Rouge Magazine SS21

ROUGE MAGAZINE VOL. II, ISSUE II S/S 2021

an ODE to the ICONS

SS21

Rouge Magazine is the first and only 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 fashionrelated 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

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CO N TE T

Haute Couture

By Anna Albright Tea Time

Photographed by Shaelin Lee A Virtual Reality

By Lillian Maple Pop of Color

Photographed by Tara Anastasoff

The Capturers of Fashion

By Kristen Haupt

Iconic Editors and Even More Iconic Covers

By Tablow Media

N EN S

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Letter from the Editor Amazing Grace

By Cece Grosz

Carine Roitfeld's New 90's

By Alexis Derickson

Old Glam

Photographed by Emmie Harvard

The History of Vogue Through the Years

By Katherine Rhodes

Franca Sozzani

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By Shelby Wingate

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Little Black Dress

Photographed by Presley Dale Electrified City

By Kendal Cano Nothing is New

By Haley Wolf and Angela Canales New Glam

Photographed by Elisa Fontanillas & Stephanie Lopez How Fashion is Shedding the Gender Binary

By Justin Schofield

EXEC

EDITOR-IN-CHIEF Vanessa Vassileva

DIRECTOR OF Julia Jack COMMUNICATIONS

DIRECTOR OF Stephanie Lopez VISUAL CONTENT WOMENSWEAR Grace Bedsole FASHION EDITOR ASSISTANT Elaine Garvey WOMENSWEAR EDITOR MENSWEAR Kelvin Nguyen FASHION EDITOR GRAPHIC DESIGN Elisa Fontanillas EDITOR ASSISTANT Rachael Lupton GRAPHIC DESIGN EDITOR BEAUTY EDITOR Christin Walls ASSISTANT Jocelyn Pena BEAUTY EDITOR

DIGITAL BEAUTY Amanda Merritt EDITOR BLOG CONTENT Morgan Quinn EDITOR DIGITAL CONTENT Mary Renfroe EDITOR COPY Tara Anastasoff EDITOR SOCIAL MEDIA Randi Cass DIRECTOR TREASURER Lori Sofian

Abigail Mapel Alexis Derickson Alyssa Dickson Angela Canelas Anna Albright Anushka Karnik Ava Castro Brielle Ninesling Camille Campbell Courtney Devilla Crissy D'alto Elifelet (Ellie) Sanchez Elizabeth Nitz Haley Wolf Isabella Hernandez Jamila Reeves-Miller Katherine Crocker Kristen Haupt Rachel Killian Rachel Rashbaum Rebecca Sunkin Rita Rojas Perez Sierra Blackmon Sierra Bolin Sophie Baker Taylor Bond Trinity Gates

VISUAL CONTENT: Anushka Karnik Daryn Minister Elisa Fontanillas Emmie Harvard Jocelyn Pena Lauren Skeen Presley Grace Shaelin Lee Sophie McLeod Sydney Burton Tara Anastasoff

WRITING: Alexis Derickson Angela Canales Anna Albright Cece Grosz Gianna Rodriguez Haley Wolf Justin Schofield Katherine Rhodes Kendal Cano Kristen Haupt Lillian Maple Shelby Wingate Sophia Ungureanu Tablow Media Valeria Delgado

DIGITAL CONTENT: Alexa Ayala Guzman Laura Flores Lauren Skeen Ned Feininger Shayla Hadziahmetovic Shaza Medhi

BEAUTY: Amanda Knisely-Medina Erin Hickey Kayla Moradi Natalie Bacome Norma Regina Bazon Espinosa Olivia Gauthier Shira Ben-Simon

MARKETING: Cece Grosz Dolores Trobradovic Emily Jacobs Jackie Fox Jenna Shields Kate LaGrandeur Kylie Reh Lauren Pittard Madison Byrd Margaux Binder Midori Jenkins Rachel Killian Rylee Woodard Siena Howe Smriti Tayal Sophia Galu Sophia Kwan Sydney Lumampas Taryn Scott Valeria Delgado

BLOG: Amanda Knisley-Medina Ava Castro Dolores Tobradovic Emily Jacobs Fatima Beye Gianna Rodriguez Juliana Redaeilli Lily Baldwin Madelyn Aliffi Margaux Binder Mary Margaret Perry Natalie Bacome Pierce Pittman Rachel Rashbaum Regan Sadowski Rita Rojas Sarah Harden Shaza Mehdi Shira Ben-Simon Sophie McLeod Sydney Burton Tablow Media Taniya Pierce Trinity Gates

GRAPHIC DESIGN: Katie Stone Madhu Ravi Sarah Landmesser Shayla Hadziahmetovic

SOCIAL MEDIA: Hannah Ahuja Jamila Reeves-Miller Sophia Kwan Sydney Bolin Tori Pasquale

GENERAL BODY

FASHION:

