Spark Magazine No. 9 by SPARK

On Cover: BLACK DRESS WITH MESH | Kaidon Ho

AIDEN PARK Editor-in-Chief

Managing Editor CAROLINE OTTO Art Director ERNEST CHAN Assistant Art Director MAYA HAWS-SHADDOCK Assistant Art Director CAROLINE ROCK Business Director & Treasurer SHERIDAN SCHOLTZ Head of Advertising and Marketing RYAN CHANG Head of Public Relations JOANNE XU Assistant of Public Relations IRIS BILICH Head Event Coordinator SYDNEY HARKLAU Head Event Coordinator ERIKA NAJERA Alumni Director REBECCA ADAMS Creative Director MARIAH BECERRA Assistant Creative Director CARLIE ROBERSON Head of Hair and Makeup NATALIE ARRIAGA Assistant Head of Hair and Makeup AMANDA MACFARLANE Assistant Head of Hair and Makeup PAOLA MENA Head Model Coordinator MADELINE WELLS Head Photographer SISSY MARTIN Head Stylist VICTORIA BASS Assistant Head Stylist ISAIAH GARCIA Writing Director SAMANTHA BOLF Writing Director NIKKI LASALLA Writing Director ABIGAIL ROSENTHAL

Staff LYNETTE ADKINS LAUREN AGUIRRE HASSAN AHMAD NEVEEN ALI ABBEY APPEL MEGAN ARIMANDA RIYA ASHOK VIVIAN BAIER JULIENNE BAJUSZ VIVIE BEHRENS VICTORIA BENNETT NATALIE BERRY CHLOE BERTRAND CARSON BLAIR OLIVIA BRADY VERONICA BRIONES SYDNEY BUI SYDNEY BURRIS ANALISSA CAMACHO JENNA CAMPBELL MINH CAO EMILY CARPENTER ANGELA CHASTAIN TONYA CHEN LAUREN CLARK TAYLOR COURTNEY JENNA COVARRUBIAS SARAH DAVIDSON KATELYN DEBACKER EMILY DEEN SOPHIA DOBE DIVINA DOMINGUEZ ELLIE DUNN REBEKAH EDWARDS LINDSEY EHLERS ETHAN ELKINS CHASE ELWELL IVANNA ENGLISH WIS ESCHER

ABBY EVANS JADE FABELLO GABI FELTNER CAROLINE FRANKENFELD ALESSANDRA GARCIA-FUENTES INGRID GARCIA JULIE GARCIA MAI GELLER PHYLLIS GONG JESSICA GONZALES SKYLER GOODMAN MATTISON GOTCHER GRECIA GUTIERREZ JESSICA HAINS TAYLOR HALL CHRISTIE HAN MICAELA HANNAH MICHAELA HARTNETT REBEKAH HEIDEL KELSEY HENDERSHOT ALANA HERNANDEZ MARIA FERNANDA HANNAH HEYDINGER CHRISTINE HUYNH KEVIN HWANG NIKOO IRANPOUR NATHANAEL JACKSON VICTORIA JAMESON KAMRYN JEFFERSON HANNAH NÃ&#x2013;ELLE JOHNSON RACHEL JOHNSON TIMOTHY JOLLEY URVI JOSHI ZOE JUDILLA NIKITA KALYANA KABIR KARNANI ANDIE KENT YAE SEL JOANN KIM RACHEL LAI MINGYO LEE

TAYLOR LEEN CASEY LEVY LINDA LI TATIANA LOPEZ RACHEL LUO JENNA MA NITI MAJETHIA MARISA MARQUEZ LEONOR MARTINS HANNAH MATHES RACHEL MAY PETER MCCAIN BONNIE MCENNIS DULCE MERCADO GENEVIEVE MILLER ESTEFANIA MONARREZ ANGELA MONTALVO KATE MULLIGAN MADELEINE MUNFORD BOLORA MUNKHBOLD MADDY MURRAY AMARACHI NGWAKWE SARAH OGUNMUYIWA IBUKUN OLADEJO PRERNA PAMAR ZAID PATEL BRANDON PEGRAM MELINA PEREZ CRISTIANNE POVOA TRAVIS RAINFORD EMMA RANEY VICTORIA RANIERI ELIZABETH REED IMRAN RIZVI TATIANA ROBERTS LAUREN ROBINSON HELENA SAMPAYO LESLIE SCHERGER MARYBETH SCHMIDT MEGAN SCHUETZ

NAKHIM SENG NICOLAS SHEPPARD TOYOSI SHUSI JUSTIN SMITH LAUREN SMITH ASHLEIGH SNYDER AYUDHIA SOFYAN JULIA SOTELO CHERISH SPEARS DAVID SPECTOR OLIVIA STEIN JORDAN STEYER TAYLOR STIFF SARAH STILES YANBING SU NICOLAS SUAREZ FIONA SWANSON GABRIELA TAN MARIA TANGAROVA SARAH THRASH TIFFANY TONG SARAH TRAN ERIC TREVINO BENJAMIN VEGA CAITLIN VU ALLI WEITZEL JILLIAN WESTPHAL ELLA WHITAKER KALISSA WHITE KATHRYN WILLIAMS REBECCA WONG HARRISON XUE JESSIE YIN ZACHARY YOUNG CHARLOTTE YUN EMILIANO ZAPATA FRANCIE ZENNER KAREN ZHOU AIGERIM ZHUMAGALIYEVA

CONTENTS

EDITORâ&#x20AC;&#x2122;S LETTER

THERE'S A DESIGNER IN WES ANDERSON

HIGHLIGHTED: CELEBRITY AND THE BEAUTY WORLD

CRUELTY FREE

ENCOMPASS

FASHION & FORMING IDENTITY

VAN/GARDE

IN A LEAGUE OF ITS OWN

CULTURAL APPRECIATION

JE NE SAIS QUOI

THE FUTURE IS FENTY

GUYS BEING DUDES

YOU WANNA BE ON TOP?

NAMASTE AMERICA

BRAIN O'BURTON: CINEMATIC STRATEGY & FASHION COLLIDE

PANTONE: THE YEAR OF GREENERY

104

THE KANYE EFFECT

110

THE ANSWER

118

METAMORPH

126

WINTER FASHION IS COMING

132

BE GONE

140

SOMEWHERE IN MEXICO

146

BOOM BOOM POW

152

WITH LOVE FROM PAKISTAN

160

BILDUNGSROMAN

168

THE ABYSS GAZES ALSO INTO YOU

174

BLUE LAGOON

182

S PA R K / Spark Magazine is a student-run fashion publication at The University of Texas at Austin that aims to cultivate a creative space for individuals to develop as young professionals and to engage the community in an ongoing dialogue about the role of fashion in everyday life.

EDITOR’S LETTER I often look back to when I was a floundering freshman, wandering the University of Texas in utter bewilderment. I was overwhelmed to be on a campus with nearly 50,000 students when I was raised in a town with under 6,000 people. In so much chaos, I’m so grateful for the dazzlingly dressed demigods who convinced me to apply for Spark Magazine, even though I knew I would be out of my league. The exquisite content – wholly produced by ut students, no less – was too hard to pass up on. This semester is my first time serving as editor-in-chief and I could not be more indebted to my team members. Spark’s leadership and staff worked endlessly to ensure this magazine’s level of quality was preserved and elevated. While it hasn’t always been smooth sailing, we made significant strides. Our incredible business department launched Spark’s blog, our visibility throughout the ut and Austin community skyrocketed, and we had more teams produce more photoshoots than any other semester. The work put into Issue No. 9 began in September. Teams were divided by hair and makeup artists, models, photographers and stylists. The professionalism you see in this issue was entirely up to each team. Simultaneously, writers worked on articles, which are visually represented by each photoshoot. Once the shoots and articles were completed, they made their way to our layout artists who then designed the spreads before you. Behind the scenes, our business department organized events, executed campaigns to generate awareness surrounding Spark, and even broke 1,000 followers on Instagram. It goes without saying passion plays a key part in the magazine’s success. It is our hope this sense of excitement is palpable to you, dear reader, and that it may touch you the same way it profoundly affects us. Whether it be on your coffee table, next to your bed, or stored away some place safe, we hope Spark can be the same outlet of inspiration and creativity we are so proud to call ours. Cheers,

Aiden Park Editor-in-Chief

THEREâ&#x20AC;&#x2122;S A DESIGNER IN

Wes Anderson

Writer: Maddy Murray, Stylist: Victoria Bass, Photographer: Bolora Munkhbold, Models: Caroline Otto, Leslie Scheger, Madeline Wells HMUA: Sarah Stiles, Layout: Bolora Munkhbold 8

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ere, for just a moment, let’s take a stroll through the wonderfully whimsical world of Wes Anderson. I’ll let you in on a secret: this is a world you want to magically find yourself in. Wes Anderson perfectly designed it to be that way. Meticulous color palettes often including pastels of yellow and baby pink; or more vivid colors like deep red or plum; or the soft neutrals of khaki and mustard... Imagine an iconic soundtrack playing in the background of your life, with the likes of the Velvet Underground, David Bowie, Hank Williams or even a piano concerto if that’s more your speed. All of the people are immaculately dressed as though their outfits are an extension of their personalities. Although everything is as glamorous and flawless as you might hope for, this world is equally filled with a beloved quirkiness that helps you realize this is reality. My love for all things Wes Anderson is newfound. Last winter, I had the pleasure of curling up in a blanket on the lawn of the French Legation Museum here in Austin. It was a dark and starless night as I sat on the grass, surrounded by fellow moviegoers waiting for the screening of The Grand Budapest Hotel. The

opening credits brightly projected onto a large movie screen, and suddenly, I was unable to break my gaze from this alternate universe designed by Wes Anderson. This was my first encounter with his works. I left the French Legation Museum in a dazed state of sensory overload. One thing led to another (as they usually do), and from that fine night forth, I have been unable to shake this wondrous infatuation with Wes Anderson films and, more importantly, the fashion within them. To gain a deeper understanding of Wes Anderson’s creative direction, I looked to Donna Kornhaber, a ut film professor, Oscar Academy Film Scholar, and author of the book, Wes Anderson. She conveys to me, “Wes Anderson is a designer at heart.” And this statement is true; every detail in the film is intentional. Take for instance, Fantastic Mr. Fox, a stop-motion film using puppets; Anderson recruited the most renowned puppet-makers in the industry: Ian MacKinnon and Peter Saunders. But even they were surprised by Anderson’s perfectionism when it came to the puppets’ costumes. According to Saunders, “[Anderson] said that he wanted Mr. Fox to wear a yellow corduroy suit, ‘the sort of suit you’d see on any man walking ►

down the street in Paris.’ And we were in Manchester, thinking, ‘Well we don’t see many men walking down the street in suits like that!’” As a solution, Anderson sent the puppet-makers a pair of his trousers to match the yellow corduroy. Anderson’s expectations of the details that go into a costume are unprecedented, yet the genius designer in him enables it to work. Professor Kornhaber agrees that “it is this super-attention to detail, which creates the impression of a fully-crafted world where nothing is left to chance.” Wes Anderson creates his own universes, and with his attention to details, these worlds seems rather believable. The costuming, in my opinion, is one of the most captivating elements of the storytelling in Wes Anderson’s films. Professor Kornhaber enlightens that in directing a film “you don’t want anything to stand out too much and draw attention to itself… Anderson does the opposite of this, especially in terms of costuming. Nothing fits together and everything is designed to stand out.” Anderson’s unique spin on fashion gives us something fresh and captivating to analyze within the costumes and the characters. Although you aren’t likely to spot a Wes Anderson fashion line anytime soon, his impact on fashion cannot be understated. He’s directed several short films for Prada and H&M, along with designing the cafe “Bar Luce” inside the Fondazione Prada in Milan. Furthermore, when Gucci appointed Alessandro Michele as creative director, it became evident in Michele’s first womenswear collection of Fall 2015,

that the fashion house would adopt more unconventional and romantic pieces. With looks from that collection that drew comparisons to The Royal Tenenbaums, Michele credited Wes Anderson as his muse. And it does appear - with a quick glance at Gucci’s Instagram feed - that Michele’s creative direction is heading for this busy, hyper-detailed aesthetic. As such, Wes Anderson is giving us something new and captivating in fashion, something that makes us look a little longer, and pay a little more attention. In his own style, Anderson has made an impact on the world of fashion. While Wes Anderson is a major influencer on high fashion, he also draws from well-known brands to shape his characters’ styles. His film, The Darjeeling Limited, follows the Whitman brothers who reconnect after their father’s death to find their mother who now lives in India. The brothers wander through the foreign lands, all toting their late father’s monogrammed luggage. Perhaps best of all, the 11-piece set of luggage was custom-made by Louis Vuitton for the film. This was during Marc Jacobs’ time with the fashion house, and he immediately recognized Anderson’s eye for detail. The print for the luggage would come from an illustration by Anderson’s brother, Eric Chase Anderson. Filled with his colorful palm trees and safari animals, the luggage is a icon of its own in this film. Marc Jacobs commented that Wes Anderson knew precisely what he wanted of the luggage, “right down to the color of the lining and the sort of ►

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fixtures within the luggage that held a tennis racket or tennis balls and types of pockets that these suitcases should have.” This attention to detail is what makes Wes Anderson a creative genius. He’s able to portray a brilliant aesthetic while considering the symbolism of it all. As for the interpretations of the Louis Vuitton luggage, take it directly from Marc Jacobs: “They’re on this spiritual journey, and it’s sort of like they’re carrying the remnants of their father’s life with them wherever they go.” From start to finish, the style in Wes Anderson’s films is consistently avant garde, as each of the characters in his film rock outfits that are singular to their identity. Oftentimes, they wear a single uniform or a variation of an outfit the entire film. For example, the members of Team Zissou in The Life Aquatic all wear matching red beanies, blue jumpsuits, and customized Adidas. According to Professor Kornhaber, what we should focus on in the concept of a uniform is “uniformity.” This is a major theme in Anderson’s films, as Professor Kornhaber puts it: “the problems with accepting uniformity when it is imposed by a group… and the problems of uniformity when it is imposed by one’s self in adherence with some fixed idea of who you are or who you are supposed to be.” These members of Team Zissou may be seen as submitting to a collective identity. On the other hand, Professor Kornhaber notes that there are characters who do not resort to clothing as a uniform in this

way. Margot Tenenbaum, of The Royal Tenenbaums, is rarely seen without her signature fur coat, t-shirt dress, and liner around her eyes. However, Margot’s version of a uniform allows her to prove her individuality. This struggle between individual identity and collective identity is a theme that Anderson frequently returns to and uses costuming to demonstrate throughout his stories. Reading into Anderson’s film in such a way means that you cannot separate the characters from their costumes. The outfits are the visual representations of what we see in the characters, and it’s a constant on-screen reminder of their personalities. In Moonrise Kingdom, Suzy Bishop is her peter pan collared dresses, knee high socks, and binoculars. Her preppy style allows us, as the viewers, to remember who she is: a thoughtful and rather mature young girl running away from a chaotic family. By staying true to these uniforms for an entire film, Wes Anderson puts us in his characters’ shoes, and as a result, we must empathize with them. It is this empathy that is a driving force behind his stories. It is this empathy that leaves my head whirling as the closing credits dash across the screen, and I suddenly feel like I miss these fictional characters. It may only be concluded that Wes Anderson is an auteur. Every aspect of his films is completely controlled by him and may be easily recognized as his own style. While the fashion is just one of the many beautiful components, it is his films that will continue to inspire for generations. ■

CELEBRITY AND THE BEAUTY WORLD

Writer: Abigail Rosenthal, Stylist: Abbey Appel, Photographer: Sissy Martin, Models: Neveen Ali, Analisa Camacho, Alana Hernandez, HMUA: Natalie Arriaga, Tiffany Tong, Layout: Rebecca Wong 16

PURPLE RING | Blue Elephant TAN SUEDE CHOKER | Blue Elephant BLACK ORB NECKLACE | Blue Elephant 18

ive years ago, Kim Kardashian changed the trajectory of today’s cosmetics trends and products with a seemingly insignificant Instagram post. Looking to combat rumors of plastic surgery, she posted a side-by-side photo comparison of her face during and after the contouring process, reviving a then-little used beauty technique from the past.

The makeup artist behind the look, Scott Barnes, told Allure in 2015: “She posted it on her Instagram, and within 24 hours it went viral globally. Everyone was like, ‘Oh my God, oh my God, oh my God.’ But contouring is not new. I didn’t invent the wheel. Back in the ‘70s, it was the same thing. … Once I did that on Kim — it’s funny how it all took off and went crazy. It created a movement in cosmetics.” Barnes is right; contouring products are a staple in most every makeup artist’s arsenal, and the technique has flooded YouTube tutorials. It’s an unarguable fact that celebrities have always been trendsetters, whether intentional or not. Decades of evidence show how the public has imitated and embraced the unique cosmetic techniques and attributes of their idols.

