until her 30s and was most prominent in her designs in the Punk, Pagan, and Anglomania fashion eras. Her fashion career is characterized by revolutionary designs, punk-rock styles, and a genuine desire to go against the mold. While her career may imply that Westwood grew up around fashion and its rebellious cause, she contrastingly was raised outside of its realm.

Westwood was born into a humble life lacking any type of luxury. Named Vivienne Isabel Swire, she was born in 1941 in the small town of Glossop, England. Her father was a cobbler while her mother worked at a cotton mill.

When her family moved to the countryside, Westwood began working in a factory and training as a primary school teacher. Enveloped by the Industrial Revolution, Westwood was devoid of exposure to England’s high fashions.

Assumptions that teaching would become the rest of her career prevailed. Although this depiction of a quiet life dissolved along with her marriage to her first husband in 1965, this would not define Westwood’s life trajectory. In this same year, Westwood would meet her first fashion partner, Malcolm McLaren.

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In 1981, Westwood and McLaren produced their first fashion show – their iconic A/W “Pirate” runway headlining peasant blouses and buccaneer hats. Breaking away from the constricting silhouettes of the ‘70s, this collection re-established the significance of Westwood’s career. During this new era of fashion, she introduced her renowned Crafting jewelry on the side, West- mini-crini and rocking horse shoe wood was inspired by McLaren’s belief designs. A mere year later, McLaren in the powerful impact art had on the and Westwood split. It was her secpolitical landscape. Westwood adored ond husband and next fashion partMcLaren, partially credited to his ner, Andreas Kronthaler, who would intimate knowledge of her person- remain her partner until death. al life when the partnership turned also to romance. Together, they had a son and established the “Let It Rock” boutique, the first of five store titles.

Westwood’s designs rapidly became a hub for the infamous punk movement. Westwood was self-taught and Westwood went on to curate collecnever even attended a fashion school tions defined by their provocative – a testament to her talent. When silhouettes and cutting-edge style.

McLaren became the manager for Ancient Greecian influence partThe Sex Pistols, Westwood’s designs nered with British tailoring illustook off. Majorly responsible for the trated her “Britain Must Go Pagan” rise of the punk movement, this rock age. Anglomania collections comband spurred Westwood’s career in prised designs fashioned with elfashion as she designed and styled egant fittings and the French love their wardrobe. Yet, success hov- of exaggerated proportions. In the ered fleetingly. When the band broke 2000s, she returned to her roots in up, the punk era declined in rele- political activism with featured provance along with Westwood’s designs. tests on climate change representing her efforts in sustainability. On December 29, 2022, Westwood passed away, leaving an irreplaceable impact on fashion and social change.

“Success hovered fleetingly”

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Unpacking the Sexist History of Storage

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Pockets & Progress:

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ess. ” ” ! s t e k c o p s a h t I ! s “Thank Interactions like this are all too familiar. Whether you have stood in the mirror in a brand new dress only to realize it has pockets or were involved in the above exchange, it seems that in one way or another everyone has shared in the excitement of the pocket discovery.

But why is it so bizarre for a dress to have pockets? And why is it so exciting when it does? While a common occurrence now, the surprise a pocket brings goes back to long before women had the luxury of holding their belongings on their person.

With the introduction of the corset in the 17th century, the ability for women to hold belongings became an afterthought. While men were handed the tradition of these conveniently sewn pieces of fabric into their garments, the “tie-on pocket” was developed for women as a functional version of the pocket that was meant to be tied around the waist independently of clothing or accessible through dress openings or

under petticoats (Burman & Fennetaux, 2021). A century later during the French Revolution, rumorsswirled that both the external and internal pocket was banished from women’s clothing to prevent the concealing of revolutionary materials. Soon after, a more form-fitting, slimmer dress stole popularity – a design that would prevent any possibility of carrying belongings within the clothing (Summers, 2016).

Quickly, pockets developed an explicitly gendered meaning. At a time when women had no standing, the very idea of putting their possessions into a removable pouch stripped them of their independence, promoting the idea that the proper place for women to hold their belongings was with a man. In response to this ideology, men’s fashion evolved for functionality while women’s evolved for looks.

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ly ton bag accentuated external, blatant Although women’s detachable pockets a visible pockets. Pockets are not just 19th late the by d ishe van tely comple place to put your keys but are visually century, the idea of the pocket contincaptivating. In addition to its rich hisued to symbolize independence, status, in i- tory, the novelty of having pockets and mobility. While considered arb of clothing fills wearers with the joy trary, the denial of women's pockets asal- stuffing belongings in what they're serted that they do not maintain a pro lt, ready wearing. ductive role in society. As a resu e pockets became associated with mal ts privilege. So, when the women’s righ Once a function in fashion and now movement began to progress, pockets used to add some extra flair, pockets became a focal point of feminism and g have appeared in countless clothin rebellion. Instruction manuals on how lines, quickly becoming Fall 2023’s to sew pockets into skirts circulated ent. h most prominent embellishm across society, and organizations suc Appearing in Miu Miu miniskirts, as the Rational Dress Society, a group Dion Lee corsets, and Blumarine in en wom iety soc h hig by hed establis a minidresses, pockets have become 1881, developed to further the fight for ion. er prevalent force in all facets of fash functionality (Adams, 2021). Lat ld wou II It was just until recently that one when the world entered World War dress e consider themselves lucky if their and women overtook traditionally mal ll had pockets, but now these sma ctipra re mo of n ctio odu intr the s, role found be can compartments cal clothing –most prominently the almost everywhere. trouser– began. With this, women fin nally had the pockets they had bee e. campaigning for all this tim Though gender disparity in the fashion to industry has not exactly been put crest, this was a step in the right dire tion. Ever since, pockets have taken on a world of their own. Transforming into a focal point in design, pockets l have extended beyond their origina e purposes and added an exciting styl e feature not only to dresses but to a wid variety of pieces within the fashion sphere. Even bags themselves are get Fen ting a whole new look, labels like di made the Baguette bag a highly r sought-after accessory and popula topic of discussion while Coach’s Ash

If there’s one thing that has always been true in fashion, it’s that women want more pockets.

This is evident in the excitement that these little extra pieces of fabric bring. What was once seen as a symbol of gendered oppression, the power of the pocket is making its way into modernized trends.

It continues to empower women to feel comfort and confidence without the unpredictable worry of needing a handbag.

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The Creations of War

By Heather Harris

Fashion thrives in times of crisis. nomic stability and prosWar notoriously decreases overall eco ino effect of creativity perity, but it also often sparks a dom instability, fashion pro(Dutta, 2022). In times of economic of clothes made of cheap duction reflects the mass production to the rationing of matefabric such as cotton and nylon, due were required to produce rials. During World War II, factories in baggy clothes with large quantities rapidly which resulted reliance on cheaper and imperfect hems (Dutta, 2022). The ion creativity to often readily available materials allows fash into entirely new genres flourish, promoting experimentation hes, color palette, and exploring changes in the shape of clot designing nuances (Dutta, 2022).

The economic recession during Wo rld War II demonstrates how new fashion emerged based on experimentation and creativity with available fabrics. The unr est of the country was caused by the concern of the war bei ng fought, as well as substantial rations on basic needs such as food and clothing. The economic instability of the United Sta tes as a whole enabled creative minds to construct a new and timeless generation of women’s fashion. Designers were for ced to experiment with new materials because luxury materia ls were not as available due to cost. This experimentation sparked creativity among fashion designers such as Chanel to em brace a modern style of fashion even with decreased resourc es. Production of luxury materials, such as silk, significantly dec reased due to economic instability. This meant cheaper mat erials such as cotton and nylon became more prevalent in clot hing (Goles, 2023). Extreme conflict fueled a brand new wav e of fashion for women with the introduction of modern styles worn by women, such as mini skirts, trousers, and activewear (Goles, 2023). These economic factors contributed to the new modern style that veered away from dainty femininity, which included shortened skirts to preserve materials (Goles, 202 3).