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LETTER FROM THE editor VANESSA VASSILEVA

A common sentiment shared by many in this season, this issue, my last, is characterized by escapism. Bridging the gap in time between the past and the present, this issue's theme, "An Ode to Icons," shares the common denominator of glamour. Split into two overarching subsections, old glamour and new, the spreads express representations of glamour then and now, effectively juxtaposing a more muted color palette against a vibrant appeal to the senses. Two additional shoots nestled within both subsections, little black dress and tea party, serve as supporting rhetoric to the narratives in the larger shoots that are more applicable to modern style. The little black dress's versatility is harped upon in its spreads and the tea-party shoot plays on recent trends in the TV and film industry. Related to the theme of iconic moments in fashion history, the beauty spreads this semester are a modernized nod to the 1960s. A s m y l a s t o f s i x i s s u e s t o t a l a s editor, I am overjoyed to be able to share an issue that is timeless. After all, is that not one of the true tests of fashion?

I hope you enjoy this issue as much as we enjoyed creating it -it has been a true pleasure. xx, Vanessa Vassileva

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G ING Z A M

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HOW VOGUE WENT FROM FANTASY TO FEMINIST UNDER A NEW TYPE OF EDITOR Cece Grosz

The 1971 appointment of Grace Mirabella, the sporty daughter of Italian immigrants, as the new Editor-in-Chief of Vogue took the fashion industry by surprise. In the 1960s, Vogue was headed by Diana Vreeland. It was an era of excess for the magazine and the world: avant-garde, fantastical, and psychedelic fashions splashed across the pages. But as the decade passed, so did Vreeland's favor in the eyes of Vogue.

Mirabella loathed the fantasy of fashion in the '60s. In her memoir, "In and Out of Vogue," she muses that because so few women had the purchasing power to buy the best clothing at the time, "the vast majority of women were just ignored by the industry" (1995). She resented the fact that the actual cost of clothing wasn't a factor in the magazine's coverage at all; that attitude simply wasn't relatable to the typical working class female. Mirabella writes that in those days, Vogue was a publication "by the rich, for the rich" (1995).

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That all changed when she was made Editor-in-Chief. Mirabella began including important news coverage and clothing that women could feel freedom while wearing.

The magazine transformed from pompous and unattainable to easygoing and contemporary.

A new kind of Vogue for a new kind of woman: the intelligent, modern woman who worked for a living and wanted to read a magazine which reflected that.

Instead of exotic aristocrats and old money socialites, the pages of Vogue started to fill with artists, playwrights, and hardworking women. The most refreshing thing about Mirabella is her take on the entire concept of fashion.

In the introduction to her memoir, she boldly stated that she has never thought of fashion as an end in and of itself: she isn't the type of woman who would be thrilled at the latest shoulder pad innovation or care much about skirt length going up and down. What she does care about passionately- is style. To Mirabella, "Style is how a woman carries herself and approaches the world.

Dressing up in the most expensive thing around has nothing to do with style. Style transcends money,

fashion trends, 'prettiness'" (1995).

Mirabella is an iconic figure in fashion history because of the attitude expressed in that quote. Her championing of the working woman paved the way for feminism to be embraced by the fashion industry.

Mirabella's efforts to cater to a new kind of reader paid off; under her leadership, the magazine's circulation increased from 400,000 to 1.3 million (Dailey, 1988).

Despite her succ-esses, M i r a b e l l a unexpectedly found out she was fired from Vogue through Liz Smith in New York's Live at Five broadcast that ran in 1988 (Case, 2019). Vogue would be helmed by British-import Anna Wintour. Despite the unstylish way she was fired, Mirabella handled it with poise and went on to start her own magazine, Mirabella, in publication from 1989 to 2000.

In her 17 years as Editor-in-Chief, Grace Mirabella remodeled Vogue into a magazine for the modern reader. In a world of fast fashion, microseasons, and fleeting trends, her truly classic style is something we should all stay inspired by.

IN AND OUT OF VOGUE

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CARINE ROITFELD’S

NEW

‘90s

ALEXIS DERICKSON

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With her signature high heels and dark eyeliner, Carine Roitfeld made the world her runway.

The '90s oozed sexy and sleek glamour, all while maintaining a certain classiness. Brimming with passion and laced with the dark drama of nightlife, the decade made Roitfeld its "it" girl.

While working as a stylist with photographer Mario Testino in 1994, Roitfeld was invited by Tom Ford to work on his first collection

at Gucci, a brand desperately in need of revitalization at the time (Anaya, 2015). The dynamic duo developed a new image for the brand of a woman both sensual and powerful, charismatic and fearless.

Gucci rose to fame as fashion lovers around the world ached to be a part of a new fashion aesthetic.

Meanwhile, Roitfeld made a name for herself as both the muse and stylist behind Gucci's countless runway shows and ad campaigns.