Along with the red lip, cat-eye liner has infiltrated history as a timeless trend, experiencing resurgence every few years propelled by the celebrities who love the look. The 1950s saw it on Marilyn Monroe’s sultry bedroom eyes. Ronnie Spector of the Ronettes made waves with her tall beehive and winged eyeliner in the 1960s. Amy Winehouse revived the same look, adopting thick, black liner as one of her signature attributes. Her style inspired many, with her eyeliner and beehive making appearances everywhere from the 2008 Chanel runway to editorials in major magazines and remains synonymous with the gone-too-soon singer. Beauty trends inspired by men and women of the moment isn’t and wasn’t ever exclusive to women. As Beatlemania took hold of the nation’s youth in the 1960s, boys and girls alike copied the “mophead” hairstyles of the Fab Four, with ads for Beatle wigs and Beatle haircuts popping up everywhere. The imitations didn’t stop John Lennon to comparing American girls to horses, but they were a cosmetic tribute to the influence the Beatles had over their adoring fans. And while celebrities have always permeated the public beauty sphere, the rise of YouTube tutorials and makeup Instagram ►

accounts have turned amateur and professional makeup artists into celebrities themselves. Jaclyn Hill, the YouTube beauty guru who built her brand on tutorials, is arguably a face of this phenomenon. She has two well-known collaborations already under her belt, releasing a set of highlighters with BECCA Cosmetics and an eyeshadow palette with Morphe. Riding on her clout as the tutorial queen for her millions of followers, the palette sold out in 45 minutes. With a name as well-known as hers, Hill has been able to monetize her celebrity influence into collaborations and reportedly, her own line in the near future. Hill isn’t the only beauty influencer doing so. It’s hard to walk into any beauty store without running into a collaboration a company has done with a prominent makeup artist on social media. Colourpop, the affordable favorite of many, has a whole section of its online store dedicated to its collaborations. Featuring products made with Karrueche Tran, Kathleen Fuentes, known as Kathleen Lights, and Karen Sarahi Gonzalez, known as iluvsarahii, the company and the artists form a symbiotic relationship, using the products to build the artists’ résumés and using the artists’ influence to sell product. High-end companies have done the same thing, with Anastasia Beverly Hills, Benefit Cosmetics, Tarte and others boast-

ing a roster of influencer collaborations. Fans of these beauty experts flock to the nearest Sephora hoping to score a limited edition palette or the Benefit mascara Jeffree Star would most like to have stranded on a desert island, featuring his face on the box of course. At the same time, celebrities themselves are moving into the beauty sphere, creating their own lines of cosmetic products. In November 2015, Kylie Jenner released the first of her Kylie Lip Kits, a product she had been generating buzz about for months before. Since, she has built what some call a “cosmetics empire,” releasing collaborations with sisters Khloe and Kim Kardashian and a range of products, from “Kyshadow” to highlight. The company has served as a supplemental brand to its parent brand – Kylie herself. Most recently Rihanna joined the club with her own beauty brand. Fenty Beauty launched in August 2017, built on Rihanna’s idea and goal for all-around inclusive makeup. With the first launch featuring a huge selection of product (40 shades of foundation, a lip gloss, and dozens of shades of Matchstix to name a few), Fenty Beauty accomplished what few have, or even bother to attempt. Rihanna’s platform arguably allowed her to create a line for which people were crowding Sephora that also pointed out and critiqued beauty ►

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companies that weren’t offering the shade range she was. Rihanna shows no sign of slowing down, releasing an eyeshadow palette and other products for the holiday season. Brands have wanted to capitalize on celebrities’ fame for years. MAC Cosmetics has released multiple collections with celebrities, fictional and otherwise. Selena’s posthumous collection with the company became the best-selling celebrity collection in history. Nicki Minaj just released two lipsticks with MAC, her second release with the cosmetics giant. Drugstore companies are moving into the same territory; Maybelline just announced an eyeshadow palette they constructed with Gigi Hadid. These makeup artists’ and celebrities’ beauty lines and collaborations have turned shopping for makeup into a full-blown event. Each new drop of a Kylie Lip Kit or Hill’s Morphe palette have fans scrambling to snag one, both online and in person. Walk into any Sephora looking to test anything

from Fenty Beauty the day after it was released, and one was faced with the task of fighting through an excited crowd, with dozens swatching product whenever a space closest to the display opened up. With an automatic endorsement from one’s respective beauty icon, it’s easy to drop everything to log onto a website or rush to the nearest location stocking Rihanna’s new favorite lip gloss. Five years after the post that shook the beauty world, Kim Kardashian launched her own line of contour and highlight kits, so that anyone with $48 can achieve Kardashian-approved face structure. Less than three hours after the kits first launched, Kardashian announced on Twitter that all 300,000 kits had sold out, raking in a whopping $14.4 million. And four months later, Kardashian shares another Instagram post of her face, covered in the unmistakable unblended streaks of contour product, just like the photos that started it all – except now, it’s her own products, applied by her own hand. ■

Cruelty Free

Writer: Madeleine Munford, Stylist: Emma Raney, Photographer: Nikki LaSalla, Models: Tonya Chen, Nikoo Iranpour, HMUA: Amanda MacFarlane, Layout Designer: Andie Kent 24

hile shoppers make their way down the aisle, checking ingredients on coveted beauty products or trying them out on their skin in the mirror, it seems like thorough research is being conducted on the quality of the cosmetic. However, what isn’t seen anywhere in the beautiful, decorated collection of cosmetics is the horror behind the manufacturing and testing of the individual products themselves, as they are unjustifiably tested on innocent animals. The idea of putting the images of the torturous experiences that millions of animals a year go through, in making mass-produced products get put on the shelves, would cause significant decrease in sales and for that reason, nobody thinks about this as they shop.

The fashion industry wouldn’t be as rich and abundantly eclectic without its history of eclectic fur designs from various animals or its use of alligator skin for boots and purses. However, the damage done by using real fur, skin, or anything that was once alive for that matter, as opposed to faux fur has become catastrophic. According to a study conducted in 2016, over 250 cosmetics brands, including Neutrogena, Avon, L’Occitane, and many more, practice animal testing in the production of their beauty products. This translates to causing suffering and harm to over 270,000 animals a year in laboratories, just for mass production in a never-ending cycle, according to the Royal Society for Prevention of Cruelty to Animals. The “tests” given to animals, in the goal of mass-producing makeup and clothing through the fashion industry, are a form of torture. Rabbits have to endure getting harmful, poisonous chemicals poured into their eyes to check to see if they react or go

blind, while on top of this, more is applied to their vulnerable, shaved skin in a painful process. To figure out how much of a substance makes mice and guinea pigs sick, these “evil scientists” administer practices, such as forcefeeding, inhalation, and dermal exposure, to the exposed, innocent animals, until signs of suffering are seen. Throughout the years, fashion has evolved in colossal ways in avoiding the use of inhumane processes in their industry. The term, “cruelty free,” means that the use of testing on animals and harming them unnecessarily is not included in the process of manufacturing and launching new products, such as articles of clothing and new beauty products. This movement, introduced by Lady Dowding in 1959 in creating the charity, Beauty Without Cruelty, progressed to popularity through Marcia Pearson’s group Fashion with Compassion in the 1970’s. Animal rights activists have introduced new ways of creating safe products and reducing cruel practices through the years. Charles Hume and William Russell wrote the book Principles of Humane Experimental Technique in 1957, in which the three R’s in reducing the expanse of animal testing and the extent to the animals’ suffering: replacement, reduction, and refinement. This was a major step forward in the awareness for the inhumane circumstances that animals had to face in laboratories. Despite all of this history of maliciously testing dangerous substances on animals, the European Union decided, in 2013, to ban all forms of animal testing for cosmetic production. Soon after, more countries, such as India, Israel, and Norway followed the leadership in this new era of vegan practices. ►

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Currently, around the world in countries like New Zealand, Turkey, Russia, and South Korea, banned together in a unified feat to pass more laws reducing the use of animal testing. In reaction to this change, Dr. Nick Powers, director of policy at Cruelty Free International, which fights for animal rights, says, “The more countries that end animal testing, the stronger the pressure on the remaining ones not to be left behind, especially as companies still conducting tests on animals will run into the European marketing ban.” In fact, a Nielsen survey, conducting research on consumer behavior of more than 1,000 adults found that the marketing claim, “not tested on animals,” was the most important factor in making the cosmetics purchase. They found the 43 percent of these adults would be willing to pay more for said products, as they support not testing on animals in the creation of their goods and services. How would you know that your purchase is supporting the ban on animal testing? Look for the bunny verification established by the International’s Leaping Bunny Certified Programme, which has grown in popularity in various cosmetics companies. A renowned and beloved member of the beauty industry, Colourpop Cosmetics, has made their verified bunny mark with their makeup and nail polish lines. They are a vegan company that refuses to use animal testing in the production of their products and they still manage to make

their products affordable to customers, which shows that animal testing isn’t the most cost effective practice in the first place. In addition to this, they claim that, as a company, they don’t ask third parties or their mother company to test on animals and that even their suppliers don’t either. In determining whether or not a company is truly cruelty free, it’s important to follow the supply chain of the entire business, because though one company makes claims they might be affiliated with one section of the industry that fully supports and practices animal testing. Influential brands, like iconic fashion designer Stella McCartney, have made their mark on this drawn out revolution against animal abuse and testing. Stella McCartney is one of the most prominent fashion designers making strides to combat animal testing in this vegan, cruelty free fashion revolution. Her father, Paul McCartney of The Beatles fame, was quoted as saying, “If slaughterhouses had walls made of glass, then people would be vegetarians.” As the second daughter of Linda and Paul McCartney, influencers in the vegetarian food industry before it was popularized, Stella McCartney makes a remark about her upbringing to the Guardian, “The beliefs I was raised with – to respect animals and to be aware of nature, to understand that we share this planet with other creatures – have had a huge impact on me.” ►

Having been raised with a unique awareness of ethics expanded those ideals into her fashion designing. Her beliefs are reflected in her work in fashion design, published cookbooks, skincare, and perfume products. She is a strict vegetarian and refuses to use animals in any part of the process of designing, creating, and producing her products. She won’t use leather, silk, wool, merino, snake-skin, fur, crocodile skin, or anything that was once alive. Even her accessories follow suit, as her shoes are made of vinyl or plastic and her bags are assembled with raffia or fabric. Instead, she doesn’t contribute to the footprint of the annual, “50 million murdered animals in the fashion industry,” by sticking to faux leather and organic cotton. Her influence has impacted consumers’ and students’ views on fashion alike, which is why in 2003 she was awarded an honorary degree from the University of Dundee for her strong presence in the industry and her effect on their young students. In an interview with the Guardian in 2009, she is quoted as saying, “I find it astounding, because fashion is supposed to be all about change – I mean, we’re supposed to be at the cutting edge! I can only think that they don’t care as much as people in other industries. So, yes, I think people in fash-

ion are pretty heartless.” Is this true? Does the fashion industry ignore their responsibility? The answer is not as simple as black or white, but pioneers of the cruelty free rebellion have fought tirelessly for years to make the fashion and beauty industry vegan in their production and testing practices. The murderous and tragic effects of animal testing are still present today, but the practice is making major progress in that the amount of animals being tested on are reduced or completely banned altogether. Unfortunately, animal testing and experimentation have killed billions of animals since the fda approved animal testing to ensure drugs were safe. Moving forward however, there are over 7,000 safe ingredients that don’t require testing on animals that companies can choose from in the production of their products. With the advances of modern technology the use of animals isn’t necessary or even as accurate anymore, since we can formulate our own human organs and utilize in-vitro testing. Next time you find yourself in the beauty aisle of your favorite department store or online shopping, be sure to look for the friendly rabbit verification. ■

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ENCOMPASS Writer: Niti Majethia, Stylist: Carlie Roberson, Photographer: Carson Blair, Models: Grecia Gutierrez, Zoe Judilla, HMUA: Alessandra Garcia, Layout: Veronica Briones

Black.

A story of intrigue and vigor. Fullness. Depth. And yet, a void. An emptiness. An endlessness.

Everything and nothing â&#x20AC;&#x201D; all at once. A mystery. A revelation. A refuge. The poetry in that lush raven hair. The history in those coal eyes. The definition in those dark brows.

Black â&#x20AC;&#x201D;

A stillness. A strength. A comfort. A color that consumes. A color that fuels. A color that lives on.

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Writer: Vivie Behrens, Stylist: Megan Arimanda, Photographer: Zaid Patel, Models: Kelsey Hendershot, Amarachi Ngakwe, HMUA: Sarah Ogunmuyiwa, Layout: Christine Huynh 34

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ashion and art exist together in flux, always acting and reacting to one another. Each of these sister disciplines have pushed the other to produce work that is more exciting, innovative and avantgarde through healthy competition and collaboration. Because what is and isn’t art or fashion cannot be described by a resolute set of tenets, the line that divides these creative categories constantly bends and swerves, sometimes disappearing altogether. Arguably, fashion is art, and art is fashion. This relationship culminated through years of interaction between fashion designers and artists in creative communities. From Dadaists to Surrealists to Pop Artists, the participants of these iconic art movements were motivated to extend the realm of art to the everyday, and what is more everyday than what we wear? The goal to make art more accessible, relatable and relevant to the larger populace inspired fashion designers to also create works that extend to the masses, provoking a much more inclusive, revolutionary fashion environment. While fashion presents itself as a commodity consumed by the public, the process of creating fashion, (especially original fashion within a fashionsaturated society), mimics the process of making an artwork. If the goal of fashion (or art) is to use a creative method to provoke social, political, and economic change in a society, a fashion designer must consider an array of dilemmas. Because clothing is deeply entrenched in history across the globe, fashion as an art medium connotes charged subjects like consumerism, gender and class. Because of this unique, pointed nature of fashion, a designer must consider the ethics of display and presentation, appropriation, authorship, and social context. By finding solutions to these problems, a designer has the opportunity to incorporate their own identity, mission, and values to the work, which allows them to convey a grander message about social issues, rather than just create beautiful clothes. As a result, the creative process emboldens an artist or designer to share their personal voice to the masses through art.

However, the consumption of fashion does not stop at the runway. As soon as the bright lights grow dim, the champagne glasses are emptied, and the models go home, fashion designs are released to the public to be bought, sold and styled in a variety of ways. As fashion consumers, “we,” (referring to a larger, global, “we”), have the opportunity to go through this creative process on our own. By consuming fashion, we face our own set of ethical questions. What does it mean for me to be wearing this particular piece of clothing? What does what I wear say about my identity? Because the answers to these questions are complex and require creative thinking, it’s helpful to look to artists and designers to see how they deal with these issues in their creative processes. For example, Kehinde Wiley, a gay, African-American male contemporary artist, creates work that celebrates his sexual and racial identity. His use of art to investigate the facets of his own individuality can offer inspiration for people in the process creating a personal style that similarly celebrates their own uniqueness. Wiley’s work features recreations of notable art historical pieces, but replaces the (predominantly white) subjects portrayed in these works with African-American males he encounters on the street. Wiley asks these young black men to flip through an art history textbook and choose a painting in which they would like to be the primary subject. Then, Wiley recreates these art historical paintings but replaces the original figures with African-American men in their everyday street attire and immerses them in a sea of bright, feminine floral patterns. By placing these particular figures in a flowery, brightly colored background, Wiley addresses on the struggles of the African-American male to meet a standard of hypermasculinity while simultaneously incorporating AfricanAmericans into an art historical context, dissolving the elitism and Eurocentricity of the traditional art environment. Because Wiley paints portraits of individuals in their own streetwear, Wiley honors the self-expression of his subjects, while also highlighting how fashion can express a person’s individuality and culture. ►

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Another contemporary artist, Yayoi Kusama, considers the complexity of personal expression in her work. Kusama is a Japanese artist living in New York, and her work expands into the realm of installation, sculpture, painting, performance, writing and collage art. This array of media allows Kusama to explore her own theories about feminism, minimalism and surrealism, which has earned her international recognition and made her one of the highest paid living female artists around the world. Because Kusama suffers from obsessive compulsive disorder, her work not only deals with her identity as a female and an immigrant, but also with her identity as someone with a severe mental illness. Kusama’s most wellknown works are her “infinity rooms,” in which she creates small rooms, covers the walls, ceiling, and floor with mirrors and allows viewers to walk inside and experience an infinite landscape. In her piece, “Phalli’s Field,” Kusama expresses her disdain for the patriarchy by creating an infinity room filled with red polka dotted, phallic forms, making these structures appear to exist endlessly in space. In this piece, Kusama takes the struggles of her femininity and mental illness and turns them into her strength. By engaging in this calming, repetitive act of creating these shapes (motivated by her ocd), she takes ownership of the oppressive, phallic form and makes it monotonous, devoid of its power to subjugate and threaten. Fashion designers, like Louis Vuitton and Marc Jacobs, recognized Kusama’s capitalization of her intersectional identity and chose to use Kusama’s work as a key source of inspiration for a collaborative clothing line released in 2012. This partnership between famous fashion designers

and an upcoming contemporary artist allowed for Kusama’s exploration of her own theories to expand to the public. By wearing trousers, coats, dresses, and bags covered with Kusama’s iconic polka-dotted patterns, “we,” the masses, have an opportunity to support Kusama’s message and use it in their own lives. This commodification of artwork allows for wider participation of the public, dissipating the cultural, social and economic barriers within the art world that aim to exclude, rather than include. Kehinde Wiley and Yayoi Kusama are only two examples of contemporary artists whose process can inspire people to express their individuality, cultural background and social beliefs through clothing. Among Wiley and Kusama are innumerable artists whose work, thanks to the web, is available to be referenced, read about and relished by the public. If art aims to instigate change, choosing to consume it makes you a part of the movement. By looking to other people’s discovery of their identity, you may discover your own. Choosing clothes may only be a small part of social change, but it’s one that’s available to everyone. As clothes consumers, we all have the opportunity to think about how to best express our cultural backgrounds, genders (or lack thereof), social beliefs, and style just by getting dressed. The beauty of clothes is that they form the wearable, second skin that you present to people around you, which enables people to physically express the person they desire to be. By engaging in the creative process of forming a style, you are participating in a larger movement in art and fashion. You are an artist yourself. ■

VAN/GARDE

Writer: Jessie Yin, Stylist: David Spector, Photographer: Sissy Martin, Models: Tonya Chen, Leonor Martins, Elizabeth Reed, HMUA: Taylor Stiff, Tiffany Tong, Layout: Ernest Chan 42

BLACK TOP | Kaidon Ho RED PANTS | Sister Petra

istorted silhouettes and bold blocks of color. Entire art installations constructed onto the human frame and Rihanna drowned in a cloud of origami seashells. Considered the biggest night in fashion, the Met Gala never fails to turn heads, but this year it caused many head-tilts too. By the end of the night and in the reflection of the cold, sobering morning, it became rather apparent that many of the guests on the red carpet didn’t understand the theme, which is okay. Avant-garde fashion is born of the in-between, and it is meant to cause head-tilts of confusion. It is an ongoing question of meaning and belonging that began over 30 years ago and retains its relevance to us today.