After the country had broken free from economic restrictions, Chanel experimented with ideas that conserved fabric, not because they had to but because they found a new branch of fashion (Dutta 2022).

Although simple, the design represented the decreasingly austere times.

Shifting gears, new fashion styles have even been born as a result of COVID-19. During isolation, it became a habit to dress comfortably. When people were allowed to return to the workplace, they experimented with a combination of styles to create a relaxed outfit appropriate for work (York, 2020). Now, popular brands for young adults such as American Eagle and Urban Outfitters have shifted towards a style of dressing in what makes you comfortable and confident.

From the traditional, conservative, and luxury designs of the 1940s, society entered a new era of modern styles for women with trousers and miniskirts. Even today, conflict inspires a new sense of comfort and confidence.

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Medievalism’s Fashion Influences on Contemporary Fashion

By Kaitlyn Talsky

Knights in shining armor turn out not just to be a thing of the past. Clinking chainmail, tunics, and corsets have long-stood within couture, yet a new celebration of the Middle Ages has arisen. Fashion Institute of Technology student Saman Bakayoko went viral after incorporating a suit of armor into her everyday streetwear. Bakayoko’s fashion has been received somewhat controversially online, summoning comments such as, “Why go to fashion school when you can’t even dress…” and, “These looks are getting out of hand.” Despite the vocal minority of cynics in response to Bakayoko’s style, she found success in the endeavor and began styling major influencers in her own prototype armor line. A seemingly experimental, ultramodern trend, Bakayoko’s stylistic decisions represent a simple continuation of the rise of medieval influence on contemporary fashion. These elements, and their historical or cultural influence, allow analysis of futuristic fashion in a simultaneous return to archival memories.

Recent years have been widely labeled a dark time – some might even say a dark age. Societal unrest, isolation, and widespread despair has echoed the cultural decline seen in many years past.

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“So it is no wonder that fashion is seeing a return to a time that hosted plague, political corruption, and ideological warfare.”

Shockwaves began with images from the 2018 Met Gala, titled “Heavenly Bodies: Fashion and the Catholic Imagination,” still heralded as one of the best themes with undeniable medieval influences. Paco Rabbane’s Spring 2021 collection concluded with several models shielded head-to-toe in silver and gold, appearing as modern, feminized versions of armor. Balenciaga soon followed with their Autumn/Winter 2021 collection, the “Chevalier Armor Knight Boot,” which entered the mainstream when Cardi B flaunted them on social media. The boots, which were created to resemble the real footwear of medieval times known as “sabatons,” were featured in dozens of everyday streetwear looks in the collection. Even contemporary film found a fascination in the medieval, with The Northman and Catherine Called Birdy. The two films are contrasting in their portrayals of medieval fashion. The Northman displays its dark-colored helmets to represent its masculine, violent story; Catherine Called Birdy, as a female-driven comedy, focuses more on the dresses, tunics, headpieces, and jewelry worn primarily by women at the time.

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The United States is facing a widespread ideological shift – more specifically, a religious shift. As described in the 2018 Met Gala, religion (Catholicism in particular) was a deciding factor in the fashions of that age. Today’s megachurches grow persistently larger as religious influencers float just below the radar, promoting “modest” fashion in the name of faith. Women’s Wear Daily states that “the modest fashion apparel segment is poised to reach $360 billion globally over the next two years,” seeking to “[remove] religion from the equation and [make] modesty mainstream” (Hadad, 2022). Desires of longer skirts and sleeves favor medieval silhouettes, high scooping and square necklines, and veiling reminiscent of the 15th century.

In opposition, medieval fashion takes a step forward in its presentation. Bakayoko’s armor styling translates futuristically in its boldness, the same of which can be said for Balenciaga’s A/W 2021 collection, delivered to the public via videogame. The act of being able to access a collection of pieces inspired by medieval trends from the comfort and accessibility of a mobile device is the epitome of combining the antiquated with the contemporary. Geraldine Wharry, a futurist trend forecaster and designer, suggests that this resurgence is a form of escapism.

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“There is a need to uplift spirits and escape via parallel worlds, building immersive aesthetic worlds that can pull from folkloric and historic themes such as fairy tales, something that prevailed during medieval times,” Wharry says.

When facing darkness at scale, artists found solace in their ability to generate conceived worlds they can escape to. There is an undeniable courage in walking down a New York City street in a full suit of armor. It’s the kind of courage arguably coveted by the whole of civilization. In a suit of armor, one is protected from the dangers the world presents. But rather than falling victim to the same global issues that citizens of the medieval era were forced to, one imagines a future that refuses to face a similar destiny.

We are instead able to imagine a world existing as princesses and knights, conclusive perhaps in lives lived happily ever after.

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“And the worst part is, if you go bohemian or something crazy like that, you’re conforming just as much as everybody else, only in a different way.” (Salinger, 1961)

A look into Aesthetics and Identity

By Stella Turner

What word do you enter before “core” in the Pinterest search bar? Whether you’re in pursuit of English gardens and Highland cows or Demonias and shirts held together by clothespins, you know how to find what you’re looking for. Humans relish putting themselves in boxes for the purpose of identity.

While these sorts of signifiers have always existed, both our relationships to these communities and the depth of our connections to them have shifted with time.

Aesthetic is, simply put, a particular taste for or approach to what is pleasing to the senses - especially sight. Focusing heavily on what is available to the eye, aesthetic appears in a way that may or may not truly reflect the self. As the trend cycle moves at breakneck speed, it is easy to get caught up in what is being pushed to us on our feeds.

Teens and young adults in particular tend to search for identity and personal style in other people, and this has been made much easier with the accessibility of social media. What we like and find trendy can turn on a dime with each new Internet sensation.

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Trend culture brought on the arguable death of youth and subculture.

Subcultures of the past typically formed their communities under a common enemy or conviction.

Subcultures distinguish themselves through certain patterns and behaviors that the majority of those within the group adheres to. They are groups of like-minded people who usually like the same things and dress the same way, giving those involved the deep sense of community and belonging that draws them to the group in the first place.

So, what brings value to a community? Must the basis of interests and style always have a deep, poignant substance, or can individuals just like what they like? When standing apart from the crowd is harder than ever before, constant pressure to conform to a predetermined style dominates. Whether it be an endless rotation of vintage jeans and band tees or Y2K mini skirts and butterfly clips, conforming to the perceived requirements of these aesthetics can bog everyone down.

Youth is a time of exploration, but it is not until finding yourself that This is not to say that aesthetics, style and community follows. however surface level they may seem, do not bring people a sense of identity. In recent years, we have seen the cultivation of communities on TikTok centered entirely around said aesthetics. Those particularly drawn to Cottagecore shared bread recipes and mushroom foraging methods in floral dresses with woven baskets in hand, of course.

These connections allowed people with similar interests to differentiate themselves from the norm.

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Q&A: Airee Edwards of Agora Vintage

By Kate Riopelle Airee Edwards is the founder and owner of Agora Vintage, a local business specializing in second-hand luxury and vintage goods. Airee started Agora after graduating from UGA majoring in art. She started the store entirely on her own, waiting tables down the street at DePalma’s to make ends meet. Now, Agora Vintage is a nine time Bulldog 100 Business with loyal clients all over the world thanks to Airee’s determination and vision.

How did you first start Agora and what was your original vision for it?

When I first started Agora, I wanted to have something where people could come in and buy vintage, estate jewelry and handbags but also get furniture and things for the house. I was always into vintage and antiques. I sought the space to be an area where people could show their collections of vintage and estate furniture, but all a bunch of really cool pre-owned items that you wouldn't normally see in a typical store. Back then, we only had very expensive furniture stores that college students couldn't afford, so it was kind of like an antique and vintage co-op.

