Scarlette Fall/Winter 2023: Timeless by Scarlette Magazine

SCARLETTE ISSUE XX, Fall/Winter 2023

FRONT COVER: Paige McBane [Streetwear shoot] photo credit: Juan Camargo Londoño BACK COVER: Hannah Baker, Kira Bernier, Cherod Bowens, Jasmine Freeman, Lizzie Garver, Paige McBane, Mia Schwind, Shaniya Slaughter, Eli Young [Streetwear shoot] photo credit: Juan Camargo Londoño

A LETTER FROM THE EDITIORS: Dear Readers, Welcome to Scarlette Magazine! Our mission is to create an environment in which Ohio State students feel comfortable being able to share their creativity and pursue their passions within the world of fashion. With each semesterly issue, Scarlette strives to present our readers with a capsule that, when opened, reveals a timestamp of our current fascinations in fashion enmeshed with today’s hopes and visions for the future. Recently, we have found ourselves consumed by retro revivals and stories of sustainability. The never-ending cycle of social media microtrends and the inevitable question of, where do we go from here? In response, Scarlette has designed this issue to present to you a series of explorations that examine the bounds of time on fashion and how the couture of decades past continues to define our present. “Timeless” is as much about investigating where we have been as it is about finding the inspiration within to forge your own path going forward. In the end, the future of fashion lies in the individuality found in you and your own creative self-expression. We want to express our gratitude to our amazing team of writers, photographers, stylists and graphic designers who have poured their time, creativity and passion into bringing this issue to life. Without their dedication, none of this would have been possible. Lastly, we’d like to extend our heartfelt thanks to you, our readers, for your unwavering support. Your enthusiasm and feedback drive us to continue to celebrate and document the incredible fashion culture that thrives on our campus and around the world. As this semester comes to an end, we are so excited to give you the opportunity to experience the passions, creativity and love of our members. Even more, we hope to continue to inspire and promote individuality within the fashion industry at Ohio State. We hope you enjoy this issue of Scarlette Magazine! Sincerely,

Jordan Neifert Editor-in-Chief

Morgan Vereb Editor-in-Chief 03

e c Ex u ASSISTANT EDITOR IN CHIEF Lily Polete

CO-EDITOR IN CHIEF

SECRETARY

CO-EDITOR IN CHIEF

TREASURER

Morgan Vereb

Jordan Neifert

Ella Dipold

Comelia Soltanirad

CLUB ADVISOR Alexandra Suer

i utve GRAPHIC DESIGN DIRECTOR

Jocelyn Bailey

WRITING DIRECTOR

Samantha Harden

MARKETING DIRECTOR Katherine Gallaugher

PHOTOGRAPHY DIRECTOR

EVENTS DIRECTOR

SOCIAL MEDIA DIRECTOR

BOARD

Maggie Harkins

Averie Ison

Jordan Hylton

CONTENTS

08 LITTLE BLACK DRESS 06

SLUMBER PARTY

‘70s INSPIRED

26 RED LIP

STREET WEAR FUTURISM

WHIMSIGOTH

little

BLACK shape s pe e

hi on

tre n ds

a h

if t e r of fas

DRESS

Author: Katelyn Wescott Photographer: Sophia Hughes Layout & Graphics: Jocelyn Bailey

ou’re rushing around your room, clothes strewn across your floor and you find yourself coming to the same conclusion you have a million times before, “I have nothing to wear.” In a state of panic, you look back in your closet one more time and realize you in fact have something to wear, your go-to little black dress. Before the 1920s, black clothing in a woman’s wardrobe was held exclusively for either a period of mourning or was worn by low-class servants. This had been the standard for decades, and it was not until Coco Chanel broke the rules, wearing a little black dress on the cover of Vogue, giving the world a brand new way of viewing black clothing. This version of the little black dress was typical of 1920s style – a loose dress with a dropped waistline and hems right below the knee. But the dress was far from typical; it broke the standards of women’s clothing and was the start of a century-long trend that has now become a staple in closets across the globe Despite the Great Depression, the little black dress was kept alive during the ‘30s and ‘40s due to its innate practicality. The world of cinema also set a standard for the little black dress. Movies using technicolor often used black clothing since colored clothing could look distorted on camera. This meant Hollywood stars were often seen in black dresses in their roles, prompting the rest of the country to wear the little black dress to emulate this Hollywood style. What allows the little black dress to be ever present in the minds of the fashion world is its ability to morph to match the trends of the decade. Every era saw the little black dress in some shape or form, as the only changes being made were those to fit the style of the time.

glamorous

abiding

Arguably, the next most iconic little black dress after Coco Chanel’s debut in her little black dress was the one worn by Audrey Hepburn in her 1961 role as Holly Golightly in Blake Edwards’ “Breakfast at Tiffany’s.” In the film, she is seen wearing a maxi-length form-fitting dress paired with pearls, long black gloves, and a small tiara atop her head. Hepburn’s dress cemented the little black dress as a glamorous and abiding clothing piece.