Avant-garde fashion traces its roots back to the modern avant-garde art movement – art in this case referring to the larger creative sphere encompassing the visual arts, literature, and music – which began in the early 20th century. It originated as an outlet to rail against established forms of art, born out of a time when it seemed as if all old establishments were falling apart. It only made sense to the members of this movement that prided itself on being the frontline of artistic innovation that the artistic world was to follow.

Avant-garde is the French word for “vanguard,” and that is how many of these people considered themselves, leading the charge against conservative evaluations of artistic expression. Early in the modern avant-garde movement, Marcel Duchamp turned the porcelain bowl of a urinal on its side, signed his name on it, and called it a fountain. He made many of these “sculptures” that he referred to as ready-mades to incense people, to force upon us reconsideration on how to define visual art. He calls into question the ennobling and elevating, not only of art, but of artists themselves. Another pivotal piece in the early avant-garde movement is 4’33 by John Cage. It is 4 minutes and 33 seconds of silence with periodic clicks signaling the beginning of a new movement. Cage did to music what Duchamp did to art. He rejected the accepted definition of music and defied the conventional rules of composing. These pieces argue that there is no such thing as an objective academic approach to art that can be condensed into skills and techniques. Art is inherently subjective and shouldn’t be broken down into clinical characteristics for mass accessibility. What avantgarde did and does to this day is ask us to reconsider our subjectivities. Why do we accept what we accept and deny what we deny? ►

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Duchamp asked, “What is art?” Cage inquired, “What is music?” Rei Kawakubo does much the same thing to fashion. She is one of only two designers to receive a Met Gala exhibition while alive, and she rightfully deserves the recognition. Although avant-garde art showed its fledgling colors as early as the 19th century, avant-garde fashion didn’t begin until the 1980s when Rei Kawakubo’s joint Fall/Winter collection sent shockwaves through the Paris fashion scene. In the Western world, fashion had been steadily progressing towards technical perfection in much the same way that art had been since the Renaissance until it was disrupted. This collection was that disruption for Western fashion. Amid women’s power suits and polished silhouettes, Kawakubo presented a runway that was called “black rags” by kinder critics and “Hiroshima’s revenge” by crueler ones. She presented something radically different from the practiced projection of perfection that everyone else had been creating, and the rest of the fashion world recoiled at the notion of facing such unapologetic imperfection. Holes in sweaters, wrinkled silk, and long, overlapping drapes of fabric that masked the female silhouette, which has been meticulously cultivated for the last 500 years. Kawakubo was asking all of us, “What is beauty?” Avant-garde fashion has been called “wearable art” before, yet Kawakubo doesn’t consider herself an artist. In lieu of that label, she considers herself a punk and a rebel. She doesn’t stop at asking consumers about what we consider aesthetically pleasing. Nor does she desist at pushing other fashion designers about why they create clothing the way they do. She brings to light the

discussion of who gets to define fashion. The designers who create the Establishment of Fashion are men, despite most of the consumers being women. The true target of fashion especially in the 20th century is to appeal to the female consumer, yet all these innovations on the female form are being conceived by men. Kawakubo distorts and conceals the female silhouette to the point where gender is not important to her designs. In some ways, she has been trying to return the ownership of the female form to the consumer since she opened her first Comme des Garcons shop in Japan. And Kawakubo is right. The avantgarde belief is less about creating art to be universally admired than it is about pushing back. It is a live reaction to the rest of the world, and it is not meant to be easily accessible or beautiful. It’s no surprise that the celebrities at the Met Gala this year missed the prompt. These are actors and performers who have created a career based off the careful crafting of mainstream appeal, and avant-garde doesn’t deal in mainstream appeal. However, it would be amiss to call it an exact antithesis of the mainstream. Instead, it is an extension of it, reacting to and drawing out the present to a conclusion. The first people who called themselves avantgardists had origins less recognizably beatnik or hipster. Those first artists were painting peasants, manual workers, and street scenes done with as much realism as possible. They wanted to steal art away from the elitist world of rich patrons and fashion it into a tool with which to reflect the dirtier, truer world in which we live. It is an act of rebellion. People looked at the trending tendencies and rushed to the front of the fight to alter its course. ►

Avant-garde is the opposite of empty or clinical. It is fueled by indignation and excitement and continues to uphold this passion now, using various mediums to create from a place of truth that has no gatekeeper. It may not be readily understandable, but no one is barred from trying. It is the egalitarianism of creation. You own your interpretation, and if that comes from a place of individual truth, then you have a comprehension of avant-garde fashion. It isn’t limited to a costume worn by a celebrity or seen once a year on the runway. It is an argument that what you wear should come from a place of personal truth and that we shouldn’t simply accept the arbitrary rules on what colors or shapes self-expression can come in. It has been over 30 years since Kawakubo first challenged people to reflect upon their own Icarus-like tendencies towards perfection, and it is a lesson more relevant now than ever before. With mass consumption of media and people gaining access to social media at younger and younger ages, we are told exactly what it means to be perfect. We are inducted young into a wider social concept of beauty; our aesthetics are more effectively being homogenized. Countless magazines will provide rules of

thumb on what is stylish. Designs cycle through the storefronts with incredible speed and uniformity. Many feel adrift and unmoored in this manufactured matrix. It becomes harder and harder to develop a unique physical identity, but there is a part of all of us that longs to disobey those who might seek to influence us. Avant-garde fashion humbly requests for the embracing of this juvenile impulse. It begs upon us to question our assumptions, to address ourselves and what our truth is. Kawakubo and other avant-garde designers have spent decades of their career compelling us to expand the inclusion of beauty, and for this, she has been honored with an exhibition of her own. Modernist poet, Ezra Pound, once described art as the brief gaps of relief from clichés. If that holds true, then we may have to consider avant-garde fashion an art. It seeks reprieve from the monotonous through the slips between flash-fashion trends and mass productions. It is truly the fashion of the in-between, and there is a bizarre sense of empowerment in avant-garde fashion. Perhaps it is the age to assemble the vanguard, to oppose that which we cannot agree with, and to become avant-gardists in our own right. ■

in a

league of its

own

Writer: Zac Young, Stylist: Sarah Thrash, Photographer: Harrison Xue, Models: Chase Elwell, Jade Fabello, Timothy Jolley, Nick Suarez, HMUA: Amanda MacFarlane, Ella Whitaker, Layout: Linda Li 50

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he eight Ivy League schools have always commanded an aura of elegant brilliance. From the New England charm to the ivy climbing up the ornate architecture, these institutions have been the home of the world’s greatest minds for generations. The Ivy Leagues are also credited with the creation of some of America’s favorite collegiate past times: tailgating, beer pong, and more recently Facebook, to name a few. Most people don’t know however, that these institutions where the epicenter of an iconic American style. The Ivy League look was born on these eight New England campuses, and quickly spread to colleges around the nation. The style is originally based on casual attire worn by the upper class in the ‘20s and ‘30s for leisurely activities like playing polo, sailing, or hunting. It was a popular choice for students because it allowed them to purvey a certain level of affluence, while still remaining a comfortable dressing choice for day-to-day college activities. The Ivy League craze began in the late ‘30s with the introduction of the Weejun penny loafer to the Yale campus in New Haven. The shoe was an instant classic to those who dressed to fit the Ivy League look and it’s still a staple in the style to this day. The appeal seems to come from the plain casual design, something not too dressy, that a busy college student could roll out of bed, slip on and still appear presentable when they arrived at their 8 a.m. class. Consider it the ‘30s equivalent to white slip on Vans. The most important aspect of any piece of clothing considered to be part of the Ivy League look, is the ability to be styled informally. This is one of the largest reasons young men were so attracted to the trends produced by the Ivies and the reason why some garments were never incorpo-

rated into the Ivy League wardrobe. During the ‘40s and ‘50s retailers, like Brooks Brothers and J. Press, provided the clothing and students selected what was fashionable and formulated how it could be styled. Most of the Ivy League styles' quintessential pieces were produced by Brooks Brothers and were mostly of English origin. Clothing which was deemed “too English” in style or cut was often cast aside for apparel that fit the campus lifestyle and was more widely accepted by students. One of these “acceptable” English garments introduced by Brooks was the sack suit. Even with that off-putting type of name, the sack suit was an absolute hit among students, and provided the comfortable design that was popular with young men. The suit was designed with natural shoulders, no waist suppression, and came paired with straight non pleated trousers. This produced the informal look by which Ivy League style itself is characterized. Brooks went on to introduce a large swathe of the classic Ivy pieces, including oxford buttondown shirts, polo coats and shetland sweaters, which were often colored to represent one’s school. A typical Ivy League student owned around four suits, eight pairs of trousers, a dozen dress shirts, half a dozen or a dozen ties and one overcoat. Quite a step up from the sweatpants and free T-shirt defined college wardrobe of today. The cold New England climate insured that a student would not forget their warm winter accessories like scarves, gloves and sweaters and in the later spring semester, temperatures were normally warm enough for students to don a pair of Madras check shorts. None of the Ivies, save Yale, have formal rules for student clothing and the basis of Yale’s written dress code is to never appear too unorthodox, flashy or unkempt. ►

While the Ivy League look was the fashion of leisure, versatility and comfort for young men on campus, the dress code of the older men’s workplace mandated a neater suit of navy, gray or black. No comfortable tweeds, flannels or Madras allowed. Once outside the confines of the college campus, the Ivy League look became something men wore on the weekends to lunch or on a casual stroll through the park. The styling was toned down, but preppy garments like broadcloth oxford shirts and tweed sports jackets had become middle-class American staples by the ‘60s. The style permeating the American middle class was the first of many signs pointing towards the impending doom of Ivy League style. With the onset of social change, the broadening of admissions to institutions of higher learning, and the bland timelessness of garments such as khakis and navy suits, the death of the Ivy look happened where the style had started: on campus. Students attending the Ivy League institutions no longer came from a history of prep-school, where they were forced to adhere to a strict dress code and put a tie on everyday. Once the Ivy League look became unfashionable on campus, any fashion relevance it had, dissipated. With the broader hippie movement and rock ’n’ roll of the ‘70s, sack suits and tweed were replaced with T-shirts and denim, and the overall idea of Ivy League style was abandoned. Even without a young client base at their backs, retailers like Brooks Brothers and J. Press carried on, now catering to a much older clientele than before. All the while the idea of Ivy League style came to be synonymous with stuffy elitism. Out of the remnants of Ivy League fashion came the term “preppy.” New designers like Ralph Lauren and Tommy Hilfiger defined preppy fashion with pastel colors and rich textured fabrics managing to keep some essence of the original Ivy League look in the minds of the everyday mall shoppers. High fashion designer Thom Browne, has helped keep the style in forefront of the fashion elite, with his captivating interpretations of Neo-Ivy.

Along with new designers, Hollywood has had an important role introducing moviegoers to the Ivy League style, even if they aren’t aware of it. The most popular example being Baz Luhrmann’s adaptation of The Great Gatsby (2013). Costume and production designer Catherine Martin utilized Brooks Brothers’ historical archives to produce one of the most visually stunning assortment of men’s clothing ever seen on screen. This assembly of menswear includes the Ivy League look in the form of costumes worn by Tom Buchanan (Joel Edgerton) and Nick Carraway (Tobey Maguire). Both characters attended Yale together and dress in a style reminiscent of their time spent on the campus. Nick wears bow ties and dresses in tweed jackets while Tom opts for more classical and refined navy suits and club ties. The film’s garments were so popular and well designed, that the film won an Oscar for costume design. This isn’t just a one off either; other popular films like Dead Poets Society and The Theory of Everything also utilize the Ivy League look and tap into the nostalgic idea that everyone was better dressed before rock ’n’ roll. While the style will never again amass the same amount of popularity it had in its heyday, the influence on the development of modern menswear as a whole is unequivocal. From colors to textures to styling, what had previously been deemed appropriate dress by a student’s superiors or fashion publications had been overthrown, replaced by garments students themselves found appropriate for an active college lifestyle. It was one of the first times in menswear where the youth were defining the parameters of fashion for their age group. This is the same reason the look disappeared during the counterculture movement, the youth decided again what they thought was fashionable, and Ivy League was left behind. Although modern designers are capturing the essence of the look today, keeping it fashion forward for consumers, historical menswear enthusiasts from around the globe are working to insure the pure original form of Ivy League style won’t soon be forgotten. ■

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OFF THE SHOULDER DRESS | Blue Elephant

Writer: Ivanna English, Stylist: Ibukun Oladejo, Photographer: Alli Weitzel, Models: Alana Hernandez, Zoe Judilla, Melina Perez, HMUA: Olivia Yanbing, Layout: Minh Cao 57

here is a slight shift in mood that is recognized by the fashion community, when the air pulses with electricity and the most relevant artwork made by genius designers are revealed. But before the public’s eye is a statement rather than a work. Initially, there was a wave of shock and the atmosphere slows, but then it registers – I have seen this before, a retro piece revived. It is seen on the originator’s stern face, Daniel “Dapper” Dan, as his 1980s once-scorned creation now made its way down the runway during the Gucci Resort 2018 collection show. Despite a slight nod by the model toward Dapper Dan exhibiting the knockoff of the knockoff, the knowledgeable crowd left the show with mixed feelings about Look 33. It was not until later that Gucci made an official announcement on Instagram stating that this look was, in fact, homage to Dan. This attempt at reparation was untimely and became less credible when in an interview, Dapper Dan stated that he had no previous knowledge of this so-called tribute, nor had he or his team been contacted until after the public became concerned with the issue. However uncomfortable the situation, this piece helped spark the conversation that is appropriation and credibility among acclaimed fashion houses and their critics.

