Jordan Che (Idaliza Perez Jimen, Anny Chen) - Stylist
Ella Strasser (Yongwoo Park, Smrithi Menon) - Stylist
Javier Garcia (Ignatio Tran, Mac Donovan) - Stylist
Iman Rahman (Sara Schneidman) - Stylist
Ryan Swanson (Jaiden Knowles) - Stylist
Julia Radomisli (Ryan Swanson) - Stylist
Sammy Higgins (Eliana Good) - Stylist
Virginia Davis (Olivia Piersall) - Stylist
Mia Piscitani (Zoe Carovano) - Stylist
Smrithi Menon (Anna Mak) - Stylist
Sarah White (Lupe Vilaubi) - Stylist
Ignatio (Iggy) Tran - Model
Idaliza Perez Jimen - Model
Zoe Carovano - Model
Olivia Piersall - Model
Eliana Good - Model
Jaiden Knowles - Model
Sara Schneidman - Model
Smrithi Menon - Model
Yongwoo Park - Model
Jules Mancuso - Model
Ryan Swanson - Model
Mac Donovan - Model
Lupe Vilaubi - Model
Anny Chen - Model
Anna Mak - Model
Emily Ly - BeautyTeam
Nawar Kazi - BeautyTeam
Paige O’Hara - BeautyTeam
Katlynn Leon - BeautyTeam
Emma Henderson - BeautyTeam
Dear Readers,
Welcome to our twentieth issue of Signature Style! We are so excited to be part of such a significant edition of this magazine. Signature Style was founded in 2014 by Ryan Ong ‘16, Taylor Healy ‘15, and Emily Malter ‘15. Since then, we have published once per semester over the past ten years. We are proud to present this edition to you for our tenth anniversary, and we hope Signature Style’s legacy will shine through the work our team has done to make this issue possible.
Working together as co-editors for a second and final semester has been incredible. We started brainstorming for the spring issue in August of 2023, and watching this edition come to life has been so rewarding. As we prepare to graduate, we have been reflecting on our time both in Signature Style and at Hamilton in general. With reflection comes nostalgia and trips down memory lane, of course. As our graduation date approaches, we wanted this edition to embrace the bittersweetness of nostalgia, and to celebrate the parts of our childhoods we’ve missed the most.
This issue follows a similar theme to our previous edition this fall, but with much more unbridled imagination and yearning for the best parts of our childhoods. For this issue in particular, we found ourselves exploring themes
of childhood nostalgia, from dressing up as mermaids, to recreating our favorite 2014 magazines, to playing dress-up with humans instead of dolls. We hope you dive headfirst into this treasure chest of nostalgia and tap into your inner child that may desperately need a break from the demands of student life.
We would like to thank Professor Grace Troxell for joining us as our faculty feature and introducing us to her world of style. A big thank you to the Kirkland Art Center for hosting us in their beautiful gallery space for our faculty highlight photoshoot. In addition, we’d like to thank Christina Stoll ‘25, one of our expert stylists, for giving us a glimpse into her semester abroad in Indonesia through our abroad highlight article. We would also like to thank Fort Orange Press for their continued reliability as our printer over the years.
To the SigStyle team we are leaving behind, thank you for bringing these crazy ideas to life. We know we are leaving this publication in good hands. Finally, to every member of Signature Style past and present, thank you for making this publication what it is today. Your collaboration and creativity have fueled this magazine and kept it alive long enough for us to reach this milestone. Here’s to many more anniversaries!
We love you Signature Style !
XOXO, Aisling and Phoebe
2014 2014 2014 Tribute
10 Years & Counting
by Norma Callejas
We had the amazing opportunity to speak with the founders of Signature Style, Ryan Ong, Taylor Healy, and Emily Malter! The trio created the publication in 2014, and since then the magazine has been a campus success! Ryan speaks about how for him, he was always interested in fashion and retail, so when the opportunity arose in a conversation with Taylor and Emily — two transfer students — in Major Hall to bring this club to campus, itfeltlikedestiny.
...it felt like destiny .
