ELLIPSIS THE LOOKBOOK
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FASHION & LIFESTYLE SOCIETY Spring 2018 Show Lookbook
_creative director JEN LEE _assistant directors KRISTA CHYC THALIA DESMOND _photographer SAXON LANE _bts photographer SUYOUNG CHUN _artistic advisor/ layout editor SAVANA GRAY
_stylists ANTHONY VESPA ARAD MOGHADASI DIYANA NOORY MAYA CHAMBERS PUNEET SHOKAR SEAN LEE _hair/makeup artists JESSICA THOMAS KAYLEIGH GRAY KRISTA CHYC MEGHAN GRAY _models CHLOE JIAYU HAN DOMINIQUE BENTO GLORIJA Å PEHAR HUGH MCHENRY JOHN LEE LAVAN NARENTHIRAN SEAN LEE TOMACHI ONYEWUCHI WILEY DE PAIVA
FROM THE DIRECTOR An ellipsis is a series of dots that indicate the intended omission of words or phrases, which leave readers to interpret meanings through the given context. This year, we are exploring visible elements born from social media; the idealized narrative of happiness, oversharing of one’s status, the illusion of power, as well as the unspoken absence of online identities. ELLIPSIS will deconstruct the side effects of digital curation and suggest the possibilities of disconnection that surface from the act of connection. It will reveal that individual curation translates to ubiquitous behaviours that amplify uncertainty of the self and of others. Like the contextualized narrative with the use of an ellipsis, personas are born from the notion of sharing as a choice, creating a sense of misalignment with the offline self. The direction of the show is one that produces an awakening of the fragmented narratives that are digested through screens with online social cues. The goal of ELLIPSIS is not to denounce the positive impacts of social media. Rather, I want to encourage self-reflection through personal interpretations of the runway. Every audience member is expected to engage in the scenes at varying levels, mirroring their personal social media activity. Styling in the lookbook and the runway consists of metaphoric representations through textiles, silhouettes, and colour to reflect emotions of a chosen characteristic of online identities. ELLIPSIS will put forward a narrative for the audience to identify specific characteristics of both abstract and representational images; internal thought processes will be externalized through clothing, and other concepts will be portrayed literally. It is entirely up to the audience to consume and interpret. This will guide further consideration of one’s content following the show. I am so honoured to have worked with over 100 individuals who believed in my ideas and supported me in the process. I want to thank every one of you that have been involved in the creation of ELLIPSIS. I am moved by your energy put into producing this show that we will be so proud of. Stylists, models, sponsorship, media, and makeup teams, with support from the F&LS and VOLTA Magazine executives–thank you for doing this with me and helping me communicate an issue through what we do best collectively. I’ll continue to be inspired and move forward with what F&LS has taught me in the last four years. Lastly, a very special thank you to my best friend and president of F&LS, Savana Gray, for being my constant point of discussion, muse, and for pushing me through this dreamy journey one last time. ELLIPSIS was inspired by all of you. Love,
Jen Lee Creative Director, 2018
OUR CAUSE
WAYS Mental Health Support (WAYS) is proud to be the 2018 charity partner for the Fashion and Lifestyle Society’s Charity Fashion Show. 1 in 5 Canadians will personally experience a mental health crisis in their lifetime, making mental health an issue that touches every family at some point in time. WAYS is a fully accredited child and youth mental health agency that exists to support at-‐risk children, youth and families in London-‐Middlesex and Chatham-‐Kent. WAYS supports our community’s most vulnerable youth by providing a wide range of non-‐residential community-‐ based programs, residential group homes for youth, transitional homes for youth preparing for independent living, youth justice services, and foster care. As an inclusive agency, we serve a diverse group of youth with various needs. WAYS offers services that are flexible, responsive, and adaptable to meet the unique needs of each child, youth and family we serve. Since 1969, over 5,000 youth have received service through our residential treatment homes and thousands more have benefited from our counseling, support groups and non-‐residential community programs WAYS works in collaboration with Vanier Children’s Services and Craigwood Youth Services to collectively meet the mental health needs of children and youth in London through a 24/7 Crisis & Intake Team and is currently working with 5 local agencies to improve access to mental health services through cross-‐sector collaboration with funding from a London Community Foundation grant. We are grateful to our funders and proud to announce our latest program, The WAYS’ Fresh Start Laundry, providing homeless youth with access to free laundry services and counselling supports. As part of WAYS’ Youth Engagement Program, the laundry will help to increase confidence, build self-‐esteem and engage youth to take charge of their mental health needs. Thank you for choosing WAYS as your fashion show partner. Good luck to the models and organizers on a great show! Warm regards, Joanne Johnston Executive Director, WAYS Mental Health Support Charitable Registration No: 89266 6934 RR0001 www.ways.on.ca