Two contrasting opinions have arisen since the show in May 2017 that are pro- and anti-appropriation. An article composed in response to questionable Look 33 by Osman Ahmed states that so long as appropriation means to do well, culture and the looks that correspond can be shared and enrich “the available vocabulary for designers, artists, and imagemakers…” and compared it to food and the advent of the fusion cuisine. The author continues that this mix of culture helps bridge what was once a divide, helps culture evolve and flourish, and helps make the world a more colorful place. A real-life application is what most Texans love and know to be ‘queso’ or ‘kaysow’ – a Tex-Mex creation. Despite popular belief and how good this golden concoction may be, it is not anything close to a Mexican dish. This lovely creation does embrace the many qualities of exploration and influences from culture, but it has accurately created its own category of Tex-Mex and should remain within those borders to avoid misrepresentation of a sole contributor. The popularity of this appetizer has not enhanced Mexican culture, nor has it solved issues surrounding racism between the parties involved such as Osman Ahmed said that it should. It does sound nice to say that the present world is a welcoming place to all cultures. It does seem that it is a retrograde to create boundaries be-

tween cultures and within them, restrict creativity and adhere to stereotypes, but the truth is that the borders were established centuries ago. On the same website that featured the lighthearted reaction to the display made by Gucci, author Darío Calmese argues that fashion does not need to use unwarranted cultural designs in their apparel. In contrast to the pro-appropriation article, Calmese states that “…calling out cultural appropriation does not kill creative license, it simply holds those in power accountable to cite their sources.” The history of organized civilization has infinite traces of oppression against people that were different from those who had power; and although there is division between people of the same ethnicity in some groups, there is a plague of racism rampant about the world and the basis is the difference of skin color. Those in power are also known for their exploitation of the peoples that they conquered and the complete alteration of their lives – and this has yet to prove fruitful. In the past, major fashion houses such as Marc Jacobs and Chanel have directly appropriated marginalized people’s culture by sporting dreadlocks on white models and for producing $2,000 boomerangs respectively, thus appropriating Black and Australian Indigenous Culture. Both opinions reference Daniel “Dapper” Dan,

mentioning his relation to Loui Vuitton and his pirating the Italian brand to make it go from runway to railway, and Gucci’s Statement in a collection that referenced Dan’s pioneering. This revolutionary act stemmed from Dan’s wish to open a luxury boutique in Harlem and the brands’ refusal to sell to him. From the spirit of marginalized groups, he created a way of silk screening leather with the monograms of luxury brands for his customers. In an article written by Darío Calmese, he states that Dapper Dan’s creation was born from the same spirit that many black artists channel: the drive to thrive in a system that was not made for marginalized people. This further helped Louis Vuitton develop their own line and it became that of what may be a symbiotic relationship – the two thrive and help each other grow. As the public becomes familiar between what is right and what is wrong, fashion houses are being checked and corrected – plagiarism has harsh penalties, and designers should be held to the same standards as any creator. There are ways to incorporate culture and designs respectfully and knowingly, that should be considered and employed by the creative genius. First, if a designer so wishes to incorporate specific looks and items from a culture, they should recruit ►

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models that are of said ethnicity as to accurately display the look – not only is this the correct thing to do, it also diversifies the pool of models and is not limited to fair-skinned people. When using these looks, fashion houses should also reference the ethnic groups prior to the exhibition, rather than using after-the-fact public relations ‘clean up’ tactics. It is just as important to be knowledgeable about this culture and the significance of the presentation. For example, DSquares2’s Fall 2015 collection took influences from “Canadian Indian tribes” and was entitled “Squaw” – which, in the culture, is a derogatory term for Native American women. Specific to American Natives, headdresses and other articles are markers of power and status, and for a non-native to wear this degrades and disrespects those whom have earned this position. Another alternative is to employ indigenous people and other marginalized groups, and give ample compensation for the community’s involvement in the creation of the pieces – while establishing a healthy relationship, as well as providing a platform to share the culture globally. Analogous to the reference of Danny Dan and his relationship to Louis Vuitton, Gucci and other coveted Italian brands, he sparked its prolifera-

tion among people. He may not have done so correctly, as the monograms were not his property. Despite this, he curated something of other influences into his own style to showcase the luxury brands. However, in the case of appropriation, the luxury brands have become the “off-brand” and the appropriated cultures are in the position of luxury, as power remains with the originators. Most people are proud of their roots and expose them to the world. A Mexican and Hispanic, I enjoy sharing my culture with people who truly appreciate and want to learn more about where I am from or even become a part of it, and much is true for the people I have approached about the topic. I am proud of who and what my culture has made me, and just as anyone, I demand respect, and I demand a voice. However, if a designer receives backlash – especially from the people that own the creation – a lesson should be learned and should set a precedent for others to not follow in those footsteps. Just because you are wearing someone’s shoes, does not mean that you have walked the miles worn into them; however, do appreciate them, cherish them, admire them, but do not intend to make yourself them – lest it be a true intention. ■

OFF THE SHOULDER TOP | Blue Elephant

Je Ne Sais Quoi

Stylist: Joann Kim, Photographer: Peter McCain, Models: Juienne Bajusz, Bonnie McEnnis, HMUA: Genevieve Miller, Layout: Kalissa White 64

THE FUTURE IS

FE TY Writer: Jade Fabello, Stylist: Lauren Agguire, Photographer: Kevin Hwang, Models: Mattison Gotcher, Kamryn Jefferson, Shusi Toyosi, HMUA: Mariah Becerra, Tiffany Tong, Layout: Mingyo Lee

BLACK BUTTON UP | Ermine Vintage BLACK JEANS | Blue Elephant TAN DRESS | Blue Elephant

he day had finally come. The floodgates of anticipation could hold no longer. Life savings withdrawn – the good lady made promises, and she delivered. Fenty Beauty launched. On September 8, music and fashion icon Robyn Rihanna Fenty released her cosmetics product line, eponymously named Fenty Beauty. As more countries got a hold of her shimmer sticks and lip gloss, Sephora stores across the globe began to resemble cinemas on the midnight release of a new Star Wars movie. Nothing could match the excitement level of the crowd as they matched foundations to their skin.

On the online sphere, the conversation surrounding the line filled instantly with praise and celebrations. Users posted jokes and speculation about purchasing fictional Fenty wine, Fenty shoes, and Fenty health care for weeks following the release. The sensational makeup collection boasts a great deal of highlighters and specialized brushes, but most notably a massive 40 shade foundation range. While not currently the most extensive range on the market, for an initial launch, the comprehensiveness of Rihanna’s line is near unprecedented. With the figures and buzz behind it, the launch is being heralded as an incredible success. As word of mouth spreads, much of the conversation has focused on how Fenty is one of few lines that accommodate dark skin consumers. All of the positive feedback considered along with massive lucrative returns, many are left wondering why the void of products for dark skin people took so long to be filled. Despite making up a majority of the color spectrum, women of color are often relegated to choosing between a small handful of makeup shades. Dark skin models have even been used solely as props to convey the range available to white-skinned consumers. The companies that partake in such acts often find themselves with little options available that would work for those very models. The online fashion and beauty company asos is guilty of hosting images with this exact situation on their website, showing a Black woman’s arm with swatches of Maybelline’s Fit Me foundation. But they are far from the only ones who offer a less than comprehensive palette. In Yves Saint Laurent’s “Inclusive” line

launched earlier this year only two to four shades worked for women of color. In companies where more shades do exist, women of color are often faced with a lack of accessibility. As pointed out by beauty blogger Nadia Gray earlier this year, on Maybelline’s website no darker shades of the Dream Velvet Foundation line are available for purchase by women located in the UK. These sorts of issues are pervasive across the whole beauty industry. Finding products that truly accommodate tones and textures of a nonwhite consumer base is a rarity. Despite claims of celebrating real and/or all women, these beauty companies oft find themselves falling short on these dogmas. Dark skin women are left outside of the industry’s definition of “real” or “all.” The problem exists at an institutional level. Rarely do women of color, particularly Black women, find themselves in positions of executive power within the cosmetics industry. Figures like Desiree Reid, a Black woman and executive at iman Cosmetics, are among the few exceptions working towards structural change from the inside. Actress Kerry Washington’s work as a spokesperson for Neutrogena has also resulted in substantial positive change over the past few years. Separate from them, and a few other notable examples, the beauty industry and by extension the fashion industry is mostly a white-dominated field. All this considered, the advent of Rihanna’s products is ever more critical. Through Fenty Beauty, Rihanna is able to access both beneficial avenues for change within industry. While not technically the ceo, Rihanna, as the founder and the patent holder, is so intrinsically tied to the brand. She is the business. With corporate ties and star power, Rihanna is in a unique position to help expand what is available to consumers. However, the problems of the beauty industry run larger than not having options available for women of color. Many companies are guilty of a plethora of subtle and not-so-subtle acts of racism. The tired excuse of “darkness doesn’t sell” has appeared in all sorts of industries. The consuming power of minority communities is no secret. According to Essence’s 2009 Smart Beauty research, Black women spend 80 percent more on cosmetics and skincare products than the general market with $7.5 billion spent annually. ►

Yet this misconception of a lack of an eager Black consumer base persists. Time and time again, in industry after industry, when a product is of quality and is made either by or for Black people the financial results will show themselves. It happened in Hollywood with the massive successes of “Get Out,” “Moonlight” and “Hidden Figures.” And it is happening here with Fenty Beauty. For so long, beauty companies have not been willing to provide products to a community that is willing to spend. The root of this incongruence is innate in the fabric of the western world. There is a long history of cleansing product advertisements equating Black skin with dirt to be washed away. Skincare companies have plastered caricatures of Black children scrubbing away their darkness on ads for over a century. Instead of confronting this cold hard past of racism, company execs would rather miss out on potential revenue, so long as they don’t have to address their own potential biases and shortcomings directly. The racist background that serves as the foundation for the beauty industry makes contemporary examples of the exact same kind of thing more egregious and inexcusable. As recently as October 7, Dove posted an image on their facebook, showing a troubling before and after. In the first two panels, a Black model removes her brown shirt, indicating a transition made after using Dove, to reveal a white shirt on a white model. Whiteness is the goal. So often have Dove and other companies either consciously or unconsciously promoted this narrative. Dove has since apologized, claiming that the particular post “missed the mark.” But the crime is too damaging (and too regular of an occurrence) to overlook. The concept that Blackness is something to try to escape from has real and long-lasting effects on Black youth. The callousness of these companies exacerbate self-esteem issues and internalized barriers in children and young adults across the spectrum. When these companies consistently release blunders that showcase anti-Black sentiments, their introduction of inclusive lines and statements of diversity, ring hollow. In a similar vein when L’Oreal, Kylie Cosmetics, The Vanish, Color FX, Estée Lauder and countless other brands begin showcasing their new “diverse” shade ranges within a week of Fenty

Beauty’s release, their motives become suspect. When the move is made only after inclusivity is definitively proven to be a financial blowout, then the action is fairly deemed as reactionary. Compare this long-continued history of slights to everything surrounding the Fenty Beauty line, and you see that it is worthy of its praise. The release video and all other advertisements that the line put out showcased a truly diverse range of models in terms of both skin tones and types. What sets Fenty Beauty apart from all of these other lines is that the claims of caring about diversity actually match up with the actions of the brand. Consumers can sense the sincerity of Rihanna’s aim. So rarely do minority women get to see themselves as a love interest in movies or TV shows, or in political offices. Rihanna has offered something more valuable than merely a successful product. While the scope of this article has primarily focused on the struggles faced by dark-skinned persons, Fenty Beauty goes beyond to where it is one of the only brands that can make a legitimate claim on true inclusivity. With her line Rihanna accounted for people of a broad swath of undertones. South-east Asian women and individuals with albinism are also receiving some much-needed representation through Fenty. Those who have long been neglected by the industries of this world are given a place in the game. Fenty places a major emphasis on bringing out an individual’s natural beauty. The ability for young people to boldly wear their skin in a world that has told them to be ashamed of it that is what Rihanna offers. Fenty Beauty has already expanded after its initial release with its 14 shade eyeshadow holiday collection on October 13. The buzz continues and people are ready to embrace all things that Rihanna is putting into the market. The beauty industry is feeling the wave of a major blow to the institutional barriers that have kept women of color from access. Their reasons may not be as pure, but the success of Fenty Beauty is at the end of the day forcing other companies to follow suit to provide more options. While it is important to remember the problematic past of the beauty industry we can now look forward to the future. And that future is Fenty. ■

GUYS BEING DUDES The History and Renaissance of Masculine Cosmetics

Writer: Nick Sheppard, Stylist: Isaiah Garcia, Megan Arimanda, Photographer: Kate Mulligan, Models: Brandon Pegram, Benjamin Vega, HMUA: Amanda MacFarlane, Layout: Maya Haws-Shaddock 77

1998: “Masculine identity is born in the renunciation of the feminine, not in the direct affirmation of the masculine” PA U L A S . R O T H E N B E R G , RESPECTED SOCIOLOGIST

arry Styles has a throng of dedicated and vocal fans that fiend over his every move like addicts. He attracts a mania to him today like the Beatles did in the '60s and is a modern sex icon with seemingly unparalleled appeal. Styles is not the poster boy of traditional masculinity, but a balance of masculine and feminine beauty that is reflected in his fashion. He isn’t threatened by cosmetics’ social connection to women and doesn’t give a passing thought to whether or not people will think he’s gay if he brushes a little lacquer on his nails. Besides, cosmetics and beauty products have only been a gendered area of fashion since the 1850s. For most of recorded history, men used cosmetics to exude their masculinity and status in their societies and cosmetics had no connection what-

soever to the performativity of a man’s sexuality. Harry Styles isn’t doing anything new; in fact, his black manicure is a fashion staple as old as the sands of Egypt. Remember the powdered wigs of European monarchs and (perhaps lesser known) the high heels of King Louis XIV of France? Even these examples seem new when compared to the men of much older civilizations like ancient Egypt and Rome. As early as 4,000 bce in Egypt, it was ordinary for both men and women of all classes to wear lots of bold black kohl eyeliner to transform their eyes into a more feline shape associated with divinity. If you were more bougie than thou, you could even spring for green malachite eyeshadow that was thought to be imbued with the power of the gods Horus and Ra and could even ward off

2016: “harry showed up to an event wearing black nail polish and i literally had to take a nap to calm down…” @ A L LY S O N G R O S S , H A R R Y S T Y L E S F A N AT I C

disease causing spirits (Neutrogena only wards off blackheads). A posh manicure was a more subtle statement elites could make to delineate themselves from the working classes. Men and women both dyed their nails and because darker dyes were more difficult to synthesize, blood red (because of the literal blood) and black manicures were indicative of a man’s high social standing. Aristocratic Roman men are another interesting example of men employing cosmetic techniques to accentuate, usually by feigning, their masculine qualities. The two most commonly used cosmetics for Roman aristocrats were cheek rouge and head paint. Cheek rouge served a similar purpose to Egyptian nail paint, in that it displayed material wealth and a connected place in Roman society. The head paint is particularly interesting to the

question of masculinity. When men began to bald, it was customary for them to paint the parts of their exposed scalp with dyes that were of similar color to the hair of their youth (no matter unconvincing that must have looked). As you know, balding is one of the indication of an aging man, but that’s of course not all that it means. Hair is associated with youth which is directly associated with masculine virility. Romans painted their heads not simply out of vanity, but to preserve the image of their heterosexual, masculine sexual competence. Men today still worry about going bald and invest lots of money in stalling or reversing it. Today the solutions range from buying a toupee to paying for highly scientific cosmetic procedures to rejuvenate hair follicles, all in an effort to maintain their outward image of youth and virility and therefore, masculinity. ►

Ancient men found that cosmetics held the power of heterosexual masculinity, not homosexuality. Lemme say it again: male makeup’s connection to sexuality was nonexistent. This connection was only made recently and while it is pervasive and relatively strong in American society, I need you straight men out there to know that we gays took it from the ladies who took it from you. Now, men stopped wearing makeup circa the mid 19th century basically because Queen Victoria of England said so. It wasn’t until the 1970s and 1980s that the ancient mantle of masculine cosmetics was passed along to musicians. The ‘70s and ‘80s music scenes featured a number of male musicians wearing makeup, commonly worn among punk rock artists, “hair” bands, and pop stars. Of course, you can’t talk about men using cosmetics to look fine as hell without mentioning the rock and roll gods that were David Bowie and Prince. Bowie’s stage persona Ziggy Stardust wore heavy geisha-esque makeup that when paired with the iconic red mullet made Bowie transcend human form into the realm of the alien. Prince loved accenting his eyes, using subtle-to-copious amounts of eyeliner and eyeshadow that imbued The High Priest of Pop with even more sex than what already

oozed out of his luscious curls and six pack abs. Their cosmetics paired with their outfits culminated in iconic androgynous aesthetics. Because Bowie and Prince’s aesthetics were so fresh to the American audience and bespoke to fit each man’s musical brand, cosmetics seemed more like tools of art and performance for the uber-creative than a relatable fashion option for everyday men. Each man was also seen as a gay icon, making them hard to be style inspirations for straight men without people making assumptions about their sexuality just like people did with Prince (himself heterosexual). Bowie and Prince were extremely important figures for challenging ideas of how men should look and behave and will forever be shining examples of liberation. However, the social climate of the ‘70s and ‘80s was nowhere near accepting enough to allow cosmetics into the fashion mainstream for men. Things are changing now, and I think Harry Styles straddles a relatable masculine/feminine aesthetic that could make him the arbiter of mainstream masculine beauty. It’s hard to deny Harry Styles attractiveness. His outfits generally tend to be something along the lines of a silky designer button up shirt that drapes ►

over his torso perfectly, a pair of tight pants, and a slick pair of Saint Laurent Chelsea boots. If it’s not that, it’s a sophisticated Prada or lavishly patterned Gucci suit. Another feature that Harry Styles sometimes wears is nail polish, either with just a few chipped pink nails on each hand or with a full blown red or, the one that sent Twitter into a frenzy, black manicure. He doesn’t constantly polish his nails and he doesn’t make a big deal about it when he does; he just does it while the ladies (and gents) stand stupefied by his ability to pull them off. The real genius of Harry Styles’ look is its commerciality. The designers he wears are sources of inspiration for larger fashion chains, so his style is relatable and more emulatable than rock stars of the past like Bowie or Prince whose fashion was influenced by costume rather than brand name. His Styles Influence™, hyper fame, and undeniable sex appeal places Styles in a unique role model position. He has already inspired young boys to experiment: “my little brother saw a picture of harry styles with his nails painted & made me do this bc he ‘didn’t know boys were allowed’ we match now…” one big sister tweeted along with a picture of her and her 11-yearold brother’s manicures.