How does the original vision you had for Agora differ from what it is today?

It is definitely different than what I expected when I first started this business. I was selling vintage lime green couches and now I sell Birkin bags. If you told me 21 years ago that I would have a store like this, I'd say there’s no way. There were a lot of obstacles it went through that helped me build up to where we are today.

It took a lot of time, and I didn't expect for us to go so high in luxury which is cool because you become really appreciative of things that are very valuable. I just love anything that is unique, and it doesn't have to have a designer label. But then, over time, my clients were asking for more designer stuff, so we evolved. I never thought that I would be selling the most expensive bag in the world, but it's kind of nice that I started with something where I sold vintage handbags for 20 bucks and now we sell these kinds of things. We also still love vintage so I don't want people to think that we only sell designer stuff. I want everybody to be able to come in here and buy something.

Who or what has been your biggest inspiration?

My biggest inspiration was my mom. When I was a child and I went to an event like prom or homecoming, we always went vintage. If we couldn't find something in the vintage stores, she would make it for me. She was talented because she knew how to sew and she just had a great imagination. My mom was a single parent, and we didn't have a lot of money, so we had to buy second-hand. But we'd always look for really good quality clothing and that's where I learned to appreciate craftsmanship. She also loved antiques and we'd always talk about history so there was a love of where things came from. She could find a couch in the middle of the street and I would think, “This is a bunch of junk.” But she’d say, “No, we're gonna make this beautiful couch.” And she always did. She saw the bones and knew she could create something out of it rather than putting it in the dumpster. And because she did that, it's the same kind of mentality I have with the business. I want to make sure these things are given second life, third life, whatever, but we're taking things out of the landfills.

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What keeps you doing what you do?

We're taking things to give them purpose again, and that's the best. That's probably the number one reason why I do this business because it’s so green. The production of fast fashion nowadays is so hard on the environment and the people that have to suffer for it.

I always strive to educate clients of this importance when you buy pre-owned. You are not only saving money but you're almost making money because you can always resell the item. There's a lot of reasons why people should look into buying second-hand luxury items because you can still have the luxury while being green about it. As consumers, we have to realize how to show care and love to our items to preserve them. It’s keeping these industries from having to create excess that we don't really need.

What is one thing that you wish you could tell your younger self when you first were starting Agora?

Take more risks. I was always scared because I was doing this myself. I didn’t come from any money and I didn't have someone give me a bunch of money to start with – I started this all on my own. So I was very cautious about putting myself out there. I'm proud of where we are now, it just took a long time to get here. I could have taken a few business classes so I wouldn’t have had to rely on other people for that, but again, I'm really an artist so I created this business as a creative person. In a way, maybe being the creative, weird, whimsical person that I am helped me get to where I am.

My advice for others would be that if you're a young person, you should go for your dreams and do what you want to do early in life because you have the rest of your life to fail. I always told myself, “Well, if I fail, I guess I could do something else. But, I'm gonna put everything into this as much as I can.” And I did. Just go for it while you can, when you're young and have the energy and you can bounce back.

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What is your favorite piece you’ve ever sold?

Drew Barrymore once came into the store with her husband, her child, and her nanny. She was looking for a piece of jewelry and she ended up wearing it to a big event and the piece was in a magazine. But that wasn’t the thing I loved selling to her. Her husband at the time came around the corner with my E.T. lunchbox that I carried all through my childhood. He asked, “Could you go lower on this?,” which I thought was really funny. I asked him, “Who’s it for?” He looked at Drew and I thought, “Oh, duh.”

I really didn't even want to sell my own lunchbox, but it was such a good feeling to know at the time that she got my lunchbox and it had found the perfect home.

Why do you stay in Athens?

Because I love Athens. This is my hometown. I went to school here, I ended up living here and having my family here, and I just love the community so much that I didn't want to and don't want to leave it. We are so fortunate that we can have a store here but still have the clientele we have by shipping items to them. We're fortunate that we have a good presence on social and online and that our customers don't mind me being here. I think customer service is what sets me apart from other stores or websites because you don’t get the same relationships that way. My customers feel comfortable with me and trust me. They don’t even need to see an item in person to buy it. I don’t want to ever sell someone something once, no. I want you to be a customer for life.

What is one question that you've always wanted to be asked, or something you hope you get to talk about?

One of the things that I'm very involved and passionate about is Ciné, which is our local independent theater. I’ve always loved films and I really care about this organization, so I do put a lot of my time and effort into promoting Ciné. This is the kind of stuff I want to raise awareness for because not a lot of communities have local, independent theater anymore. They need our support.

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Culture Uncredited: Who Inspires What We Wear?

Fashion doesn’t emerge from a vacuum.

New styles are rarely spontaneous and original, but are most often influenced by what has already been done by others. The fashion we see today makes this plainly obvious – rapidly cycling through past trends of the ‘70s, ‘80s, ‘90s, and most recently, the ‘00s. This is nothing new. Throughout history, designers have taken inspiration from what already exists in the world around them. With the emergence of globalization and increasing cultural trade, the boundaries for inspiration reached new limits.

Rapidly, foreign textiles, patterns, and silhouettes were introduced to new corners of the world in mass. This boom of cultural exchange created a new market for “exotic” goods, highly coveted by Western socialites. As public fascination heightened, designers began taking inspiration from these cultural goods to create their own imitations, purely for aesthetic appeal. And thus, cultural appropriation

– the use of things belonging to a foreign culture, often without due knowledge, credit, or respect – was born.

Chinoiserie, a trend born from Europe’s obsession with Chinese design throughout the 17th and 18th centuries, represented the first inklings of appropriation. Particularly inspired

by Chinese porcelain, European tastemakers created goods incorporating traditional Chinese motifs like dragons and pagodas. However, they weren’t particularly interested in preserving authenticity, altering these items in favor of European taste (Waldeck, 2020).

By: Corinne Cookson

Regardless of intent, chinoiserie popularized a caricature of Chinese culture that stripped these

motifs of their true cultural significance.

Since then, many cultural caricatures have fallen in and out of style. First, they are enthusiastically appropriated by the masses, only to be promptly discarded again all in the name of fashion. While cultural appropriation is criticized by the public today, this is a relatively new attitude. As recently as the mid-2010s, “boho chic” was all the rage.

For years, the style was a staple at Coachella, where festival-goers enjoyed wearing cultural items like bindis and Native American headdresses. This included celebrities like Kendall Jenner, who wore a nath, “a piece of Indian bridal jewelry that connects a nose ring to an ear piercing,” to the festival in 2014 (Dolan, 2022).

Boho borrowed heavily from Romani, indigenous, and

South Asian cultures. Yet, it was American hippies from the ‘60s and ‘70s who received credit for its origins.

Marginalized cultures are often excluded from what is deemed fashionable, “but when a style or trend they display is ultimately embraced by the mainstream, [their] contribution is often disregarded” (Anyanwu, Blazio-Licorish, 2020). While cultural styles become celebrated as trends, marginalized communities still face society’s criticism for wearing them authentically.

When Marc Jacobs dressed white models in “fashionable” dreadlocks in 2017, it didn’t end the workplace discrimination Black women experience for wearing the same protectivehairstyles.

As consumers grow increasingly aware of cultural appropriation in fashion, many are left wondering what exactly they can wear.

The answer lies in the difference between appropriation and appreciation. It is natural to feel

inspired by things outside one’s personal culture and identity.

But it is the designer’s responsibility to use any inspiration with respect, understanding, and credit to the cultures they were taken from. Eulanda Sanders told Women’s Wear Daily, “Crediting sources of inspiration is essential and the translation, if done, must honor and exhibit an understanding of the original source of inspiration” (Anyanwu, Blazio-Licorish, 2020).