1920 1920 1920 09

Though bold colors were paramount to the fashion of the ModCloth trend of the ‘60s, fashion icons such as Twiggy were seen wearing the perennial piece. These dresses were paired with chunky belts, interesting collars and fun footwear, putting a ‘60s twist on the iconic trend. In 1994, the public found themselves admiring another iconic little black dress. At the Serpentine Gallery Princess Diana wore the infamous “Revenge Dress,” designed by Christina Stambolian. The off-the-shoulder silk evening gown was worn the same night Prince Charles publicly admitted to his infidelity, making the dress Diana wore one of the most iconic little black dresses in history. The revenge dress proves the little black dress is more than just an elegant piece in a woman’s closet. It proves that fashion can convey emotion and it can alter the public’s view of a person and allow them to make judgments on what that person is thinking. No one knew exactly what was going through Princess Diana’s mind at this point in time, but her decision to be seen in such a bold choice of clothing gave the public an inkling of understanding how she was feeling.

“...fashion can convey emotion and it can alter the public’s view of a person and allow them to make judgments on what that person is thinking”

the

LBD What makes the little black dress such an everlasting piece that can be seen throughout every decade of the past century is its versatility. The dress has shapeshifted throughout history to fit in with the swings of fashion discourse. The little black dress transcends these shifts. No matter what cut, shape or length the little black dress will be seen as glamorous, elegant and flattering to everyone who dons it.

The little black dress fights against overconsumption and is inherently sustainable. The little black dress is a piece a woman can keep in her closet for as long as she chooses and pass it down for generations to come. A woman will always have something to wear if she has a little black dress in her closet.

t throughout

ey ear s

shoot leads: Jordan Neifert and Lily Polete | models: Jocelyn Bailey, Averie Ison, Jordan Neifert, Lily Polete, Katelyn Wescott | hair & makeup: Maddie Fedor and Fatimata Ndong | stylists: Angeline Cash, Madison Griffin, Charlotte Knauf, Tansey Lee

let’s travel back to 70 years ago... SCARLETTE

SLUM BER

PARTY

Author: Hailey Roose Photographers: Ella Dipold & Catherine Lees Layout & Graphics: Jocelyn Bailey photo credit | Catherine Lees

ou are wearing a full-length nylon nightgown watching “I Love Lucy.” A turkey and potato dinner is in front of you and a family Scrabble game is awaiting your attention. Besides the nylon nightgown, polka-dot high-waisted skirts and cat-eye glasses were common streetwear looks of the period and were often accompanied by natural makeup and hair perfectly placed in curlers. Now back to reality – It’s 2023, and the iconic ‘50s styles are returning in current trends. It’s no secret that fashion is cyclical and what once was considered dated will someday make its way back into the spotlight. When looking back at fashion trends of past years, there is no denying that these trends were representations of their time. Fashion allows us to not only express ourselves but in doing so, allows us to create a timestamp in history of our interests, passions, and lifestyles. In the 1950s, society was at a surrender. With World War II concluding in 1945, the public faced a short period of post-war optimism before entering conflict again. The Cold War began in 1947, just two years after the end of the Second World War and the public was patiently waiting to see the light at the end of the tunnel, or as Disney had acclaimed in its infamous 1964 Carousel of Progress ride, “A great big beautiful tomorrow.”

photo credit | Catherine Lees

Fashion allows us to not only express “ ourselves but in doing so, allows us to create

This yearning for tradition–reflected in the fashion of the time–came from a sense of hope people had, looking forward to some form of life that was representative of life before the war, not knowing that life would change forever.

a timestamp in history of our interests, passions and lifestyles

photo credit | Ella Dipold

“

photo credit | Ella Dipold

pajam During this time, Christian Dior began to push the “New Look” – featuring rounded shoulders, a cinched waist and very full skirts – as an attempt to revive the French-dominated industry after World War II. Dior hoped to try and create a new look that was representative of classic styles, with an added layer of femininity, something the world was trying to return to after the end of The Cold War. The collection was praised by countless other designers as well as the public, making it a huge success. As the ‘50s trends began to change, the styles and techniques seen in this collection continued to make themselves prominent in years to come. In 2019, Dior’s fall collection marked the return of these infamous flowy skirts. The ankle-length skirts – following a similar cut to the skirts seen in ‘50s fashion – featured patterns and fabrics made to fit a modern audience.

photo credit | Ella Dipold

When looking at ‘50s sleepwear, nylon quickly became the most sought-after fabric, along with rayon and satin. Nylon was patented in the ‘30s during World War II and became more accessible in the ‘40s, becoming a staple for nightgowns, half-slips and baby-doll nighties in the ‘50s. The type of fabric used within women’s sleepwear was one of the key aspects that set ‘50s nightgowns apart from sleepwear from other decades. The type of fabric and silhouettes of these nightgowns differed based on the season. During the winter, many fabrics such as cotton or flannel were more sought after. The silhouette would change in the Winter as well, resulting in many women wearing nightgowns that were fully sleeved down to their ankles to keep warm. Many people often nicknamed this the “Mother Hubbard” gown for the nun-like appearance it created.

feminin

Nightgowns became very common in both short and full-length styles, often having various types of sleeves, and being available in pastel colors and stripes. The iconic baby-doll nightgown was popularized in Elia Kazan’s 1956 film “Baby Doll,” when actress Caroll Baker wore a sleek, frilly-sleeved baby-doll nightgown.