The past has a way of resurfacing, a theme most definitely embodied in fashion. We’re living in a time where many long held social ideals of how people should behave and identify are being challenged. Young people are reconstructing and ignoring definitions of masculinity, and the fashion industry has received the message. Cosmetics giants Milk, Covergirl, and Anastasia Beverly Hills have featured men in makeup in some of their recent ad campaigns, signaling a corporate embrace of a market that hasn’t been widely tapped in hundreds of years. Harry Styles shows us that it is the embrace of what we deem feminine, not the rejection of it, is what future of masculinity can look like. I hope that even more men can look at Harry Styles’ brand of masculinity and feel freer to experiment with cosmetics and fashions that they like without feeling like they are directly expressing their sexuality or “undermining” their masculinity. So if you’re out there, dudes, if you’ve stuck with me ‘til the end, I encourage you to accentuate and express your masculinity with nail polish, eyeliner, contouring, or whatever makes you feel like a sexier you. A cosmetics renaissance is upon us and I’ve just handed you some black liner. Now go be a man. ■

Y O u wanna be on

top? Writer: Nikki LaSalla Stylist: David Spector, Photographer: Nikki LaSalla, Models: Kelsey Hendershot, Madeleine Munford, HMUA: Julie Garcia, Layout: Caroline Rock

he television box turns on with a click of the button underneath the screen. The brand new program opens with the voice of none other than the voice of Tyra Banks herself. Reality television was then in its infancy; a genre of television that was popular, yet still finding a niche on networks. Tyra had a clear statement for the people of America: models are more than one skin tone, one body shape, and one personality. With an introduction to a show that would change not only the face of television but the face of fashion, Tyra created the reality television that we know and love today. America’s Next Top Model (antm) brought about the age of reality television in the fashion industry. With shows like Project Runway, RuPaul’s Drag Race, and, most recently, American Beauty Star, every day life and high fashion intersect in ways that most people could only dream of. While we will might never meet Michael Kors or Lady Gaga, these ordinary people on our televisions do. Inspired by these celebrities, the contestants create or follow trends that ultimately influence our lifestyles, specifically, in the fashion world. Project Runway and America’s Next Top Model, two of the longest running reality competitions, have created a standard for the fashion industry that the audience responds to when buying clothes or makeup.

If Heidi Klum says that a design is hideous, we believe her. If Tyra Banks says to smize, we try to do so in our own photos. Almost without realizing, audiences internalize the advice and instructions that the judges and other celebrity guests give to the contestants on the show. We use reality television to feel as though we are those people in the shows getting advice that will potentially change their lives and the shape of the fashion. However, both of these shows not only create a lane into fashion but also put roadblocks on other lanes. Making fashion accessible also begs to ask the question: what is “good” fashion? If Michael Kors says that a pair of punk pants are hideous on Project Runway, do we have to believe him? Often times, we do believe what the judges tell us. After all, they have the expertise. These shows, because they do have the knowledge of judges who have worked in the fashion world, create the trends and set our standards. Tyra not only changed the face of fashion with America’s Next Top Model but she changed how fashion was received. By making fashion more accessible, she also made reality television an acceptable way to learn about fashion. Instead of flipping through the pages of Vogue, an ordinary fashion-lover could look to Mrs. Banks or Mr. Gunn for their fashion ideas. In fact, because of the popularity of ►

SEQUIN TOP | Monkies Vintage

Project Runway, Tim Gunn received his own spin-off in 2007 called Tim Gunn’s Guide to Style. People could watch this show and use Gunn’s advice as their fashion Bible. Still, Gunn is one of the most beloved celebrities on the show even if his educational background is expansive and includes a BA in English literature. People know him because they see him, and so trust Gunn to tell them what is fashionable and what is not. However, one person cannot be the judge of all that is fashionable and all that is not. Having expertise (oftentimes celebrity) on a reality competition is necessary but surely listening to one person’s view of how someone should wear their hair or dress up an outfit has its downfalls. Many reality shows combat this singularity with the use of multiple judges and tasks for the contestants to complete. Project Runway has most recently, and notably, added plus size models to their permanent staff of models. All of the contestants are required to work with women of all sizes, thus creating pieces that are more well-rounded and specifically tailored to “real” women. Although the term “real women” may be problematic, audiences are still further included in the fashion world, even if it seems elusive on magazine pages. Similarly, Tyra Banks has allowed people to enter her competition of all heights, genders, and now, ages. The newest season of antm is completely open for any age group, allowing older women and men to showcase a form of beauty that is often overlooked in traditional media. Earlier seasons of antm also allowed plus-sized models and shorter women to get themselves into an industry that spurns their beauty. Yet, while Tyra has opened the door to all who model, Whitney Thompson is the only plus-sized model and Nicole Fox is the only petite model in all twenty-four seasons of the show to win the whole competition. also celebrates diversity in selecting the models on the show. However, in trying to celebrate that diversity the show has created some problematic (and seriously disappointing) episodes. In Cycle 4, Episode 5 (2005), the contestants are taken to a photoshoot where they are supposed to do a Got Milk? commercial but with switched ethnicities. For example, Naima Mora, the winner of Cycle 4, who is of African-American and Native American descent, was covered in white make-up and told to be Icelandic. ►

antm

More notably, multiple Caucasian contestants were put in make-up resembling blackface when trying to embody these ethnicities. Tyra explains on the show that the make-up was about “embodying [another ethnicity] from the inside out” in order to show diversity. This photoshoot received no criticism at the time (and is actually hard to find on the Internet). However, after a repeat of a similar photoshoot in Cycle 13 where the models were to be biracial, Tyra faced backlash. In a quote apologizing for the photoshoot, Trya stated: “I listen to many heartbreaking stories of women who thought they would be happier if they looked different. I want every girl to appreciate the skin she’s in.” Her good intentions are often muddied by the actual show itself, even if not many people recognize the standards Tyra is holding up. Although it is a harsh reality that a model needs to be tall, Tyra and her fellow judges often tell shorter models that they must wear heels to even compete with the other girls. However, the main theme of antm is to love the skin you’re in; even if that skin is often manipulated and changed by the judges. People watching the show relate to this juxtaposition and feel the struggle of the contestants more personally.

Despite its shortcomings, antm and Project Runway have truly opened the door for people wanting to get their foot into the fashion industry. Both reality competitions encourage audiences at home to take a more active position in their own fashion choices. An individual voice, they say, is more important than what the magazines are telling you. Winners of both competitions prove that different is good. Ashley Nell Tipton and Michelle Lesniak on Project Runway are examples of how being unique can land you a win in an industry that seems to celebrate everyone being the same. Tyra and America’s Next Top Model paved the way for shows like Project Runway to use diversity in order to connect with their viewership. Using a remote, the television flicks on and opens to Hulu. The latest episode of Project Runway needs to be watched, is begging to be open, even. As the designs strut the runway, you and a friend yell about what outfits are hideous and which ones are wonderful. Even if the judges say the opposite, you are welcome to your own opinions. The show is an invitation as much as it is fun to watch. Tyra must be proud to think that this inclusion all started with the words “you wanna be on top.” ■

MARYLIN MONROE TOP | I Love Vintage

SEQUINED JACKET | Blue Elephant

NAMASTE AMERICA

Writer: Niti Majethia, Stylist: Victoria Bass, Photographer: Alli Weitzel, Models: Neveen Ali, Prerna Pramar, HMUA: Amanda MacFarlane, Layout: Riya Ashok 92

magine an extremely crowded street bursting with colour, chaos and the aroma of hot piping tea with crisp and spicy potato nuggets, or as we like to call them, pakoras. The latest, catchy Bollywood song booming in the background, adding some more flavour to the atmosphere among the horns of busy cars and taxis. Whether it’s a bright, chirpy morning or middle of the night, the spirit of a place so pregnant with culture is indestructible.

I grew up in Mumbai, the fashion capital of India. It’s intriguing to learn about how this city has evolved – from a conservative, obedient town, to a metropolitan, out-of-the-box, free spirited city. But words don’t do justice to the cultural intricacies and tales this city tells. The spirit of Mumbai is truly embedded in its clothing and style – and what makes this even more interesting is how much America has contributed to it. I still remember rushing to my local tailor every time a new picture of Hannah Montana came out (hey, don’t judge – that was all the rage those days). I’d always urge him to create something similar for me, even though he would use Indian fabrics and designs to do it. And that was okay, because my little preteen heart would be more than overjoyed. If you walked around the streets of Mumbai, you’d see a reflection of how powerful west-

ern trends are and how brown millennials are making those very trends their own, by mixing and matching them with their own cultural trends. Western clothing came into our lives when American pop culture took the internet by storm. From the style of the Kardashians to “Gossip Girl,” a huge percentage of Indian millennials have been exposed to different kinds of American high fashion. Bollywood is the original bible of style in India – and this prolific industry in itself has been inspired by the West – from Hollywood movies, tv shows to social media influencers. It isn’t just about trends, it’s about the evolution of ideologies that comes with them. Bollywood’s use of American trends as inspiration was a huge step forward for the landscape of fashion in India. For example, when denim started becoming popular around the world, the Indo-western pioneers in India began to come up with their own way of wearing jeans. Instead of wearing jeans and a T-shirt, the popular outfit in India became wearing a kurti (a very long, loose, straightcut shirt, with Indian prints and design) along with jeans. A kurti paired with a pair of jeans is the go-to look during the summers, because the fabric the kurti is made up of is extremely soft, paper-thin and light. It’s a classic Indowestern staple. ►

While American fashion is all about elegance, such as nudes and relaxed design, Indian fashion is all about the spice: bright colors, sequins, embroidery and prints like swirly florals or tiny elephants. And this bright color scheme along with passion for sequins has earned its place in the Indian fashion spectrum rightfully so through our culture, festivals and traditions. For example, Holi is one of the most popular Indian festivals, in which people smear bright colors (in the form of powder) on each other. The love for bright shades in fashion stems from this festival. And then comes Diwali, the festival of lights. Each building on every street in big Indian cities is lit up with lanterns. When you walk down a road during Diwali, all you can see are lights twinkling everywhere. People also burst fire crackers and use sparklers. India’s love for glitter comes from this tradition. This imagery is often mirrored in the world of fashion, by using sequins and sparkly makeup. I remember being obsessed with glitter as a child, because it made me feel bright and pretty. It was more than just a trend, for me it was a reminder of those exciting Diwali nights in my childhood when we’d go for walks at night just to have a look at the lights and crackers.

One more factor that immortalized India’s love for bright colors and ethnic design comes from another Diwali tradition: rangoli. This is like a painting on the floor, but you use powdered color and do it with your fingers. Most of the time, the designs created for Rangoli are very symbolic Indian patterns that go on to become prints for Indo-western clothes. These patterns are often floral, with bright colors. Often times, designers use the Western cut, like a romper, a flowy dress, or an off shoulder dress, but then also use Indian prints because that’s what aesthetically appeals more to the Indian market. So you may see a jacket that is perfectly American in its fitting, but is also traditional and Indian in its design. American influences have definitely broadened the Indian mindset and made room for more edgy and vintage ideas. For example, a common Indo-Western trend involves wearing loose and flowy jackets that look like capes, embroidered with Indian prints like florals. Bollywood item songs, especially, use these Indo-Western trends to mix things up and keep things edgy. The dramatic dance numbers use bright colors and glittery or sequined clothing and dictate the Indian fashion world in a relentless way, because the actress is portrayed to be the epitome of style. ►

BLACK FLORAL DRESSES | Blue Elephant

BLUE VELVET DRESS | Blue Elephant PINK DECORATIVE SHAWL | Blue Elephant

India’s love for bright colors isn’t limited to just clothing. When it comes to makeup, we tend to stick to bold and glittery shades. This is also inspired by Bollywood’s way of storytelling; it thrives on drama, glitz and glamour. Bolder eyes and darker lips help create a more dramatic effect. With the rise of the internet and with ideas spreading, the world has become increasingly connected, and as a result, diverse. Contouring, for example became all the rage in India once Kim Kardashian promoted it. Kylie Jenner’s lip kits are pretty popular too. My 12-year-old cousin who lives in India follows Kylie on Instagram and keeps up with each and every product that comes out. Globalization, too, plays a huge role in the spreading of ideas and inspiration. For example, brands like Zara, Forever 21 and Gap have taken the Indian market by storm, because of the immense fascination that international brands bring, thanks to Hollywood and mainstream American media. But every time I travelled abroad and went to shops of the same brands there, I realized that the stock sold in India was a little different compared to that sold abroad. A lot of the stock in India had especially more ethnic prints and patterns with bold colors, because the stock sold in each place depends on the weather of

that region, the aesthetic of the people and government regulations. The Indo-Western revolution is proof of how immense the world of fashion is – how it is beyond just labels and celebrities. There are so many small influences that shape this world in a big way. Because fashion is a reflection of a community’s true essence, it’s incredible how the right combination of colour, texture, design and aesthetic can mould into a story so much greater than all of us. A tasteful story belonging to the generation, era and principles through which it is told. This revolution also sheds light on how much creative malleability the world of fashion has – how you can borrow an idea. And that isn’t even the best part; the best part is what you can do with the idea and where you can take it, how you can turn it into something even more diverse. It’s fascinating how the intricacies of one culture can be used to embellish and complement another. This proves that fashion has the power to bring us all closer by indeed celebrating our differences, that we can be authentic and unique in our own cultures whilst also collaborating beautifully and coexisting with dignity. This is what gives one hope about the future of fashion, that we are headed towards a more diverse and flexible idea of style. Because there is power in the diversity. Elegance in the detail. Liberation in the creativity. ■

BRAIN O'BURTON Cinematic Strategy & Fashion Collide

Writer: Chloe Bertrand, Stylist: Rebecca Wong, Photographer: Peter McCain, Models: Angela Chastain, Justin Smith, HMUA: Taylor Stiff, Layout: Ernest Chan 98

BOWTIE | Ermine Vintage MUSTARD BLAZER | Ermine Vintage

elevision: a timeless babysitter. Cheap. Entertaining. Somewhat stimulating. This rings true today just as much as it did 50 years ago in Burbank, California when a peculiar young boy sat mesmerized in front of a screen. Enthralled by the moving images, he sketched pictures which depicted his own variants of spiels. He soon became the visionary behind countless home videos and developed a fervent love for cinema one frame at a time. His disinterest in athletics was accompanied by a sense of apathy towards anyone who challenged his hobby. Because of this, other children deemed him an outcast. However, the time he invested into his work as a young creative aided in cultivating the imagination of a man who would later become one of the highest grossing film directors in the world: Tim Burton.

