SMU Look Magazine Volume 7 Issue 1

MAGAZINE

EDITOR-IN-CHIEF MADDIE CRISP

SMU SMULOOK@SMU.EDU

MANAGING EDITOR CRISTIANA MONTALVAN

ASSISTANT EDITOR DRISHTI SACHDEVA

SENIOR EDITOR CHELSEA EMMICK

CONTRIBUTING EDITOR MARIA CHAMMAS

DIGITAL

DIGITAL EDITOR LUCY LADIS

ASSISTANT DIGITAL EDITORS LIZZIE SEXTON, SHAE WALKER

WRITERS MEIGHAN ASHFORD, TYLER MARTIN, CAROLINE PIERCE, REES SINNOTT

FASHION

CREATIVE DIRECTORS BENNETT HILL, MICHAELA MCTEE

ASSISTANT CREATIVE DIRECTOR SARAH STEINHOUR

FASHION EDITORS ELLA MILLER, BETTY JANE THOMAS

PRODUCTION COORDINATOR LILLY JACH

MODEL COORDINATOR SINCLAIR JELLEME

FASHION ASSISTANT AVA TODD

ART & DESIGN

ART DIRECTORS MADDIE MILLER, JUAN SILVA

ART TEAM ROSHAN GUPTA, ISABELLA HUGHES, ANGELICA KOUTSOUBIS

PHOTOGRAPHY DIRECTOR ELLA MCDONALD

PHOTOGRAPHERS ARDEN EILAND, HELEN TRAN

MARKETING

MARKETING DIRECTOR CLEMENTINE MARCOGLIESE

SALES DIRECTOR FRANKI PALMER

SALES TEAM ANNA BARBIERI, CLARE COLEMAN, KATHARYN MITCHELL, IZZY SEARLES, MARGO WASHBURNE, AVERY ZOLFAGHARI

EVENT DIRECTOR COCO BARNES

EVENT COORDINATORS ELINA BOUGAS, KRISTEN DILLARD, EMERSON MASON

DIGITAL PROMOTIONS DIRECTOR MORGAN PERRY

CIRCULATION COORDINATOR LUCIE-ANNE BRETON

SOCIAL MEDIA

SOCIAL MEDIA DIRECTOR ALEXA FIELD

INSTAGRAM DIRECTOR CHARLOTTE KOLMAN

INSTAGRAM ASSISTANTS OLIVIA ATHERTON, CECILIE BRATTLI TIK TOK DIRECTOR ATHENA MAMATAS

TIKTOK ASSISTANTS EMMA GLASER, MADDIE WAGNER

CONTENT CREATORS CAROLINE CORCORAN, LIA DOMENECH, ELLA MILLS, IVY NIELSEN, ATENAS VIJIL

ADVISORS

FACULTY ADVISOR JENNY B. DAVIS

ADVISING EDITORS ETHAN LASCITY, ANDREA ARTERBERY

EDITORIAL SUPPORT CANDACE BARNHILL, LISA GOODSON

EXECUTIVE DIRECTOR MELISSA CHESSHER

VOLUME 7 ISSUE 1

LOOKING OUT

05 Editor’s Letter by Maddie Crisp

QUICK LOOKS

07 LoveShackLilly by Maddie Crisp

08 The New View by Cristiana Montalvan

10 On Pointe by Chelsea Emmick

11 Heavy Metal by Cristiana Montalvan

12 Go Long by Maia Heisel

14 Peep the Technique by Maddie Crisp

16 Asset Appreciation by Avery Zolfaghari

18 Fashion for Good by Drishti Sachdeva

20 Bejeweled Maximalist by Michaela McTee

FEATURES

24 Courting Style by Clementine Marcogliese

26 The Power of Color by Maddie Crisp

28 Used, Abused and Expensive by Ashlyn Wingett

32 The Unkindest Catwalk by Lexi Goodman

34 Elemental Elegance by Bennett Hill

LOOKING BACK

40 Must Know Mustangs by Chelsea Emmick

Contributors

Maya Basra Model

Grade: Sophomore Major: Marketing

Favorite Dallas Restaurant: Dive

OntheCover

Model Carson Sherman

Photography by Helen Tran

For more images from this shoot, see page 20

Amisha Nazim Model

Grade: Junior Major: Human Rights

Favorite Dallas Restaurant: Café Istanbul

Ashlyn Wingett

Writer Grade: Senior

Major: Journalism & Fashion Media

Favorite Dallas Restaurant: Uchi

BY MADDIE CRISP

Letter

EDITOR’S SPLENDOR.

I spent my early childhood on a farm in a small town called Acton, Texas. To many, Acton exists as a small dot on a map — just flat land and weak cell service. For me, however, Acton stands for what I want this issue to represent: splendor.

The association might not seem obvious, but I think it’s crystal clear. Growing up with room to roam, I enjoyed the luxury of freedom and the opportunity to indulge my imagination. I learned to be creative and fearless, and I learned how to appreciate the beauty of nature. Every spring I eagerly waited for the bluebonnets and Indian paintbrushes to bloom. I spent many summer nights chasing fireflies, following their sporadic flashes. And every fall and winter, I watched as the leaves slowly fell, leaving the trees bare. That, to me, is splendor. The pandemic taught us to appreciate the outdoors, and even though challenging news continues to arrive in our inboxes each day, we can still pause and let in a little light.

I believe splendor exists all around us, and this issue delivers plenty. Each feature highlights a different approach to this idea — the colors that fashion brands use to attract consumers or the way that some people see beauty in clothing that others dismiss as shabby. Then, there’s the obvious splendor of sparkly jewelry — that story starts on page 20.

Becoming editor-in-chief this year helped me realize that appreciating the splendor of this life cannot be taught — it must be learned through lived experience. It’s been 11 years since I’ve lived on the farm, but the ability to recognize the beauty that exists around me helps me navigate my life as a student. When I took the reins of SMU Look Media this

Photography by Helen Tran

Modeling from left to right Ellie Evans, Alexa Anderson, Alexis Ambrose

Originally from Westfield, New Jersey, Sisto works as the associate director of VIP relations, press and partnerships at LoveShackFancy in New York City. The line is renowned for its romantic aesthetic, and it’s been worn by celebrities like Jennifer Lopez. After graduating from SMU in 2017 with degrees in corporate communications and public affairs and fashion media, Sisto moved to Los Angeles to work in public relations for Haney, a ready-to-wear label founded by former celebrity stylist and fashion editor Mary Alice Haney. To her, public relations felt like a natural stepping stone into the fashion world, and she knew she was where she belonged. After Haney, Sisto moved to New York to work for Tory Burch before jumping to LoveShackFancy in 2020. At LSF, she dresses celebrities and influencers, manages press, plans New York Fashion Week, pitches stories and works on partnerships and collaborations. Despite staying busy, she still makes time for her hobbies. In her free time, Sisto shares her fashion finds on her personal website and social media pages.

