Jackie Errera, Aly Kerrigan, Olivia Wendel Creative Directors
Olivia Kim Photography Director
Jasmine Gambhir Marketing Director
Jackie Hu, Atticus Lim Art Directors
Sarah Li Finance Director
Hannah Hamdani Videography Director
Alexa Petrosh, Ash Wright Social Media Directors
EDITORIAL
Noor Majeed, Erika Kurre Operations Directors
Elisabetta Araya Web Director
Editors Sydney Kim, Enise Kupa, Neila Kalipersad, Shaila Gray, Emma Sobel, Amy Liao
Staff Writers Cynthia Schneider, Logan Yuhas, Zara Tena Contreras, Rachel Lee, Kate Cho, Elizabeth Collins, Sonia Mehta, Sophia Zhang, Surina Ramoutar, Grace Lee
Writers Sierra Marelia, Tony Zhang, Annie Bingle, Malia Sanghvi, Sophie Kadan, Roshni Misra, Meihuan Yu, Grace Dudek, Clara Baurmeister, Paige Gibbons, Jocelyn Tan, Jackie Errera, Kate Swett, Kate Hoffman Filler, Rico Lago, Hazel Ann Felder, Raphael Englander, Camille Brown
VIDEOGRAPHY
Videographers Oscar Vasquez, Erica Wiguna, Catherine Zeng, Katherine Li, Elizabeth Jiang, Kimb Liu, Zoe Vaz, Tolu Adetola
Video Editors Jack Rogers, Atticus Lim, Inbal David, Sophie Shao, Catherine Zeng, Sophia Nehme
PHOTOGRAPHY
Photographers Giuliana Alleva, Amanda Herrera, Tina Zhang, Matthew Schwartz, Zara Baig, Amy Zhou, Erica Wiguna, Noel Palomino De La Torre, Madeline Israel, Ben Tausner, Maura Catherine Dresner-Pfau, Sarah Yoon
Social Chairs Sam Salcedo Martinez, Josh Mukherjee · Lead Merch Coordinator Madolin Bergman · Merch Designers Jaein Kim, Isa Turri
Cover Look: REWORK
As with nature, fashion thrives in cycles—constantly renewing and reinventing. The Regenerative issue explores these cycles and showcases how fashion can flourish through revival rather than waste. In this cover look, from our “Rework” shoot, fashion returns to its roots. Surrounded by vines, branches, and lush greenery and dressed in reworked vintage leathers, bold jewelry, and faux furs, the models embody the essence of regeneration. Earthy tones and layered textures create a harmonious synergy between the garments and the natural world, emphasizing that fashion can be grounded in sustainability while continuously renewing itself to stay relevant with evolving trends.
This issue invites you to explore how fashion thrives through regeneration, blending the old with the new. Dive deeper into the pages ahead to discover how these cycles of renewal shape the fashion world and inspire a more mindful, creative approach to style.
View more on page 32.
Letter from theeditor
At the start of David Frankel’s “The Devil Wears Prada,” we meet Andy Sachs, an aspiring journalist whose thrift store wardrobe couldn’t be further from the high-fashion world of Runway Magazine. Miranda Priestly’s iconic monologue does more than skewer Andy’s fashion naïveté—it traces a single garment’s journey through time and reinvention. “That sweater is not just blue,” Miranda explains, “it’s not turquoise, it’s not lapis, it’s actually cerulean.” She meticulously unpacks the sweater’s lineage, from Oscar de la Renta’s 2022 collection of cerulean gowns to Yves Saint Laurent’s cerulean military jackets, down to the clearance rack.
This sentiment captures the essence of The WALK’s Regenerative issue. Just as Miranda reveals the web of influence that transforms a garment, we explore fashion as an endless cycle of rebirth – where every thread, every stitch holds the potential for transformation. Through these pages, we celebrate those who find beauty in the broken, innovation in the inherited, and possibility in the preserved.
This issue begins with Editorial Director Redina Rapi’s (‘26) “Reframing Fashion” which explores how women are transforming eyeglasses—once symbols of aging and vision loss—into bold, oversized statement pieces that redefine eyewear. Our “Redefine” photoshoot fuses streetwear and corporate aesthetics, highlighting how new environments can renew familiar styles. Grace Lee’s (‘28) “Refined Rags,” probes the line between curated wear and authentic evolution, transitioning into our “Reinvent” photoshoot. Set in the Philadelphia Magic Gardens, the shoot showcases Isaiah Zagar’s brilliant transformation of the ordinary into the extraordinary.
This creative reuse flows naturally into Logan Yuhas’ (‘27) “Collina Strada’s Life Force,” profiling fashion designer Hillary Taymour’s community-centered approach to sustainable fashion where wearers are also collaborators. With models styled in vintage pieces against the backdrop of a community garden in Philadelphia, our “Rework” shoot emphasizes fashion’s connection with people and nature. Through intimate conversations with local vintage shop owners—modern-day custodians of fashion history – Elizabeth Collins (‘25) deepens this narrative.