As consumers of fashion, individuals should strive to do the same with that chosen to wear.

Taking these precautions reaches ever closer toward sharing and appreciating cultures in a way that benefits everyone.

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The Fabric of Our Humani Humanity ty By: Nicole Moreno

Human nature is inherently inquisitive, brave, and creative: constantly finding the beauty in all living things. In a world surrounded by seemingly infinite rolling green meadows, early humans saw and crafted beautiful hand-woven fabrics; Mother Earth’s own easels for artistic expression. Bright, soft, beds of flowers gave them joyous, vibrant dyes to further beautify their surroundings. Even the smallest, most forgettable of creatures like silkworms gave their talents to aid human creation.

The human experience has walked simultaneously with nature since the dawn of time, as constant building, creation, and expansion sprang forth from Earth’s own soil. In the 21st century, it’s hard to say if we are straying from this path or finding ourselves more closely intertwined with our ancestors than ever before. Technology and innovation have bestowed upon us new textures, fibers, and designs never before imagined – do these new developments contradict the natural origins of our past, or do they carry on the ideas of our ancestors in a contemporary interpretation?

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It is hard to imagine that the urban jungle we know to be our home today was once a vast greenland of tall, towering trees and buzzing wildlife.

But, sprinkled within this garden of life, you could find mankind doing what mankind does best: discovering. Tracing back these breadcrumbs of humanity within our textile history proves just how creative our ancestors truly were. In the hot, dry climates of Ancient Egypt and Mesopotamia, fabric production relied heavily on flax to facilitate the production of linen. Flax was raised on large estates owned by the wealthiest Egyptians, then processed by under-paid, enslaved peoples that removed the fibers, spun it into yarn, and later wove it into cloth. The resulting cloth was cleaned by a quick wash in the river, infested with lurking crocodiles waiting for their next victim (Tortora & Marcketti, 2015).

These breathable, flowy linens that resulted from the labor of the poor – exclusively accessible to the affluent members of society – draped across the bodies of beautiful women. Accessorized with beaded, light-catching accents, they dripped down to the floor with jeweled gold belts reflecting rays of the warm, Egyptian sun.

tualized, with the intersection between textiles and technology responsible for major developments.

Consider Coperni's SS23 Paris show, where the brand debuted their ingenious spray-on fabric. The solution, made from synthetic fibers such as wool, mohair, cotton, and nylon, evaporates as it makes contact with a surface, forming a non-woven that can then be modified to taste (Parkes, 2022). Though undoubtedly a runway stunt, technological developments like these are shaping the fashion industry – and the environment.

Compared to the handmade, labor-intensive, low-yielding processes used for thousands of years, the modern fashion industry is highly commercialized, pumping out 100 billion new garments every year with a byproduct of 92 million tons of textile waste (Ruiz, 2023). With an increased durability, competitive cost, and a striking resemblance to organic fibers, it’s easy to forget how tremendously anti-sustainable these synthetic fibers are. Underpaid workers laboring overtime in unsafe conditions mirror all too well the natural textile production processes of the past. Though these synthetic fibers have paved the way for wider inclusivity in the fashion industry If our friends from 3400 BCE Egypt than the sumptuary laws of the past, could come visit us in 2023, they’d they do not biodegrade nor recycle probably roll over in their sarcopha- easily. In the pursuit of an organic guses. Modern technology has sur- aesthetic, forgone is the integrity and passed the point of what any human respect owed to the earth. mind could have potentially concep-

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Like every other living, breathing thing on this earth, evolution is inevitable. Nothing can remain the same forever, and ingenuity and consumption will continue on long after each departure from earth. One unwavering facet, however, is the human nature to create, expand, explore, and consume – this very quality is what connects each to their predecessor and spirit of the past. Ingenuity and the human spirit to change will undoubtedly shift us into a new era of fashion – one driven by technology & fostered by a desire to return to our roots.

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going back to our roots

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Matriarchal Muse: How Mothers Can Birth Our Aesthetics

By Lucy Swearingen

Whether it be a mother’s eyes or her favorite color, when we look in the mirror, we often see parts of our mothers staring back at us. Like physical traits such as having a mother’s hair, the influences from these women and one’s environment growing up extend to who an individual is and how they express themselves, showing up either in our temperament or choice of lipstick. Roots and positionality are often expressed in clothes worn or makeup chosen.

“Such feeling for beauty, for greatness, for never being quite happy, undoubtedly had its roots in his relationship with his mother,” wrote The New York Times after Alexander’s death – which came just nine days after the death of his mother (Horyn, 2010).

Through her style or her nature, mothers inspire aesthetics. Musician Anna of the North’s fashion was conceived through direct inspiration from her mother’s natural style of Throughout life, the impact of up- “classy, functional, and comfortable bringing reveals itself in self-expres- clothes,” leading to her own love of sion. For designer Alexander Mc- practical fashion (Hahn, 2020).

Queen, his relationship with his mother inspired his career and While mothers inspire us, the envihelped his designs such as his eve- ronment shapes us. Inspiration from ning dress, “In memory of Elizabeth mothers doesn’t always create confiHowe, Salem, 1692.” After Joyce Mc- dence to pursue style, but gears one Queen discovered their relative had away from how their mother urged been executed during the Salem them to dress or what makeup not to Witch Trials, Alexander McQueen wear. Sometimes maternal envy poured their family history into his births resentment from mothers, reart (Slinkard, 2019). Without the sulting in the matricide of her influsupport and inspiration from his ence in self-expression. Disconnecmother, the magic of McQueen’s de- tion in relationships and pressures signs may have never been born from mothers seems to manifest in (Horyn, 2010). style and produce what restrictions

placed on creativity often do – rebellion.

Like how flappers showed their liberation after women gained the right to vote through their stylistic choices, daughters under scrutiny from their mothers often express themselves in a similar fashion, but through a more nuanced lens.

Whether one’s relationship with their mother is supportive or antagonizing, it develops a part of the identity which is often expressed in decisions of presentation.

Throughout adolescence, there comes a time when children become embarrassed by their mothers. For designer Gabriela Hearst, her mother’s spontaneity “mortified” her growing up, breeding wishes of having a more conventional figure. However, after blossoming into womanhood, Hearst respected the power her mother passed down to her and understood her mother’s proverb: “Pursue our passions no matter what people think” (Yotka, 2020).

Despite potential adolescent challenges, traits such as confidence, tenacity, and ambition are often imbued through a mother’s life experience. Expanding their influence on style beyond only admiring what they wear, we instead admire what they’ve done in their lives.

Designer Diane von Furstenberg finds her duty to be celebrating freedom and living fully to make up for the suffering her mother endured as an Auschwitz survivor (Yotka, 2020).

The strength of mothers throughout time fuels fashion. The power produced by our mothers helps tell these stories beyond simply embracing the stylistic choices of our mothers because it gives us the power of self-expression. Their stories and wisdom are inherited and expressed through the creations of her creation.

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Greek Goddess

The Modern Woman

Gold bangles clink as perfectly manicured hands pick shells from the shore. White linen flows in the salty sea wind; the lull of voices carries through the breeze, warm sand between the thongs of her sandals.

Aureate hoop earrings clink as she puts her headphones on, necklaces tangled across her chest. Blocking out the voices on the subway, her hair flowing behind her, her white skirt dragging along the cement sidewalk – a modern myth.

Our contemporary world has been nearly entirely defined by those who came before; the ancient societies that once ruled from shore to shore, diminished to ashes, left only in our thoughts. Modern governments are run as reflections of ancient governments; our society is learning from the democracy of the ancient Greeks. Wars fought, religions worshiped, all brought forth by those who came before us. Mythology, the beliefs of those bygone, undeniably plays a role in the formation of the world today. Fashion reflects our once-mythic world – we are constantly looking for new silhouettes when, in reality, we are consistently influenced by the beginning.