LoveShack Lilly

By Maddie Crisp

Photo illustration by Isabella Hughes

Meet Lilly Sisto, the SMU alumna taking the lead at a top fashion brand.

WHAT DID YOU LEARN AT SMU THAT HELPED YOU GET WHERE YOU ARE TODAY?

I learned so much at SMU, from everything in the fashion world to life, and it’s there that I figured out what I wanted to do in life and the kind of people I wanted to surround myself with. It’s where I saw my career in fashion going. I had so many great teachers. In my senior year, I took amazing fashion media classes that pushed me in that direction.

WERE YOU AT NEW YORK FASHION WEEK? WHAT DID YOU DO?

I played a very big role in NYFW because part of my job is securing sponsorships – everything from hair, makeup, skincare, you name it. I also worked on the entire guest list, from the press to influencers to VIPS and celebrities. The last step was choosing who you want to dress and how to dress them. We had fittings, worked with tailors and had a lot of back and forth. It’s a lot of work, but it was rewarding at the end of the day to see it all come together. We’re already working on the next show!

WHAT MADE YOU WANT TO CREATE YOUR WEBSITE? CAN YOU TELL ME A LITTLE MORE ABOUT IT?

I launched my website about two years ago while living in Dallas during COVID. I had always wanted to share what I love with the world and mix highs and lows while monetizing it and allowing people to shop for my favorite items. I came up with the idea and made it happen. From there, I got into my TikTok and Instagram groove, so it’s all-encompassing.

DO YOU HAVE ANY ADVICE FOR STUDENTS INTERESTED IN WORKING IN THE FASHION INDUSTRY OR SPECIFICALLY AT LOVESHACKFANCY?

My best advice is to intern. While at SMU, I worked for a few interior designers, but I really wish I had interned at a magazine or a fashion house. I only like hiring people with experience in the fashion world because, as glamorous as it looks on the outside, a lot of work goes into everything that everyone does. It is important that you learn those skills and have a good foundation.

From the moment she first played dress-up in her mom’s closet at the age of 3, Lilly Sisto, now 27, knew she was destined for a career in fashion...

THE NEW VIEW

Raíces was tailor-made to promote Latin American fashion talent

For four days this spring, Santo Domingo in the Dominican Republic was the place to be for fashion. That’s when the Caribbean capital hosted the Latin American Fashion Summit’s new Raíces event. The inaugural multi-day convention sought to connect global fashion industry leaders with Latin American design talent, while also introducing them to lesserknown Latin American destinations.

Fashion executives Estefanía Lacayo and Samantha Tams founded LAFS in 2018 in response to the noticeable lack of fashion industry opportunities within Latin American countries. It became their mission to change this by boosting the relevance of the region’s fashion creators and entrepreneurs worldwide. For the past five years, LAFS has hosted a global conference in Miami. Lacayo and Tams also have a sister company called TRIBU, a networking platform designed to connect creatives in the fashion industry.

The conference mixed meetings, networking events and shopping opportunities with sightseeing jaunts. Panel discussions featured notable names in fashion such as Martha Graeff, a content creator and the founder of the Bazaar For Good, Laura Tobón, a television presenter and model, and Xenia, a digital entrepreneur and author.

By Cristiana Montalvan

There were also 34 exclusive pop-ups from Latin American-based brands like Port de Bras, a luxury athleisure brand based in Venezuela, Susana Vega, a Venezuelan Jewelry designer, Olette, a Dominican based brand that focuses on sustainability, and Carolina Socías Beachwear, a Dominican brand that draws inspiration from the Caribbean lifestyle. Nights featured themed soirees such as a “Noches Caribeñas,” a cocktail party infused with dancing, mingling and, of course, plenty of fashion thanks to the request to dress in “Caribbean chic attire.”

The next LAFS event will be the annual summit, hosted in Miami Design District, from November 6 - 8, 2023.

SMU students can learn more about Latin American designers and the multicultural fashion and beauty industry through the SMU Latinx Fashion Leadership Council. Scan the QR code below to read past SMU Look articles about the group.

Scan the QR code to read past SMU Look articles about the SMU Latinx Fashion Leadership Council.

Photos courtesy of Juan David Carvajal

FASHION IN FOCUS

Strengthen your style with this trio of trends.

The fashion world is heading back to the barre with the balletcore trend. This feminine style is all about looking as effortlessly elegant as a professional ballet dancer. But don’t worry – you don’t have to be a ballerina to Pas de Deux with this trend. Simply opt for soft fabrics with even softer colors, especially baby blue and shades of pink. For a classic ballerina-off-duty look, pair a silk slip skirt with a baby pink wrap sweater or capsleeve bodysuit or pair sheer tights with a tulle dress and ballet flats (consider lace-up heels for evening). Take a dainty approach to accessories, and finish the look with a headband or low bun.

– Chelsea Emmick

Skirt: $295, loveshackfancy.com

Top: $195, loveshackfancy.com

Cardigan: $375, loveshackfancy.com

Necklace: $240, viviennewestwood.com

POINTE

HEAVY METAL

Channel your inner party girl this season with the return of metallics. Paris Hilton practically owned this trend back in the early 2000s, and now, two decades later, she’s returned to represent the look again — the Celine metallic dress she wore to the 2023 Grammy Awards was serving major nostalgia. And when we say metal, we mean all metals, from foil-like textiles on the Spring 2023 runways (Alexander McQueen and A.Potts) to touches of shine via strappy sandals at Theory. If you’re not yet ready for a full metal jacket, start small with an accessory like a metallic bag or shoe. Once you’re ready to be as bold as Paris Hilton, try a metallic mini or a foiled dress and prepare to take your outfit out of this world.