“It would be a good way to bring people together who had interest in fashion, and it was a blast . ”
“Itwouldbeagoodwaytobringpeopletogether When we were there, it was a great team!” Ryan explains that it started with just their friends and expanded into a space for meeting new people from different friend
Taylor agreed and added that it was a way to network and bring people together that had this shared passion for fashion. “I didn’t even know all of these people were out there!” At their first meeting to gain interest, they were met by many students, which made Taylor really excited that there was this “need in filling a true void on campus.” Taylor wanted to work in the fashion industry, but due to Hamilton’s lack of a fashion-inclined major and resources to find fashion internships, the club became
experience. The club even led Taylor to find her current job at Bloomingdale’s. Likewise, Ryan was able to get a job in the retail industry
experience through the publication. For Emily, although she did not go into the fashion industry post-graduation, she was able to get opportunities in publishing due to her involvement with Signature Style. In terms of their own fashion journeys, they all agreed that once they entered the corporate world, their style became muted, simplisticallyput-together, and professional to match their
BeautyArtists
Abigail Lowder, Katlynn Leon, Nawar Kazi
Models Olivia Piersall, Eliana Good, Mac Donovan, Anna Mak, Smrithi Menon
Photographers
Amanda Sedaka, Varvara Aristakesyan
Stylists
Virginia Davis, Sammy Higgins, Aisling Mockler, Smrithi Menon, Ella Strasser
LayoutDesigner
Sawyer Kron
“It started as a passion project for all of us,” Emily says. Emily’s interest in journalism and writing helped her build the foundation of the magazine. Ryan adds that because everyone within the team had different skill sets and strengths, and their collaboration led to the magazine’s success. “Journalism is not my forte, but I am a good project manager and organizer. At the time, I was Vice President of Student Assembly, so I knew how the ins and outs worked on all the publications, since we did the funding for them,” Ryan recalls. Taylor did a lot of the layout designs and worked with many of the digital programs the team needed to bring the magazine together. Ryan confirms that he “could have not done it alone. All of us had different skills that were needed to make this successful.” Back in 2014, interviews were done to integrate photographers, models, and layout designers, among many other positions, into the club.
Because Signature Style was the first fashion publication on campus among the rest of the established publications, the rise of the magazine allowed for so many students to find a space to express themselves. Unlike their peer publications, Signature Style’s youth allowed for flexibility and individuality, which incorporated many students using their unique skill sets to bring together the individual parts of the magazine, according to Emily. Many of the photoshoots mimicked the flexibility at Signature Style’s core, such as their athleisure shoot in the school’s alumni gym. “At the time, it was a really cool topic and trend. I don’t remember the clothes that we used, but it felt like last minute styling. The background was cool and it looked really vintage,” Taylor remembers. The team would pull clothes and shoes from their own closets and bring them to the photoshoots, a tradition that has stuck with Signature Style through the years, with stylists contributing their own items for models to wear. In addition, the photographers and stylists would work collaboratively to incorporate the models’ outfits into the spaces used for photoshoots, creating a strong foundation for the publication moving forward.
2014 2014 2014
Whenasked about their process for brainstorming ideas, Emily and Ryan respond, “before the season started, we would put ideas together and make sure the layout worked out. We didn’t want to be purely about fashion, we wanted content to highlight students.” Ryan mentioned that there was a balance between talking about developments in the fashion industry and how to best represent them in their magazine, and highlighting students and their personal style. Looking back, Emily wishes that they had profiled more students and interviewed them about their fashion choices. Taylor agrees, saying that as she has kept up with Signature Style’s social media she has been pleased to see how the magazine’s expansion included integrating more student profiles.
The founders were thrilled to hear that Signature Style was working on our twentieth edition, as their main goal for the magazine’s legacy was for it to live on after they graduated. The founders created an outlet for networking and community, just like they’d hoped, and Ryan and Taylor now help so many Hamilton students find opportunities within the fashion industry. Beyond preparing them to enter the professional world, Taylor and Emily say that the magazine gave them a sense of confidence and kick-started their leadership skills to bring their best to the industries they now work in. Ryan reminisces, saying, “it’s rare that you create something out of nothing. Looking back on it, I’m proud of all of us, and it takes courage.”