In addition to the baby-doll nightgown, many of the nightgowns worn by women were adorned with lace detail. The lace neckline of these gowns was a nod to the Victorian era, embracing a dainty aspect of femininity.

photo credit | Ella Dipold

mas Another common style from the ‘50s was a two-piece pajama set that typically had a belt or even a smock top. These ‘30s two-piece pajama sets were Asian-inspired but quickly became common in America in the ‘50s. This set offered a more comfortable option year-round for women around the world. Many of these styles and fabrics have made a comeback in current trends. In 2023, two-piece satin sleepwear sets have become popular once more, taking inspiration from the satin wear of the 1950s. This trend continues to prove the cyclical nature of fashion. Looking back through the fashion trends of the past decades allows us to catch a glimpse of a time we can never experience. It allows us to see what life might have been like for older generations and to see their struggles reflected in their lifestyles and their clothing.

photo credit | Catherine Lees

Styles, colors and fabrics may go out of style, but the lives of those from the period will continue to be intertwined in modern fashion. Current trends will eventually make their way out while other decades’ styles will make their way back in, and in doing so, we get to honor years past and create our stamp in history.

photo credit | Ella Dipold

nity

shoot leads: Ella Dipold and Morgan Vereb | models: Katrina Boyce, Ella Chrzanowski, Lizzie Garver, Deanna Levine, Aly Rollins | hair & makeup: Fatima Iqbal | stylist: Kelsey Carner

“Daisy Jones & the Six”

Talks

Co s

ng the ‘70 i t a s e r

-In

IS E W N E

GATE IN spired

e m

n g e i r s e D

Wardrobe

Author: Samantha Harden Photographer: Ella Dipold Layout & Graphics: Jocelyn Bailey

verything from the Fleetwood Mac-inspired music to the real-life Sunset Strip shooting locations in the Amazon Prime original series, “Daisy Jones & the Six,” is the ultimate homage to the ‘70s. It has been almost eight months since the hit miniseries – based on the 2019 book of the same name by Taylor Jenkins Reid – hit Amazon Prime for the first time but it’s been almost four years since costume designer Denise Wingate first began work on the project. After a long-time friend and producer told Wingate to read the 2019 novel, Wingate said she quickly fell in love and knew she had to be a part of the project. “I was born and raised in Los Angeles and I’m from that period. I knew all the clubs and I just felt like it was something I could really do an authentic job on,” said Wingate. “So I started prepping in November, I didn’t even have my first interview until January.” Once she found out she had the job, Wingate said she spent much of her free time watching documentaries and flipping through photography books from rock photographers of the period. “I had walls and walls of inspiration,” said Wingate. “Thank god for the internet because there is just so much out there.” Wingate said after spending months researching and reading about rock and roll legends of the ‘70s, she was able to define each character based on amalgams of different real people from the period. Suki Waterhouse’s Karen Sirko is based heavily on Suzi Quatro and Marc Bolan from T. Rex – offering a more tough-girl aura – while many of Camila Morrone’s looks as Camila Alvarez were a direct callback to some of Bianca Jagger’s iconic looks. “There’s a scene in episode six of Camila and she comes out from the airport and she’s wearing all white with this big white hat, which was completely inspired by a Bianca Jagger look,” said Wingate. “She was a really big influence. Allie MacGraw when Camila was younger and then Bianca Jagger when she became older.” Wingate said that Riley Keough’s lead role as Daisy Jones took inspiration from a variety of ‘70s musicians. “When she was younger, the inspiration came from early Linda Ronstadt and I mean there were just so many people, but for some reason, I really, really liked her style but it was also from Michelle Phillips and Joni Mitchell and Janis Joplin,” said Wingate. “When she became older, obviously, Stevie Nicks was a big inspiration. All of Fleetwood Mac for the different characters because they had such great style and they were such a huge band.”

“

When she was younger, the inspiration came from early Linda Ronstadt and I mean there were just so many people, but for some reason, I really, really liked her style but it was also from Michelle Phillips and Joni Mitchell and Janis Joplin said Wingate.

“

When she became older, obviously, Stevie Nicks was a big inspiration. All of Fleetwood Mac for the different characters because they had such great style and they were such a huge band.