Kate Cho’s (‘27) exploration of Guo Pei beautifully bridges heritage with innovation, leading to our culminating photoshoot, “Retain.” Here, six models adorned in cultural attire embody fashion’s most enduring form of renewal: the intergenerational transmission of identity and tradition. Sonia Mehta’s (‘26) “The American Dream” ties our theme together, showing how American heritage is renewed season after season. We conclude with a spotlight on four distinguished professors whose personal reflections highlight how style evolves over a lifetime. To each of them, we extend our sincere appreciation for enriching The WALK.
Beyond these pages, The WALK thrives through the dedication of a 150+ member team. Web Director Elisabetta Araya (‘26) brings our stories to life digitally, while Videography Director Hannah Hamdani (‘25) artfully captures the magic behind our shoots. Marketing Director Jasmine Gambhir (‘26) and Finance Director Sarah Li (‘25) brought sustainable fashion directly to campus through their Depop thrift pop-up and Social Media Directors Alexa Petrosh (‘25) and Ash Wright (‘26) keep our community engaged across platforms.
None of this would be possible without Vice Editor-in-Chief, Valentina Chang (‘25), whose thoughtful input has been essential to this publication. Working alongside such talented team members has been a masterclass in regeneration itself – watching how fresh perspectives transform initial concepts beyond what we first imagine. Each member of The WALK brings not just their talent, but their belief in fashion’s power to inspire – for which I am immensely grateful.
As you explore the Regenerative issue, I invite you to see fashion through a lens of endless possibility—where every thread tells a story of renewal and every piece awaits its next chapter. Fashion is more than fleeting trends; like any art, it has the power to renew, restore, and regenerate.
With love,
Abby Portnoy Editor-in-Chief
about our photo essays
In the “Redefine” shoot, traditional boundaries between streetwear and office attire are upended, as models bring street style into the boardroom and business formality onto Philly’s streets. This shoot embodies regeneration by breathing new life into familiar dress codes, encouraging viewers to see potential for renewal and transformation in everyday spaces.
Shot in Philadelphia’s Magic Gardens—a mosaic wonder created from recycled materials—the “Reinvent” photoshoot places models in monochromatic white against a kaleidoscope of color. Their simplicity contrasts the intricate artwork, highlighting the power of reimagining the old into something unexpectedly beautiful.
Nestled within a vibrant West Philadelphia community garden, the “Rework” shoot features vintage leather, fur, and jewelry, illustrating the beauty of sustainability in fashion. Each piece tells a story of regeneration as it transforms past treasures into contemporary statements while championing a future that respects both craftsmanship and the environment.
The “Retain” shoot features six models from diverse cultural backgrounds, each adorned in traditional garments that reflect their unique identities. This shoot invites viewers to appreciate the richness of cultural heritage and the distinct histories that shape our present and enrich our shared experiences.
VIDEO FEATURES
Fall 2024
REWORK SHOOT
Videographer: Tolu Adetola
Video Editor: Tolu Adetola
REDEFINE SHOOT
Videographers: Erica Wang, Zoe Vaz
Video Editor: Kimberly Liu
Videographer: Jackie Errera
Video Editor: Hannah Hamdani
Videographers: Abby Portnoy, Hannah Hamdani
Video Editor: Hannah Hamdani
RETAIN SHOOT
REINVENT SHOOT
WEB FEATURES
Fall 2024
The Dot Com Bubble: Luxury’s Version
Tony Zhang | October 28, 2024
Secrets of the Cosmetics Industry Clara Baurmeister | October 14, 2024
An Ode to Carrie Bradshaw’s Outfits
Anna Bingle | October 8, 2024
The New “It” Color of SS25: Butter Yellow
Meihuan Yu | October 9, 2024
Contemporary Indigenous Fashion at Penn: A Conversation with Carlyle Cornell Raphael Englander | October 30, 2024
Does Sustainable Fashion Exist?
Kate Swett | October 27, 2024
Reframing Fashion:
The Oversized Glasses Revolution
WRITTEN BY REDINA RAPI
DESIGNED BY MAYA MCQUEENEY AND JACKIE HU
ILLUSTRATED BY EECHO YUAN
In an era where fashion constantly reinvents itself, oversized glasses have emerged as more than just a trend— they’re sparking a revolution in how we view eyewear, sustainability, and beauty standards. What was once considered purely functional, or even a source of adolescent embarrassment, has transformed into a powerful statement of personal style and environmental consciousness.
The eyewear industry is experiencing an unprecedented renaissance. Leading design houses like Gentle Monster have reimagined what glasses can be, transforming them from vision aids into architectural statements. Their bold frames command attention and have even become runway staples, challenging the notion that glasses should blend into the background of one’s appearance.