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In myths, goddesses and gods are seen wearing loose-flowing linens adorned with countless jewels and items twinged with gold, representing their high status and divinity. In today’s collections, these classic motifs are represented in “maximalist” or “chunky” adornments, gladiator sandals, asymmetrical garments similar to the peplos, and ribbon accessories. Although curated in modernity, these trends pay direct homage to the fashion of myth (Takurida, 2021). In the Homeric hymn to Aphrodite – the ancient Greek goddess of love and lust – she is described as wearing “heavenly” garments and an immense amount of ornate jewelry.

Aphrodite was adored by all and worshiped for her beauty and poise (Astma, 2017). By channeling our fashion to represent hers, we feel that innate sense of divinity and beauty embodied in the ancient world.

maids, and other creatures dominate imagery (Cheung, 2023). Depictions of snakes and reptiles have become immensely popular in the past trends of pieces of jewelry, perhaps as a foil to the curse of Medusa and her head full of snakes (Jenkins, 2023). This past summer, “mermaid core” coiled to the top of trends. Characterized by sequins, pearls, crochet, and light fabrics, the mermaid core embodies “wet looking,” yet dry, clothes (Lesavage, 2022). In myth, mermaids or sirens lured men to their deaths with beautiful songs and mystic looks, similar to how those wearing mermaid core attract onlookers to stand in awe of their gloriousness.

Amongst this all, one remembers to look to the past to create such beauty. History can be a dark, painful reminder looking back to the myths of those who came before. But, the stories they used to explain Modern fashion turns to the world around them inmythical creatures for in- cessantly enchant us to be spiration outside the indi- inspired by the creativity vidual gods and goddesses. and simplicity of their tales.

Dragons, serpents, mer-

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Tiptoeing the Threshold

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Made for men, by men, the original Victorian-Brothel interior decor appeased the masculine eye, enticing entrance into this “feminine” space. In Victoria’s Secret, all women’s secrets are told, yet they have no say in the words spilled behind their backs. Here we find female undergarments transposed into glitzy gifts of sentiment, revealing the elements of sensual mystery that women could otherwise hold. I mean, for crying out loud, my underwear drawer is off limits.

reached iconicity for a short period, the lack of inclusivity sparked widespread discomfort among viewers.

The show threw the brand back to its misogynistic roots, creating a fantasy for the masses to voyeuristically experience.

The director refused requests for plus-sized or transgender women, claiming they “don’t fit the fantasy” (Pearson, 2023). Stores shut down until, once more, women returned to influential positions in staff.

Why were men chosen to In 1995, the brand blew up. handpick the ideal protoBut at what cost? Men’s types of femininity and senfootsteps thrust them into suality? In a room full of V.S., brashly selecting what women’s most private piecthey wanted to see es of feminine mystique, their wife in. When Leslie men gathered to dictate Wexner acquired the brand, what women should aspire she attempted to steer it to be, think, and feel, deback to the female gaze by void of an understanding of crafting more women’s their personal convictions. pieces geared towards… These men made bad deciwell… women. sions that ended up bad for Victoria’s Secret began a women. come-back with a new audience and more purchases I guess that’s Victoria’s semade for practical reasons. cret: She was crafted By the late ‘90s, the first Victoria’s Secret fashion by a man, for a man, show was presented. As thin, scantily clad models and she doesn’t walked adorned with linge- actually want that rie and costume pieces, itchy, lacy 36D. controversy arose. While it By Haley Pearson

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The Age of Disenchantment Not even 20 years ago, MTV, Vogue, and Hollywood movie premiers were our sole glimpse into the glamorous world of the rich and famous. We sat in our homes after long days in the rat race to let our jaws fall slack at the vast closets of Chanel, Dior, and Louis Vuitton interspersed between home movie theaters and sprawling tennis courts. Society’s most lauded faces ran pixelated across our televisions as we thrillingly pictured ours right next to theirs. In our youth, our ascension to the ranks of the obscenely rich was entirely possible.

We knew that we would be the next Paris Hilton or Tom Cruise, taking careful note of celebrity high fashion so that when we were “in,” we

By Ally Thompson

would be prepared. Fast forward to a world obsessed with communication in the form of social media, the divide between the common person and the rich becomes glaringly obvious. With social media giving celebrities a chance to air out their lives and expose the “norms” that most could never even dream of, the general public moves toward a general disillusionment with celebrities and high fashion. If Generation Z knows that it’s nearly impossible to ever buy a house in the current economy, how are they expected to view celebrity glitz and glamor as anything but out of touch? A turn toward ethics-centered styles disregards and actively rebels against what society’s most influential flaunt.

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may be digging themselves an early “There is no grave. Langer emphasizes the devalue of fashion’s biggest ethical consump- clining names, who disregard the worth of Gen Z’s consumption under the tion under claim that “catering to this demographic means selling cheaper capitalism.” products” (Langer, 2023).

This radical mantra embedded itself in the bones of Gen Z, who have witnessed in real time the dissolving of the middle class as the rich steadily hoard wealth and leave the bottom 99% in the dust (Oxfam International, 2023). With the cost of living sky-rocketing in many states, Robin Rothstein, a member of the Forbes Advisor staff, points out the diminishing concept of disposable income (Rothstein, 2023). Countless young consumers enter the workforce and carefully scrutinize what they purchase – is it worth the equivalent of this month’s rent? This is troublesome for luxury brands, who previously capitalized on its inaccessible nature. They were an end goal of sorts, promoting saving and upward mobility to join the ranks that could effortlessly carry the newest bag.

Now, people like Daniel Langer, an Inside Luxury columnist for STYLE Magazine, have taken notice of the disillusionment of Gen Z with luxury brands, pointing out that companies

This emphasis on low-cost items is effectively turning young people away.

With increasing awareness of garments’ origins, the focus on ethical production and quality is dominating the fashion consumer market. Imran Amed, a columnist for McKinsey & Company, discusses the new focus on “radical transparency,” in which young consumers are demanding explicit candor from brands about the production of clothing and its implications (Amed et. al, 2019).

Gone are the days of buying a mere name. The 21st century is racing ahead to a reality in which customers are buying luxury for quality and longevity, disregarding celebrities and their closeted rows of excess.

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Blurred Lines: The Story of the Bra

By Rachel-Grace Odling

In all their delicate glory, those enchanting little garments that lie folded or scrunched in top drawers have been entangled with feminist matters since their conception. At its core, the bra exists primarily as a personal, functional item.

And yet, throughout history, the bra has been transformed into an intangible weapon of rhetoric in public and political affairs.

Incessant resurgences of lingerie-inspired pieces on the runway season after season solidified the bra as a widely-coveted muse.

The relationship between women and lingerie has been dynamic and deeply political, and chiefly, this romance has been one of reclamation.

Interpretations of bras worldwide have ebbed and flowed over time. The “bikini girl” mosaic from the Villa Romana del Casale in Sicily is thought to be one of the first depictions of what a bra could offer its wearer (Bass-Kreuger, 2019). It was not until the 19th century Dress Reform Movement that lingerie underwent a shift in public discourse, with feminists challenging the restrictive, commonplace corsets (Bass-Kreuger, 2019). However, this disillusionment with corsets was, in the grand scheme of lingerie’s trajectory, only temporary. In 1947, Christian Dior’s inaugural collection, referred to as “The New Look,” spoke the language of nostalgia and ultra-femininity that resonated with women in post-war society (Charleston, 2004).

Once again, elevated busts and cinched waists were desirable deliverables of a garment. Looking at further historical examples of women’s thoughts on undergarments in their literal form unveils this pattern of juxtaposing opinions as omnipresent. Bras have not existed simply as objects of “material culture,” but also as “representations of the female body and producers of meaning” (Fields, 2007).