Grace Troxell Faculty Spotlight
By Ignatio (Iggy) Tran
Professor Grace Sachi Troxell is a Visiting Assistant Professor of Art here at Hamilton College. She brings with her a wealth of experience from her undergraduate studies in studio arts at Skidmore College, to her MFA at Cornell University, and everything in between. In addition to her studies, Professor Troxell has experienced a vast array of cultures from the Glasgow School of Art and Kawashima Textile School in Kyoto, Japan, which have honed her interests in multiple areas of art.
While her experience in the city of Glasgow itself didn’t particularly influence her personal style, her time in an art school there observing the students’ dress did. “I wouldn’t say that I was super influenced by the fashion in Glasgow because it’s very gray there. But it was an art school [Glasgow School of Art], so it was a different experience. Like, I went to Skidmore, which was a liberal arts school, and then the Glasgow School of Art was an art school, so I would say the students are probably dressed better at Glasgow than they did at Skidmore.” Her friendships with her fellow students not only in the art school but also in the design school also helped to widen her horizons. “I had friends who were studying more textiles, studying jewelry, and then also people in painting and
sculpture, so it was so fun to see how all these different artists dressed.” Being surrounded by a wide assortment of creators at the Glasgow School of Art was “very fun just figuring out how I as a twenty year old wanted to present myself.”
Her experience at Kawashima Textile School fostered her love for texture in her personal fashion. “I love texture. I love patterns and layering of things so that there’s something sonic in terms of jewelry, bracelets, or really big earrings.” Troxell emphasized her interests in playing with textures and materials to weigh and layer fabrics to create something special and unique. This love for texture has influenced her style today, as she attests that she either goes for a variety of patterns or monochromatic gold and yellow tones. Jewel-tones, however, are a no-go for Troxell. To pursue these patterns, she normally makes her own clothes, an activity she has done for twenty years now. “Everyday before the bus came, I would just make an outfit and they were totally crazy. I would just take napkins or tablecloths or whatever we had around and make some kind of shift dress with crazy sleeves or bring all these different patterns together.” This childhood experience helped her understand both herself and her skill.
Photographer
Linh Tran
LayoutDesigner
Sawyer Kron
Professor Troxell is currently working on clay sculptures that incorporate different local vegetables to create the visage of family members. She finds humor in the struggle for discernment. “There’s something very funny in thinking you’re looking at vegetables and then seeing someone’s face and then being like, ‘is this a breast or is it a turnip’?” Her recent work reflects on family history, especially since the pandemic. “It’s become kind of this way of interviewing family members.”
Why clay? Professor Troxell credits her love for clay in the communal and ritualistic history as well as its ability to hold touch. Paired with her love for fabric, clay acts as both a means and an adhesive force. “You can create something that holds touch and looks like drapery, but then it’s hard so it has this dichotomy of hard and soft to it.”
Professor Troxell currently teaches Introduction to Sculpture, Introduction to Drawing, and a new class called “What Artists Wear.”
Mermaid COCKTAIL PARTY
Splash!TheRiseofMermaid-Core
ByKatlynnLeon
Wskin, and finding sand literally everywhere. Summer’s essence is captured by the beach, and the season calls us to the sea. The change in weather yields a shift in fashion trends, incorporating remnants of the beach and nautical aesthetics. In recent years, this has culminated in “coastal grandmother” and mermaid-core aesthetics rising in popularity. On one end of the spectrum, the “coastal grandmother” aesthetic is a celebration of relaxed elegance. It leans into clothing pieces that are popular amongst older wealthy people living in coastal areas. The aesthetic is epitomized by the pairing of linen pants and flowy button-ups over swimsuits. It exudes an understated charm with its muted palette of neutral tones and soft blues, evoking images of leisurely strolls along pristine shorelines. “Coastal grandmother” is an easy-breezy comfortable style suitable for both twenty-somethings and seventy-somethings.