One of the looks that took the longest to flesh out was the one Daisy wore on stage for the final show. Wingate said she was so busy working on other things that they never had time to come up with a really great concept for the final look. “We tried on pieces and we were like, oh, this is really great, but we just didn’t know if it was perfect for the final scene,” said Wingate. “Then she called me one day and she said, ‘I’m listening to Gold Dust Woman,’ and she said, ‘We should do something like a gold dust woman,’ and I was like, that’s brilliant.” Wingate was hesitant about the look when she saw Keough wearing it in the fitting, saying it “looked like a tent” on her, but as soon as Keough took to the stage for filming, Wingate said she knew it was perfect. “We were shooting in New Orleans and there was a big storm coming in and it was really hot that night and the wind was blowing and she lifted up her arms and it looked spectacular,” said Wingate. “It was just kind of the perfect storm. Once that outfit was on screen, I felt like, “OK, I can take a breath.” Even with the large number of costume changes throughout the show – Wingate estimates around 1,500 – there were many items Wingate had accumulated that didn’t make the final cut or barely did. “There are sometimes things that I feel like I put all this work into and maybe the world doesn’t get to appreciate it as much,” said Wingate. “There was this amazing leather beaded fur thing that I based on a photograph I had seen in the ‘70s and you hardly saw it at all. It was a scene in a nightclub and it’s just, it was so spectacular and you see it for just a few seconds.” Although there were quite a few custom pieces for the show, Wingate said she tried to use authentic, vintage pieces as much as she could – something she said she tries to do for any show she works on, saying she likes to keep a “conscious minded fashion sense.” Wingate said she spent hours scouring vintage Etsy shops and traveling around flea markets in Los Angeles, Paris and Berlin, looking for the perfect pieces for the show. Even when the coronavirus pandemic shut down production, Wingate said she never stopped working, continuing to purchase pieces for the show online. “I wasn’t being paid. I just figured, well, they’re gonna go back up at some point. At least I hoped, or else I was gonna be stuck with all these clothes,” said Wingate. “It was a bit of a silver lining for me, being able to have that extra time to really curate the looks more than I would on other shows.” Not only did the pandemic give Wingate extra time to spend curating the wardrobe, but she said she was also able to create lasting relationships with many of the actors, something she said didn’t often happen when she worked on shows. “I became closer with the cast than I probably would on other shows,” said Wingate. “This was the best experience in my 30-year career for sure.”

shoot leads: Ella Dipold, Averie Ison, Lily Polete, Morgan Vereb | models: Ella Dipold, Averie Ison, Lily Polete | hair & makeup: Ella Dipold, Averie Ison, Lily Polete | stylists: Ella Dipold, Averie Ison, Lily Polete

PAINTED

How Red Lipstick Has Shaped History Author: Natalie Laughman Photographers: Andrés Mira & Lydia Palowitz Layout & Graphics: Jocelyn Bailey photo credit | Lydia Palowitz

photo credit | Andrés Mira

ed lipstick is perhaps one of the boldest statements the lips are able to make. It is a look that is so timeless, it has been worn throughout countless generations and will be worn for many more to come. Red lipstick originated in 3500 BC and was created by the Sumerians who crushed red rocks into a powder that was used to tint the lips a shade of red – a technique that sparked a lifetime of makeup possibilities. Red lipstick can be traced to different cultural histories all around the world. In the 1800s, red lipstick was manufactured from grapefruit, butter and wax. During the Victorian Era, it was looked down upon by many and women were discouraged from wearing it due to the seductive power it seemed to hold. From 3500 BC to 2023, red lipstick is one of the most classic and timeless trends that has been worn by countless celebrities and advertised to populations for years and years. 1920s The 1920s revealed the start of a long life of red lipstick, which has only grown in popularity through time. The most popular product of the decade was Bésame Cosmetics’ “Cherry Red” lipstick, which is still sold in stores today. Although it isn’t often used anymore due to the fact that lipstick doesn’t age very well, people all over the world buy this lipstick to sit in vintage collections. Red lipstick quickly became a major part of popular culture of the 1920s, being featured in F. Scott Fitzgerald’s 1925 novel “The Great Gatsby” and often worn by flappers. In the late ‘20s and early ‘30s, red lipstick was seen in the classic “Betty Boop” cartoon. She had large eyes and a booming red lip, a look that continued to be popular throughout history. Red lipstick was also seen as a strong political statement in the ‘20s when women’s rights movements were brought to the forefront, leading red lipstick to become both a staple of beauty and an important part of society that gave women the strength to band together and fight for their rights. Suffrage leaders of the time, including Elizabeth Cady Stanton and Charlotte Perkins Gilman, loved red lipstick for its power to intimidate men who stood in their way during the Women’s Suffrage Movement. Red lipstick was often seen as a symbol of defiance and women all over the United States began to wear it as a sign of empowerment and community.

photo credit | Andrés Mira

1940s

The 1940s was a time period marked by patriotism, optimistic outlooks and stunning red lips. America had just entered the Second World War and women started to gain prominence in the workplace, yet another act of defiance that women used to prove their strength and power in society. Elizabeth Arden was a women’s activist in the early ‘40s and also a makeup artist who created a red lipstick specifically designed for women serving in the military. The product was called “Montezuma Red” and was a vibrant shade of red that was created to match the red piping on women’s military uniforms.

1950s

In the 1950s, Marilyn Monroe rose to fame and brought the iconic red lip with her. Monroe was the bombshell of the decade, known for her short platinum hair and outstanding record of women’s empowerment. She had a notorious shade of crimson that she was rarely seen without. Continuing through the ‘50s, Lucille Ball was seen wearing a powerful red lipstick in 1955. Her behind the scenes clips from “I Love Lucy,” revealed her bright red hair paired with classic red lipstick, a look that many women replicated over the years. This time period further showed how prominent red lipstick was becoming in history, some might even say red lipstick was beginning to create history.