Artist and filmmaker Tim Burton is infamous for incorporating elements of morbidity and fantasy within his renowned films. He has mastered the balance between pandemonium and minimalism within his character development. As a result, each scene produced is captivating and features surrealism of the highest caliber. Burton’s repertoire of quirks influences the fashion industry to push boundaries while embracing madness. Contrast is such a prevalent feature within the work of our madcap man who blends horror and beauty effortlessly. Edward Scissorhands displays this

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talent the best. It’s a story of a love that’s forbidden by physical circumstance. Things get a bit complicated when you long for the touch of a man who has scissors for hands. Nonetheless, the paradox created between Edward and Kim’s passion reveals itself in daily street style. When Edward was taken in by an Avon representative, there was immediate tension induced by the contradiction of the pastel neighborhood and his leather getup. His hair was unkempt, his face was scarred, and he had the complexion of mayonnaise. However, onlookers could not help but become intrigued. We resonate with a similar mentality of being noticed for what is clinging to or hanging from our bodies. We want to be emboldened by fashion. A hairdressing hand is the statement piece of the season. All jokes aside, the triumph of Edward Scissorhands inspired viewers to overcome mundane fashion and surpass the status quo. Since the film was released in the prime of the grunge era, it further encouraged the mixture of salty and sweet within outfits. You could be Edward, you could be Kim, or you could be Edward and Kim. It was common to see innocent baby doll blouses paired with a shredded denim skirt and oversized combat boots. Additionally, embellishments became a creative voice for many. The optimum Scissorhands grunge look was achieved by topping off the outfit with the most frizzy, orgasmichair. Thanks, Eddy. ►

BOWTIE | Ermine Vintage MUSTARD BLAZER | Ermine Vintage

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Burton hit the ground running with his career as his manic progression is evident throughout each decision he made in his life. After exploring stop-motion animation and other forms of film throughout high school, Burton continued his education at the California Institute of Arts. Upon graduation, he was granted an apprenticeship with Walt Disney at the animation studio where he worked as an animator, storyboard artist, and concept artist. The meticulous details displayed in his character sketches were apparent in the costume design of his productions. Unfortunately, Disney fired Burton after the release of his short Frankenweenie shook wimpy children to their cores. (Frankenweenie was later reproduced in 2012 and made $81.5 million smackaroos in the box office.) Burton was then picked up by Paul Reubens to direct Pee-Wee’s Big Adventure which later became an American household hit. One man’s trash is another man’s treasure. Burton found his identity as a director four years later when he brought low-budget film Beetlejuice to the big screen. The success was immense. He accumulated a cult audience that constantly praised his abstract work. Suddenly, black and white pinstripes became all the rage. They were incorporated into runway sets and red carpet looks. Take for example in 2016, Beyonce won the cfda Fashion Icon Award. The audience was floored when she approached the podium in a Beetlejuice-esque suit complete with a wide brimmed witch hat. Stripes were later integrated into his other films such as Jack Skellington’s suit in Nightmare Before Christmas and the Dum twins in Alice in Wonderland. Many directors go their entire lives without curating a personal brand for themselves, yet

Tim Burton has been establishing and reiterating his aesthetic from day one. His following can attest. Tim Burton’s success catalysts are two powerhouse actors who embody every gothic charm known to man. Johnny Depp and Helena Bonham Carter. The two began their journey together in Corpse Bride over a decade ago. Audiences can identify Burton’s work by an eccentric plot and this trademark pair. However, there is a reason that this triangle has reigned supreme for over a decade. Johnny Depp and Helena Bonham Carter identify with Tim Burton outside of a theatrical realm. They are a fashion trifecta. Carter’s zany approach to Victorian style in her daily life amplifies her roles in Burton’s flicks because she naturally emulates each character outside of the studio. Depp parallels her in a similar way by portraying venturesome characters with which he can easily align his avant-garde trailblazer approach to fashion. Combined with Burton’s static hair and abounding brilliance, the trio produces an influence on fashion culture that is indomitable. Tim Burton believes the imagination to be a machine that is boundless and immortal, completely unsuspecting of age. The aspects of fantasy threaded into his art come from a place of reservation for what is left of his own childhood. He refuses to discount the memories of his youth for more mature moments. When childhood and adulthood intertwine, audiences are exposed to a reflection of Tim Burton’s mind. Chaos and serenity exist in holy matrimony. Tim Burton is a prominent driving force behind our generation whose films beg us never to succumb to mediocrity. Wear your pinstripes as a second skin. ■

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the Year of Greenery Writer: Jordan Steyer, Stylist: Isaiah Garcia, Photographer: Taylor Hall, Models: Kamryn Jefferson, Brandon Pegram, HMUA: Cherish Spears, Layout: Rebecca Wong 104

r een doesn’t necessarily come to mind when thinking of 2017. Things like “eventful” and “Trump” and “politics” and “anger.” But, there’s an overlap with the word “interesting.” This year has been nothing short of that. Between world events and the political climate of the United States, nothing is boring. Neither is Pantone’s Color of the Year.

Every year since 2000 the Pantone Color Institute chooses a color that matches the cultural climate. It describes what is seen in global culture that also serves as a mood and an attitude. The color then shows up in trends with design, from fashion to interior design. This year, Greenery was chosen to signify new beginnings. It’s described as a “fresh and zesty yellow-green shade that invokes the first days of spring when nature’s greens revive, restore, and renew.” In a statement released by Leatrice Eiseman, Executive Director of the Pantone Color Institute, she described what Greenery means. “Greenery bursts forth in 2017 to provide us with the reassurance we yearn for amid a tumultuous social and political environment. Satisfying our growing desire to rejuvenate and revitalize, Greenery symbolizes the reconnection we seek with nature, one another and a larger purpose.” In an interview with The New York Times, Eiseman said the process to select

the Color of the Year takes about nine months. The Pantone team goes across the globe to explore industries and collect “proof points.” At a certain point they’ll notice an overlap in colors from car shows, runways, and decorator shows. Over the summer, a tropical leaf print started trending. It was everywhere in fashion, tapestries, and even water bottles. The color of the leaves perfectly matched the shade of greenery. But leaf green started popping up long before the summer. In fall 2014, the color began to show up in fashion shows, and continued through spring 2017. Michael Kors, Prada, Balenciaga, and Gucci featured varying shades of green in their collections. Greenery received little back lash in comparison to the 2016 colors of the year, Rose Quartz and Serenity. Pantone took a bold step with selecting two colors, something they’ve never done before. Especially colors that deal with gender fluidity and equality. The pink and blue started popping up more last year, but the movement of unisex clothing also made a bigger appearance. A lot of attention was drawn to the Vogue cover of Gigi Hadid and Zayn Malik posing in vintage-inspired Gucci jackets, Ralph Lauren Suspenders, and Ann Demeulemeester lace underpinnings. The spreads inside have them wearing each others clothing and unisex tracksuits. Designers such as Miuccia Prada ►

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and Raf Simons for Calvin Klein are meshing their women’s and men’s collections together.

textiles. H&M’s goal is to use 100% recycled or other sustainably sourced materials by 2030.

A few designers have said the color is dull, especially with its yellow-green undertones. They don’t think there’s anything special about it, it’s just a green. Some Twitter users weren’t very pleased with the color either. One person just tweeted “#coloroftheyear YUCK” another pointed out the similarity to Kermit the Frog.

H&M began a “take-back” program which allows customers to drop off unwanted clothing to the stores and receive a discount to use in-store. H&M then recycles them. They recently dropped a six-piece denim line that is made from 20 percent of recycled materials directly from the take-back program. The rest of those six pieces are made from organic cotton fibers or cotton from Better Cotton Initiative, a program that responsibly sources cotton. This is one of the biggest fast-fashion clean-up in the industry.

Even the new Mercedes-AMG GT roadster comes in a leafy green shade. Vertical gardens are growing in popularity so gardens can be created in big cities and downtown areas. Dior’s newest makeup collection dropped with a new lip shade called “clover.” While 2017 has seen monumental discussions amongst environmentalist and Veganism continues to gain momentum, more restaurants are providing a vegetarian and/or vegan option. Grocery stores are expanding their vegan selections. And even though the vegan fashion trend started less than 10 years ago, more designers are adding faux furs and faux leather in their collections. More celebrities are even wearing these fashion lines so it gets more publicity. Vegan fashion is made with animals in mind, but it’s also to produce less waste and pollution. In October, H&M partnered with Swedish company re:newcell. They reuse cotton, vicose, and other cellulosic fibers and turn them into a sustainable dissolving pulp. That pulp can be made into new

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Karl-Johan Persson, H&M ceo, released a statement that said, “It has always been important for us to act in a way that makes it possible not just for present but also future generations to enjoy fashion.” The selection of Greenery, however, wasn’t influenced completely by the green of money or the recent election, but the themes are present. In a statement Laurie Pressman, the Pantone Color Institute’s vice president, said, “Nature is free, and the color isn’t meant to be partisan.” Greenery is neutral in nature and it’s meant to reflect that in design and matching with other colors. Pantone’s Greenery is made to be versatile. It’s easily paired with brights, deep shades, pastels, and neutrals. Greenery was made to transition from fashion to home decor to beauty and then to graphic design. ■

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THE

KANYE WEST EFFECT

Writer: Travis Rainford, Stylists: Megan Arimanda, Yae Sel Joann Kim, Photographer: Sarah Stiles, Models: Victoria Jameson, Hannah Johnson, Elizabeth Reed, Charlotte Yun, HMUA: Maria Becerra, Julie Garcia, Layout: Jenna Ma 111

merica is no longer a nation united. In every aspect of the lives of our countrymen, we see gaps that are getting bigger, closer and closer to becoming uncrossable. These all have massive implications, but none are as alarming as the divides between both race and wealth, where America slowly creeps back towards a far more backwards time in its troubled history, a time where equality wasn’t god-given. This is a time for people to stand up and make a statement about how we as a people need to fight the polarization of America. Kanye West was given a chance and a stage to make a statement. He disappointed. Rather than starting the much needed debates about our country’s crippling social problems, Kanye’s Yeezy Season 1 commercialized poverty and class struggle, selling the issues of America for a profit. On Oct. 29, 2015, Kanye West shocked the fashion world. For the first time, people had a look at Yeezy Season 1, West’s first apparel

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collaboration with Adidas. Subdued earth tones, grays and blacks dominated the color palette. Models wore sweaters that weren’t just ripped; they were torn to shreds. If a model was wearing a jacket or a shirt, it was either comically oversized or a crop top, there's no inbetween. Many models, no matter what their race, wore durags or a similar head wrap. In the more extreme looks, models even wore bulletproof vests. This was a social statement. Kanye’s fashion line represented the look of a dystopian nation, where the majority with little are oppressed by the privileged few with it all. In fact, for those who did not watch the show, there was even a drill sergeant barking orders at the models, quenching any doubt about the martial overtones. The message was there, whether it was intentional or not, and it was as plain as day; this scenario was inevitable if America stayed on its path. The growing divide between the 1 percent and the 99 percent, along with the gradual disappearance of

the middle class, would soon be too much to solve and, eventually, no one will attempt to bridge that gap. It was a brilliant way to bring a topic to the light of mainstream media, who usually tread lightly on the topic of social and economic inequality. Unfortunately, Kanye had no intention of changing America for the better. In an interview with Complex Magazine, the rapper talked about everything instead of the obvious political overtones. Breaking the barriers of celebrity fashion was discussed, but not the lower class. In the end, he did make a statement, but his goal was profit and recognition, rather than a social change for the better. Saying that Yeezy Season 1 made money is an understatement. Saying that Kanye achieved his goal is an understatement. The rapper blew expectations out of the water. The wealthy shelled out nauseating amounts of money for the clothes due solely to the hype around them, while never once considering the source of Kanye’s inspiration. An oversized and unbranded

camo t-shirt retailed for $210. A pair of black sweatpants joggers, nearly identical to a $10 pair sold at Walmart, set people back $510 because it was associated with the Yeezy brand. It was insanity, pure privileged insanity. Unfortunately, in the madness, the political message of the lower class rising to fight the divide was swallowed, unseen by those blinded with money signs. America’s growing social divide is a very real problem. The wealth and racial gaps widen and grow more unsolvable every minute. This is not normal and should never be treated as such. Yeezy Season 1, however, did just that. By commercializing our country’s growing issues, Kanye normalized them. He aims to be a mainstream innovator, one that ends the barrier that is the prejudice of fame in the fashion industry, but in a cruel twist, he is doing so by thickening the barriers that many others face. Kanye’s mind is as complex as one can be, but it is hard to say his inspiration came from anywhere but the impoverished masses. This takes attention ►

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away from the masses and places it on a meaningless fashion line. A model wearing a bulletproof vest now just a “Kanye” look, rather than a message of growing unrest. This process of depoliticizing the context of his fashion did nothing but hurt those the fashion was based off of. There are real people who wear distressed clothing not because it is a trend but because it is all they have. Now suddenly, their harsh reality is being sold by Kanye as some type of dystopian fantasy, where people with money can look like those without. This is clearly problematic and from October 2015, when the rapper’s line was released, it has only gotten worse. The overwhelming popularity and profitability of Yeezy Season 1 caught the attention of every fashion label and clothing company in the industry. They watched Kanye West and Adidas throw the world for a loop with tattered sweaters, baggy joggers and ill-fitting jackets. They watched them cash out, selling the line for a mind-blowing profit. So the fashion industry did what any smart businessman would do; they imitated success and, in doing so, further separated the real world inspiration for the fashion line from the fantasy that was being sold. Runways across the world began to feature models in an overly distressed look. Colors across the board were toned down. Many companies shaped West’s signature style to better fit their own idea of fashion; other companies challenged Kanye for his spot as the leader of the trend. Balenciaga, for example, currently sells a shoe called the Triple S Trainer. The shoe, fresh out the box, looks like it has been worn for years. The suede is dull and dirty looking and the midsole is designed to look like it is falling off. Without the logo and association with a top ►

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brand, the shoes would be lucky to be sold at a Goodwill. Because of Kanye, however, the shoes retail at $850 and resell for double that due to the high demand. He is headlining a wave that is making money off of the lower class. His militant, hyper-casual style is no longer a statement about America, it is another overhyped fashion trend blown far out of proportion. The militia-inspired style that West debuted in 2015 remains incredibly prominent today, though now in a watered down form. In the period of time immediately after the fashion show, people and fashion labels very closely imitated Kanye’s vision. Although the inspiration may be less direct today, the rapper’s influence is still obvious. Distressed clothing, especially jeans, are here in a very strong way. Simple, monotone designs remain popular, with minimal branding from the companies. Nude tones are killing the game, both in clothing and shoes, and camo has experienced a comeback for the nth time. It is now a mainstream trend to wear oversized everything. Compa-

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nies have begun to putting their own spin on West’s brainchild. In many cases, they are taking his clothing and adding colors. A shopper can now find ripped, militant style clothing in any hue of the rainbow. Today, the trend is more diluted, and thus less problematic. While the lower class inspirations are still there, it is less blatant. The fashion industry is moving away from the dystopian theme, which in turn, will denormalize the reality that many people currently face. Even if he had no intention of it, Kanye is wrong for profiting off of the social issues of America and he is neither the first to do it nor will he be the last. Many designers will come up and try to pass off a line as a “fantasy” but, it is up to the consumers to recognize if their inspiration comes from a dark place. It is also up to the consumer to stop the fashion industry from falling for the “Kanye Effect,” where they run away with these problematic trends, depoliticizing a social issue for the sake of money, selling a struggle for a profit. ■

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“Y

ou think you can fok with something like this?” asked Ninja, in the opening of the musical introduction to the Fatty Boom Boom music video. Most viewers would answer no after watching 10 seconds of any Die Antwoord visual content.

Originating in the mid-20th century as a derogatory slur for the working-class white community in South Africa, the Afrikaans word “zef ” roughly translates to common, disgusting and trashy. In a country known for harsh apartheid and persisting racial issues, the term evolved to be adapted by a group who adopted its hateful connotations into their symbol of pride. Around 2009, the rap-duo Die Antwoord [pronounced Dee-eh ant-voord] developed a style of music it compares as a South African substitute for hip-hop in its societal role. With Die Antwoord, Afrikaans-speaking Yo-Landi Vi$$er and Ninja started a cultural phenomenon known for its provocative, outrageous and often problematic style and lyrics. “Zef means you literally don’t care what anyone else thinks of you,” said Ninja in an interview for the film Chappie, in which the band appears as themselves to raise a robot in zef culture. With four studio albums and their own record company, Zef Recordz, Die Antwoord has gained recognition throughout the globe for its distinct and unapologetic style, both in terms of musical production and wardrobe. The band is often misunderstood by first-time English-speaking viewers, who don’t under-

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stand their South African origin. Both members are white, and their mixed Afrikaans and English communication presents a European facade, as Afrikaans is influenced by Dutch, German and English, and it is primarily spoken by white South Africans. Originally signed with Interscope Records, the band formed their independent company after pressure to collaborate with American artists such as Lady Gaga and the Black Eyed Peas, according to the New York Times. Their freshman album $O$ debuted in 2009, but the band rose to fame with viral videos releases from Ten$ion (2012). The “Baby’s on Fire” and “Fatty Boom Boom” videos rapidly spread on YouTube as viewers attempted to understand what they were watching. The videos fueled controversy with allegations of problematic stereotypes and use of blackface. Those who yearned for more zef content continued to follow the band’s growing popularity with the release of Donker Mag (2013) and Mount Ninji and da Nice Time Kid (2016). The distinctive zef style is as much visual as it is auditory. Through branding, Die Antwoord manages to represent zef in also every look, whether it be in video, interview or live performance. In terms of color, the band utilizes black and white as staples, but Yo-Landi often wears pastel pinks, blues and yellows when she is presenting her “cute” persona. The band created graphic icons that adorn their clothing, video scenery and even their bodies. These icons include the zef goat, heart, print and rat, as well as the “evil boy” penis figurine. ►

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The band has collaborated with a range of performers, from their own DJ Hi-Tek to Jack Black and Little Tommy Terror. The production of their songs usually stems from an electronic beat, over which Ninja raps and Yo-Landi sings or speaks a memorable pop-influenced chorus. Yo-Landi also raps in a distinctive high-pitched voice, which is unedited and genuine in pitch. In terms of subject matter, Die Antwoord pulls from numerous sources of inspiration, including American pop culture, which portrays it in a negative light. Although the two live between Los Angeles and Johannesburg, they are open about only participating in American culture for the prospects of money. Still, even Yo-Landi has not kept herself from shopping on Rodeo Drive, on which she admitted to purchasing a Gucci bag. On the Trump administration, both members of the band have remained rather silent, distancing themselves from American politics. Their seldom political connection humorously involves presidential counselor Kellyanne Conway’s inauguration day look: a Gucci dress previously worn by Yo-Landi, to which Twitter reacted with a “Who wore it better?” When given the chance, Die Antwoord openly mocks American pop culture through their own artform. In the opening single “We Have Candy,” they refer to Yeezus as “Kanye Kardashian.” They also utilize American progress in a less obvious way: internet servers and bandwidth. Originally hosting their music and website on South African servers, the band could not handle the cost of the explosive traffic to their content, as bandwidth is notably more expensive abroad. Die Antwoord now hosts all of their material on American servers, which is crucial to their virality. ►

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An unapologetic, provocative style must welcome backlash, as most shocking media stirs criticism. Die Antwoord has many adversaries, especially some Christians who take offense to some of their Satanic imagery, such as the upside down cross on their rat symbol or Yo-Landi’s star makeup in the “Pitbull Terrier” video. Still, the band has been subject of criticism from individuals inside the music industry, most notably Lady Gaga. The popstar invited the South African duo to open for her Born This Way tour, which they quickly turned down after equating her music to “superficial shit.” The “Fatty Boom Boom” video also includes a portrayal of Gaga in a meat dress being mauled by a lion, as if a simple “no” was insufficient. Nonetheless, the band was blacklisted by Gaga and shamed via Twitter. In addition to a distaste of their style in music, Die Antwoord has received criticism for some politically incorrect actions and problematic statements. While it is important to consider the cultural background of the band, which implies different social standards than a modernized American sphere of educated “wokeness,” the band has been in the spotlight for wrongdoings. First and foremost, Yo-Landi appears in blackface in the infamous “Fatty Boom Boom” video. This stunt has been interpreted differently, but it inherently

contributes to the entertainment industry’s racist tradition of blackface in performance. Still, Yo-Landi’s body is also painted white in the next scene, while Ninja’s is red. Her eyes and hair are reminiscent of a panther. Is she truly attempting to impersonate race? It’s difficult to say. Appropriation raises other flags for Die Antwoord, as Ninja did not come from a working-class Afrikaans speaking background, so he is inherently appropriating the zef culture he helps perpetuate. While the band regularly receives criticism for being racist and homophobic, they claim they are not, which may stem from a personal understanding of what falls into the realm of problematic. Producing shocking, interesting, and provocative cultural content sells, especially when its wide release sparks controversy. The lyrics and production of their discography may not be technically impressive, but their distinctive branding allows their act to be globally recognized. The intentions of Die Antwoord are uncertain, and their explosive style, music and visual media seems to have just begun. “Flame on, motherfuckers,” Yo-Landi utters at the close of the “Baby’s on Fire” video in a Tapout hoodie. That’s exactly what the band will do. ■

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T O/O

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four.