On the other end of the spectrum, mermaid-core is whimsical and fantastical. The aesthetic is characterized by shimmery fishnets, vibrant aquatic hues, and an abundance of marine-inspired accessories. Inspiration for this aesthetic is drawn from childhood shows like H2O and the recent live-action remake of The Little Mermaid. Specifically, the recent Disney remake and Halle Bailey’s press run, which featured endless mermaid-esque dresses, have highlighted this aesthetic. Not only that, but TikTok’s need to create niche aesthetics for each trend cycle
has brought even more attention to mermaid styles and its aesthetic.
However, mermaid-core has been around for quite some time, as the young adults who grew up watching H2O and mermaid documentaries are reconnecting with their childhoods through this nostalgic aesthetic. Mermaid aesthetics have also been slowly engraving themselves into mainstream culture. This style was seen on runways in Versace’s 2021 Spring/Summer collection. The collection included dresses printed with starfish
and seashells. While this is not the maximalist, accessories-driven style we see today, thematically Versace was laying the foundation for the mystical mermaid aesthetic of 2024.
In 2022 and 2023, many runways were covered in scale-like paillettes and drenched in aquatic colors named “sea glass” and “ocean.” Furthermore, Siedrés, BAHíA MARíA, and Baobab are emerging designers who are even taking the mermaid-core trend beyond the runway through their colorful, maximalist pieces.
In 2024, mermaid styles evolved once again. The aesthetic has now reached new heights of sophistication and excellence as seen on the Oscars Red Carpet. At the awards show, many guests sported mermaid-esque shapes and aquatic colors. These silhouettes and color palettes mingle seamlessly with spring’s most popular color trend: powder blue. With this, the mermaid aesthetic has shifted away from an over-the-top costume look. Instead, it has become more subtle, with statement pieces reminiscent of these mythical marine creatures.
Beyond the Oscars, mermaid styles have bloomed on a wide spectrum. One can either have a simple fishtail-shaped dress, or go all-out with a pearl-infused makeup look paired with a marine dress, starfish hair clips, and sparkly fishnets. It all comes back to the incorporation of whimsy and escapism into your personal style. The mermaid look by mimicking something from childhood, reconnects you with your inner child.
The mermaid cocktail party photoshoot displays an interesting intersection between childhood nostalgia and adult sophistication. The playful mermaid-inspired makeup and outfits combined with the entirely adult concept of a cocktail party gives the viewer a lot to think about. It sparks a conversation around reclaiming childhood that has gripped pop culture. With documentaries like Quiet on Set, an investigation into Nickelodeon and the abuse that happened to children both on and off set, becoming so widely talked about, many young adults are now looking for ways to connect with parts of their childhood that might’ve been lost to them. In a mermaid cocktail party, young adults are allowed to play like children with their fashion while recreating the adult experience of a cocktail party. As college students there is something special to be found in taking the time to lean into childhood nostalgia. Against the backdrop of a sophisticated soirée, whimsical attire and playful makeup spark conversations about the intricacies of reclaiming lost aspects of childhood in a world that often demands us to grow up too soon.
Mia Piscitani, Jorden Che, Ryan Swanson, Javier Garcia, Sarah White
Sawyer Kron
The aesthetic of this shoot also plays into escapism. Mermaid-core is an escapist fashion trend, rooted in childhood nostalgia and mythical creatures. This aesthetic allows individuals to feel beautiful in an unconventional and magical way. The location of a cocktail party also lends itself to escapism through the recreation of a seemingly simple space to an underwater wonderland. The photoshoot evokes that feeling you have after spending the day at the beach, when you make your way inside to shower and get dressed for a nice dinner. The warmth radiating from your burnt skin and feeling oh-sopretty when you look in the mirror is a sensation almost impossible to recreate. Thousands of TikTok users create and repost videos describing this feeling and wishing for summer to come. With the mermaid cocktail party shoot, we strive to combine all things mermaids with the best summertime feelings for an incredible escapist experience. After a long day of swimming, our mermaid-ified models share drinks, cakes, and sushi under aquatic lighting. From fashion, to set, to lighting, to makeup, this shoot leans entirely into the escapist elements of mermaid-core.
For in the world of mermaid fashion… magic, mysticism, and mermaids are real.