Using a bra as a social and political symbol was first seen in the Miss America Protest of 1968. The New York Radical Women

took to the streets to protest “not only to the pageant and its antiquated, misogynistic attitudes toward women and beauty, but also to how the United States, as a whole, treated women” (Gay, 2018). Contemporaries in the media undermined the sincerity of the demands made by labeling the participants of the demonstration ‘‘bra-burning feminists” (Buchwald, 1968). There is no historical evidence to suggest that bras were actually burned during this event; this rumor was fabricated by antagonists to trivialize the issues at stake. It has been crucial that the ‘feminists burn their bras’ myth be debunked because wearing and enjoying lingerie is not incompatible with political agency.

In the 21st century, lingerie is very much present as an object and as a symbol in the public sphere. Dubbing bralettes as ‘going out’ tops, wearing fishnet tights under ripped jeans, and Olivia Wilde’s January 2022 Vogue cover are just a few examples of how these items that were once so private and concealed are now tiptoeing into a new space of salience. Lingerie marketing teams must recognize that the consumer, the wearer, and the target audience are all one entity. Wearing lingerie is an act that can be both intimate and radical, comforting and revolutionary.

A historical inquiry into women’s relationship with lingerie in the personal, the political and on the catwalk.

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Marilyn Monroe:

The Danger of Worshiping History

By Kaitlyn Talsky

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Marilyn

On the day following the passing of Norma Jean Baker, more iconically known as Marilyn Monroe, an obituary declared her to be “a baffled, honest girl forever haunted by the nightmare of herself, 60 feet tall and naked before a howling mob” (Cooke, 1962).

In history, she forever exists in this duality: enveloped by beauty and pain, carrying a legacy that is both a treasure and a curse. This legacy, in whatever way it is considered today, still bears its heavy influence on culture more than 60 years after her death. With this influence, pop culture also threatens a consequence to those who don’t perform their role as a successor well enough – many in Mon-

roe’s wake have been caught in their own share of scandal. In the age of influence, Marilyn Monroe serves as an early example of the detrimental effects of idolatry and the cautionary tales of those who have become its victims.

The execution of the 2022 Met Gala, entitled “In America: An Anthology of Fashion,” was met with widespread disappointment by the public. The greatest culmination of this disappointment was directed to Kim Kardashian. She wore the same nude-colored dress Monroe adorned to sing a sultry rendition of “Happy Birthday” to then-President John F. Kennedy. Her performance, along with the revealing, “na-

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ked” nature of the dress itself, led to an event that was so speculated and scandalized it became immediate history. This evening would also become Marilyn Monroe’s final public appearance. The dress was loaned to Kardashian by the Ripley’s Believe It or Not! franchise. Blog writer Molly Elizabeth Agnew summarizes the reactions of both Monroe’s fans and fashion historians: “Unsurprisingly, the gown has been stretched, new holes have been formed, and many of the crystals are either hanging on by the skin of their teeth or have fallen off completely. The dress is categorically no longer the same – it has been ruined.” Though both Kardashian and Ripley’s both assert that Kim did no damage, many fashion legends, including the designer of Monroe’s original dress, Bob Mackie, declare that letting Kardashian don the dress was a “big mistake.” Mackie says, “[Marilyn] was a goddess. A crazy goddess, but a goddess. She was just fabulous.

Nobody photographs like that. And it was done for her. It was designed for her. Nobody else should be seen in that dress.”

However, Kardashian is not the only public figure to become a casualty of Monroe’s legendary wardrobe. For African American jazz singer Abbey Lincoln, she found herself contending with a living legend. Lincoln adorned an orange Travilla dress in her 1956 film debut, only three years after Monroe had appeared with it in perhaps her most famous film, Gentlemen Prefer Blondes.

Being forced into Monroe’s dress also meant being forced into the commodification and objectification of white Hollywood, in which Lincoln echoed the role of sex symbol that Monroe was already unfortunately accustomed to.

Overwhelmed by the pressure of her new role as a successor, Lincoln burned the dress in an incinerator to ensure she could never wear it again, much to the fury of Monroe’s fanbase.

However, as Lincoln explained later in 1991, this act was not one of vandalism or hatred towards Monroe:

“I didn’t realize at the time the dress was such a powerful symbol…

This dress was more important than I was.”

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N

N

s t s i x e r le e v v e n r e : o f y t i e “sh is dual uty & a in th by be ng a i d y e r r p a o c , n is i t a a e p h r t u y s c a a g e e l tr e.” a h s t r o b u c a and

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Glamour, beauty, and sexuality are not inherently destructive forces, but this is what they had often become for Monroe and her successors. The love that the public pours into celebrities and their images quickly turns into hatred at a moment’s notice. To many fans, a celebrity’s art and image is special to the degree of holiness. But despite the idolatry constantly related to their images, underneath every celebrity is an individual, Although preservation in fashion and the pressure put upon an indicertainly has its place, Monroe’s fi- vidual by their society is too often nal interview preceding her death suffocating. offers an important perspective: “I don’t mind being burdened with As one of history’s most beloved yet being glamorous and sexual. But tragically-treated figures, what goes with it can be a burden. Norma Jean Baker is a significant reminder not to let pop culture and That’s the trouble, a sex sym- scandal replace the humanity that bol becomes a thing. I just lies at the foundation of fashion’s greatest idols.

Fashion is an art form, and its remaining pieces become its artifacts. But when these looks are given new life, the public chastises the figures who have chosen to reproduce them. Pop culture is seeing a consistent increase in parasocial relationships, and along with this arises an attitude that fans have a right to celebrities’ lives, from their relationships to their art, and even their fashion.

hate to be a thing.”

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Fashion’s Crossroads: Where Tradition and Modernity Converge The T-shirt is a timeless and classic piece remaining an everyday staple. But, how often is this simple T-shirt contrasted with a slip skirt and pair of riding boots? These style pairings showcase the art of blending traditional styles with the glamor of modern-day. The alluring intersection between conventional and contemporary fashion gives birth to innovative, unconventional aesthetics. Defying society’s current expectations with creative statements, fashion cyclically returns to its origins while constantly continuing with innovations – much like the nature of human beings.

Although fashion constantly evolves, many timeless pieces are necessary for anyone’s closet. Whether dressed up or down, high-rise, straight leg denim represents one such forever staple. A white button-up? A classic. Vogue says it “is a total must-have that’s sure to come in handy no matter one’s individual style” (Editors, 2023). Simple and effective, ballet flats and loafers pair well with almost anything, while a plain tank or tee is a bare necessity – no explanation needed.

By Sydney Annis

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Wear a black slip dress to a wed- ments of the past with modern ding or running errands – aesthetics. Fashion label PH5 exits incredible versatility emplifies this strategy as they take the simple, traditional conis unceasing. cept of knitwear and transform it into something fresh by utilizing The creativity and innovation distinctive patterns and ruffles. dominating the fashion world toFounder and CEO Wei Lin exday will define history. Many new plains how the brand’s name and designers are emerging, one focus are based on the PH scale, prominent example being as they want to be experimental 26-year-old Patric DiCaprio and with their pieces and change the Bryn Taubensee, designers of boring stereotype surrounding New York-based Vaquera. High knitwear (Walker, Gluck, Katsoureviews of their looks at 2022 lis, 2023).

Paris Fashion Week included We see the brand Ashlyn implePaul McLauchlan from Fashionimenting something similar with sta Magazine highlighting their their new collection. Designers first two collections’ “punk-inbegin with simple, essential elespired streak, with fetish details, ments and transform them by oversized knits, and sheer fabrics. adding slight creative touches.