–Cristiana Montalvan

Jeans: $279, frame-store.com

Jacket: $398, agolde.com

Purse: $6,850, balenciaga.com

Photography by Arden Eiland

Production and Styling by Sarah Steinhour

Additional Styling by Ella Miller, Betty Jane Thomas and Ava Todd

Modeling: Maya Basra

Shot on Location at the SMU LOOK Studio

GO LONG

Out with the mini, in with the maxi! As crazed as we were with mini skirts in 2022, it’s now time to add some inches back to those hemlines, especially when that fabric is denim. A nostalgic ‘90s and Y2K signature look, the denim maxi skirt is versatile and universally flattering. Style icons like Gigi Hadid and Jennifer Lopez have recently been spotted sporting denim maxis, sending looks with extra-long denim bottoms to the top of the trend forecasts for the season. If you’re ready to go long this spring, keep it simple with a crisp white T-shirt on top and some crisp kicks to match. Or kick it up a notch by adding a sparkly heel and an oversized jacket.

– Maia Heisel

Skirt: $118, freepeople.com

Top: $325, alexanderwang.com

Choker: $35, urbanoutfitters.com

Purse: stylist’s own

PEEP PEEP

Want eye-conic lashes? Look no further.

By Maddie Crisp Photography by Ella McDonald

Picture this: you just did the final touches to your eyeshadow, added in the eyeliner and are seconds away from the perfect smokey eye.

TECHNIQUE

TECHNIQUE TECHNIQUE

Prime:

Pulling the mascara wand from the tube, a slight popping noise echoes in your ears. You raise your arm to apply the product, but after the first sweep, you realize your sweep wasn’t swift enough, and now there’s mascara smudged all across your eyelid.

If you’ve ever used mascara, chances are you’ve experienced this failure or something similar. Luckily, we’re here to help. Whether you’re looking for lengthening, volumizing, curling or separating, there’s a technique and a tube out there for you.

TO DO

Curl:

When it comes to an eye-opening appearance, it's all in the curl. For the best results, it’s imperative that you curl the lashes up, explains Katie Moyer, a Dallas-based freelance makeup artist who specializes in providing makeup tips on social media. "You want to ensure that your lashes are coming out and up," adds Moyer. With a proper curl, you can instantly achieve the illusion of longer, thicker and fuller lashes — making you look more bright-eyed. Curling the lashes also reveals the natural contour of your eye, making your glam routine a little bit easier, she says.

Level up your lashes with one easy step: priming. A primer is a product that preps lashes for mascara, making it easier to achieve a thicker, clump-free finish. “Work on one eye at a time and apply the primer as you would a mascara,” says Walter Fuentes, a Dallas-based hair and

Apply:

When it comes to application, technique is key. Moyer suggests beginning at the center of the eyelashes, where your longest lashes live. “Focus on the center portion of the eyelashes versus the outer corner to open the eye more,” she says. As for those notorious mascara smudges, patience is the best idea. Rushing is the enemy of perfection. The slower you move, she says, the fewer clumps you’ll see.

TECHNIQUE TECHNIQUE TECHNIQUE

TO USE

It can be hard to focus on the best brand of mascara — the one that emphasizes your eyes for hours without clumping, smearing or smudging. Here are three brands that are always a good “eye-dea.”

Big Ego:

Lift, length, volume — Tarte’s Big Ego mascara acts like a three-in-one, yielding flutter-worthy lashes. The hourglass shaped wand follows the natural growth pattern of your lashes with ease. With such a large applicator, a little goes a long way, but don’t be afraid to add an extra coat — we’ve never experienced a more buildable product.

$25, tartecosmetics.com

Lash Sensational:

The primary function of Maybelline’s Lash Sensational mascara is to add length and volume to the lashes. The applicator’s shape guides the product smoothly while following the natural eye shape, minimizing product transfer. Let it dry between coats for even better results.

$8.99, maybelline.com

Level Up:

Colourpop’s Level Up mascara focuses on lengthening and separating your lashes. The precision-tip applicator does well to coat the hard-to-reach areas like the inner and outer corners. The slender wand is designed to reduce smudging, making it the perfect product for hectic mornings.

$9, colourpop.com

ASSET APPRECIATION

This accounting professor’s statement-making style adds up.

By Avery Zolfaghari

Photography by Ella McDonald

Professor Lillian Hickman-Riggs has mastered the art of the entrance. Whether she’s walking into a classroom at SMU’s Cox School of Business, where she’s taught for 14 years, or approaching the Fondren Library Starbucks counter, a chorus of “I love your outfit!” begins upon her every arrival.

It’s easy to understand why. Hickman-Riggs — called LHR by her students — epitomizes head-to-toe clothing creativity. Some days, she’s a blur of color; other days, she might be donning a cape. But every day, she boosts her petite frame with towering heels, including a signature pair of five-inch platform boots. Clothing, she believes, is “an expression of who you are.”

Hickman-Riggs sums up her fashion philosophy with a formula she calls the six C’s: clothing, cut, color, class, craziness, coordination and care. It’s the balance sheet she lives by, but it’s an approach that took her years to learn.

When Hickman-Riggs was young, her parents owned a fabric store, and she remembers spending endless hours draping herself with fabric and experimenting with color combinations when other friends her age were happier playing with toys. But that fun with fashion ended when school started — she attended a Catholic boarding school until she was 19 years old, and her wardrobe consisted only of uniforms.

She’d initially planned to become a doctor, but soon pivoted toward language. She’d grown up speaking Italian and German and studied French in school, so she moved to London to attend the Institute for Languages. It was there that her style developed. She says London was where she could “express herself in the ways she wanted to.” Although she was living on a limited budget, she says she learned to re-allocate her funds to cover fashion necessities. “The allowance I was given for food became my allowance for perfume and clothes,” she recounts.

She frequented popular markets like the one on Portobello Road and invested in pieces from timeless brands like Chanel, which she says she still wears today — albeit more creatively. “It is not the name brand, but it is how the garments speak to me,” she explains.

Last fall, Hickman-Riggs lost her beloved husband, William. She says she used fashion as an emotional outlet, and dressing up to teach helped her to stay strong despite her grief. She continues to honor William through combinations of cheerful colors and patterns.

Hickman-Riggs encourages all students to take risks, to love art and to embrace the crazy, starting with their outfits. “Everywhere I go, look at the reaction — it is always the same,” she says.“People say, ‘I love your clothes,’ and I say, ‘It’s because you’ve got great taste.’ ”

Fashion

Two SMU student organizations used runway shows to promote important causes.