On the way to becoming a global icon, she was appointed in 2001 as the Editor-in-Chief of French Vogue, Conde' Nast's flagship French fashion magazine, which she renamed Vogue Paris (Anaya, 2015).

Remaining consistent in her daring creative choices, Roitfeld broke down the barriers of the fashion world and was the first to place a transgender model on the cover of Vogue (Borrelli-Persson,2019).

Much of Roitfeld's image is influenced by her French upbringing and the liberation of the '70s. Born in Paris, she grew up surrounded by the image of the beautiful French woman and became one herself, airing a certain confidence, grace, and imperfect perfection (Talon, 2019). As a twenty-something living through the sexual liberation movement of the '70s, Roitfeld's fashion sense developed to reflect similar feelings of freedom and choice of expression (Borrelli-Persson, 2019). In her countless photographed outfits, Roitfeld's staple pieces are clear - stilettos, a skirt brushing just at the knee, and a blazerall perfectly fitted to show off her figure while still using classic silhouettes.

From the '90s to now, Carine Roitfeld remains timeless.

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Photographed by Emmie Harvard Styled by the closets of the Rouge Magazine team

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18 Models: Madison Herndon & Shelby Wingate

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darling

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the

HIST ORY

OF VOGUE through the years Katherine Rhodes

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To look at the latest issue of Vogue is to get a glimpse into the heart of the fashion industry's definition of glamour. The consistency and recognizability of the magazine's covers have set the standard for other fashion publications, but there is a reason Vogue is the top women's fashion magazine worldwide (Hackney, 2014). In order to fully understand how Vogue became the symbol of fashion it is today, it is important to acknowledge what elements of its history set it up for its success. Vogue originally began as a weekly newspaper for the elite and is now a global fashion powerhouse.

Today, it is commonplace for models, musicians, and actors alike to grace the cover of Vogue, but before Anna Wintour's reign as Editor-in-Chief and champion of utilizing celebrities as style icons, it was primarily supermodels that had the privilege of displaying the latest fashions to the public. In fact, Wintour so greatly believed in the power of celebrities as influencers of fashion that from 2004-2011, not a single model appeared on the covers of the iconic September issues of Vogue U.S. (Elpa & Hallstrom, 2018).

Vogue's most recent September issue set out to form one uplifting global conversation united around the message of hope (Vogue, 2020). Vogue U.S. gave two contemporary artists, Kerry James Marshall and Jordan Casteel, complete freedom to create paintings for the covers (Kazanjian, 2020).

Although paintings on magazine covers stand out today amid the photographs, before July 1932, all Vogue covers featured illustrations. It is not insignificant that the subjects of the September issue's painted covers are Black women.

Vogue debuted its first Black cover model in 1974. Although greatly outnumbered by white cover models, choosing to feature Beverly Johnson on the August 1974 issue and Naomi Campbell on the September 1989 laid the groundworkfortheupliftingoftwoBlackartists'voices(Elpa&Hallstrom, 2018).

Each component of Vogue today has a foundation in the events of both the magazine's and society's history. Delving into this glamorous - and not so glamorous - past is a reminder of how far the top fashion publication for women in the world has come.

“A glimpse into the heart of glamour”

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FRa c NA SOZZANI: A Catalyst for Social Change Shelby Wingate

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Internationally known visionary and Vogue Italia Editor-in-Chief Franca Sozzani completely transformed the longstanding idea of fashion at the time.

Sozzani valued ethics and social criticisms. For 26 years, she was known for her fascinatingly provocative issues, completely changing the magazine's reputation. Because of her impact, Vogue Italia became known for blending social issues with high fashion.

British Vogue.

Barack Obama's presidential race inspired this issue. In an interview with Reuters, Sozzani said, "America is ready for a Black president, so why aren't we ready for a Black model?" (Winterbottom, 2008). Sadly, Italy wasn't ready for that change. While the issues in the U.S. and U.K. sold out, Vogue Italia did not sell very many copies in Italy (Eytan, 2014). Italy was behind on the topic of race, and the country's economic activity surrounding this release proved that.

However, Italy's lack of acceptance didn't stop Sozzani from expanding her idea of diversity. In June 2011, Vogue Italia Spread after spread, Sozzani never failed released their summer issue with curvy to reflect time. In July 2005, with the help models on the cover. In an interview with of photographer Steven Meisel, Franca Women's Wear Daily, Sozzani said "Why Sozzani orchestrated Makeover should these women slim down? Many of Madness, a photoshoot glamorizing the women who have a few extra kilos are beautiful and also the plastic surgery process. especially feminine" (Moss, 2011).