Inspired but never hackneyed, a Their Pacey shirt starts with a renegade spirit that feels utterly timeless button-up blouse but contemporary in a week that sees adds extra fabric over the breast luxury performed to the umpof the shirt and puff sleeves. Simteenth degree” (McLauchlan, ilarly, their Amanda saddle skirt 2022). Meanwhile, as more indicombines vintage and modern, viduals opt for thrift or vintage mixing old riding habits with a shopping due to its low price, a stylish pleated skirt accent. simultaneous push for originality in fashion leads the pack as peoAs timeless looks intertwine with ple can discover one-of-a-kind innovative design, the industry pieces that spark ideas for innogives birth to personal styles. vative looks. The masses are enThis relationship resembles hucouraged to mix and match difman nature, constantly advancferent styles and eras that could ing but remaining true to its not typically be recreated with roots. Essential pieces will contraditional shopping. tinue to serve as a foundation while the fashion world transThe merging of vintage and conforms with emerging designers temporary fashion produces disand a focus on sustainability. tinctive looks combining eleWith fashion’s dynamic nature, it

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Runa w a y

y Runway Walking the Runway

By Katherine Fivgas Heels e c h o along the hard floor, the crowd waits, quiet, with bated breath, the lights shine harshly, and cameras click, flashing; the runway at its finest. Anxiety courses through the crowd and performers alike as the latter hopes to impress and first wait to see what awaits the future of fashion. Men and women alike walk down the catwalk, adorning the upcoming line of clothing and accessories by a designer.

The original fashion shows date back to the 1860s; before the use of live models by Charles Frederick Worth, designers used mannequins to display their new clothes and accessories.

Originally known as “fashion parades,” runway shows began to spread worldwide. Fashion Parades were exclusive events for promised buyers only; they were a luxury for those who could afford to buy said items (“A Short History…”).

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After the expansive difficulties faced during World War II, fashion houses opened their doors to the public to strengthen morale and the economy.

Runway shows became more lively and entertaining, with models donning the clothes and showing their personas on stage; the lines began to blend between the selling of clothes and an enigmatic performance (“A Short History…”).

The world of runway fashion truly began to change in 1998 with the Yves Saint Laurent show before the World Cup final between France and Brazil, involving 300 models and 900

backstage hands with 1.7 billion viewers (Perier).

The scene was electric, the crowd roaring as hundreds of models strutted down the catwalk in some of the most beautiful and outstanding fashion of the time, a mix of sports and music. The pieces included many unique and proportional silhouettes and jeweled adornments with themes of art and glamor.

As runway shows have continued to evolve, art, fashion, theater, and commerce have begun to blend in with the ambitious presentations seen by many renowned designers such as McQueen and Lagerfeld.

As fashion and society continue to evolve, there is no telling where the future of runway fashion may lead; it is genuinely

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Picket Lines to Checkout Lines Protesting: marching, signs in hand, vows of silence, refusal to buy from certain businesses, posters pasted in the hallway, clothing. Clothing? Clothing.

During the Coach show, a woman wearing nothing but undergarments and body paint took to the stage to protest the brand’s use of leather. As a member of PETA, she was painted as a skinned animal to bring awareness to the harmful risks of prioritizing leather in production. Meanwhile, a man scantily clad in a garbage bag made it onto an unnamed show. Viewers were appalled when he was dragged off, believing he was part of the act (Olapido, 2023). Hermes’ coveted runway show at Paris Fashion Week 2023 featured a protester coming demanding the company stop their use of exotic animal skins, including ostrich and crocodile (Spencer, 2023).

When most people think of social movements or activism, they think of protests or even riots, but that is not all that social movements have to offer. Fashion plays a significant role in social activism and has repeatedly done so. The feminist movement used fashion to showcase their progress and goals, evident in progressing hemlines, bobbed hair, flapper-esque garments, and the reclaiming of pants as womenswear (Perelberg, 2022). Fashion is how one expresses themselves, so why not use it to communicate the changes one wants to make?

While the fashion industry has made strides to become a better environment There is no need to answer that question, for those involved and its viewers, it is vias many protesters have already answered tal to acknowledge the still-standing isit themselves by taking to catwalks to sues. Overconsumption, low wages, and bring awareness to societal issues. This unethically sourced materials are still sigyear, New York Fashion Week was host- nificant issues within the industry that ed from September 7 to September 13 protestors want to bring awareness to, with all the biggest names in the industry and a collective force is necessary to spark showcasing their work. However, this changes across the board. time, more than just the newest haute couture pieces were showcased; many protestors infiltrated the shows, joining the models on the runway.

By Katherine Fivgas

While bystanders use runway culture to protest brands’ and designers’ agendas, many fashion companies have begun embedding protest and activist culture into their shows. After the official close of this year’s Paris Fashion Week, another group of models hit Los Angeles.

The nonprofit program “Runway for Dreams” works towards adaptive fashion for disabled individuals, with its show presenting accessible accessories and clothing pieces such as shirts and pants with magnets instead of buttons to make dressing easier. This year’s host of the adaptive fashion show, Jamie Chung, hopes this show and others’ efforts will bring awareness to the industry that excludes a market of people all deserving to express themselves both on the runway and in their everyday activities (Berlinger, 2022).

Beyond physical disabilities, some shows are working towards advocacy for mental disabilities and mental health issues. In 2022, a show in New York Fashion Week titled “Break Free” featured designers and models supporting this cause. “Break Free” sold out entirely, allowing the designers and models to donate all money to Both protestors who make their waves on charities of their choice to support men- the runway and those who create tal healthcare (Olson, 2022). protest-embedded shows themselves are important to changing society’s standards. Fashion’s influence can instigate change and profound thought.

Participation in activism and change remains quintessential, from the clothing we buy to the collections we analyze.

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The End of Humanity: AI in the Fashion Industry

By Srujana Sivakumar

AI IN THE

The “Big Boom” in artificial intelligence (AI) began in early 2023 with OpenAI’s ChatGPT. The leading tool used by people globally helps make the creative processes required by countless industries and hobbies easier (Ginsberg, 2023). But how could AI wedge itself into the fashion industry, one that is almost entirely reliant on human thought and function? If AI is fully accepted into the industry, what will the future of fashion become?

AI Fashion week, is a fashion show solely dedicated to outfits that were made with the help of AI, and will be produced and showcased during the next AI Fashion Week.

But how can AI be used to create new and innovative clothing designs?

Simple – it finds data on other prominent clothing lines and sold-out styles of previous seasons and creates garments that incorporate a blend of both top-selling ideas.

At first glance, some of these outfits look… weird.

We won’t have to wonder much longer, as AI has already begun to covertly integrate itself into fashion.

In December of 2022, a group of designers in Hong Kong held a show spotlighting outfits and styles put together in-part using AI. AIFW, or

Metal-like tubes snake around a mannequin, gleam copper, and tie itself up into knots. But with a touch of human design, these outfits become industry shattering, unique pieces to be seen on any runway.

FASHION IDUSTRY 101 | AW ‘23

A lot of the designs from Fashion X AI in Hong Kong in 2022 featured a futuristic touch with sleek designs and solid colors. A personal favorite from the collection is a solid purple trench coat featuring a streak of cheetah print on one side. The elegant and classy look features sharp edges across the border of the coat with the AI’s work focusing on color coordination and clothing design.

The AI came up with viable color matches that saved the designers hours of work along with matching outfits that complimented the colors with the right designs.

AI in the fashion sector goes beyond just designing outfits and models – it can change the fashion value chain itself. Using AI to generate more creative and trend-setting ideas has the potential to increase sales and revenue. Having robotic automation powered by AI in warehouses to count and sort inventory and customize consumer experiences based on purchase history and browsing details will have a monumental impact on the industry as we know it (Harreis et al., 2023).