By Drishti Sachdeva

Photography by Arden Eiland

February is Black History Month, and across SMU, educational events highlighted Black leadership, contribution and culture. The Association of Black Students participated in programming that month, too, but one of their signature events offered a different approach. They held a fashion show.

The theme of the ABS show was “Black is Fashion,” and it included a runway show and dancing and singing performances. The purpose of the show was to emphasize the importance of individuality and confidence in the Black community, says Kyndall Taraji Johnson, an SMU dance major who helped organize the event. It was, she says, about showcasing SMU’s Black students — “who they are and their voices.”

ABS wasn’t the only campus student group to use a runway show to present a purpose more important than fashion. Alpha Chi Omega sorority also held a fashion show in February called Alpha Chi Couture fashion show, and the goal was to raise awareness and support survivors of domestic violence.

Proceeds from the Alpha Chi Couture benefited Genesis Women’s Shelter in Dallas, which serves women and children caught in domestic violence situations. The show also supported the One Love Foundation, a national organization with a mission to end relationship abuse. The runway show included 40 women, none of whom were professional models. Instead, the show featured a diverse mix of volunteers, a group that included Genesis board members, Alpha Chi Omega student members, student members of other campus multicultural organizations and even women who had personally survived domestic abuse, explained sorority member and mechanical engineering major Jessia Flusche, the event’s collegiate chair.

The women walking the runway wore fashions from Tootsies, a local boutique, along with items from Mizzen + Main and the SMU Bookstore. But Flusche notes that the models also sported something more meaningful than clothes. They carried signs designed to uplift survivors of domestic abuse through such slogans as, “Everyone deserves healthy love” and “As a survivor, I walk for others.”

ABS also added a meaningful twist to its fashion show. Instead of wearing outfits from local boutiques or designer brands, each model assembled an outfit from their own closet that best represented their style.

Johnson enjoyed seeing ABS members strutting the runway and performing for the crowd, and she says even shy members got into the spirit of the event. “It was cool to see their confidence,” she says, “as they walked out onto the stage, into the light.”

Bejeweled MAXIMALIST

Bold gold and sparkling stones always set the right tone.

Mixing metals and stones will steal the spotlight this season. Bring your outfit to life with extra sparkle and shine.

LEFT PAGE: Chaya

Dress: Delfi Collective, $499, Elements

Bracelet: Cartier (Love), $6900, cartier.com

Bracelet: Cartier (Juste Un Clou), $7500, cartier.com

Bangle: Nickho Rey, find similar styles at pennylaneonline.com

Earring: Dior, find similar styles at dior.com

Chunky green ring: Alexis Bittar, find similar styles at alexisbittar.com

Ruby ring: The Last Line, find similar styles at thisisthelast.com

In Right Glass:

Wrap necklace: $295, The Jewel Box

Rainbow ring: BaubleBar, find similar styles at baublebar.com

Purple bead necklace: $195, The Jewel Box

Pearl strands: model’s own

Silver flower ring: $55, The Jewel Box

In Left Glass:

Pearl & bead necklace: find similar styles at The Jewel Box

Small silver & blue stone ring: $95, The Jewel Box

Gold spiky bracelet: BaubleBar, find similar styles at baublebar.com

Pearl strands: model’s own

Crystal short necklace: $95, The Jewel Box

RIGHT PAGE: Carson

Dress: SIR., $450, us.sirthelabel.com

Necklace: Alexis Bittar, $1795, find similar styles at alexisbittar.com

Ring: Alexis Bittar, find similar styles at alexisbittar.com

Bag: Alexander McQueen, find similar styles at alexandermcqueen.com

Photography by Arden Eiland

Photography by Helen Tran

Text by Michaela McTee | Photography by Arden Eiland and Helen Tran | Styling by Michaela McTee and Bennett Hill | Models Carson Sherman and Chaya Feng Addition styling by Ella Miller and Sarah Steinhour | Shot on Location at the SMU LOOK Studio

RIGHT PAGE: Chaya

Dress: Delfi Collective, $499, Elements

Necklace: find similar styles at The Jewel Box

Chunky green ring: Alexis Bittar, find similar styles at alexisbittar.com

Photography by Arden Eiland

LEFT PAGE: Chaya

Bracelet: Cartier (Love), $6900, cartier.com

Bracelet: Cartier (Juste Un Clou), $7500, cartier.com

Bangle: Nickho Rey, find similar styles at pennylaneonline.com

Bag: Alexander McQueen, find similar styles at alexandermcqueen.com

Photography by Arden Eiland

WHERE TO SHOP:

Elements 4400 Lovers Lane Dallas shopelementsclothing.com

The Jewel Box 6613 Hillcrest Ave. Dallas thejewelboxdallas.com

LoveShackFancy 29 Highland Park Village Dallas loveshackfancy.com

with color, they can capitalize on the benefits of consumer

Style

players among those who wear his eponymous menswear label.

with color, they can capitalize on the benefits of consumer buying behavior, and they are also able to stand out in the marketprofessor at SMU. And where the eye stops, sales begin. classical schools of marketing thought and toward the preferences of the individual consumer. TV. The strategy relied heavily on the behavioral sciences like psychology to decode consumer preferences consumption, at Emory University in Atlanta, published in the journal Marketing Theory.

buying behavior, and they are also able to stand out in the marketprofessor at SMU. And where the eye stops, sales begin. classical schools of marketing thought and toward the preferences of the individual consumer. TV. The strategy relied heavily on the behavioral sciences like psychology to decode consumer preferences consumption, at Emory University in Atlanta, published in the journal Marketing Theory.

Matts Bensen, owner of The Showroom LA, a by-appointment streetwear boutique in Los Angeles, frequently works with NBA players. Their outfits “are part of their identity,” he says. They want to look “as fresh as possible because that is how they show their confidence.”

Because these players are fashion influencers, what they love sets the fashion trends. The newest love affair for NBA players is Marni, a luxury fashion brand founded in Milan, according to online sports magazine NSS. The brand’s bold colors and vibrant patterns serve as everyday staples for players such as James Harden and Jaylin Brown. Collaborations with other brands such as Carhartt and Uniqlo, which feature more accessible prices, make it easier for fans to play with prints and colors just like their favorite players do, NSS noted.