During that time, the idea of more plastic surgery captivated the Italian majority. Beauty was defined by The cover featured Tara Lynn, Candace and Robyn Lawley. an attractive physical appear- Huffine, ance, and Sozzani and Meisel The models attracted a lot of wanted to satirically highlight the struggles attention and were discussed in blogs, and-day-tothat models experience (Capiaghi, 2010). newspapers, conversation people were Plastic surgery places models in the day fashion industry, but Sozzani shocked that three curvy models challenges readers to consider the appeared on the cover of a Vogue magazine. cost of living up to beauty standards. Sozzani had an eye for the Challenging the beauty standards did unexpected, and that drove her not stop there. In July 2008, Vogue Italia artistic vision. As a high fasheditorial professional, no released their Black Issue, ion showcasing Black talent in politics, one embraced the topic of social art, and entertainment. It featured criticisms like she did. For Sozzani, fashion beyond the fabrics prominent Black models like Naomi extended Campbell, Tyra Banks, Iman, and Pat and the materials. Morality was Cleveland; she also had Black artists Sozzani's inspiration, making her a working behind the scenes, one of them strong force in the fashion industry. being Edward Enninful, who is currently the Editor-in-Chief of Because the concepts of ethics and truth pushed her creative vision, a lot of her spreads gained popularity -resulting in a massiveamount of feedback. Sozzani's time at Vogue created a conversation, allowing readers to see fashion's relation to current events. In a conversation with the Telegraph, Sozzani mentions that, fashion is not only about a piece of fabric. If you think about all the fashion movements we have had in the years, they came from a situation that's social, economical, and political. So why should we not reflect our time? (Finnigan, 2016).

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Photographed by Presley Dale Styled by the closets of the Rouge Magazine team

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Models: Elisabeth White, Jackson Riddle, Shriya Dendukuri, Hana Park

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Models: Arantxa Villa

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ELET CR CI T Y 40

I IE RF D Kendal Cano Few scenes in recent memory have been as monumentally inspirational as the '70s in New York. Artists, musicians, poets, sex workers, and junkies came together seamlessly to inspire -- and they created a movement. The '70s in New York was the follow-up to the swinging '60s of London, and the zeitgeist of free love made shockwaves across the city. By far, the most impressive part of this time and place was the music. The 70s were the era of rock n' roll and disco. Places like Max's Kansas City, CBGB'S, Mercer Arts Center, Fillmore East, Hurrah, and the notorious Studio 54 were the playground for the century's greatest artists to laugh,

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commiserate, dance, and create. Nightlife was the way to get inspired.

Writhing bodies covered in glitter weaved from table to table with the sole goal of meeting the most interesting person.

Artists like Donna Summer ignited the dance floor with her electric new dance sound, while television was bringing punk to CBGB. Bands were formed at gigs, and creative inspiration came from the uninhibited outfits of flamboyant New Yorkers. Rock stars wore their girlfriend's t-shirts and women wore jeans and biker boots; the androgyny and decadent glamour of the time persists on the backs of celebrities like Harry Styles.

Nobody was scared if they looked like they were too much, too feminine, or too anything; Jack Whatley from Farout Magazine identifies the crowd fully: The lumpy and bumpy clientele was notorious for flipping from not caring enough to look up from their drinks to, in the blink of an eye, throwing their glasses on stage within the utmost angst (2021). This raucous energy pulsated through creative scenes across the globe.

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The crowd wore an interesting array of casual and glamorous attire, jeans were a staple as long as you knew how to work them. Everyone wore their denim with their own DIY modifications and styled them to match their ethos.

Hair was another medium of experimentation, as mohawks, afros, blow outs, and homemade bobs completed every look.

Money wasn't an obstacle to being best dressed because the value wasn't in quality, it was in ingenuity. The hottest performers borrowed from anyone and everywhere to achieve their look.

The key to this perfect recipe was the unadulterated collaboration between artists. Nobody was too cool to talk to anyone; everyone was an equal and so were their ideas. Filmmaker Anton Perich said "At Max's you were welcome, once inside, it was the most welcoming atmosphere" (Rosen, 2017). That's what made this the era the cultural reset that it was. Few times have been as influential as this, and

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N E W S I G N I H T O N HOW THE 20-YEAR TREND RULE CONTRIBUTES TO THE RISE IN SECOND-HAND SHOPPING

HALEY WOLF AND ANGELA CANALES When it comes to fashion, trends are constantly coming and going; what was in last month is now considered outdated and boring. The interesting key to this is that the trends that usually seem so fresh and exciting are actually not fresh at all. Well, the truth is that fashion is cyclical - a 20-year cycle to be exact.

Every decade retains its own story, and the fashion of every decade encapsulates that story. In the '60s and '70s, we saw hemlines get higher, hair let loose, and makeup get brighter as the women's liberation movement came to life. In the '80s, big hair was the norm and bright colors and patterns started to make their way onto windbreakers and oversized knit sweaters. In the '90s, fashion was turned upside down and grunge became the new "it" trend; flannels, ripped jeans, and dark makeup matched the aura of rock bands like Nirvana.