Montezuma

Red photo credit | Andrés Mira

Chocolate

1970s

The ‘70s was a decade marked by the color red, but it wasn’t just women rocking the bold color anymore.

It began with the rock band, The Rolling Stones’ logo, which was first shown to the public in 1971. The logo became one of the most famous band logos of all time, featuring a bright red pair of lips. In 1975, “The Rocky Horror Picture Show” put a statement berry red lip on Tim Curry, who plays the lead role of Frank N Furter in the film. This revealed that it wasn’t only women who were allowed to rock the iconic color. Both Curry and The Rolling Stones set the androgynous tone for the decade and spread red lips into other communities around the world. Shades of plum, cranberry and mulberry became the staples of this era. Glossier looks overpowered matte at this time, creating a wider variety of appeal. Bésame Cosmetics’ “Chocolate Kiss” shade of lipstick in the ‘70s was a dark lip color that had undertones of red, a color that became very popular throughout the decade.

1980s

The ‘80s, although not often associated with the color red, featured the iconic color as well. Popular cartoon characters were seen wearing shades of red, revealing a very powerful side to women.

In 1988, when Robert Zemeckis’ “Who Framed Roger Rabbit” was released, Jessica Rabbit obtained an icon status with her own shade of red lipstick. Her character, along with her fiery red hair and crimson lips, was a powerful woman capable of overpowering men during her time.

Kiss

A popular Disney villain, Ursula, from the 1989 film, “The Little Mermaid,” was also seen wearing red lipstick to combat her booming voice. Even being underwater, she wore it without a single smudge.

photo credit | Andrés Mira

1990s

The ‘90s was a groundbreaking period marked by the color red. It was a time period that shook the history of red lipstick and how it was worn in more ways than anyone expected. After M.A.C.’s release of their lipstick line, Madonna chose a classic red called “Russian Red” to wear throughout her “Like a Virgin” World Tour. It was a sultry red color that aligned with her seductive style. She was a starlet of the period and her iconic color quickly became a bestseller. In 1990, Julia Roberts debuted a beautiful all-red look in the film “Pretty Woman.” It was a look that had the capacity to turn her into a brand-new woman. Anjelica Huston, who played Morticia Addams in the 1991 film “The Addams Family,” wore a blood shade of red in the popular gothic movie, adding a new kind of vampy look to the color. In the 1992 film “Batman Returns,” Michelle Pfifer, who plays Catwoman, flaunted a cherry red lip with a glossy finish to match her latex look. In 1994, Chanel released their iconic shade of red called “Chanel Vamp,” a dark shade of red that almost appears to look purple. The color was most often sold as a nail polish color but was eventually made into a matching lipstick, and when the two are worn in tandem, it creates a powerful look. This groundbreaking shade rocked the ‘90s and has made a major comeback due to its timeless look.

photo credit | Lydia Palowitz

photo credit | Andrés Mira

Russian Red photo credit | Andrés Mira

Uncensored

2000s

The 2000s undoubtedly continued the red lipstick craze and although red lips were hardly a trend, they became more of a lifestyle for many celebrities. Nicole Kidman kicked off the red lip of the 2000s in her 2001 film “Moulin Rouge.” The film brought in many awards, which couldn’t have been done without her red and rouge lips. In 2001, Gwen Stefani began to pair a fierce red with her commonly punky looks similar to the one in her 2000 music video “Let Me Blow Ya Mind.”

Rachel McAdams wore every shade of red imaginable in her 2004 film “The Notebook.” In the lead role as Allie, McAdams wore a variety of deep reds that were meant to be a call back to popular makeup trends of the 1940s.

PRESENT DAY

Even now, red lipstick defines people in ways that nothing else can. Countless figures in current popular culture, including Adele, Angelina Jolie, Emma Stone, Margot Robbie and Janelle Monae, have been using red as their staple for years. In 2017, Rhianna launched her cosmetics brand, Fenty Beauty, with a line that included a striking liquid red lipstick that was designed to last all day. Her classic red shade is called “Uncensored” and is a staple of her makeup collection. Another icon known for flaunting the color red is the one and only Taylor Swift, who most often uses Pat McGrath Labs matte red lipstick in the shade “Vendetta.” The pop star was recently seen rocking the red during her multiple-month-long Eras Tour, but Swift has worn the red for years and once you go red you can never go back. It is easy to see the tremendous impact that red lipstick has had throughout the beauty industry as well as in pop culture throughout history. This simple item of makeup has impacted society in ways never thought imaginable from something as simple as a lipstick color. The color has become one of the most famous and timeless fashion statements of all time and will continue to change as the world of fashion

whimsigoth Channeling Your Inner Witch

If you have been on TikTok in the past year you have likely noticed that goth has become the new cool. The aesthetic known as whimsigoth is a mix of whimsical femininity and gothic structure and is the newest wave of resurfaced fashion trends from the past.