As long as NBA players love fashion and keep posting about it, their legions of fans will continue liking it — and following it. After all, says Benson, “Who doesn’t want to see their favorite players being fashion ballers?”

Clementine Marcogliese is a junior majoring in Fashion Media and Journalism with a minor in Advertising.

Over time, the framework for theories on consumer behavior and color association came into focus, and they eventually be decision on whether or not they like the color associated with a product, according to a 2021 article for the scholarly journal in the United Kingdom. Which is why a color-based marketing strategy can be so important to a brand, Yu stated. specific meanings, says Baronet. For example, red implies passion or danger, green communicates a connection to nature marketing strategies accordingly. behavior instructor at Southern Methodist University in Dallas. KOCH’s signature color when developing the fashion brand in 2012. After attending business seminars, Musselman realized implementing the color,” she explains. She says KOCH’s customers relate to the message of trust and harmony that blue promotes. The House, on social media and through products and packaging, has helped with sales, she adds. color, it makes an impact and helps narrow down a focus by having disciplined branding,” says Musselman.

Color not only catches the eye of the consumer, says Baronet, but it’s also a powerful tool to achieve brand recognition. But marketing strategy for their fashion brands, like product design details. brand, according to a cause-related marketing study by Ilaria Baghi and Veronica Gabrielli, published in the Journal of Product conspicuous signals, like logos, or dial it back with “quiet” or discrete signals, like color. when he added a red sole to a high heel he was designing. During the design process, he felt the show was lacking something, the splash of red, he says – “then it popped.”

Over time, the framework for theories on consumer behavior and color association came into focus, and they eventually be decision on whether or not they like the color associated with a product, according to a 2021 article for the scholarly journal in the United Kingdom. Which is why a color-based marketing strategy can be so important to a brand, Yu stated. specific meanings, says Baronet. For example, red implies passion or danger, green communicates a connection to nature marketing strategies accordingly. behavior instructor at Southern Methodist University in Dallas. KOCH’s signature color when developing the fashion brand in 2012. After attending business seminars, Musselman realized implementing the color,” she explains. She says KOCH’s customers relate to the message of trust and harmony that blue promotes. The House, on social media and through products and packaging, has helped with sales, she adds. color, it makes an impact and helps narrow down a focus by having disciplined branding,” says Musselman. Color not only catches the eye of the consumer, says Baronet, but it’s also a powerful tool to achieve brand recognition. But marketing strategy for their fashion brands, like product design details. brand, according to a cause-related marketing study by Ilaria Baghi and Veronica Gabrielli, published in the Journal of Product conspicuous signals, like logos, or dial it back with “quiet” or discrete signals, like color. when he added a red sole to a high heel he was designing. During the design process, he felt the show was lacking something, the splash of red, he says – “then it popped.”

distinction for the brand, says Ludovica Caesareo, a marketing department fellow at the Wharton School of the University of “signals luxury, it signals quality, it’s a status symbol.” Even where consumers don’t know the brand name Christian Louboutin, high-status shoe.

distinction for the brand, says Ludovica Caesareo, a marketing department fellow at the Wharton School of the University of “signals luxury, it signals quality, it’s a status symbol.” Even where consumers don’t know the brand name Christian Louboutin, high-status shoe.

power of color. “When you visualize companies, there truly is a color attached to each one,” notes Musselman. “I love branding,

power of color. “When you visualize companies, there truly is a color attached to each one,” notes Musselman. “I love branding,

The Power of Color

How signature shades complement fashion branding.

By Maddie Crisp

Tiffany & Co.’s robin’s egg blue. Christian Louboutin’s crimson-stained soles. Hermès’s orange boxes.

All are iconic — and brand defining.

These are just some of the fashion brands that have staked their claims on the color wheel. When fashion brands connect with color, they can capitalize on the benefits of consumer buying behavior, and they are also able to stand out in the marketplace, beautifully.

“Color is the first thing the human eye recognizes, so it’s a powerful element,” says Willie Baronet, a creative advertising professor at SMU. And where the eye stops, sales begin.

The marketing power of color-based branding dates to the 1950s. This was when marketing moved away from a reliance on classical schools of marketing thought and toward the preferences of the individual consumer.

Marketing expert Jagdish N. Sheth theorizes that this people-centric approach grew out of society’s growing appreciation of TV. The strategy relied heavily on the behavioral sciences like psychology to decode consumer preferences consumption, marking a shift from a previous reliance on economic theory, according to an article that Sheth, a professor at Emory University in Atlanta, published in the Journal of Marketing Theory.

As marketers continued referencing psychology to formulate their theories, color came up, Sheth explains. Over time, the framework for theories on consumer behavior and color association came into focus, and they eventually became effective marketing strategies.

Today, marketers know that color association is a lucrative branding strategy. In fact, consumers often base their buying decision on whether or not they like the color associated with a product, according to a 2021 article for the scholarly journal Color Research & Application by Luwen Yu of University of Leeds School of Design in the United Kingdom. Which is why a color-based marketing strategy can be so important to a brand, Yu stated.

Color is compelling in general, but marketers also can use specific colors to convey specific meanings, says Baronet. For example, red implies passion or danger, green communicates a connection to nature and the environment, and blue represents harmony, positivity and trust, he says.

Fashion brands recognize that color can equal money, and many have created their marketing strategies accordingly.

“We know color can dramatically affect consumers’ purchase behavior,” says John Kelly, a brand consultant and consumer behavior instructor at Southern Methodist University in Dallas.

“Color is the first thing the human eye recognizes, so it’s a powerful element”

Nicole Musselman, CEO and founder of KOCH, a Dallas-based clothing brand, admits that she almost picked green as KOCH’s signature color when developing the fashion brand in 2012. After attending business seminars, Musselman realized how color communicates a message to the consumer, and the right message can influence sales, she says.

Eventually, she realized what she wanted the brand to say to the consumer.

“I changed everything to blue — we spent a lot of time and detail implementing the color,” she explains. She says KOCH’s customers relate to the message of trust and harmony that blue promotes. The use of KOCH’s signature shade of cobalt blue in branding, like at the KOCH House, on social media and through products and packaging, has helped with sales, she adds.

“There’s freedom in discipline, and that’s the thing about having a signature color, it makes an impact and helps narrow down a focus by having disciplined branding,” says Musselman.