The journey of eyewear from medical necessity to haute couture statement pieces is a testament to fashion’s regenerative power. Alessandro Michele, ex-creative director of Gucci, has been instrumental in this transformation, introducing dramatically oversized acetate frames that blur the lines between vintage aesthetics and futuristic design. His influence has rippled through the industry, with brands like Celine, Bottega Veneta, and Loewe following suit with their own interpretations of maximalist eyewear. These luxury houses have paved the way for independent designers to push boundaries even further. Brands like Poppy Lissiman and Lexxola have carved out their own niches, creating sustainable, statement-making frames that appeal to a younger, more environmentally conscious consumer base. Their success demonstrates that functionality and fashion are no longer mutually exclusive.
The oversized glasses movement has effectively dismantled traditional age and beauty stereotypes. The once-stigmatized “librarian” or “grandma” glasses aesthetic has been completely redefined for the modern era. Today’s oversized frames are worn by everyone from Gen Z influencers to corporate executives, each adapting the style to their personal aesthetic while maintaining its bold impact. This democratization of eyewear has created a unique intersection where fashion meets inclusivity, challenging long-held beliefs about who can wear what and when.
How professionalism is evolving beyond traditional office wear
In a world increasingly conscious of fast fashion’s environmental impact, oversized frames represent a shift toward more sustainable consumption patterns. The durability of larger frames naturally encourages a slower, more thoughtful approach to fashion. Consumers investing in quality oversized pieces tend to keep them longer, reducing the overall waste in the eyewear industry. This sustainability factor has become a major focus for luxury brands and independent designers alike. Stella McCartney’s recent collection of oversized frames made from bio-acetate and recycled materials exemplifies this convergence of style and environmental responsibility. Similarly, emerging brands like Clear Vision are building their entire ethos around sustainable materials and timeless designs.
The digital age has amplified the impact of this trend, with social media platforms becoming virtual runways for eyewear fashion. Content creators and style influencers such as Larissa Mills have embraced oversized frames as essential elements of their personal brand, proving that what was once considered a necessity has become a crucial component of self-expression. The trend particularly resonates to young viewers, who envision their eyewear choices as statements about both their style and their values.
Looking ahead, the oversized glasses movement continues to evolve in exciting ways. Designers are pushing boundaries not only in aesthetics, but also in material innovation and sustainability practices. From Dior’s architecturally inspired frames to independent brands experimenting with ocean-recovered plastics and plant-based materials, the movement represents a perfect fusion of style, sustainability, and self-expression. Major retailers have taken notice too, with chains like Warby Parker and Ray-Ban introducing their own interpretations of oversized frames, making the style more accessible to mainstream consumers.
In challenging traditional norms and championing both form and function, oversized glasses reveal a shift in how we approach fashion itself. In an industry often criticized for favoring trends over substance, they stand as powerful symbols of fashion’s new direction, where accessories do not just follow fashion’s lead, but rather pave their own path. Here, at the intersection of innovation and individuality, oversized glasses aren’t just redefining eyewear—they’re rewriting fashion’s future.
DIRECTED BY ALY KERRIGAN, JACKIE ERRERA, OLIVIA WENDEL, OLIVIA
STYLED BY ATHENA HO, CAITLYN IACCINO. MAKEUP BY DOVI JAKUTYTE, ELAINE PENG. MODELED BY ATTICUS LIM, ZACHARY KIRCHHOFF, KEMI OGUNYANKIN, ISA TURRI. PHOTOGRAPHED BY SARAH YOON, MAURA CATHERINE DRESNER-PFAU, ERICA WIGUNA, GIULIANA ALLEVA. DESIGNED BY JACKIE HU.
KIM.
The Death of the Dress Code
How professionalism is evolving beyond traditional office wear
Fashion, like society, moves in cycles—reinventing, questioning, and challenging norms with each new season. In today’s post-pandemic world, one of the biggest shifts is happening in professional spaces, where traditional office wear is being redefined or even rendered obsolete. This evolution shows not only a change in fashion, but also deeper societal shifts, revealing how modernity, environmental concerns, and shifting economic realities are reshaping what “professionalism” means.
Redefining Professionalism in Rundown Spaces
The idea of professional attire—tailored suits, pressed shirts, and conservative dresses—was once a sign of success, respectability, and order. But now, it seems out of place in many settings, especially as the economic and social landscapes change. Picture a young business woman wearing designer loafers, a silk blouse, and tailored pants running a startup from a loft or a warehouse. Or think of someone in high fashion wearing a bold blazer and slacks to a café. This blend of elevated aesthetics in “rundown” or casual spaces is part of fashion’s growing trend of mixing the traditional with the unexpected. This shift symbolizes more than style—it’s a commentary on the blending of work and leisure and the rising influence of personal comfort in professional areas.