Fashion was always meant to be recycled, but it comes back every 20 years or so in a new and fascinating way. Think about what's popular right now: mesh tops, baggy jeans, bright colors, baby tees, and mini skirts. None of these pieces are items that we as consumers haven't seen before, and yet we all can't wait to get our hands on them. So, what's contributing to such a rise in vintage pieces?

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Secondhand shopping used to carry a negative connotation and was considered taboo, but in recent years, we have seen these old-fashioned stereotypes kicked to the curb as thrift shopping rates surge .

across the country. With all of the craziness that came in 2020, many retailers saw a strong decrease in sales, largely due to the fact that many people weren't making enough money to support their previous spending habits. In conjunction with this, thrift and vintage stores saw an increase in sales and activity throughout all of last year, and it has kept up since. According to Refinery29, "it's grown 21 times faster than traditional retail over the past three years" (Huber, 2020). Not only are prices at secondhand shops lower, but they offer uniqueness and originality to fashion and clothing that mainstream shops can't. As stated by Vogue, "if you want a dress that's actually unique - one that you won't see coming and going on the street - then vintage, thrift, and upcycled are your best options" (Farra, 2020).

More and more in the fashion industry, we are seeing a push away from unity and fitting in, and more towards standing out and being bold; who can find the coolest statement jacket or rock the craziest boots? Plus, with such a strong push for sustainability from Gen Z, specifically, secondhand shopping is the best option to check all of those boxes.

The classic high-waisted, straight leg baggy jeans have made their way into so many wardrobes, recycling this '80s/'90s trend that was deemed ugly and unflattering just a few years ago. Today's fashion brought them back with a modern twist: they are often styled with flattering crop tops, oversized street-style tees and sweaters, and even corsets. Although we may still consider loose fitting jeans our favorite, as we enter the 2020s, low-waisted denim and bell-bottom flares from the early 2000s are starting to send everyone back to their local thrift stores searching for this once abandoned staple.

Fashion evolves, but it would remain stagnant if it weren't for designers taking inspiration from and reinventing the trends of the past. The phrase "I bought it on Depop" will only carry more weight as time goes on, and the uniqueness brought by secondhand shopping is one we personally can't get enough of. The hunt, the prices, the one-of-a-kind looks, and the sustainable aspects make thrift stores a hot commodity around the country and the world in today's day and age. It may be cliche, but especially in 2021, one man's trash truly is another man's treasure.

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Photographed by Elisa Fontanillas & Stephanie Lopez

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Styled by the closets of the Rouge Magazine team

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SEEING

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Models: Tara Anastasoff & Sabrina Lee

who, me?

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thank you

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How the Fashion Industry is Shedding the

Justin Schofield

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In the past few years, we have seen huge strides to improve trans representation in many aspects of our popular culture, and fashion has been no exception. Magazines and shows are putting a brighter spotlight on trans models, entire brands with a trans or agender focus are seeing huge success -- and while there are always ways for our society to improve on this front -- queer acceptance in general is at an all-time high. A particular watershed moment for the industry occurred in 2015, when transgender designer Gogo Graham debuted off-schedule during New York Fashion Week with a lineup of exclusively trans models -- the first time in the history of the semi-annual event. With her collection -- designed for and worn by brate trans femininity, designing them with a certain dynamism in mind, trans femmes -- she sought to celebrate trans femininity, designing them with a certain dynamism in mind, so that the energy of the article and its wearer feed off each other and elevate the femininity of the article and its wearer feed off each other and elevate the femininity

of both in a way that is uniquely trans. When asked what her identity means to her and how it has shaped her life, Graham used the opportunity to highlight the oppression and violence that trans women of color have faced, and that she "can only hope that [her] own identity and skills can be used as tools to help relay the urgency of that message" (Nichols, 2015).

Since Graham's show, a great deal of important moments have shaken up the industry. Marco Marco Underwear became the first major brand to have an exclusively trans show at NYFW, boasting a diverse lineup of 34 trans men and women. Several editions of Vogue have featured their first trans cover stars: Laverne Cox for Britain, Estrella Vasquez for Mexico, and Valentina Sampaio for Paris (Sampaio has since gone on to become the first trans Sports Illustrated model as well). Model Hunter Schafer has assisted in ACLU's lawsuit against North Carolina's non-inclusive bathroom bill, starred in the award-winning HBO series "Euphoria," and racked up an impressive tally of runway appearances, including all four cities during fashion month for several years now (Street, 2018).

Late super-producer and popstar Sophie Xeon (who also used her platform to build awareness for trans people of color) was photographed with her then girlfriend Tzef

Montana for a feature in American Vogue, touting them as "the future of queer love" (Lhooq, 2019).