A NOTE ON THE CAUSE
This year, ELLIPSIS by Fashion & Lifestyle Society is raising funds in support of WAYS Mental Health Support in London, Ontario. All proceeds will be donated to a cause we believe holds potential to be perpetuated through the use of social media, which is exactly what our show aims to address. 1 in 5 Canadians will personally experience a mental health crisis in their lifetime, making it an important topic of discussion for our generation. Our recipient, WAYS, focuses on rebuilding youth with tailored support in their residential homes and communitybased programs. This program offers youth up to the age of 18 professional residence services, safe environments, and resources for development and prepares individuals for independent living. We are grateful to be a part of their growth to help provide a safe space for individuals to accomplish their goals. The conversation around mental health, especially among youth, has amplified with the increased use of social media platforms. A constant flurry of meticulously edited photos and videos promoting specific figures, personalities, lifestyles, and products has overwhelming effects on mental well-being and personal satisfaction. In preparation for ELLIPSIS, it has been of paramount importance to be mindful and to be vigilant in all details of our work. It can be difficult to navigate the landscape of mental health. It can be difficult to articulate the effects of mental health. Over the past seven months, we have been working to create a show which articulates these internal processes. We hope that you will reflect meaningfully on their place and value in our current society. We hope you enjoy our show,
Krista Chyc Thalia Desmond Assistant Director, 2018 Assistant Director, 2018
The act of selective sharing, the significance placed on numerical values, and the focus placed on the self are all driving points of this scene. This scene details strong silhouettes in attempt to present the idea that online identities are often more powerful than the offline self. Given that social media allows for rigorous editing and curation, comparison of the self to those within one’s social network undermines a healthy perception. This can result in an unstable understanding of the self... —JL
POWER
On John: Shirt, MODEL’S OWN Trousers, EXPRESS Blazer, COMME DES GARÇONS Leather boots, SAINT LAURENT
On Lavan: Jacket, NEEDS & WANTS STUDIOS Trousers, CHAPS Turtleneck, DRIES VAN NOTEN Sneakers, MAISON MARGIELA Watch, MODEL’S OWN
On Hugh: T-shirt, TOWN CRAFT Trousers, ACNE STUDIOS Beret & scarf, STYLIST’S OWN Belt, HERMÈS Sneakers, ADIDAS
On Wiley: Trench coat, WILFRED Trousers, STYLIST’S OWN
On Dominique: Blazer, FILTHY REBENA VINTAGE Trousers, STYLIST’S OWN Heeled sandals, ALDO
On Chloe: Blouse, & OTHER STORIES Skirt, STYLIST’S OWN Slingback heels, DIOR
On Tomachi: Blouse, BEAUFILLE Leather leggings, ARITZIA Heeled sandals, STEVE MADDEN Bracelet, MODEL’S OWN
On Glorija: Suit, ZARA Lace-up kitten heels, DIOR Jewellery, MODEL’S OWN
I L L U S I O N
Social media creates the possibility for a disconnect between the online portrayal and the offline reality. The online space facilitates the emergence of fantastical images that may allude to betterthan-reality narratives. There is an idolization of happiness and success that is celebrated publicly and reinforced through “likes�. This tendency allows for the omission of dark or negative moments. Selective sharing suggests This scene features light an accurate representation and translucent textiles to of the self, leaving followers illustrate the glorification to hypothesize what happens of happiness. The notion behind the scenes. In of filtered personas and actuality, this is the misuse misinterpreted situations of the ellipsis. are also considered in this scene. The use of translucent garments communicates the overlay of a filter, or the unclear form of the subject that can hide select elements or emotions... —JL
On Chloe: Blouse, ARMANI JEANS Slip dress, WILFRED Heeled sandals, NINE WEST
On Tomachi: Sheer blouse, STYLIST’S OWN Slip dress, WILFRED Jewellery, MODEL’S OWN
On Wiley: Sheer T-shirt, ZARA Trousers, CLUB MONACO Silk scarf, WILFRED Slip-on loafers, SALVATORE FERRAGAMO
On Glorija: Sheer gown, STYLENANDA Jewellery, MODEL’S OWN
On Dominique: T-shirt dress with tulle skirt, NICOPANDA
Loafers, OPENING CEREMONY
Shoulder bag, GUCCI Clutch, MIU MIU
On Tomachi: Blouse, & OTHER STORIES Trousers, CLUB MONACO Jewellery, MODEL’S OWN Slides, ZARA
STATUS
The abundant use of logos in this scene highlights the phenomenon of conspicuous consumption and the idea that social media constantly encourages the act of display. Why do people buy replicas? There is a sense of approval that is brought on with brand associations and a reevaluation of self-worth takes place through online representations. This also explains why archetypal styles of dress are initiated on social media and rapidly gain a mass following. Playing off of the dual meaning of “status”, this scene acknowledges the performance of identity that does not entirely align with one’s offline reality, nor does it reflect the social standing of each individual that is projected through style... —JL