After reading this, I am sure you are feeling ready to dive into this aesthetic for this summer! Don’t worry, here is your guide to rocking the mermaid look all summer long: for that iconic mermaid silhouette, try out some fishtail dresses, lightweight sheer fabrics, and endless cascading ruffles. If statement pieces are calling to you, look for a nautical pattern, a lace-up top, a frilly corset, some sparkling fishnet stockings, or a sheer flowing skirt. Everyone needs accessories, of course! Find some starfish and clam hair clips, or some pearl, sequin, and seashell embellishments that would make any mermaid jealous. Aquatic colors are a must. Grab those blues, greens, and purples, and give some love to glossy, simmery details and hazy watercolor patterns. Remember, mermaid-core is an aesthetic recreating mermaid energy through clothing, makeup, and hair. The style is mysterious, magical, and mystical. It is supposed to be empowering, comfortable, and expressive. Don’t stress about getting it perfect, but instead think about making it fun and memorable. This style can be done in a variety of ways and there is truly something for everyone!
As summer approaches, let us embrace the enchanting allure of “mermaidcore.” Whether you choose to layer flowing sheer tank tops over lightweight fishtail skirts, or pair shimmering pearl makeup with seashells in your hair, let your fashion choices reflect the magic of your inner mermaid. Forintheworldofmermaidfashion…magic, mysticism,andmermaidsarereal.
Christina Stoll ABROAD FEATURE
By Katrina Nelson
This semester, Christina Stoll traveled to Indonesia, where she studies religion, art, and social change on the islands of Bali and Java. Outside of class, Stoll has experienced Indonesian culture by means of painting, woodcarving, and “lots and lots of dancing”.
Home to six officially recognized religions, Indonesia has many styles that have been largely defined by the religious diversity within the country. Stoll noted the importance of religious apparel, including one staple called the pakaian adat, a traditional dress worn at a variety of ceremonial events. Whether Stoll is visiting her host’s family altar, or exploring a new temple, she wears the pakaian adat, which serves as a key garment to Indonesian culture.
Sarongs are another key piece in religious ceremonies and daily activities. Stoll recalls visiting one village where sarongs indicated marital status. “If you were a woman, you would tie the knot around the left shoulder if you were married, or the right if you were not married.” Stoll notes how while religious garments are important, they can also be worn to non-ceremonial spaces. Recounting her own experiences wearing a sarong, she mentions, “It is not at all taboo to use for other various things, my ibu (mother) thought I was super clever for this.”
When Stoll arrived in Indonesia, she was struck by the differences in daily fashion. She currently lives in the village of Kerambitan in Bali, where you can find locals wearing t-shirts, shorts, and flip-flops on a daily basis. Stoll mentions, “They dress for practicality, they
have to because of the weather.” In Indonesia’s hot and humid climate, people opt for lightweight and breathable clothing. Thus, cotton or rayon fabrics help Indonesians stay cool and comfortable. In certain regions, modesty is particularly valued, requiring clothing that offers coverage while still ensuring comfort.
When she returns to the states, Stoll intends on adopting pieces that use more loose and flowy fabric, such as “silhouettes where you can’t really see the body and it’s not as clear.” Stoll said, “I see a lot of beautiful draping that I want to bring back with me.” Stoll also plans on incorporating more colorful and intricate patterns into her clothing style. During her studies, she discovered batik dying, a method where wax is applied to fabric before dying to create intricate patterns. Batik patterns often feature intricate geometric designs with symbolism, embodying a value for symmetry found in both Hindu and Buddhist culture.
Stoll recognized some familiar trends in Indonesian fashion while in university and local areas. “There’s a big neutral movement with the teens. Y2K is also really in.” Stoll remarked, “they love talking about Levi’s and American denim.”
Overall, Stoll appreciates how open the fashion has been in Indonesia, and the freedom people have to express themselves. Whether it be flipflops, Levi’s, or pakiana dat, Java and Bali have provided Stoll with an unforgettable impression of Indonesian style.
THE LEGACY OF PAPER DOLLS
By Sage Lively and Emma DiGiacomo
Now regarded as a thing of the past, paper dolls were once a dominating force in the toy industry for nearly two hundred years. By allowing children to mix and match fashion pieces onto their chosen character, paper dolls were a way to express creativity within play.