In spring of 2019, Black trans woman Pierre Davis became the first transgender designer to share a collection on the official New York Fashion Week calendar. Davis, with her brand No Sesso, is perhaps best known for her collaborations with musicians such as Steve Lacy, Kelsey Lu, and SZA. Since then, No Sesso's singular and agender designs have been featured prominently in multiple major fashion publications, showing the effect trans fashion can have when given the attention it deserves (Street, 2019).

There is still more progress for us to make, however. American Vogue is yet to feature a trans cover star, though it did make a splash by featuring Harry Styles, the first non-femme in the history of the publication. Styles, who himself has remained tight-lipped about his sexuality, has made waves with his embracing of a more gender-fluid clothing style since escaping the commercial packaging of his former boyband One Direction. Millions of non-binary people still face discrimination around the globe, but the more that trendsetters work to "un-define" gender, the safer the world becomes for them.

The future is bright, the future is Trans.

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T A H UE

COUTURE: A GUIDE TO RECONFIGURING LOOKS FROM SOME OF THE RUNWAY’S MOST ILLUSTRIOUS MOMENTS ANNA ALBRIGHT

The Grand Palais, Somerset House, and the Plaza Duomo have long bred fashion moments that stand the test of time. But oftentimes, runway fashion is dismissed on the basis of being too extreme for everyday wear.

This statement, however, is limiting. The wearable art that is couture can be translated into an everyday wardrobe with a few simple alterations.

When a designer repeats a look, you know that it must have some kind of merit. Versace F/W 2021 did just that, gathering more than a little inspiration from their Fall 1991 collection with flippy skirt silhouettes in rich monochromatic shades of crimson, magenta, and sunny yellow (Vogue, 1991).

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The recent Versace collection exemplifies the nature of wearability in terms of runway fashion, allowing followers to easily alter the look into one that is in line with modern street style. tights and chunky heels in a color palette that is almost elementary in its nature.

For a more toned-down version, opt for a simple dress or co-ord set with matching tights and chunky heels in a color palette that is almost elementary in its nature.

A fashion staple that has been lost on almost every occurrence other than in haute couture, the British royal family, and the Kentucky Derby is -- you guessed it -- the overthe-top hat. Arguably the most famous utilization of the hat manifests itself in Thierry Mugler's Fall 1995 collection, where the accessory is the look, rather than a flippant addition (it also helps that the collection is reminiscent of Cruella de Vil, who is undoubtedly evil and undoubtedly a fashion icon).

The show itself is one of the most iconic in history, said to be the "Woodstock of fashion" (Woo, 2019).

Fishnets, black, and fur reign supreme on this runway, all of which happen to be components that make up a fabulous edgy-yet-chic look.

Modernizing and converting the maximal Mugler runway to a day-to-day closet involves

a sleek all-black base (perhaps a fitted turtleneck and leather pant combo?), a fur (preferably faux or vintage) coat, and just about every accessory that can be added; carefully monitoring the line between chic and a well-dressed Christmas tree. Gloves, printed tights, wide-brimmed hats, and feathers -- all integral parts of the collection that most of us probably have, albeit in the deep dark depths of our closets.

Well, the land of misfit accessories is no more because they're back in a big way, thanks to the '90s revival.

An "iconic" or "illustrious" runway look is one that has stood the test of time beyond itself and its era of fashion -- one that has been recreated and redesigned from its matriculation to present day. Long gone is the time of brushing off designer fashion as inaccessible and impractical, only able to be recognized by a small group of people.

The runway is for everyone, encouraging creative freedom and an ability to make an "outlandish" look a coveted one. The secret, if you've not yet discovered it, lies in yourself and your attitudes towards fashion. Once amended, the rest will fall in place, in an undeniably fashionable way.

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Photographed by Shaelin Lee Styled by the closets of the Rouge Magazine team

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Model: Yanaisa Pena & Ivan Ruiz- Hernandez

into the

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in DREAM LAND

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Model: Erin Hickey

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LET’S GET

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Model: Quentin Fernander

OUT OF HERE

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V A VIRTUAL REALITY:

modern standards challenge an outdated beauty industry Lillian Maple

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The beauty industry has undergone an extreme change over the last year, but these drastic shifts in the market have been a long time coming. Traditional beauty brands have seen changes in the way consumers experience their products, advertisements, and retail shopping.

Brick and mortar retailers have been forced to shift away from in-person sales models to targeted digital ads and social media. Alan Ennis, the former CEO of Revlon, said "The path to a successful company used to be predictable. The big brands were leading the charge and they defined what consumers would be using," (Kestenbaum, 2017). As technology becomes further integrated into everyday life, people have become increasingly reliant on social media advertising instead of traditional billboards and commercials.

This marks a significant and challenging shift in marketing strategies and severely hinders the success of in-store shopping. ket with more affordable products.

However, the rise of online shopping has given retailers the newfound ability to reach more people with targeted ads and direct advertising, such as email and text message.