Author: Angeline Cash Photographers: Kaylah Burns & Maggie Harkins Layout & Graphics: Jocelyn Bailey photo credit | Kaylah Burns

The Origins of the Trend

nspiration for whimsigoth comes mostly from a combination of the iconic grunge style of the 1990s and hippie styles from the 1970s. Grunge was all about masculine pieces, graphic designs and a dark color palette; it completely rebelled against the colorful fashion of the ‘80s, while the ‘70s focused more on florals and billowing layers. Whimsigoth blends both of these trends together, creating an aesthetic that is both whimsical and gothic. Stevie Nicks, the lead singer from the iconic ‘70s band Fleetwood Mac, is generally thought of as the blueprint for this combination of grunge and whimsical. On the cover of Nicks’ debut solo studio album, “Bella Donna,’’ Nicks is wearing an all-white flowing gown while the rest of the cover is dark and eluding, this is the very essence of whimsigoth. Characters such as Sabrina the Teenage Witch and Phoebe Buffay (Lisa Kudrow), from the hit TV series “Friends,” embody whimsigoth and are large i nspirations for the new fad. With lace-up corsets, astronomical imagery and loose floral layers, media figures such as these are the originals for colliding whimsical and grunge. The emergence of the parent aesthetic of whimsigoth was partly a way for people to cope with the devastating AIDS epidemic which occurred in the ‘80s and killed approximately 40.1 million people who were diagnosed with HIV. Whimsigoth enabled people to be able to express their sorrow and devastation through moody clothing and decor. Whimsigoth is a great example of how fashion can not only tell a story but can also be a tool for unity and coping during hardships. This aesthetic was a way for people to express their emotions when struggling with the AIDS epidemic and reignited once more when the world was facing the coronavirus pandemic in 2020.

photo credit | Maggie Harkins

photo credit | Kaylah Burns

photo credit | Maggie Harkinss

shoot lead: Katherine Gallaugher | models: Maria Nicole Cappelo, Katherine Gallaugher, Samantha Harden, Paige Kadar, Abitha Vinoyi, | hair & makeup: Madeline Kritzell | stylists: Madeline Kritzell and Aliyse Stokes photo credit | Kaylah Burns

Present Day Whimsigoth Whimsigoth is the modern-day aesthetic that meshes these styles from the past. In present times, the world has been able to officially recognize this phenomenon. Evan Collins, the founder of the Consumer Aesthetics Research Institute (CARI), is the one who recently coined the term and gave this timeless aesthetic a name. “We’re piecing together forgotten history and essentially cataloging unknowns,” said Collins in an article for GUAP. “Being the direct opposite to the vibrance of Y2K can somewhat explain its popularity. The oversaturation of Y2K fashion, the bright, bold colors, busy patterns, and heavily perfected silhouettes could not look more different to the deep, rich earth tones and free-floating shapes favored by those in this whimsical subculture.” Collins’ description of whimsigoth being a harsh contrast to the Y2K style of the 2000s accurately describes its moody yet playful elements. It pulls in both darkness and femininity with majestic velvet and lace details and centers around greenery, airy fabrics and celestial embellishments. People who wear these outfits often feel a connection to magic and mysticism. This is why whimsigoth is often associated with horoscopes, tarot and astrology. This type of spirituality fits right alongside its extraterrestrial themes and other-worldly beliefs. Whimsigoth pays homage to the fashion of the past but has evolved to a modern aesthetic. In the past, the trend was used as a way to unify communities in times of need, and it is still being utilized for the same purpose today. Now, whimsigoth has taken over social media and people’s closets around the world. The combination of soft silhouettes and rigid pieces creates a moody and spectacular aesthetic, perfect for doing a tarot card reading or dabbling in herbology.

STREETWEAR

RESURGENCE OF

Streetwear is making a comeback Author: Paige McBane Photographers: Averie Ison & Juan Camargo Londoño Layout & Graphics: Jocelyn Bailey

photo credit | Averie Ison

riginating in the ‘90s, this synergistic style is a delineation of the hip-hop scenes of New York and Los Angeles, Japan’s nightlife and Latinx heritage. This movement offered an expressionist escape for those who were labeled as the city’s rebels. Loose jeans hung adroitly from waists, paired with eccentric graphic tees and husky sneakers. Gold chains and statement glasses were plastered over the top of oversized sweatshirts, becoming a typical style to come across at skateparks and city streets. Streetwear is not only a fashion genre, but a community of individuals who curate clothing as a representation of their inner selves. It cannot be defined by labels, as each person utilizes anthologized pieces of clothing to illustrate themselves. This style ultimately faded out of mainstream styles, giving way to other eras of fashion. Minimalism began to inch its way into mainstream trends, eradicating statement-patterned pieces. However, it’s belatedly creeping back into current styles. Big-name fashion companies such as Stüssy, Nike, Off-White and Adidas are tapping into this element of change. This has led to a rapid expansion of streetwear, offering opportunities for people to add staple streetwear elements to their wardrobes. A-list celebrities have also been seen participating in this movement. Justin Bieber, Drake and Bella Hadid confidently don the baggy jeans while strutting through the city streets. Although this representation in the media bolsters its presence, streetwear is not solely based on media fads. Consumers drive this style, and the industry follows. Streetwear shatters the constrictive bounds of mainstream fashion and offers a space for individuals to create unbreakable communities.

photo credit | Juan Camargo Londoño

Sole Classics is a Columbus-based company that has taken full advantage of the streetwear resurgence, offering unique pieces from their original designs along with streetwear pieces from other brands including Nike, Ottolinger, Adidas, Ganni and Honor the Gift. The navy green cargo skirt and crimson red baby-tee from luxury streetwear brands Ganni and Ottolinger allude to comfortable high-fashion, while Honor The Gift’s brown embroidered carpenter jacket is a piece that can elevate any look. The red tee provides a pop of color, drawing the eye up from the clunky knee-high boots, but the look can easily be dressed down with a pair of sneakers.