Using paper as a form of imitation and entertainment was not limited to the typical image of a paper doll. Even as far back as 900 A.D., it was reported that the Japanese took part in a purification ritual that featured a paper figurine with a kimono. On the other side of the globe, French pantins became a popular form of entertainment in the mid-1700s. Translated as a “Dancing-Jack Puppet,” these figurines were a combination of a paper doll and a puppet. Best known for parodying the French nobility, pantins were used in puppetry shows put on for high society. The tradition of using paper for art, theater, and play expands to other countries including China, Switzerland, and Germany.
Despite its extensive historical roots, the paper doll did not truly become marketed as a toy until 1810 with the manufacture of S&J Fuller’s “Little Fanny.” Known as the first true paper doll ‘character,’ Little Fanny was exported as a product for lucky children across Europe and the
United States. Following this, Godey’s “Lady Book” was published in 1859, which included the first instance of cuttable, swappable costumes one could place on a doll. With the onslaught of the Great Depression in the 1930s, the dolls entered their “Golden Age.” As advanced technology made printing significantly cheaper, paper dolls were one of the only accessible toys for children at the time.
While these dolls were a tool for creativity, it is important to note that paper dolls did reinforce the ideal beauty standard for women at the time. Depicted as thin, white, and conventionally attractive, these dolls served as unhealthy models for young girls. Paper dolls were also often used within advertisements and newspapers to promote a product, making this beauty standard unavoidable for the average consumer. Nowadays, paper dolls are used more as an art form than a toy. As an example, Marc Jacobs recently put on a high fashion show modeled after the paper dolls of the 1960s. Featuring oversized proportions attached by tabs at the hips to emulate how the dolls looked when donned with clothing, the collection had a surrealist edge. This artistic expression and unconventional approach to paper dolls recaptures what made the toy so magical in the
first place – its ability to elicit creativity and freedom with fashion.
When discussing dolls today, one lady in particular comes to mind. In 1959, in the midst of the ‘golden age’ of paper dolls, Ruth Handler created Barbie. Though the name today may conjure images of the iconic doll in her glamorous house with her equally glamorous boyfriend, when Barbie was first introduced, some of her more popular depictions were in the form of paper dolls. Paper doll versions of Barbie, Ken, Skipper, and Midge were sold in the 1970s, as households transitioned from paper dolls to Barbie Dreamhouses. This shift from paper dolls to 3D ones opened an entire world of opportunity for new fashion icons like Polly Pocket and Bratz to enter the doll scene.
bodies going through puberty and pregnancy. However, these progressive versions of the doll faced backlash when they did not fit the ideal social standard of a child’s toy for the time. As we saw with the release of Greta Gerwig’s live-action Barbie movie this past summer, the film’s over-
followed her.
In 1983, another doll personality emerged: Polly Pocket. Perhaps you remember Polly Pockets fondly from your childhood if you, like me, were not allowed to play with “scandalous” Barbies and Bratz. Creator Chris Wiggs originally designed the Polly Pocket dollhouse to resemble a makeup compact, with the inside furnished like a dollhouse. The dolls, which were less than an inch tall, were able to fold in half and could be secured into slots in the compact. When Mattel bought the Polly
Pocket brand in 1998, the company redesigned the doll to the style we might best recognize today.
For those of us who grew up in the 2000s, these more lifelike dolls reflected the iconic Y2K fashion of our childhoods, complete with eye-catching and trendy interchangeable pieces that kids could experiment with.
If Barbie is the standard, and Polly Pocket the prepubescent proxy, Bratz is the cool alternative. Heavier makeup, edgier clothing, and captivating Margaret Keane-esque eyes made the Bratz a lasting fashion symbol. The Bratz slogan defines these dolls as “the girls with the passion for fashion,” and while they may seem drasti-
cally different from their paper doll predecessors, Bratz dolls allowed kids to swap out accessories and create unique outfits as they had for hundreds of years. If Barbie sparked feminist debates, it paled in comparison to the controversies that followed Bratz. Groups like “Dads and Daughters” and the American Psychological Association’s “Task Force on the Sexualization of Girls” targeted the company for their ‘promiscuous’ dolls.