Enter the Office Siren
Gen Z has now started to be part of the workforce and has fueled a cultural shift away from rigid office attire. Enter the “office siren” trend: the presentation of individuality in the workplace, marked by pieces that make people feel beautiful and confident and defy old-fashioned corporate dress codes. With relaxed dress policies, items like loose blazers, biker shorts, and sneakers are becoming acceptable in places once defined by strict expectations. This trend speaks to a larger cultural ethos of self-expression, where personal style communicates professionalism as effectively as a tailored suit—if not more so.
This redefinition, though, goes beyond aesthetics. It reflects shifting values about work itself. Career paths are less linear, remote work is becoming standard, and younger workers are looking for environments that prioritize mental well-being, creativity, and inclusiveness. What we wear to work now reflects how we live, blending the boundaries of personal and professional lives.
WRITTEN BY ZARA TENA CONTRERAS DESIGNED BY JACKIE HU
ILLUSTRATED BY VALENTINA CHANG
Sustainability and the Cyclical Nature of Fashion
The death of the traditional office uniform also aligns with environmental and economic concerns. Fast fashion is on the decline, and consumers are increasingly opting for investment pieces—versatile clothes that can transition from casual settings to professional meetings. Instead of buying separate wardrobes for their work and personal life, many are building sustainable, capsule wardrobes that embody their individual style. This shift aligns with broader movements toward sustainability, as reducing the consumption of “work clothes” also reduces waste.
The cyclical nature of fashion ensures that elements of past styles—like shoulder pads or pleated trousers—are being reinvented in more casual contexts. The blurred lines between casual and formal dressing are also a response to changing economies; with rising living costs, many workers are resisting the pressure to invest in two wardrobes when one will do the job. We’re witnessing fashion innovation being born from these limitations, leading to trends like upscale streetwear and casual chic that fit any occasion.
Will Professional Presentation Become Obsolete?
The question remains: is professional presentation on its way out, or is it simply evolving? While the polished, formal look isn’t dead, it has lost its monopoly on the definition of professionalism. In its place, we see a more fluid perception, where individuality, comfort, and self-expression matter as much as appearance. The shift toward dressing down isn’t about laziness but about rejecting the notion that looking professional requires discomfort or conformity.
This evolution raises an interesting idea: as the workplace becomes more relaxed, dressing with intention still holds power. After all, fashion is communication. What we choose to wear, even in more casual environments, says something about how we want to be perceived. The new era of professional presentation might not be about abandoning fashion rules, but rewriting them in a way that reflects who we are now: people in a rapidly changing world, trying to balance work, identity, and sustainability.
Ultimately, professional presentation isn’t disappearing—it’s transforming. The future of workwear may lie not in a universal uniform, but in a space where everyone creates their own. In doing so, fashion is reclaiming its role as a powerful narrative tool, telling the story of where we are, where we’ve been, and where we might go next.
Refined Rags
From Balenciaga scuffed shoes to designer pee-stained underwear luxury brands are embracing “lived-in” looks what does our future hold?
WRITTEN BY GRACE LEE
DESIGNED BY ATTICUS LIM
ILLUSTRATED BY SOPHIA WANG
On the verge of collapsing, the dilapidated sneakers are tattered and covered with holes, the shabby look perfectly finished off with threadbare laces. The material itself, what once was a pristine white, has been severely yellowed and muddied. A Vogue article by Satenstein brings home the point by declaring the shoes appear “as if they had survived an act of God, like a mudslide or a shredding by a rabid dog.” The only indication of its outrageously high price tag is the messy graffiti letters on the sides, lettering “Balenciaga” in streaky black. How much do you need to spend to acquire such a pair of shoes?
A not-so-light sum of $1,800.
The fashion industry has recently been hitched on a trend known as the “dirty look,” where luxury brands have been releasing clothes and shoes that intentionally appear to be already worn and used. Brands such as Golden Goose, Balenciaga, Gucci, and Magnolia Pearl have contributed to this intriguing style, eventually leading to a huge uproar over the matter. Some people have gone as far as to accuse them of “glorifying poverty,” mocking lowerincome individuals by imitating how they dress.
Golden Goose
One of the main innovators to popularize the style, Golden Goose’s Fall ‘18 collection featured $530 Superstar Taped shoes, a pair of dirty beige, stained shoes that appeared to be held together with tape. On the Nordstrom website are descriptions of the shoes having a “grungy rubber cupsole” and “crumply, hold-it-all-together tape.” This was not Golden Goose’s first time trying out this “worn” theme, releasing another pair of shoes two years earlier alluding to the same design reference.
The luxury footwear brand responded to the heavy backlash by saying that they are “proud to highlight its pioneering role in the booming of the distressed look, one of the current biggest trends in fashion,” and explaining that the tapes “pay homage to the West Coast’s skater culture,” in which shoe design was inspired by the professional skaters that so often fix up their shoes with duct tape.