The leather jacket with graffiti-style art plastered on the back is a product of LISP, a Columbus-based brand known for coining its own style, known as “Midwest Grotesque,” which is a mixture of scary iconography, American traditional workwear and Midwest casual streetwear. The brand’s breathtaking design and vivid colors lead the eye to follow each stroke of paint, allowing anyone who wears their pieces to feel a sense of individuality. These designs, paired with baggy pants, make for an outfit that marks the epitome of streetwear.

The oversized bag comes from Columbus-based brand From Nothing’s sustainable creations, following the brand’s motto, “turning nothings into somethings.” The bag was made with 100% recycled materials, which offers both functionality and individuality. No look is complete without accessories. CLOUD9’s meticulously designed jewelry can be easily layered for a cohesive look. Necklaces and rings completed the looks by dragging in textures and colors seen elsewhere in the outfits. Streetwear is all about community. The multicultural style can give you an opportunity to find yours.

photo credit | Juan Camargo Londoño

shoot leads: Averie Ison and Jordan Hylton | models: Hannah Baker, Kira Bernier, Cherod Bowens, Jasmine Freeman, Lizzie Garver, Paige McBane, Mia Schwind, Shaniya Slaughter, Eli Young | stylists: Ella Dipold and Sierra Hudson

photo credit | Juan Camargo Londoño

photo credit | Leticia Wang

THE FUTURE OF FASHION Metallics, metallics, metallics! When picturing the future of fashion that seems to be all that people can think of, and it’s no wonder. With technology becoming more and more integrated within modern society, and the idea of a utopian future becoming more realistic, it’s not surprising that metallurgy, the art of removing metals and using them, is often seen as futuristic.

photo credit | Leticia Wang

Author: Katherine Gallaugher Photographers: Juan Camargo Londoño & Leticia Wang Layout & Graphics: Jocelyn Bailey

etallics, originating in the 1930s and becoming a major trend in the ‘60s and ‘70s, were seen as the fashion of the future and often combined high fashion with science fiction wonder. Disco was also growing in popularity in the ‘70s and was defined by its common use of metallics. Everything from disco balls to sequined dresses and pants marked this decade and with the gay liberation movement and civil rights moving to the forefront, the ‘70s were also a period marked by social change. According to BBC writer, Paul Stokes, the disco-inspired “social liberation” was seen in how metallics were made to add a sense of creativity and glamor to the dance floor and social scene.

photo credit | Juan Camargo Londoño

Famed musician and actor David Bowie had a major impact on the world of fashion. His persona Ziggy Stardust, named after his 1972 album, “The Rise and Fall of Ziggy Stardust and the Spiders from Mars,” was an otherworldly, alien character meant to bring a message of peace to Earth. The alter ego became a large part of who he was and contributed greatly to the seemingly futuristic fashion of the ‘70s, often seen in his metallic outfits. Bowie’s high fashion, avant-garde looks “set his career into orbit,” according to Alan Light of Rolling Stone Magazine. Not only did Ziggy Stardust change Bowie’s life, but it also changed the world of fashion as we know it. The ‘70s marked an era of liberation that stemmed from 1969’s Stonewall riots. The Gay Liberation Front was founded in New York City later that year and eventually led more cities around the country to follow in support of the movement. A few years later, in 1973, Roe V. Wade was established. The Supreme Court recognized that the right to liberty in the Constitution protects personal privacy, which includes the right to decide whether or not to continue with a pregnancy, setting the stage for the future. With a simple search for “70s fashion,” your computer will show shimmery jumpsuits and metallic bell bottoms. This, however, will raise some questions; Is it really the future that is metallic, or was it the past? Retrofuturism defined by Oxford Languages is “the use of a style or aesthetic considered futuristic in an earlier era,” meaning current perceptions of the future of fashion are really just what people of the past thought the future would be. In Robert Zemeckis’ “Back to the Future Part II,” a film set in the ‘80s, they had to travel to the future, 2015, Zemeckis envisioned a future that had self-drying jackets and flying cars, which have still yet to be invented. In an article from CNN, Chris Isidore said people are still excited about the possibility of flying cars in the future, the same future people of the 80s thought would be true today. They tried to predict the future, but it is almost impossible to know what will come to pass.

photo credit | Juan Camargo Londoño

In the world of fashion, trends are constantly being recycled. In 2016 rather than looking forward to the possibility of flying cars, instead ‘80s fashion was making a major comeback. With the success of the Duffer Brothers’ Netflix series, “Stranger Things,” which was first released on July 15, 2016, ‘80s fashion was making a major comeback. Mom jeans, a staple of the ‘80s, were revived, showing how the future of fashion may not be what it was imagined to be but is often recycled trends from the past.