In 1993, luxury shoe designer Christian Louboutin discovered firsthand the power of color when he added a red sole to a high heel he was designing. During the design process, he felt the show was lacking something, but he wasn’t sure what that was, he recounted in an interview with The New Yorker. He added the splash of red, he says — “then it popped.”

Today every pair of Christian Louboutin shoes bears a red sole, and it’s become a mark of distinction for the brand, says Ludovica Caesareo, a marketing department fellow at the Wharton School of the University of Pennsylvania in a 2018 Wharton podcast about color and marketing. The red sole, she said, “signals luxury, it signals quality, it’s a status symbol.” Even where consumers don’t know the brand name Christian Louboutin, she says that when they see the red on the sole, it’s enough for them to know that it’s a high-status shoe.

Companies looking for the most effective branding strategy will likely continue to draw on the power of color. “When you visualize companies, there truly is a color attached to each one,” notes Musselman. “I love branding, and I

USED, ABUSED

AND EXPENSIVE

Understanding the distinctive appeal of distressed style.

For Kathryn Taylor, the foundation for the perfect everyday outfit consists of ripped jeans, a faded T-shirt and a pair of well-worn sneakers. Taylor, a senior at Southern Methodist University majoring in psychology, believes that her frayed fit sends the message that her style is casual, cool and also expensive.

That’s right — expensive. Despite the visible signs of wear, every element of Taylor’s perfect outfit is actually new, and every brand is designer. And she’s not alone. It’s nearly impossible to walk around the SMU campus without noticing the sheer number of students sporting similar styles from high-end labels like Re/Done, R13, Golden Goose and others renowned for a distressed aesthetic.

For Taylor, the appeal is simple: “It opens up a whole new avenue to looking expensive that doesn’t require you to dress conservatively.”

In the past, new clothing served an indicator of wealth.

Dating back to the early 1900s, casual styles that were clean, white and crisply pressed projected a high social status because they were associated with sports like tennis and polo, popular among the wealthy elites who had the money to participate — and leisure time to spare. Another flex about wearing white? The wearer had to be able to afford to keep it clean, according to a 2016 article in Allure magazine about status, fashion and sport.

The concept of distressed clothing as a fashion statement emerged in the 1970s, a product of the British punk rock movement. British designer Vivienne Westwood gets much of the credit for launching the trend when she began creating outfits for The Sex Pistols, the punk band founded by Malcolm McLaren, her partner at the time, and also selling similar styles to the general public.

“In 1974, McLaren and Westwood opened a store in London known as Sex, and the apparel sold in the store was the start of the intentionally distressed look — rips and holes in new items and held together with safety pins,” says Sally L. Fortenberry, Ph.D., department chair of fashion merchandising at Texas Christian University.

By Ashlyn Wingett

Photography by Ella McDonald

In the United States, music and fashion intertwined in the 1990s, resulting in a wave of young people wearing well-worn vintage clothes like frayed cardigans and faded lumberjack shirts. This style, especially popular in the Pacific Northwest, was eventually given a name: grunge. People who chose to dress in grunge were the ultimate rebels of their generation, according to a 2014 article in Rebels Market about the history of grunge fashion in the ’90s.

It wasn’t long before luxury fashion designers absorbed the styles of these youth-centric subcultures. Designers like Jean Paul Gaultier in France, Marc Jacobs in the United States and Japanese designer Rei Kawakubo established their runway reputations by turning this grit into gold.

Fast forward to today, and luxury’s love affair with distressed clothing continues. At Balenciaga’s Paris Fashion Week show last year, creative director Demna sent models slogging down a runway covered

considered chic when it comes to high fashion.”

Fashion designers showing distressed styles for runway recognition is one thing, but what is it about new clothes looking dirty, ripped, used and soiled that appeals to everyday consumers? The answer involves two approaches to status. Consumers who appreciate distressed styles are buying luxury brands, but they don’t want these brands to signal their economic status to the masses. They also believe that wearing destroyed clothing gives them a kind of “effortlessly cool” look that signals the true value of the brands they’re wearing — but only to certain people.

“CONSUMERS WHO APPRECIATE DISTRESSED STYLES ARE BUYING LUXURY BRANDS, BUT THEY DON’T WANT THESE BRANDS TO SIGNAL THEIR ECONOMIC STATUS TO THE MASSES.”

“Basically, there are times when people don’t want to be ostentatious or flashy about their wealth; so, less Trump Tower and more New Yorker canvas totes,” says Professor Ethan Lascity, Ph.D., director of SMU’s fashion media program. This is especially true in times of if you’re living in a moment of historic income inequalities, he explains. “It’s easy to imagine why someone wouldn’t want to show off they have the excess money to blow.”

Fortenberry cites Chanel’s signature jersey-knit fabric as an early example. In the 1920s, fashion entrepreneur Coco Chanel became a beloved designer among upper class women in part because she used jersey knit to create sweaters and skirts. “Jersey knit fabric was primarily used for men’s long underwear worn by the working man in the early 20th century and was definitely not appropriate for use by women of any upper social status,” Fortenberry says.

Another motivation to buy distressed luxury clothing comes from the belief that wearing clothing that looks dirty and used makes the wearer look cool — like they aren’t trying too hard to look wealthy.

“Many people who wear pre-distressed apparel believe it gives them street credibility,” Fortenberry says. The wearers, she says, “want to look like they do not care about designer labels on their clothes when they really do.”

And that’s how the association with cool came about. Luxury labels that rip, tear, stain and destroy their garments aren’t trying to erase their association with status. These garments still scream expensive, but now only a certain type of person can actually hear it — the type of person the wearer is actually dressing to impress.

Lorynn Divita, Ph.D., associate professor of family and consumer sciences at Baylor University, explains it this way: There’s a “fashion code” that allows luxury shoppers to discern between something old and worn versus something intentionally distressed by a luxury designer. This is exactly what the wearer wants — to be recognized by the luxury audience, but at the same time overlooked by those who do not know the code.

Lascity agrees. “Someone without the money and cultural capital might not recognize the value of a pair of Golden Goose sneakers in the way they would recognize the value/money it would cost for a Porsche or a jewelencrusted Rolex,” says.