Magnolia Pearl
Robin Brown, lead designer of Magnolia Pearl, claims their inspiration is from the aesthetics of Victoriana, carnivals and “hobos.” In an interview done by the New York Times, she reveals her philosophy behind the brand is “if you can’t climb a tree in it, then don’t make it.” The clothing is meant to be oversized and exude the “already-worn” vibe, yet in a more nostalgic, theatrical fashion.
Much of her inspiration was likely derived from her family background, as the designer’s grandfather was homeless, while her mother was a prostitute and her father a drug addict. She sewed her first dress when she was just four years old alongside her grandmother, a design made up of chartreuse fabric and giant orange polka dots.
Her brand Magnolia Pearl first came into being with handbags, with Brown’s very first bag being completely handmade with just Jesus Tapestry and kite string. A chance encounter launched her brand when a stranger in a parking lot spontaneously offered $600 to buy her creation.
Despite this, a huge Tik Tok controversy arose regarding Magnolia Pearl, with a slew of comments similar to those of @Lizynco, who retorted, “I love when people cosplay great depression poverty slayyyyy.”
There is some merit to arguments that these designs serve as a way to celebrate and bring attention to certain underrepresented communities, potentially validating styles that have been historically frowned upon by society. However, DarnellJamal Lisby, fashion historian and assistant curator for the Cleveland Museum of Art, personally rejects this ideology, telling USA TODAY: “They’re not actually using these collections as teaching moments for people to really understand the history of…all these other communities they’re taking inspiration from.”
People expressed dismay at the “poor image” being blatantly used by these high-end brands, viewing this as the rich ridiculing what the poor often wear without choice. It’s a snobby declaration of the rich’s ability to have choice in whatever they wear and purchase. Other luxury brands hopped on the bandwagon, such as Willy Chavarria’s Dirty Willy Underwear intimate apparel line, which presented underwear with disturbingly realistic imitations of sweat and pee stains being sold for up to $350. Examples like this provide reasoning for why many are appalled at the prospect of expensive brands commoditizing literal rags of clothing.
Implications of the Irony
Others speculate that all of this is simply a social experiment on whether or not people would still be willing to buy an item simply for the sake of its label, ignoring the lack in its actual fashionableness. Some are beginning to theorize the advent of this trend being a potential indication of the declining quality of designer brands, who were once exuding ultimate prestige and innovation in the industry.
For the rich, this has perhaps been their way of exuding exclusivity and wealth. As Satenstein from Vogue says, it gives off the idea that “someone has already become as successful as they want to be and can’t be bothered to prove themselves anymore.” She references the success of the “Adam Sandler” look, his nonchalance and careless demeanor enabling him to become the most searched Google trendsetter from 2021. Maybe there is a desire to deviate from the typical indications of affluence and wealth a new way of expression that only other like-minded people can spot and understand.
This “dirty look” trend brings up a concern about sustainability, as there’s something unsettling about creating this distressed, tattered style on a completely brand new pair of shoes or clothes. Even worse, harsh chemicals and other substances are often utilized in order to create the staining effect. If they end up achieving the same look, can’t brands upcycle a pre-existing piece?
In the more philosophical outlook, this trend begins to question what we typically define as the fits of the poor and rich. The visual association to lower-class is now melding with refinement and luxury, blurring the lines that have been set by societal norms. The macro-level sociological impacts of this fashion phenomenon is still left up to us and future generations. Will this end up widening the divide between the social classes or potentially reduce the world’s inequality with the mentality of “fashion for all”?
REINVENT
DESIGNED
DIRECTED BY ALY KERRIGAN, JACKIE ERRERA, OLIVIA WENDEL, OLIVIA KIM. STYLED BY AUDREY OSTOYICH, REMY LIPMAN, MAYOKUN OMITOGUN, SAREENA PATEL. MAKEUP BY ELAINE PENG, LILY NIU. MODELED BY SELAH ILUNGA-REED, AVA INFANTE. PHOTOGRAPHED BY NOEL PALOMINO DE LA TORRE, ZARA BAIG.
BY ATTICUS LIM, JACKIE HU.
Fashion Fads and Trend Fatigue
How Social Media Is Fragmenting Fashion and Exhausting Our Wardrobes
In today’s hyper-connected world, fashion has become as fast-paced as the swipe of a finger. The churn of micro-trends with obscure names is dizzying: from “tomato girl” to “coastal granddaughter” to “rockstar girlfriend,” fashion has become a mishmash of fleeting moments.
new name, hooks consumers into a culture of overconsumption. Branding and buzzwords trick us into buying into the same aesthetics over and over, just rebranded for the next season. It’s a race that most people can’t win.