This can also be seen in the Y2K style resurgence that occurred in 2020. Everyone suddenly turned to Britney Spears, with the return of low-rise jeans and butterfly clips. Not only is fashion history repeating itself, but it’s moving faster and faster due to social media. These microtrends are not only bad for the environment but they also make it increasingly hard to understand what is in style and what isn’t. With the rise of social media, e-commerce has gone up nearly 800% and so much of that is from online shopping which has led brands like Shein to become popular. This level of mass production and mass consumption has also led to large amounts of clothing ending up in landfills.

photo credit | Juan Camargo Londoño

The future of fashion is not metallics like the people of the past believed it to be, but instead, the present has been marked by plastic and if nothing changes, the future will be as well. According to Daniel Albaz from the Plastic Pollution Coalition (PPC) over “69%” of clothing is now flammable due to an increase of materials made from plastic such as polyester. Polyester, which first became available in the 1950s, was marketed as a “magic” fabric according to MMI Textiles because it did not require ironing and was seemingly wrinkle-resistant. Before the use of polyester clothing was made from natural materials such as wool, linen and cotton, but with such a large market for fast and cheap fashion, plastic is used even more often in clothing now than it ever has been before.

Over 92 million tons of clothes are thrown away each year, according to Arabella Ruiz of Good On You – a leading company dedicated to informing others about brands and their sustainability initiatives and ethical sourcing through sustainability brand ratings – and at this rate, the future of fashion will be marked by mass consumption of clothing, which could eventually lead to a lack of resources. This can be combated by mending clothing, wearing and buying second-hand and buying from companies who focus their brands on sustainably by using eco-friendly materials and are not mass producing their products. Retrofuturism is likely to continue with the constant cyclical nature of trends. Fashion has, and will, continue to repeat itself. There is a chance that a resurgence of natural fibers being used in clothing will occur with the growing knowledge of the climate crisis and in turn, sustainability may move to the forefront of the fashion world. There are a few different routes that the future of fashion could take, from metallics to referencing the past to plastic to sustainability. Who knows, retrofuturism may be the future of fashion. The only way to find out is to wait and see.

shoot leads: Samantha Harden and Averie Ison | models: Varsha Bala, Julia Darr, Lizzie Garver, Samantha Harden, Tobey Hoch, Averie Ison, Anna Pichler | hair & makeup: Fiona Armstrong of the Aveda Institute | stylists: Kelsey Caner and Jaicee Cooper photo credit | Juan Camargo Londoño

meet the founder

Swesha Anora For as long as I can remember, I was always mesmerized by my mom’s Indian jewelry and it became the biggest influence for the creation of my own jewelry brand. Growing up, I was very crafty and the idea of starting a business and building a brand seemed like an out-of-reach fantasy. It wasn’t until COVID-19 that I brainstormed an idea for making money from home by making jewelry in my free time, and felt there was a chance that other people would want to wear the jewelry too.I began creating a small selection of necklaces and bracelets and began an Instagram account where I posted photos and descriptions of the pieces. At the time, the account was primarily followed by my friends and high school peers. Shortly after these posts were published, my inbox was full of people wanting to buy what I had posted. Growing my brand through Instagram allowed me to realize how profitable this business could be, but it had to be in an accessible format. After copious research, I started an Etsy shop, which enabled me to reach a larger audience, and I learned a lot about marketing throughout the entire process.

From there, I expanded to designing different styles of jewelry and incorporating different materials such as crystals. Making jewelry is a way for me to express my creativity and explore my style, and it is a really beautiful experience getting to share and document the progression of my style with so many people across the world. Overtime, I started to feel like my style had evolved from when I first started my brand at seventeen to now as a twenty-year-old junior in college. This past summer, I initiated a rebranding process, which involved a brand name change, new packaging, and a new marketing strategy. As I grow up and continue to learn more about myself, I feel like I am able to reflect more of my authentic self into my brand. Before going forward with rebranding, I needed to ensure I had a clear understanding of what my brand really stood for. The original name of my brand was “Anoesis Jewelry” which I felt limited the direction I could take my brand one day. Knowing myself and the passion I have for fashion, I knew that I would eventually want to design my own clothes one day, or even a different product that resonates with me during that stage of life. I decided to change my brand name to “Swesha A”, my first name and last initial, because I want this brand to represent my identity and encourage people to be proud of who they are. I have always been a firm believer in staying true to yourself, even throughout my childhood. I couldn’t settle with any other name for my brand except for my own because this way, I can ensure that I continue to hold myself to the standard of always creatively expressing myself, and encouraging others to do the same. My goal is to help others achieve this by serving as an outlet to display their uniqueness.

INSTAGRAM @ swesha_a

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SCARLETTE ISSUE XX, Fall/Winter 2023