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WINTER IS

FASHION

COMING

Writer: Rebekah Edwards, Stylist: Victoria Bass, Photographer: Kate Mulligan, Models: Julienne Bajusz, Angela Montalvo, Jillian Westphal, Benjamin Vega, HMUA: Natalie Arriaga, Sarah Stiles, Layout: Olivia Brady 132

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hen costume designer Michele Clapton was hired to work on hbo’s Game of Thrones, she set out to create more than just another period costume drama. She stated that she was determined to build a fantasy world that “wasn’t too fantastical” from the start and, to accomplish this, wove a myriad of actual cultural and historical influences into her designs that ranged from Inuit, Persian and Japanese to Italian Renaissance with a medieval twist. Judging from her three Emmy Award wins for her work on the show, she has succeeded in crafting a version of Westeros that feels gritty, believable, and, in her words, “not sanitized.” Her costumes seem recognizable and, yet, are unlike anything the audience has seen before.

Just as in real life, the clothing used in the show visually communicates truths about its wearer – their family allegiance, their environment, even their relationships to others. Daenerys Targaryen trades in her gauzy, Grecian-style dresses for structured trousers as she transitions from an innocent girl to a warrior and queen as the series progresses. The opulence of Cersei Lannister’s luxurious, kimono-like gowns steadily increases as she desperately attempts to maintain political dominance. After enduring an onslaught of traumatic experiences, Sansa Stark opts for dark, moody shades in her ensembles, mirroring her mounting cynicism. Clapton meticulously crafts the look of each individual character to make them seem as real as possible, and her attention to detail has paid off. These looks have now become just as iconic as the characters who wear them.

Clapton’s originality was immediately contagious. Less than a year after the show’s premiere, fashion collections inspired by the its costuming started appearing on the runway, beginning with Helmut Lang in Fall 2012. Creative directors Nicole and Michael Colovos used a variety of structured fabrics in murky tones to create pieces reminiscent of Daenerys circa Season 2. Leather leggings, dark furs, oversized cowls, and cape-like wraps evoked Jon Snow’s winter-ready garb. Distinct elements from the show blend seamlessly with the brand’s characteristic minimalism, bringing a sense of modernism to Game of Thrones. Indian designer Manish Arora integrated his inspiration from the show into his Fall 2015 collection in a completely different and inventive way. His opening piece featured a print of a hot-pink owl with the popular phrase “Winter is Coming” emblazoned on a banner beneath it, explicitly broadcasting the show’s role in the development of the collection. The rest of the clothes add a futuristic spin to typical Game of Thrones warrior apparel. Bright greens, pinks, and yellows replace the show’s dark hues, and accessories like a sequin-covered raven and a set of miniature dragons perched on the shoulders of the models set a whimsical tone. Elie Saab took a more purist approach in his recent couture collection for Fall 2017. Regal gowns in deep jewel-tones with elaborate embellishing, embroidery, and gilding could have easily fit into any of the main female characters’ wardrobes. The set itself, featuring rows of wooden chairs with Elie Saab banners hanging above, recalled the ►

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Great Hall of Winterfell or the Red Keep of King’s Landing. Even the theme of the fashion show “A Tale of Fallen Kings” seemed to be a reference to the series’ high and often shocking death rate. Elie Saab’s collection was classic Game of Thrones with a little more glamor and a lot less grime. The influence of Game of Thrones’ costumes has not been restricted to high fashion runways. Independent and amateur designers have impressively replicated famous Game of Thrones ensembles that can easily cost over $500 on Etsy. Daenerys’ silver braids have triggered a new craze of blonde hairstyles, with the sales of platinum hair dye rising by a staggering 533% in 2014. During the 2016 talk “Designing the Middle Ages: The Costumes of GoT” at the Getty Center in Los Angeles, Clapton even revealed that she had used shaggy ikea rugs to create the capes worn by the men of the Night’s Watch in the show’s early seasons. This confession went viral over the summer. Suddenly, a series of diy tutorials appeared on the Internet, instructing fans on how they can fashion an inexpensive ikea sheepskin rug into their own Jon Snow-style cloak with just a bit of black spray paint. To promote the most recent season, hbo itself enlisted the talents of seven designers, who also happen to be die-hard fans, to create a series of limited edition micro-collections called “Rep the Realm.” These col-

laborations infused a Game of Thrones flair into casual streetwear. Anwar Carrots, for example, designed a three-piece collection consisting of a T-shirt and a tote bag, which both feature a sketch of Daenerys, as well as basketball shorts with a discreet Game of Thrones logo on the side. Luxury sneaker brand Koio released a pair of golden sneakers to commemorate Jaime Lannister. With “Kingslayer” stamped on the sole, the Lannister family sigil imprinted on the heel, and a small version of Jaime’s prosthetic golden hand decorating the laces, these shoes are a subtle and modern homage to the complicated anti-hero. The incredible costuming is undoubtedly one of the many reasons Game of Thrones has garnered such a devoted fanbase and has become such an outrageous success. Costumes are visual manifestations of a who a character is, where they come from, and what they have experienced. Jon Snow could hardly be Jon Snow without his black, fur cloak, just as Daenerys isn’t Daenerys without her long blonde braids and signature dress-trouser combo. Imitating or drawing inspiration from the show’s costumes are essentially ways to pay tribute to its beloved characters. The clothing is completely captivating and has the power to make a character come to life which, according to Clapton, is what “makes it real… and that’s the essence of Game of Thrones.” ■

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be gone

Stylist: Ethan Elkins, Photographer: Marybeth Schmidt, Models: Kabir Kamari, Gabby Tan, HMUA: Julie Garcia, Paola Mena, Layout: Maya Haws-Shaddock

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Somewhere in

MĂŠxico

Writer: Divina Dominguez, Stylist: Lauren Agguire, Photographer: Marybeth Schmidt, Models: Ivanna English, Paola Mena, Helena Sampayo, HMUA: Paola Mena, Layout: Cristianne Povoa 146

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uring the night, Mexico comes alive. Lights surround every corner and perimeter of every street. A cool breeze languidly brings the sweet and sensuous scent of jamaica, café con leche and horchata. Somewhere in a plaza, a fusion of fashion – both contemporary and traditional – will inevitably draw you in. While traditional Mexican clothing is more often reserved for emblematic celebrations as opposed to the commonplace, they still hold a large significance in Mexican culture. Mariachis in their black suits with gold or silver buttons, gallon-sized sombreros and scarlet colored bowties sing ballads for the heartbroken, the drunk and the festive. Folkloric dancers in their multicolored dresses with star-shaped ribbons embroidered in their skirts, bright flowers in their hair, and flirtatious red lips smile at the spectators around them. Nevertheless, through rapid globalization, assimilation, and the recent surge of social media, Mexican fashion has strayed farther and farther away from its original blend of native and Spanish roots. This, over the course of the current and previous century, has left behind an almost infinite array of subcultures that have acclimated and reflected society’s values.

Starting in the 1910s, demands for democracy, federalism, agrarian reform and worker rights swept across the nation under the reign of Porfirio Díaz. In turn, Mexican fashion was shaped around the revolution. Due to political instability and social turmoil from the peasant and working class, high fashion was strictly reserved and available to the aristocracy. Many peasant women took up arms alongside the men, dressed in their traditional long skirts or dresses, wide-brim hats, lace up boots and bullet belts. Many of them even wore pants to help with mobilization in combat and riding horses. These women go by the name of soldaderas,

the most famous one being Margarita Neri. It was women like this that later influenced artists such as Frida Kahlo in regards to her sense of purpose and style. The fact that she proudly claimed to have born on the day of the revolution, despite being born three years earlier, and changed her name from “Frieda” to “Frida” are just some examples that illustrate her rejection of the European influence that had become predominant in Mexico. Instead, she opted for traditional Tehuana dresses, handwoven Huipile blouses and avoided shaving – emblems that have now inspired contemporary Chicana and feminist movements all throughout the next century. During and soon after the revolution, largescale migration into the United States was prevalent as war refugees and political exiles looked to escape violent conditions, political decentralization, and look for employment. Legal migration into the United States rose exponentially – from around 20,000 migrants per year in the 1910s, to up to 100,000 migrants per year during the 1920s. This phenomenon fostered a new sense of cultural identity emerging in the United States. Therefore, up until the 1930s, although both Mexican and Mexican-American cultures are directly related at its roots, their form of expression is visibly different. For instance, one has to consider that Mexican fashion in Mexico was for the most part largely influenced by American products, such as films and fashion magazines. Since the U.S. and every other major country was preoccupied with the outbreak of World War II, Mexico’s neutrality fostered a cinematic cultural niche that eventually became the golden age of Mexican cinema from the 1930s to the 1960s. Popular icons such as Maria Felix, Katy Jurado, Dolores Del Rio, Pedro Infante and Jorge ►

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Negrete made the stereotype of the macho man in a charro suit and hat, and the submissive yet brave woman in a long dress and flowers in their hair an emblem of Mexican culture. Nevertheless, Mexican-American fashion, specifically Chicanos, brought forward the pachuco/a subculture. This subculture’s origins begin with the Zoot Suit Riots, which were sets of protests in the 1940s with heavy concentrations in California. Essentially, men and some women wore a different type of suits – commonly known as Zoot suits – that required more fabric than any other suit. This was considered unpatriotic at the time given wartime fabric rationing. Nevertheless, these suits were worn as a sign of rebellion in direct correlation to the Sleepy Lagoon murder trial, where a young Latino man was murdered in a Los Angeles barrio. For women, this look consisted of heavy makeup, long gabardine skirts, huaraches, greased up bouffant hair, and tailored Zoot jackets. For men, pachucos wore gold chains, styled their hair in ducktails, got tattoos and the famous Zoot suit. More often than not, these men were associated with the Zoot Suit Riots and gangster life. This subculture was significantly controversial for two reasons. Firstly, traditional Mexican female gender roles are highly rigid and divisive, making this movement generally unpopular with both the Mexican-American population and the general American public. Secondly, since pachucos often carried concealed weapons and were associated with gang-related minor offenses like vandalism, their activism, which would eventually become the Chicano movement of the 1960s, was disregarded and even scoffed at. Since then, Mexican fashion has become more and more Anglicized as time goes by, akin to the fashion in the United States. Some examples of these subgroups are the nerd culture, chairos and cholos/las. Nerd culture, especially in big-

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ger, more industrial cities such as Mexico City and Monterrey, has become a mainstream in recent generations due to Mexico’s rampant contemporary globalization, the internet and access to popular culture’s influence. This subgroup is characterized by wearing oversized glasses and merch from popular culture, especially of Japanese media like manga and tv shows. Chairos, on the other hand, are the “hipsters” of Mexico. Their socialist/liberal political inclinations are reflected in their Che Guevara shirts or hats, with minimalist clothing. Their clothes, similarly to the Zoot suit riots, are linked to contemporary social rights movements. Finally, the cholo/a subculture, often regarded as a descendant from the pachucos/as, are amongst the more distinguishable Mexican-American fashion trends. Loose and oversized clothing, large chains and bandanas for men and hoopearrings, overly and dark lip-lined mouths and tattoos are associated with the cholo look. All these identities, while still relatively new, have sparked a cultural movement within the Latinx community. Somewhere in a plaza, Chinas Oaxaqueñas wear long cotton skirts in vibrant colors, with flowers embroidered by the hands of indigenous women of the Tehuantepec isthmus. They dance, intertwining and weaving your attention to the gracefulness of their dancing, meticulous and calculated like the tall baskets they carry filled with flowers atop of their head. Somewhere else at dusk, all is dark except for a spotlight aimed at a garage band. Teens in black leather jackets, fishnets, piercings, and phosphorescent-colored mohawks from the punk culture headbang to rock en español. Through fashion, Mexicans and Mexican-Americans have transcended the conventional definition of a nationality and have become something more intangible, dynamic, boundless. At night, Mexico comes alive. ■

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enowned artist Andy Warhol once said: “Pop art is for everyone.” This particular form mingles with many different subculture circles, allowing everyone to identify as a pop art artist. Pop is classified as loudness, spontaneity, playfulness and color, although it can occasionally be associated with child-like simplicity and juvenility. Nevertheless, pop art can have a deeper message behind all the pizzazz and glamour. Dive deep into the geometric, sharp edges of shapes and patterns, the “boom” and “pow” of the outrageous color palette. The fashion industry has leaped off the diving board into the realm of pop art. Lengthy models strut the runway decked in fluorescent color schemes, patched in audacious articles of clothing and accessories. The industry has taken a turn for the better, becoming inspired by past artists. Fashion is no longer simply just fashion, it is art. High end luxury companies such as Versace and Prada have been greatly inspired, transforming their collections into masterpieces of cultural glam. These designers, during our time, can strictly be defined as pop art artists. Emerging in the mid-1950s Britain, pop art challenged traditional art by including a popular and mass culture of comic books, advertise-

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ments, and of course celebrities emphasizing the cheesiness and tacky tastes of a particular culture through the use of irony. However, not ironically, preceding pop art was abstract expressionism. Take the term simply for what is reads; a World War II movement in American painting where differentiating styles, emotional intensity, and subconscious creation were highly appreciated. Taking risks and straying away from the artistic norms began with abstract expressionism, shortly leading to pop art. You have most likely heard the name Andy Warhol. And you have most likely seen some sort of connection between that name and Campbell’s soup cans, or Marilyn Monroe, or shimmering colors. Described as a bizarre and eccentric individual, Warhol made a name for himself as the king of pop art. He saw unexpectedness as opportunities for expression. Dying his hair strawberry-blonde to rocking a silver wig proved his passion for self-expression and independence. American artist Roy Lichtenstein has transformed the simple shape of a circle into an anime realm of pop art beaming with boldlycolored parodies of comic strips and advertisements. His bold circular dots fill shapes and outlines creating a comic strip brought to life. Whereas his work consisted of both a ►

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commentary on American popular culture and a reaction to success of Abstract Expressionist painting. He aimed to teach the art world, which was used to the high seriousness of abstract-expressionism, that art has a playful side. Furthermore, Lichtenstein intended to illustrate the stylized version of reality depicted in comic strips actually concealed the struggles and obstacles of humanity. His images were a polished shorthand for the depersonalization of modern society. Fast forward to the 21st century, and luxury fashion designers Donatella Versace and Miuccia Prada have scuba-dived deep down into the pop art dimension “bringing something new to the world that wasn’t there before,” (present day pop art artist, Maria Laura Ribeiro). Donatella Versace: Italian designer who has taken fashion to the next level with her inclusion of and tribute to pop art. Twenty years ago, her brother, Gianni Versace, passed away, inspiring her to recreate and reflect on her brother’s artistic side in her Versace Spring 2018 collection. “Pop art appears in fashion shows for the same reason my work has become so valued, because it reminds people of their childhood in a badass way. Pop art is nostalgia and that’s why I love it,” says present day pop art artist Cheyne Gallarde, illustrating the emotions behind Versace’s designs.