This rapid turnover isn’t a coincidence. Social media has fractured fashion into hyper-specific, fleeting aesthetics. We’re constantly bombarded by influencers and brands offering the latest “must-have” pieces. Trends are born, rise to viral fame, and die off in the space of a TikTok scroll. But here’s the catch: to keep up, you’re expected to buy, buy, buy. And if you don’t? You’re left behind. Today the trend might be “mobwife”, with bold patterns and jewelry, but tomorrow, it will be “quiet luxury” and a sea of neutrals that make bold clothing obsolete.
The problem with this rapid cycling of trends is how quickly they become outdated. If you chase every new style that pops up, you’ll soon find yourself buried under a mountain of clothes that were hot for five minutes and then faded into obscurity. The cyclicality of fashion isn’t new, but before this we always pedaled these cycles at a manageable pace: the 90s would come back in, stay for a few seasons, and leave again, only to return later. Now, the rhythm has quickened so much that it feels like we’ve run out of ideas. We’re cobbling together the remnants of past aesthetics in a desperate attempt to keep fashion fresh.
Take “blokette”, for example – a sporty meets feminine vibe and a combination of blokecore and coquette – a fusion we might have once called grotesque but are now fawning over. In many ways, it is simply a mix of existing trends, yet marketed as a new genre altogether. The allure of novelty, packaged with each
For students at Penn, these rapid shifts create an exhausting challenge. The pressure to stay stylish and on-trend at events like formals or even in the everyday runway of Locust Walk can feel overwhelming. By the time you’ve bought into one trend, another has already taken its place, making the clothes you just invested in feel outdated. A lot of trends are devoured and discarded in an instant, leaving viewers constantly searching for the next big thing.
The reality is that chasing trends is unsustainable, both financially and environmentally. For those without the means to constantly update their wardrobes, this cycle of micro-trends creates an impossible standard to meet. Furthermore, fast fashion brands capitalize on this pressure by pushing cheaply made, low-quality clothing to keep up with consumer demand, contributing to environmental waste and the exploitation of labor.
Recently, however, there has been a growing pushback against this. Celebrities like Billie Eilish, Jennifer Lopez, and Gwyneth Paltrow are known for re-wearing old outfits on the red carpet, sending a message that timeless fashion can be just as glamorous as the latest trend. Capsule wardrobes and versatile basics that can be mixed and matched are making a comeback. This shift toward personal style, sustainability, and resisting trend obsession is a breath of fresh air in a suffocating cycle of consumption.
Ultimately, the answer lies in finding a balance. Rather than getting swept away by the never-ending tide of micro-trends, stick to your personal style. Because when everything is “in”, nothing really is.
WRITTEN BY SOPHIA ZHANG DESIGNED BY EUNICE CHOI
ILLUSTRATED
BY
SOPHIA WANG
Collina Strada’s Life Force
How Hillary
Taymour’s
company brings ethical fabrics and community spirit to fashion
Being a fashion designer is an inherently lonely task. You sit in your studio, drawing whimsical dresses, drafting elaborate patterns, obsessing over muslin proofs, and spending hours at the sewing machine. You’re isolated from the world in which you want to put the clothes. By nature of the task, you must stay sequestered inside to make the final product–it does not materialize in the events in which the garments are worn. In production, even the relationship with seamstresses and manufacturers is fraught with alienation, with those employed to sew focusing on their respective pieces, a hem here or a dart there. Meanwhile,
fabric manufacturers often have their own factories miles away, the only relationship being the transaction. Everything is mediated by the divide that you, the designer, are the “boss.”
Hillary Taymour is changing that with her brand, Collina Strada. She wants to inflect her collections with a proud sense of community. She wants to highlight that the people who will end up wearing the clothes are an important piece of the puzzle from start to finish. They’re not just abstract figures represented in the brand sphere, but living collaborators in the clothes. She pushed this life-focused, vivacious spirit of her brand further by focusing on the preservation of the Earth and to make us all live longer. Her clothes all focus on sustainability, in one way or another. Collina Strada is able to uniquely marry a love for people and for the environment, in animated, brilliant technicolor.
The care for other humans is clear in the way Taymour runs the company. She has brought her friends to the runway as models, with the only celebrities spotted being folks like Brontez Purnell or Aaron Philip—people who would make sense in a socially conscious milieu of Brooklynites. Her AW 2020 show, themed around gardening, donated the pieces to a community garden down the street. During the height of the pandemic, Taymour and her team would donate five hand-made masks to medical teams for each mask bought in retail. In her FW 2024 show, the soundtrack had
the models chanting “We are the women of Collina” and “Our strength reflected in Collina.” In each instance, Collina Strada reflects the importance of the people that surround the brand—it’s not just customers they focus on, but a sense of community with those that fit the brand’s identity. There’s a sense that the whole experience, whether runway or point of sale, should be primarily concerned with bring ing people together around Collina Strada, to make it a space of mutual joy and celebration.