Indeed Golden Goose sneakers don’t exactly project luxury – they’re renowned for looking scuffed-up and worn down. Yet these Italian shoes cost between $400 and $700 a pair and feature luxury materials like butter-soft leather, suede and shearling. Consumers can’t get enough of them. Celebrities like Selena Gomez, Megan Fox, Gwyneth Paltrow and even Michelle Obama have been photographed wearing them. In 2021, Golden Goose’s earnings reached almost $420 million, up from a mere $88 million in 2015.

Taylor also wears Golden Goose sneakers. The brand, like all of the distressed-looking luxury items she owns, “makes it easy to look like you put effort into an outfit – without having to actually put in that work.”

Ashlyn Wingett is a senior majoring in Journalism and Fashion Media with a minor in Advertising.

“THERE’S A ‘FASHION CODE’ THAT ALLOWS LUXURY SHOPPERS TO DISCERN BETWEEN SOMETHING OLD AND WORN VERSUS SOMETHING INTENTIONALLY DISTRESSED BY A LUXURY DESIGNER.”

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UNKIND EST THE

CAT WALK

When Schiaparelli sent its spring/summer haute couture collection down the runway in January, it sent the fashion world into an uproar.

By Lexi Goodman Illustration by Juan Silva

One look featured a three-dimensional wolf head perched on supermodel Naomi Campbell’s shoulder. Other looks featured the forms of lions and snow leopards accenting gowns and coats. Even the front row was in on the action, with uber influential guest Kylie Jenner — in Schiaparelli, of course — sharing the spotlight with an enormous lion head that was attached to the top of the dress.

Although each one of the renowned French fashion house’s wild animal accents was artificial, crafted from fake fur and felt, according to the brand, the collection brought biting criticism from fashion critics and the social media-posting general public alike.

On the brand’s Instagram account alone, tens of thousands of users registered their displeasure using words like disgusting, repulsive and cruel. One commenter called it “Collection by Cruella De Vil.” Another commented, “This is tone deaf fashion at its finest.”

The fact that no animals were harmed in the production of the clothing was irrelevant. Critics decried the collection’s use of fake fur, a textile that can be a sustainability nightmare, and charged it with glamorizing the exploitation of animals through trophy hunting.

Fake or real, fur has long been controversial in fashion. But it wasn’t always that way. It was once just considered a natural material that was warm and long-lasting, and businesses built on the trade date back to the 1500s. Royalty and the wealthy classes coveted rarer types of fur like mink, which became associated with luxury and status. In North America, the fur trade flourished, fueled in part by the European fashion market, which used beaver fur to make hats.

The fur trade faced some challenges, especially from over-hunting and the growing popularity of silk — but it also surged. Technology advancements at the turn of the 19th century improved the conversion of pelts into textiles, speeding the process and producing furs with more shine and a silkier feel. The wealthy continued to covet fur, and its popularity endured. A Vogue article from 1929 said it all – it announced that the type of fur you wear reveals the “kind of woman you are and the kind of life you lead.” By the start of the 1950s, the popularity of fur stood at an all-time high.

WALK

At the start of the 20th century, some companies started manufacturing a velvetlike textile marketed as fake fur, but it didn’t really gain traction with consumers until World War I, when wartime taxes imposed on furs made the alternatives more attractive. Thanks to increased demand and improved technology, quality improved. By the start of the 1960s, faux fur was able to resemble real fur in appearance, if not touch, according to a 2015 Smithsonian magazine article detailing the history of faux fur.

By that time, however, people had begun to question the ethics of fur. Protesters picketed Saks Fifth Avenue in 1968, and in 1971, movie star Doris Day announced in an ad that appeared in New York Magazine that “killing an animal to make a coat is a sin.” Public concern began over killing big cats in the wild, but soon grew beyond conservation to include concern over the well-being of all animals farmed for fur.

In 1980, People for the Ethical Treatment of Animals was founded, and thanks to the efforts of celebrities and influential figures backing the movement, plus changing times and fashion tastes, fur began to fall out of fashion, disappearing from designer collections and stores.

“Hundreds of major designers and retailers have banned it, and so has the state of California,” says PETA’s Senior Director Danielle Katz. Indeed fashion powerhouses like Versace, Armani, Gucci, Givenchy, Prada and Michael Kors are just some of the brands to ditch the use of real fur in recent years. London fashion week eliminated fur from runways in 2018.

“Fur? I’m out of that,” Donatella Versace told The New York Times in a 2018 article. “I don’t want to kill animals to make fashion. It doesn’t feel right.”

Over a dozen countries have outlawed fur farming, and the industry, once valued at $1.8 billion, has been on a steady decline since the early 2000s, says Katz. According to the U.S. Department of Agriculture, the production of fur has declined in America by around 45% in the last 20 years. This decline, says Katz, reflects an evolving world and audience that values sustainability and ethics.

Schiaparelli is among the fashion houses that does not use real fur in its designs. Its Spring/Summer 2023 show was no exception. So what sparked the controversy? Critics say that the hyper-real animal heads in the collection encourage the use of faux fur, a textile with its own set of significant, albeit different, problems.

Among the issues? It can’t biodegrade and it’s made from synthetic fibers like acrylic and polyester, plastics made from petroleum, which don’t biodegrade, says Charles Ross, head of sustainability and supply chain management at Saga Furs.

In a 2017 Business of Fashion article titled “Faux Fur vs. Real Fur: Which Is More Sustainable?” M.C. Nanda explores the effects of faux fur on the environment. It’s related to water contamination, which harms wildlife, and when discarded, it takes up space in landfills because it can take up to 1,000 years to break down. (In contrast, real fur can biodegrade in six to

12 months, says Ross.) Even worse, when faux fur does break down, it turns into microplastic fibers, which contribute to plastic pollution, according to a study from Organic Waste Systems in Ghent, Belgium.

Also problematic is the promotion of realistic fake animal heads at all, and the message it conveys to the world, courtesy of the glamorous world of fashion, celebrity and influence.

Animals should not be considered commodities, says Katz, and wearing fur, whether it’s real or fake, sends the wrong message of animal exploitation, says Katz.

The Schiaparelli show notes state that the “faux-taxidermy creations” depicting a leopard, lion and the she-wolf representing elements from Dante’s Inferno, like lust, pride and avarice. But Charlotte Regan of World Animal Protection believes the hyper- realistic depictions of animals in the collection glorifies trophy hunting, “which is disgusting, violent an non-progressive.” Animals, she says, should not be depicted as fashion statements.

What is clear, however, is that the debate will continue well beyond the publicity surrounding Schiaparelli’s collection. To find out what that will be, simply follow the next fashion week.