Jo Malone believes that younger generations use the internet to "create a community and their own language and their own

world and communicate and consume in a different way," (Kestenbaum, 2017).

This, along with the nature of social media, has made personalization more important to consumers, and brands have adjusted their advertising strategies to become more specific and fill an even more personal niche.

This novel accessibility to more brands and products through the internet has given entrepreneurial and start-up brands a larger platform, especially to younger generations who value supporting small businesses and eco-friendly brands. As the traditional, big-name beauty brands have seen a decline in popularity, independent brands have grown. In a 2016 study, independent brands were up 42.7%, which marks this change in consumer tastes (Kestenbaum, 2017).

Vegan and cruelty-free brands such as Anastasia Beverly Hills and Urban Decay have led the way for many independent brands like Dose of Colors and Milk Makeup to occupy the market with more affordable products.

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SKINCARE IS THE NEW

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The beauty industry has been hit hard in the wake of an international downturn in people's economic and social lives. The big-name beauty brand, Becca Cosmetics, has recently announced it will be closing its doors forever. In September 2021, the Australian brand will shut down after 20 years of operation.

The closing of major beauty brands comes with the trend that beauty-brand owner Polly Marchant describes as "skincare is the new make-up," (Rackham, 2021).

The ever-changing world of beauty and skincare has constantly evolved with every drastic cultural change. For years, traditional beauty brands have been working to adjust their marketing strategies and adapt to the shrinking need for in-store shopping. This trend has accelerated in the last year as people's needs and lifestyles shift towards virtual communication and shopping. In addition to social media advertising, beauty brands have had to alter their product lines to include more skincare and wellnessoriented offerings in order to stay afloat. However, the effects of these recent changes show that all retailers are vulnerable -even the biggest names in beauty.

MAKEUP

Throughout the duration of the pandemic, the trend of failing beauty brands has only been accelerated. As people are forced to stay inside, they lose their need for glamour and makeup, instead opting for skincare and sweats.

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Styled by the closets of the Rouge Magazine team

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Model: Alysse Spencer & Hana Park

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THE CAPTURERS OF

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A LOOK BEHIND THE LENSES OF THE MOST ICONIC PHOTOGRAPHERS KRISTEN HAUPT 81

The most esteemed collections, models, and fashion houses would not have been successful without the masterminds of these iconic moments and garments. We owe everything to the creative minds behind the lenses that have produced some of the most emotion-evoking and inspirational images that exist today. Three of those minds - Peter Lindberg, Patrick Demarchelier, and Annie Leibovitz - are just a couple of people to thank.

Starting with a simple Kodak Eastman camera, Patrick Demarchelier discovered his love for photography at 17.

Born in Le Havre, France, he eventually moved to New York at the age of 32 to kickstart his career. In 1975, he became Harper's Bazaar's core photographer (Artnet, 2016). Demarchelier was recruited to shoot campaigns for big name fashion houses like Chanel, Louis Vuitton, and Dior. His style captures the iconic portrait and expressions of his subjects rather than the garments or props in the shot. When asked about how he captures such captivating images, he explained that "I have that one second, the moment she forgets about the camera, when I can make someone relax and become her real self. That is the moment I want to capture" (Artworks, 2018).

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Among his many famous works, like the playful image of model Cara Delevinge, or the captivating image of RuPaul, he is best known for his intimate portrayal of Princess Diana. She commissioned him to take photos of her, which ultimately established her popularity and character to the public.

Peter Lindbergh, a German photographer, changed the narrative of women in the fashion industry post 1980s. His vision redefined fashion photography, capturing women in a new light.

He did not focus on the model's clothing, but rather the attitude and power of being a female, forgoing airbrushing and editing and highlighting natural beauty through his raw images (Staff, 2019). He was known for his black and white photos and popularized the 90s supermodels we revere today like Naomi Campbell, Christy Turlington, and Cindy Crawford (Evans, 2020). He was even the first photographer to shoot top models together in the same picture for British Vogue's famed January 1990 cover (Bio, 2020). Lindbergh created timeless photos that showcased fashion in a way that did not include highly edited and photoshopped pictures, but rather captured the beauty of simply being human.

American photographer Annie Leibovitz is arguably one of the most brilliant photographers in existence that is known for capturing the intimate moments and expressive actions of her subjects.

Leibovitz started her photography journey at Rolling Stones in 1970, and soon earned the title of the first female chief photographer, later moving on to shoot for Vanity Fair and Vogue (Artnet, 2016).

Leibovitz created images that were known for being playful and bright, and her confidence in her abilities was portrayed through the unique styling, posing, and authenticity of the subject and material being photographed.