In addition to the Earth, the brand also rhetor izes on a reconnection with nature and ani mals. The clothes are made to bring a city-style wonderment to the outdoors. Their collabora tion with Ugg has the bright blue open skies of the beach transformed onto strappy platform sandals. Their bags have a carry-all sensibil ity—they’re colorful sacks that you can put your foraged finds in. They could easily carry garden shears as much as they could lip gloss. The clothing items include a swath of tank tops and voluminous skirts in every length. Since the clothes emphasize exuberant patterns and fantastic embellishments, they’re made with twirling in a meadow in mind. They’re garments made for the heat and sweat of the modern world, but without the utilitarianism of common gorpcore of a brand like Arcteryx. They even make water bottles fun: one of their best sellers is a bedazzled one, seen on the red carpet with Maggie Rogers. The clothes and accessories beg to be unleashed and seen with the sun shining on you, catching the floral prints or the sparkling rhinestones. They cap ture the whimsy of a good beam of sunshine. For the brand, nothing could be a greater com munity than the community that is our planet. Collina Strada’s sustainable practices carry over to the textiles they use. A lot of their pieces are made out of Rose Sylk, an innova tive material, made from the discard of rose production—stems, leaves, and thorns. Tra ditional silk is a fabric whose very manufac ture kills the silkworms that produce the raw material, being very unsustainable despite
being a natural fiber. In Rose Sylk, the rose detritus is broken down into a fiber that is woven like silk into the first plant-based silk on the market. Many of the fabrics used are deadstock, meaning discards or rejects from other houses’ production. Using deadstock helps close the endless loop of new textiles the fashion industry demands, as waste gets utilized instead of thrown away. The design house’s philosophy extends to cotton too, as much of it is at least partially recycled or, even better, upcycled. Upcycling is a process that uses less emissions, as it simply uses preexisting fabric rather than tearing it apart to the fiber level to re-weave it, as recycling does.
Collaboration with the OR Foundation drives this upcycling. This foundation partners with the Kantamanto Market in Ghana, where 15 million articles of clothing are sent every week, overwhelming local vendors with the Global North’s trash. Instead of letting these piles of clothes—more than even the most efficient retail spaces can handle—grow fallow, Collina Strada and OR work together to reuse these clothes for the brand, turning old graphic T-shirts and beat-up jeans into delightful new creations.
With Collina Strada, the fun and the sustainability go together. When Red Eye Magazine asked about a world where everyone wears the brand, Hillary Taymour said it would be “a happy world where everyone brought their animals everywhere, and we all grew our own food. We worked at leisure, had no war, traveled, and enjoyed nature daily.” It’s clear she wants a fashion landscape where the clothes we love, people we care for, and the world that cares for us all work in tandem. Taymour makes a cerebral, haunting problem—the climate crisis we’re facingseem like a puzzle we can all solve as friends.
LOGAN YUHAS
DESIGNED BY ATTICUS LIM
ILLUSTRATED BY ELLEN CHEN
Style is Forever, but Trends May Not Be
Why choose ethics or style when you can have both?
In an era of online shopping and overconsumption, sustainability has emerged as a major goal for fashion consumers and brands alike. Consumers can now purchase dozens of new clothing items at their fingertips from brands such as Shein or Zara. Consumer purchasing power is at an all time high, with the average American buying around 68 new items of clothing a year. While everyone loves the rush of new clothes arriving in the mail, every dress or pair of jeans comes with hidden costs. The fashion industry produces over 90 million tons of waste a year, and a single pair of jeans uses around 790 gallons of water in its production process. Considering the shipping and handling of products, the environmental impact of one item of clothing is even greater. As these facts become more widely acknowledged, many consumers are wondering how they can continue to enjoy fashion while being sustainable.
Environmental sustainability is the ability to conserve natural resources so that future generations can use them too. If a single item of clothing uses an overload of resources, that could cause major issues to the livelihoods of all people in the near future due to the overuse of the world’s water sources. Environmentally sustainable fashion is now a popular trend as consumers want to reduce their individual environmental impact through their choices. Brands have been tackling this new sustainable fashion wave from many different angles. Some brands are experimenting with sustainable fabrics. For example, leather from cowhide is considered both unethical and unsustainable if companies are producing at the levels of Shein or Zara. As a result, many companies prefer to use pleather or faux leather. Unfortunately, pleather is made of plastic, which is not a great alternative to cow leather in terms of environmental concerns. Plastic is made from oil, which in and of itself, is a nonrenewable resource. To address this problem, there are many companies using scientific innovation to create truly sustainable leather that is both modern and fashionable. The brand Desserto, for instance, uses cacti to make their leather pieces. Other brands are using vintage fabrics to make their clothing lines. Therefore, each drop is a limited edition—when they run out of fabric, they are sold out forever. This makes each piece unique as many brands, like NYC-based clothing company girl of the earth, use vintage fabrics with organic materials like cotton or linen over the plastic-based fabrics of modern fast-fashion.