“ONE COMMENTER CALLED IT ‘COLLECTION BY CRUELLA DE VIL.’ ANOTHER COMMENTED, ‘THIS IS TONE DEAF FASHION AT ITS FINEST.’”

Lexi Goodman is a senior majoring in Journalism and Fashion Media with a minor in Psychology.

Elemental

elegance

Incorporating earth tones and natural stones brings a grounding effect to any outfit and reminds us of the roots we plant and the places we come from.

LEFT PAGE:

Kendyl

Hat: Nikki Beach, $110, Elements

Jacket: Etro, $3,450, Etro

Dress: Etro, $1,250, Etro

Photography by Ella McDonald

RIGHT PAGE: Amisha

Earrings: LaLa

Line Designs, $65, lalalinedesigns.com

Top: Cult Gaia, $298, Market

Skirt: J.W. Anderson, $498, Market

Photography by Ella McDonald

Text by Bennett Hill

Photography by Arden Eiland, Ella McDonald and Helen Tran

Styling by Bennett Hill and Michaela McTee

Additional Styling by Betty Jane Thomas and Ella Miller

Models Kendyl Kirtley and Amisha Nazim

RIGHT PAGE: Amisha

Vest: Etro, $1,850, Etro

Earrings: LaLa Line Designs, $65, lalalinedesigns.com

Necklaces: Model's Own

Jeans: L’AGENCE, $325, Elements

Photography by Helen Tran

LEFT PAGE: Amisha

Earrings: LaLa Line Designs, $65, lalalinedesigns.com

Necklace: David Aubrey, $108, Elements

Dress: Alexis, $540, Elements

Photography by Arden Eiland

Amisha

Earrings: LaLa Line Designs, $65, lalalinedesigns.com

Necklaces: Model's Own

Dress: Etro, $2,200, Etro

Bracelet: Elements, $120, Elements

Photography by Ella McDonald

Kendyl

Necklace: LaLa Line Designs, $180, lalalinedesigns.com

Top: Etro, $1,170, Etro Skirt: Etro, $850, Etro Boots: Model’s own Photography by Helen Tran

Amisha

Earrings: LaLa Line Designs, $65, lalalinedesigns.com

Top: Cult Gaia, $298, Market Skirt: J.W. Anderson, $498, Market Photography by Helen Tran

Kendyl

Sunglasses: Diff, $98, diffeyewear.com

Top: Cult Gaia, $418, Market Skirt: Cult Gaia, $598, Market

Photography by Helen Tran

WHERE TO SHOP: Elements

4400 Lovers Lane Dallas shopelementsclothing.com

Market

26 Highland Park Village Dallas markethighlandpark.com

Etro

8 Highland Park Village Dallas etro.com

By Chelsea Emmick

Photography by Ella McDonald

MUST KNOW Mustangs

Hometown: Birmingham, Alabama

Majors: Operations Research and Engineering Management (OREM)

Minors: Math, Arts Entrepreneurship, Arts Management

Year: Senior

Wardrobe Staple: Blazer

Chloe Chatham wants to make a difference through education. For two years, Chatham worked with Partners in Opportunity, a nonprofit organization providing one-on-one tutoring for students needing academic support. Through the program, Chatham tutored a handful of local elementary students in a variety of subjects ranging from art to math, helping them to build a solid educational foundation for her students. While the students she tutored were not underprivileged, the experience ignited her passion for teaching and led her to interest in educational equity, the belief that all students should have the same access to quality education and the same opportunity for academic success, regardless of personal circumstances like location or income level. This inspired her to apply to Teach for America, a nationally renowned teaching program that works to achieve education equity. She was accepted, and after she graduates, she will teach at underserved schools in the DFW Metroplex through TFA’s two-year teaching program. Although Chatham doesn’t have a degree in education, TFA will help her to secure her teaching certification and help her to learn the skills necessary to relate to the diverse interests of her students. Chatham believes that her background in math, engineering and fine arts strengthens her ability to teach. To defeat education inequity, she says, “you need a lot of different types of people in many different sectors.”

Hometown: Frisco , Texas

Majors: Journalism, Fashion Media

Minors: Psychology

Year: Senior Wardrobe Staple: A perfect pair of denim jeans

For Lexi Goodman, success is measured by the ability to inspire others; it’s something she hopes she is able to do as an SMU cheerleader. Goodman was born with a deformation in her ears, which led to her hearing loss. But it doesn’t slow her down. She has a service dog and participates in class by supporting what she is able to hear with the closed-caption function on Zoom. Then there’s cheer. She’s been involved in the sport for almost a decade. Because cheer involves so much yelling, she explains, she’s able to pick up commands and music cues while practicing and performing. She loves that cheer has always “brought opportunities to reach and inspire new people.” For most of her college career, she cheered and coached at Cheer Athletics, one of the largest all-star cheerleading programs in the United States. In senior year, she began cheering for SMU, and she plans to continue with the squad in the fall as a psychology graduate student. Goodman also volunteers with foster care children and at St. Jude’s Research Hospital. She hopes her experiences can provide some inspiration and that her efforts to face challenges with confidence speak volumes.

Hometown: Los Angeles, California

Majors: Real Estate Finance with a Specialization in Entrepreneurship

Year: Senior

Wardrobe Staple: Lululemon joggers

Mark Shut is the founder and president of the SMU Blockchain Club. In 2022, Shut created the club to spread knowledge about blockchain technology. A blockchain is a digital ledger where transactions like cryptocurrency and NFT sales can be securely recorded and shared across participating computer networks. The purpose of Shut’s club is to create an environment for SMU students to ignite and enhance their understanding of the technology. Shut believes there are benefits in college-aged students engaging with blockchain. “I’m a big advocate of blockchain, and I’m working hard to lead SMU’s initiative into the space to adopt these technologies,” he says. Shut also works as the director of education at Web3 Texas, a volunteer-based, nonprofit organization that seeks to educate people across the globe on Web3 technology. (Web 3, also called Web 3.0, is the term used for a new version of the web that incorporates artificial intelligence and blockchain.) In his volunteer position, Shut develops, oversees and maintains the organization’s education framework. Shut is now working on a startup to educate people on blockchain and Web3, and he plans to continue this initiative after graduation.

Chloe Chatham

Lexi Goodman

Mark Shut

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