From paper dolls to Bratz, dolls have been reflecting ever-changing beauty standards and fashion trends for hundreds of years. Though they have a history of reinforcing unhealthy ideals, they have also served as trendsetters who live for self expression and play, inspiring generations of kids to experiment with fashion.
Models
Sara Schneidman, Jules Mancuso, Yongwoo Park, Ryan Swanson
Photographers
Amanda Sedaka, Linh Tran
Stylists
Iman Rahman, Zoe Carovano, Ella Strasser, Julia Radomisli
BeautyArtists
Abigail Lowder, Nawar Kazi, Emily Ly
LayoutDesigner
Sawyer Kron
By Kenna Smith
Bows are everywhere these days. Not only will you find bows plastered onto every type of clothing item, but you can also spot them on phone backgrounds, in TikTok trends, and even tied around household items. Bows have become a popular motif and symbol for the unapologetically-feminine trends that are flooding our screens. Take ballet flats, for example, which have had a major resurgence in the fashion world, with new iterations more accurately capturing the silhouette of a ballet pointe shoe. Micro-aesthetics such as “ballet-core” and “coquette” have popularized trends like these among a larger audience through social media.
High and low-brow brands are pushing out clothing, accessories, and content advocating for trends that have historically been considered feminine. One such designer is Sandy Liang, creator of the aforementioned pointe ballet flat. Her designs feature bows, collars, tulle tutus, lace, and even a uniform section with pieces that bear an uncanny resemblance to the school uniforms of my youth. Liang’s website is steeped in motifs of femininity, including pet accessories and a $1,200 runner rug with two bows that stretch from one end to the other. In a recent interview with the New York Times, Liang talks about the inspirations behind her viral designs. “I’m obsessed over something that I can actually never return to,” she says in reference to her girlhood. Her sentiment is bittersweet, as the clothes she designs recall a time in her life she longs for. Yet, the bows and frills only act as a substitute for the real thing. Liang continues, “I’ll have a memory of the way my best friend’s house smelled growing up, or the shampoo that we used during a sleepover. I’ll smell it in my head, and then I’ll get really sad and yearn for it.” She demonstrates how this yearning for her girlhood has rooted itself in the clothing she creates.
Liang’s interview indicates the nostalgia that the ultrafemme style she champions is rooted in. Her designs are a hit because they speak to so many, either through the nostalgia for childhood, or for their playful aura and lightheartedness. Some, however, have criticized this now waning style. Some assert that the overt use of distinctly youthful motifs like the bow and school uniform
fetishize a childlike appearance. While this critique highlights valuable points about the sexualization of women and girls’ bodies, femininity in fashion can be an act of reclamation for those who have historically been shamed for their femininity, regardless of their gender. Delia Cai of Vanity Fair doubles down on the style, “We crave our girlification as a coping mechanism… At the heart of this imagined girlhood is an expression of femininity without consequence.”
All things considered, there is empowerment to be found in embracing themes of femininity. Wearing a bow in one’s hair or a pair of funky ballet flats can spark feelings of nostalgia, joy, and pride. The best part about trending styles like bows or pearls is that truly anyone can wear them. Embracing femininity can come in a plethora of ways, and is not restricted to a certain type of person. Sporting these styles is a powerful statement, and not one to feel ashamed of when used to express oneself.
Sources: Cai, Delia. “We’ve Reached Peak Girl.” Vanity Fair, 18 July 2023. Testa, Jessica. “The Big Business of Dressing like a Little Girl.” The New York Times, The New York Times, 9 Aug. 2023.
THANK YOU once again, FOR 20 EDITIONS AND COUNTING...
Dedication
We would like to dedicate our twentieth edition to Ryan Ong ‘16, Taylor Healy ‘15, and Emily Malter ‘15, the founders and original editors of Signature Style, as well as the original general board that made this publication possible. This magazine has carried on your legacy of creativity, collaboration, and selfexpression, and has brought countless students together in the name of fashion.