On Lavan: Jacket, PALACE, Track pants, STYLIST’S OWN, Sneakers, ADIDAS On John: Sneakers, VANS
On Wiley: Denim jacket, by MAYA CHAMBERS
On John: T-Shirt, ANDEU, Trousers, ACNE STUDIOS, Belt & watch, STYLIST’S OWN
On Glorija: Sweater, GIVENCHY, Leather sneakers, BALENCIAGA, Hat, SUPREME, Denim skirt, STYLIST’S OWN
On Hugh: Long-sleeve shirt, COMME DES GARÇONS PLAY, Jeans, H&M, Eyeglasses, STYLIST’S OWN
On Sean: Down vest, CANADA GOOSE Hoodie, KUWALLA TEE Messenger bag, SUPREME
On Wiley: Shorts, WILFRED Sweater, stretch-knit sneakers & leather tote, BALENCIAGA
On Chloe: Patent leather trousers, TOPSHOP, Long-sleeve shirt, PRADA, Fold-down leather sneakers, GUCCI
GHO
OST
On Dominique: Romper, WILFRED
Ghost… Nothingness… An absence… A blank canvas… A lack of identity… A sense of anonymity…
All previous scenes discussed explore the overuse of social media and the personas that are forced out of over-connection. This scene shines light on the opposing side, expressing the identities that exist off of the digital networks. New forms of zero digital identities take up the questions surrounding this scene. Some reject the entire social media system, while others exist as ghosts. The focal point is to blur the lines between the two obverse forms of existence in order to make sense of these extreme accounts. While such accounts can appear to be obsolete from the system of social networks, the notion of existing through this particular way is just another form of engagement. This scene features fluid silhouettes and all-white ensembles to communicate the notion of blankness. The undiscussed existence of ghost figures on social media project a larger identity than they appear digitally. In the environment where social media is a form of universal existence, GHOST proves otherwise. —JL
The self that has a technical but unknown presence on social media can be referred to as a ghost. This online persona may interact with their network’s profiles in the form of rare likes and comments, but usually prefers to “scroll” under the radar. However, this self may also choose to not engage with their network at all. It is here that one could say their identity exists yet is concealed. To its core, the ghost defies the sole purpose of creating an identity on a social media network. If the aim is to connect and interact, the ghost turns away from this intention by creating their own utility from the network. What, then, is the point of ghost-like figures on social media? To keep tabs on friends and strangers? Do they accept their lack of posts, notifications, and followers out of fear? Is this underlying fear rooted in the fact that one may quickly fall into the black hole of subcategories detailed previously? Is it better to be misleading and engage in deceiving representations of the self–a self that is status-seeking, powerhungry, and highly illusionary? Perhaps it is…out of observation, those users seem content in the online playground they have crafted–but this essentially brings us back to the purpose of social media, anyways. If one defines social media as a game (where the goal is to accumulate connections in the form of followers, likes, and shares), then no one said one must play as their own avatar. On an unsettling note, the choice to not curate an online identity subsequently leaves one with no identity at all. Their offline presence is often forgotten
and they are left to be questioned— even criticized for their absence. Do these individuals have something to hide? Conversely, are they the users with the most transparency? As their offline identity is the only one available to all for unfiltered consumption. There is also a chance that these social media users are completely fictitious because as we all know, “if you didn’t post it, did it even happen?” For you to be able to consume someone’s identity at your pleasure and your discretion for redistribution gives you power over their entire online being. Having the ability to make assumptions that you would not be able to make face-to-face shows the depth at which we choose to receive or reject people based on their digital presence. It is clear that there is a link between the disruptive aspects of social media and the status of one’s mental health. When people use these networks in damaging ways, whether they are victimized or self-sabotaging, it can forever impact their perception of their offline life. When it no longer feels as though your online self is a solace, if it feels like a performance instead of an enjoyable activity, it may be time to re-evaluate your participation. If this happens to play out in the form of a ghost, where you would rather observe the network instead of contribute to it, then rebuild your digital experience in a way that suits you best. We are happy to be donating to WAYS as a contribution to mental health support. —SG
On Glorija: Hoodie, 3.1 PHILLIP LIM
On Hugh: Shirt, L.L. BEAN
All images and text featured in this document were specially crafted and highly edited.
ARE YOU GOING
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TO FOLLOW ME?
... 03.03.18
BY FASHION & LIFESTYLE SOCIETY
ELLIPSIS