This can reduce human stress, help set up fashion studios for success, and create innovative styles able to be shared worldwide.

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But is that really necessary? Should an industry built upon human creativity and hard work fall apart at the hands of what is, essentially, a robot? Cold, unfeeling pieces of machinery can’t replicate the thoughts and creative processes of humans; AI can’t put in the blood, sweat, and tears that so many in the fashion industry have done to struggle towards success. The sheer number of workers who could lose their jobs if AI threatens to replace every human task in the fashion industry is cause enough for concern (Ginsberg, 2023).

Is the extra money that would be generated using the AI worth the long-lasting impact it will leave on those who depend on the miscellaneous jobs offered by the fashion industry in order to pay rent? If AI starts taking over every “human” process, will the sentimentality of hand-made creations go extinct? The fashion scene doesn’t need AI – it’s been doing fine for as long as the idea of clothes has existed.

But can we find ways to incorporate AI into the industry without ruining the livelihoods of those already in it?

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C

m u t e s o or C outure:

Who is Myra Magdalen?

What would you wear if you wanted to impress your dentist? Would you wear a giant toothbrush, denture hair clips, or a skirt decorated with teeth?

Myra Magdalen would.

By Corinne C ook

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Magdalen shares her unusual process of getting dressed. For her, styling an outfit involves an elaborate combination of household items, handmade accessories, and so-called “normal” clothing pieces.

Magdalen first started experimenting With over 780,000 followers on TikTok, with technology like keyboards and powthe 26-year-old artist and designer has er outlets to craft her looks. Now, stuffed shocked the Internet with her campy, animals, children’s toys, and strange surreal style. Inviting her audience along, garage sale items are all fair game.

left bewildered and amazed, with her latOutrageous themes are Magdalen’s spe- est room tour garnering over 12 million cialty. She recently donned a pair of lob- views on TikTok. “At no point in this vidster claws and giant snorkeling goggles eo did I ever know what I was gonna see for a “Rock Lobster” look inspired by next,” remarked a commenter on one of Athens’ B-52’s. Often, she will build an her recent posts. entire outfit around a single item. “I’ll see a specific piece in my closet that I’ve Although Magdalen’s style seems exthrifted and want to have everything treme to some, her popularity reflects a match it… then it just starts to snowball,” changing cultural attitude towards maxishe told Input. If Magdalen doesn’t have malism and surreal expression. Founded the right accessories to complete an out- by André Breton in 1924, surrealism first fit, she’ll make them. This can lead to cut- emerged as a reaction to the “rationalout images of herself already wearing the ism” of 20th century Europe. Surrealists finished outfit or securing heavier items wished to challenge rational, everyday life to her body with velcro (Margarone, by walking the line between imagination n.d.). and reality (Bateman, 2021). In 2023, similar pushback against conventional Magdalen’s surreal style doesn’t just stop life is resurfacing. In the aftermath of a at her wardrobe; in the background of global pandemic, marked by boredom each of her TikTok videos is her bath- and unrest, it is easy to see why. Tired of room wall with every inch covered in vin- minimal wardrobes, plain white kitchens, tage keyboards. and sad, Millennial Gray floors, consumers are in search of more.

“I’ve always had a While maximalism is certainly already trending, it will take more time for the avweird sense of style erage consumer to adopt truly surreal fashion. That isn’t to say, though, that — not just fash- there aren’t subtler surreal trends already at play — most notably within niche marion-wise, but home kets of jewelry and accessories. Clock choker necklaces, organic shapes, and decor-wise, too,” “weird” charms are all readily accessible.

she revealed to Input. Magdalen’s eccentric aesthetic seeps into her interior design, which is thematic, seemingly random, and fully committed to her style.

Her bedroom decor includes framed pictures of nail clippers, a worm wall, and a kiddie pool filled with dirt. Viewers are

These options allow consumers to comfortably dabble in surrealism without straying too far from conventional fashion. So if wearing a tooth-covered skirt to the dentist sounds a little too scary, consider some tooth earrings instead.

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COSMIC COUTURE: EXPLORING AFRO-FUTURISM’S IMPACT ON FASHION

BY NAIA MEYERS

Bridging the past, present, and future of fashion,

artists, musicians, and designers like Sun Ra, Octavia E. Butler, and Grace Jones shaped the movement by seamAfro-Futurism is a captivating lessly blending the allure of Afcultural and artistic movement rican aesthetics with moderndelving into the fusion of Afri- ized influence. can aesthetics and culture with The incorporation of cosmic the futuristic elements of sci- themes manifests itself as a deence fiction and technology. In fining characteristic of Afexploring this dynamic fashion ro-Futurist fashion. Designers movement, we embark on a explore the vast expanse of journey through the realm of space, infusing their creations Afro-Futurism in fashion, un- with metallic fabrics gleaming covering its profound impact like stars and holographic texon hairstyles, clothing, and ac- tures shimmering with etherecessories. al iridescence.

Afro-Futurism traces its roots back to the mid-20th century, However, Afro-Futurist fashwhen it initially flourished in ion is far from merely replicatliterature, art, and music. ing traditional African textiles While its influence on these and patterns – it reimagines creative realms has been through innovative techniques well-established, its presence and materials. Designers push in design gained prominence the boundaries by incorporatin recent decades. Pioneering ing high-tech conductive fab-

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rics, smart textiles, and 3D-printed accessories, adding a futuristic edge to the timeless beauty of African aesthetics.

It is important to note that Afro-Futurism has historically been a male-dominated movement, as observed by writer Jonita Davis (Boström, 2023).

While Afro-Futurism, like many cultural movements, initially reflected the broader gender imbalances of its time with men often taking prominent roles, it’s essential to recognize the evolving landscape of empowerment and representation. Women, although underrepresented historically, have increasingly risen to prominence within the movement due to their determination to challenge the traditional norms and claim their space in shaping Afro-Futurism. As the movement continues to evolve, both men and women are actively contributing to create a more inclusive and diverse Afro-Futurist narrative.

Beyoncé’s Renaissance album and world tour are significant milestones in the Afro-Futurism fashion journey. Beyoncé rippled the surface of this trend with her “Black is King” visual album, donning extravagant headpieces seamlessly merging traditional African elements

with futuristic design. She pays homage to traditional African attire with outfits inspired by Iro and Buba, traditional attire worn by Yoruba women from Nigeria.

The Iro is a wrapping with colorful, vibrant fabrics tied around the waist, while the Buba is a long-sleeved blouse with similar geometric designs (Elisabeth Woronzoff, 2020).

Afrocentric hairstyles, like Fulani braids, Bantu and Nubian

“MERGING AFRICAN ELEMENTS WITH FUTURISTIC DESIGN ”

knots abound, delicately sculptured and often gravity-defying.

When she graced the main stage for her Renaissance tour, the audience quickly realized that she was taking Afro-Futurist fashion to the next level. Her stage presence was electrifying, with an initial appearance in an entirely silver metallic bodysuit adorned with winged shoulder pads – a mere glimpse

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of the lavish garments to come. As the show unfolded, the stage transformed, showcasing visuals of Beyoncé atop a holographic horse contrasting a backdrop of black and metallic hues.Notable outfits included Beyoncé fully attired as a robot with an eye-catching metallic circular black halo while performing “Church Girl.” This evolution from “Black is King” to her recent album showcased a shift in perspective. While “Black is King” offered a visual

retelling of Afro-Futurism through the lens of the African continent, her recent album seems to explore Afro-Futurism through the lens of the African American experience, showcasing more modern and form-fitting couture rather than dazzling and shiny headdresses and traditional fabrics.

Bridging the gap between the past and the limitless possibilities of the future, this fusion of African aesthetics with futuristic elements is reshaping the fashion landscape, offering a unique and empowering narrative that celebrates culture, identity, and innovation.

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