Leibovitz commented on her style, saying "Everyone has a point of view. Some people call it style, but what we're really talking about is the guts of a photograph. When you trust your point of view, that's when you start taking pictures" (Artnet, 2016). And, indeed, Leibovitz did trust her guts, taking photos that were never seen before, like the 2008 Vogue issue of Lebron James and Gisele Bundchen,

showcasing an aggressive James in athleisure wear dribbling a basketball, contrasted with the gracefully posed Gisele in a Balmain silk dress. This image caused much controversy, but emphasized unfair portrayals of stereotypes in the industry. Leibovitz continued to be bold in her style of shooting photographs, tackling social issues with the "Call Me Caitlyn" issue for Vanity Fair in 2015, softening attitudes on sex reassignment.

Leibovitz has not halted her work at all, but claims her spot as one of the best photographers of all time, and she was formally given the Living Legend honor by the Library of Congress in 2000. Even today, she continues to take striking photos that time and time again are the center of conversation by not only capturing the beauty of fashion, but also being bold enough to address political views and social issues that create a reaction within the community.

Photos open up the scope of fashion to be spread to the whole world, capturing emotions and ideas through the expression of clothing. It takes a lot to stand out, and these two photographers have not only done so, but have shaped the industry of fashion and photography for years to come.

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IC ON IC Editors & Even More Iconic Covers:

A Look Into Memorable Covers and Their Impact

Tablow Media

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For decades, people have turned to fashion magazines like Vogue and Harper's Bazaar for inspiration. The iconic covers that have been published under the fashion industry's most influential editors have altered the way we look at fashion today.

Anna Wintour, Vogue's current editor, has had so many dazzling and eye-catching covers that fly off the shelves each month, but her very first cover may arguably be her most memorable. Vogue's November 1988 edition featured Israeli model Michaela Bercu in a stunning Christian Lacroix jacket and jeans. This cover was the very first time jeans were seen on the cover of any fashion magazine (Feingold, 2018). Wintour's bold venture was stunning, and it paved the way for designers to incorporate jeans on a larger scale onto runways, eventually leading to more calculated styles around denim.

While this editor just started her position at Harper's Bazaar, Samira Nasr is already publishing covers that are leaving their mark on fashion. Already making history as the magazine's first editor that is a person of color, Nasr has had to find where the magazine fits in today's climate with a pandemic, a summer hot with politics and protests, and a period of economic

strife (Degrandcourt, 2020).

Nasr's March 2021 edition of Harper's Bazaar is iconic not only because of the cover model, but the implications the edition has on fashion. Megan Thee Stallion graced the cover in a Chanel cape and dazzling Bulgari earrings. At only 26, Megan has become an inspiration for women everywhere with her enchanting confidence and her adamance on uplifting women. She challenges current beauty standards by not trying to mold herself into them, celebrating her own uniqueness instead. It is too early to tell the impact this cover will have on the fashion industry, but it has already generated an immense amount of acclaim and support, not only for Megan and what she stands for, but for the shift this cover brings in the name of fashion and current standards and ideals.

The women in fashion who are not always seen - who put the concepts of their respective magazines together, who make the styling decisions and placements- are crucial to the fashion industry.

Their influence is monumental, not only in introducing trends, but defying them as well.

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Carine Roitfeld’s New ‘90s

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The History of Vogue Through the Years

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Franca Sozzani: A Catalyst for Social Change

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Electrified City

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Nothing is New: How the 20-Year Trend Rule Contributes to the Rise in Secondhand Shopping

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Thrifting is Such a Defining Aspect of Gen Z Life. Retrieved from: https://www.refinery29.com/en- us/2020/10/10014753/thrifting-gen-z-thrift-shopping-trend

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How the Fashion Industry is Shedding the Gender Binary

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2015. Retrieved from: https://www.huffpost.com/entry/fabrications-meet-trans-fashion-designer-gogo-graham_n_560 d7713e4b0768127011a26 Street, M. (2018, November 30). Born beautiful: A short history of trans models in fashion. Retrieved from: https://www.out.com/ news-opinion/2018/11/29/timeline-history-trans-models-fashion Street, M. (2019, February 11). No Sesso made history for Trans designers at New York Fashion Week. Retrieved from: https:// www.out.com/fashion/2019/2/11/no-sesso-history-trans-designers-new-york-fashion-week-fall-2019

Haute Couture: A Guide to Reconfiguring Looks From Some of the Runway’s Most Illustrious Moments

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Times. https://www.nytimes.com/2019/03/01/t-magazine/thierry-mugler-1995-show.html

A Virtual Reality: Modern Standards Challenge an Outdated Beauty Industry

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The Capturers of Fashion: A Look Behind the Lenses of the Most Iconic Photographers

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Iconic Editors & Even More Iconic Covers: A Look into Memorable Covers and Their Impact

Degrandcourt, R. (2020, October 20). Samira Nasr's First Harper's Bazaar Cover Is Also A First for Liya Kebede. Daily Front Row. Retrieved from: https://fashionweekdaily.com/liya-kebede-harpers-bazaar-november/.

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