From the aesthetically pleasing designs to the ambitious makeup and hair, Versace knows how to represent pop art on the runway. Shades of neon pinks, yellows, oranges, and blues pinned on a statement black background enforce a vivid color palette on her new line of handbags. A key aspect she uses is the color wheel, incorporating primary and secondary colors to exhibit an eye-grabbing effect. Prints and color add a decorative element to the runway, enhancing styles that would have otherwise been simple. Bringing pop art into quintessential pieces such as handbags, jewelry and footwear elevates traditional styles into unique pieces, which is exactly what Versace does in her spring collection. Majority of the prints appear in rich hues and shades, evoking ornate qualities of pop art pieces inspired by Warhol. She certainly got playful with legendary designs of baroque swirls emphasizing icon Marilyn Monroe. Monroe is an emblematic figure of Donatella’s 2018 footwear, as her facial features are created with a variety of multicolored crystals and beads. Her compositions display renditions of Gianni’s flashy and vibrant runway show in 1995. Flashing back to Prada’s previous collections, a disregard for the constraints of history and for putting things in their proper place have been displayed. Rather than exhibiting womenswear that scream “feminism,” Miuccia lets the artwork showcased within her ►

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clothing do the talking. For her spring 2018 runway show, the designer collaborated with multiple pop art artists who depict Lichtenstein’s artistic techniques of comic book strips and Warhol’s use of familiar faces. Furthermore, Lichtenstein proves to be the basic foundation and inspiration behind Prada’s Spring 2018 collection. According to Miuccia, “we live in a double world and that’s what’s interesting. One side is virtual reality and the other side is human part.” Sounds as if Miuccia has been majorly impacted by the intentions and goals of Lichtenstein. This collection has a vigorous aspect that gives women a vehicle in which to explore their own definition of femininity. Prada has never steered away from writing its own story. Striped masculine-tailored shirts blend magnificently with multicolored dresses and A-line skirts. Knotted neon bustier tops layer oversized men’s shirts along with graphic coats printed with comic frames, illustrating a dramatic effect and message. A key artistic element boasted throughout Prada’s collection is the use of shadow effect also known as Trompe L’oeil, a technique frequently found in comics. Withal, Prada’s new line shows extreme inspiration and impaction from no other than the great pop art artists of our time. Here is Maria Laura Ribeiro’s take on the inclusion of pop art in the fashion industry: “Fashion is a great channel to bring art to the world, making it available also for those without previous interest in the arts but delighted with the aesthetics. It’s definitely a current way of the fashion designers to communicate their ideas and raise awareness to their creations.”

Take a step away from the message behind the artwork, and consider the reasons behind incor-

porating such drastic and versatile elements. The company of Prada has been attempting to transition to consumers of a younger generation as well as gain greater revenue. Looking back at the success of Warhol and Lichtenstein, Miuccia’s reason for inclusion is quite clear. Warhol had invented a new form of art that shocked and pleasantly surprised the people of his time. Although not easy at first, he blossomed into a founder of pop art, creating a name for himself as well as exceeding success. While the silhouettes of the collection are reminiscent of the 1950s and Warhol’s time, the designs and articles of clothing themselves are extremely contemporary, incorporating artistry of the comics in a way that is refreshing and explanatory. Back in the 1990s pop art was inspiring designers to toy with their artistic side. Decades later, the same cycle is occurring. The use of celebrity faces like Marilyn Monroe is a token to Warhol whereas flashy prints and the dot scheme is a token to Lichtenstein. Whether it be strutting in pop art body con dresses and monochrome outfits to stating a bold message, pop art has made its return. In earlier times the inclusion of pop art into high fashion was ever so slightly touched upon. Through the works of Diane von Furstenberg’s Resort 2008 collection and Dior’s Autumn/Winter 2013 ready-to-wear collection, pop art has never failed to bring about success and attention. Warhol activated Prada’s Spring 2013 collection with his famous flowers, as well as Versace’s Spring 1991 Pop Art collection featuring jewel-encrusted dresses that flaunted the face of Marilyn Monroe. The artistry of pop art has always been an important aspect in high fashion, now more than ever. Pop art is not just a trend in fashion; it is a revolution. ■

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With Love From Pakistan

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he was a rebel of a kind that the tale of her romance became legendary in the 17th century. Anarkali, a courtesan in the court of Mughal Emperor Akbar was in love with Akbar’s son Prince Salim. The prince too was captivated by the beauty of this enthralling dancer at the palace. Emperor Akbar was outraged by his son’s romance with an ordinary courtesan who was not of noble birth. He tried his tactics to prevent his son from seeing Anarkali; however, his efforts doomed in front of the deep love of Prince Salim and Anarkali. A war was declared between the son and the father, and soon Prince Salim was defeated and sentenced to death. Love stricken Anarkali intervened to save Prince Salim from the jaws of death, and this is when she is entombed alive in a brick wall right in front of the eyes of Prince Salim. Heartbroken Salim then grows to become the next legendary Mughal emperor Jehangir. The story of this romance is legendary, and the language of love is universal.

Anarkali was daring, and her love was a rebellion against the exclusive royal family. This ordinary courtesan became so well known in the subcontinent of Pakistan that her story carried into literature, music, and even films. It is said she had escaped from the wall through a secret passage unknown to Salim, and lived in Lahore, Pakistan until her death. Her tomb is still present in Lahore and it is one of the finest hand-crafted works of

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architecture in the world. Anarkali’s love was daring. Daring is how revolution starts. The story of Anarkali and Salim is not much different to tragic romances known worldwide. Every culture has had a legendary romance because love is complex yet relatable. The language of love is not much different from the language of fashion. It inherently stems from the desire of true self expression. To someone who is reading about Pakistani fashion for the first time, in a nutshell, Pakistani fashion today is a fusion of ethnic pieces with American style of wear. Today’s Pakistani fashion industry is a glimpse of whatever has happened in the country’s past. The inspirations come from historic figures; for instance, Mughal emperors. Fashion items in modern Pakistan are direct descendents of historic style icons like Anarkali. Little did Anarkali know that she would inspire the outfit “Anarkali,” a suit made up of a long, frock-style top and features a slim fitted bottom. “Anarkali” is symbolic of elegance and very popular in Southeast Asia. Her character has inspired many fashion collections. The backbone of Pakistani fashion industry is the uniqueness of Pakistani culture. Historic figures like Anarkali and historic periods like the Mughal era have impacted much of what is worn in Pakistan today. A significant part of Pakistani population is under the age of 25. This means that young Pakistani millennials are ►

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demanding more and more from Pakistani designers. This naturally has pressured Pakistani fashion industry to become a creative giant. Pakistani designers are now offering slices of the rich Punjabi, Pashtun, Balochi, and Sindhi culture of the region incorporated with comfortable all-American designs. This had led to emergence of American Pakistani fusion fashion empire. Mughal designs, architecture, and Islamic calligraphy is printed on American styled shirts and considered trendy to wear in Pakistan. Similarly, “Khussa,” a traditionally styled footwear, paired with American denim is commonly sighted in Pakistan. While the emergence of Pakistani American designs is successfully happening in Pakistan, America is unaware. In 2017, the Pakistani fashion consumer market hit a wobbling $10 billion dollars. The country is known less for its scenic beauty and multimillion fashion industry, and referred more in the light of “buqas and bombs.” It is a lesser known fact that Pakistan has generated its own fashion empires like Khaadi, a brand that emerged from a small retail store in Karachi, Pakistan. Khaadi now has become a fashion giant with stores nationwide with international investors. Pakistan’s textiles and apparel industry is a huge contributor towards the country’s exports, and a major competitor in the world textiles market. The country has produced iconic brands with large consumer markets in America and the Middle East. Global cosmetic brands

like L’Oréal Paris are now endorsing the country’s own squad of supermodels with the likes of Mehreen Syed, Sadaf Kanwal, Amna Ilyas and Hasnain Lehri. The Pakistani fashion industry is doing wonders in its own region; however, the potential has not yet been fully explored by the American fashion industry. The fabric of both industries is the same. “American Dream” is not much different from “Pakistani Dream.” Most Pakistani fashion industry giants like Sana Safinaz, Khaadi and Saniya Maskatiya rose from single stores and gained regional fame and a large international following. The stories are not much different from the stories of iconic American brands like Nike. Young Pakistani fashion entrepreneurs have examples of successful Pakistani designers that emerged from scratch. The garments in Pakistan today are a fusion of the rich history of the region with the established trend of American outfits. The country has its own version of global trends in each decade and a history of an American influence. For example, in the 1970s, when the world was at the peak of fashion revolution, Pakistan was right on trend. Rising popularity of Hollywood in 1970s inspired Pakistan’s own version of bell bottom pants, polyester, and platform shoes. Fashion is an everchanging industry. People get bored of old trends fast, and designers come up with new cuts and silhouettes. Pakistani Fall/Spring fashion weeks are regular, and so are sales and exhibitions. ►

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The market is saturated with brands in competition with each other. The competition is so fierce that Pakistani media often labels the spring sales as “lawn wars.” Big brands like Shehla Chatoor and Sana Safinaz compete neck-andneck in the sales season. Video clips of customers fighting over cotton outfits make headlines.

cost. This caused uproar in the Pakistani fashion community and many designers asked for a public apology. The sad reality is that though the items from the culture have been borrowed, the culture is seldom appreciated. Pakistani fashion industry is an untapped mine of treasure for the American apparel industry, and the potential is ready to be explored.

Even though the Pakistani fashion industry is not very popular in America, American brands are now integrated in the Pakistani culture. It is not hard to see the American influence in the Pakistani market. American atheleisure is slowly becoming more and more prevalent. Many international fashion designers have already showcased bits and pieces of Pakistani traditional wear in their collections. For instance, in Spring/Summer 2016 men’s wear collection, Versace showcased Pakistani “shalwar kameez.” The fusion is very wearable, and very much inspired by Pakistani fashion. Celebrities like Emma Watson and Kendall Jenner have been spotted wearing “dress over pants” which have been a common Pakistani wear for centuries. There have been instances when international designers have stolen ideas and even pieces from Pakistani fashion without giving credit. In 2014, English menswear designer Sir Paul Smith borrowed a common Pakistani Pashtun men’s footwear (“Peshawari Chappal”) and made it available in English market for whopping £300 – twenty times the original

Although Pakistan has a rich and ancient history, the new generation of fashion-hungry Pakistani millennials have pressured the flourishing fashion industry to create innovative fashion empires to satisfy their sense of self expression. World issues like global warming, feminism, and daring love stories like Salim and Anarkali have inspired fashion movements in the country. Pakistan’s new generation is confident in their culture, yet curious to explore what the world has to offer. This has led to many revolutionary ideas to flourish in the region. Pakistani culture is an untapped mine of creative ideas and inspirations for American designers. Rightfully borrowing fashion ideas and partnerships with fashion designers in Pakistan, the country has a potential for a fashion revolution to occur, which can positively affect international fashion markets. They say talent is bound to be explored. If that's the case, we will have to wait and watch the volcano that is creativity in Pakistani fashion to erupt, and for the world to finally take notice. ■

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“A rat in a maze is free to go anywhere, as long as it stays inside the maze.” —Margaret Atwood from The Handmaid's Tale

or women to truly gain autonomy within the fashion industry, we must first confront the misogyny that permeates all aspects of fashion – from the way fashion models are used as props, even mannequins, during runway shows and on social media platforms, to the fact that the majority of ceos in the field are male despite being at the head of companies which cater directly to women. The male gaze, a term coined by Laura Mulvey in her infamous analysis of cinematic voyeurism, is unavoidable and nearly invisible. So how do we defeat it? By gazing back. Using Mulvey’s theory of the male gaze, we can examine the ways in which our society both utilizes fashion as a supposed tool of empowerment for women while simultaneously wielding the idea of fashion as a method of policing the female body when in the public sphere. Mulvey positions the woman as “the bearer of meaning” and not “the maker of meaning,” directly in opposition to the man who “does the looking.” In doing so, Mulvey creates a dichotomy where the man is an active participant in his narrative, even in control of it, and the woman is acted upon; she bears meaning, she is passive. She adapts. Are all women, in fashion and cinema and everyday life, viewed first through this misogynistic lens? Studies say yes. We are. Cinema and fashion and the public sphere, the way you feel about your body while you walk to class among thousands of people, hyper-aware of your hands, the cadence of your walk – it all comes back to the creeping notion that you are being watched by someone you cannot watch back. As Margaret Atwood

said: “You are a woman with a man inside watching a woman. You are your own voyeur.” In other words, there is no escape. The person inside of the mirror is watching you, too. On the bright side, if there is no escape, then the only way out is to go forward. We must begin again; we must commit to burning down these institutions that have stood on a corrupt foundation for centuries. Many women enjoy appearing fashionable, even more women enjoy activities such as online shopping, surfing Pinterest and Instagram for aesthetics, keeping up with fashion bloggers and the like. This article is not to demonize women for being interested in fashion: it is only an attempt to question if women choose to be interested in fashion or if it is forced upon them. The idea of empowerment through individual choice is popular right now, but what does one individual choice mean in context of a larger society? We cannot remove our motivations from the culture we grew up in; and the way women are raised across cultures often involves a slow, painful process of self-objectification. In an article entitled “Why is Fashion, of All Places, Still a Man’s World?” published by Manrepeller, staff writer Lauren Sherman draws attention to the proliferation of fashion companies run by men despite their target audience being predominately women. Sherman points out that “… Dior, Margiela, Louis Vuitton, and Balenciaga have all hired new creative directors over the past few years and rarely – if at all – was a woman’s name a serious, considered part of the speculation,” something that should be seen as strange, if not an outright cause for alarm. ►

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During the Milan F/W 2016 catwalk shows, models walked the runway wearing dresses with lengthy hems, and sleeves that went down to their wrists, and layer after layer of outwear. The Guardian published an article entitled “The ‘Man-Repeller’ look – how Milan turned its back on sexiness,” about the 2016 Milan fashion week, and asked why “labels from Gucci to Fendi [have] embraced clothes with a cheerful disregard for the male gaze” after years of catering directly to it. The piece suggests the “cheerful derision” for the male gaze may have less to do with feminism and more to do with other “-isms,” like consumerism or capitalism or both. The obsession with profit and performance which haunts both the fashion and film industries lends itself to the casual, constant surveillance of women’s bodies. The gaze requires power, societal power – something that women, especially women of color or other marginalized groups, do not yet possess. Even when women do try and subvert expectations, like Leandra Medine, the blogger behind Manrepeller, attempts to do through her platform; their actions are often inadvertently still catering to men. Featured in the New Yorker, Medine spoke about the inspiration behind Manrepeller, a blog based on rejecting the influence of the male gaze in women’s fashion. Yet the article ends on a quote from Medine reassuring the audience that, “You can still tell when a girl is pretty. The men who really get repelled by what you’re wearing are a little shallow, and you probably don’t want to date them anyway.” Of course this presents us with another paradox – if

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Medine’s goal in starting Manrepeller was really to “repel men,” wouldn’t looking pretty be kind of besides the point? Similarly, Refinery29 published an article called “It’s Time Men Stop Moaning About Women’s Clothes,” in which the author argues against men policing women only to arrive at the conclusion that a “woman who wears what she wants, who unapologetically loves red lipstick and eyecatching clothes, is still seen as a threat because she prioritizes her own pleasure.” But this is also not a productive way to approach destroying the male gaze. Red lipstick and eye-catching clothes are not revolutionary, and neither is prioritizing an idea of “pleasure” we cannot truly understand the nature of. It makes me feel better to wear clothing I consider fashionable, and I enjoy putting together strange and casual outfits alike, but why do I feel inclined to appear a certain way in public at all? Why does my morning routine require an hour of extra time when my boyfriend’s does not? Of course, theoretically, we are aware of the male gaze; but to actually stare back into the abyss of sexism that lurks behind the photos in fashion magazines is a painful, difficult process. It isn’t empowering to realize that our choices are not our own but have been decided years before we were born. It’s just sad, and sadness doesn’t sell fashion or feminism. In the last line of her article, Sherman poses a question to the audience. “Given,” she asks, “that this is an industry largely driven by women – our style, our self-expression, our bodies – what ►

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will it take for us to lead the charge?” It’s a good question. However, the idea that we can choose how to see ourselves is tangled up, inextricably so, with the idea that we can choose, change, and manipulate our appearance to reflect some ideal state of being. Fashion is an integral part of how women present themselves in the public sphere. So there is yet another unavoidable paradox: women must remove the shackles of the male gaze if they are to truly “lead the charge” in changing the industry – but they will not be taken seriously in the public sphere without adhering to a particular, narrow conception of beauty. If we want to conceptualize a new kind of fashion industry led by women, we must face the ugliness lurking within fashion now. We cannot look away or be gentle. We must go farther, fight harder, and gaze upon ourselves in the mirror without shame. Kill Atwood’s man, waiting and watching inside of all women, and let a real person be born. It might be impossible to dismantle the patriarchal structures that hold up the fashion industry. I have begun to think it is impossible, at least in my lifetime, to witness much progress in the tearing apart of any patriarchal structure at all. So what? We try anyway, we burn it down. We begin again. ■

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