Fast fashion companies produce inordinate amounts of clothes each day. Shein makes anywhere between 35,000 and 100,000 new items a day, with new styles being added to their site daily. With this barrage of daily new items, the waste has led to the fast fashion industry producing 92 million tons of waste each year. Moreover, much of the fast fashion production exists outside of the United States, where the hands that produce the clothes distributed around the world are often underpaid and work in grueling conditions. Younger generations, having learned about the impact that fast fashion has had on workers and the environment, have turned to other options like secondhand shopping. This is evident from the meteoric rise of thrifting and shopping on sites like Depop or Poshmark. Depop has over 35 million users and thousands of new secondhand listings are added by individuals trying to clean their closets each day.
Young adults have also chosen to get their clothes secondhand to counteract overconsumption. Thrift stores are now filled with fast fashion items that have fallen out of style as trend cycles become shorter thanks to social media. Mafia wife, office siren, and Y2K are all examples of short-lived micro-trends that companies have promoted to further profit, often paying or encouraging social media influencers to promote the next big seasonal trend. In response, there are influencers who intend to “deinfluence” consumers from buying trendy items on TikTok or Instagram.
Many encourage consumers to buy secondhand, look for staple pieces made of fabrics that will last a lifetime, or to “shop your own closet.” Once again, the average American buys 68 new pieces of clothing each year. There is so much creativity that comes from working within one’s own closet. You may like a trend but cannot buy a whole new wardrobe, so seeing how you can incorporate elements of a trend with your own clothes is another great option to avoid overconsumption.
Younger consumers have started to reject environmentally harmful consumption to have a more sustainable closet. This has manifested in the popularity of thrifting or buying organic fabrics. If trends continue to favor sustainability, there may be less of a market for fast fashion companies to produce in such large quantities. Even the people who love to thrift and buy secondhand are still embroiled in the rapid paced trend cycles on social media. However, these conscious efforts to promote sustainability can forever change the way future generations consume and engage with fashion.
WRITTEN BY CYNTHIA SCHNEIDER
DESIGNED BY ATTICUS LIM
ILLUSTRATED BY ATTICUS LIM
REWORK
DIRECTED BY ALY KERRIGAN, JACKIE ERRERA, OLIVIA WENDEL, OLIVIA KIM. STYLED BY AUDREY OSTOYICH, ROSHNI MISRA, SAREENA PATEL, TARINI RUIA, TONY ZHANG. MAKEUP BY ADYA GUPTA. MODELED BY FIONA HERZOG, JORDYN REED, NIC WEST, SAMINA KAUSHEK. PHOTOGRAPHED BY BEN TAUSNER, TINA ZHANG, MADELINE ISRAEL, AMY ZHOU. DESIGNED BY JACKIE HU.
50 Shades of Leather
Fashion’s most enduring material breaks free from its monochrome past
At Bottega Veneta’s Spring 2024 show, creative director Matthieu Blazy sent models down the runway in leather pieces that would have been unthinkable just years ago. Architectural dresses that married burgundy with forest green, pristine white ensembles that redefined minimalism, and statement pieces that dared to combine warm orange leather with dramatic fringe movement. The message was clear–leather’s monopoly on black is officially over.
What started as a ripple quickly became a tsunami in the fashion world. The first hints of this chromatic revolution emerged in 2010 when Karlie Kloss wore Bottega’s showstopping metallic green leather boots. The design merged different shades and textures of leather–from deep forest to electric lime—creating a sculptural, mixed-finish statement that challenged every convention of leather footwear. Yet, these boots stood as an anomaly in a collection dominated by black and brown leather pieces, like streamlined jackets and slim bags, that adhered to leather’s traditional color palette. Fast forward to 2024, and the transformation is striking. What was once a bold accent has become the new normal: black leather pieces are now a rare sight on Blazy’s runway.
The post-pandemic runway season has only accelerated this transformation. Jonathan Anderson at Loewe began crafting handbags in sunset orange and cotton-candy pink. Miu Miu’s latest collection features a multicolored array of the Wander matelassé nappa leather hobo bag and mustard yellow trench coats, while Gucci has reimagined its classic Jackie bag in shades of sky blue and pale yellow.
According to Bergdorf Goodman’s accessories buyers, this shift reflects a fundamental change in how we view leather. It’s no longer relegated to the realm of rebellion or luxury. Instead, it has become a genuine medium for creative expression. Like denim before it, which evolved far beyond its workwear origins, leather is shedding its edgy reputation.
Perhaps most fascinating is the technical revolution underlying this transformation. Innovation in sustainable leather production has played an important role, with pioneers like Zero + Maria Conejo developing breakthrough dying techniques that preserve leather’s natural qualities while achieving previously impossible color spectrums. This technical mastery extends beyond traditional leather. Brands like Stella McCartney are pushing the boundaries of what’s possible with animal-free alternatives in shades like metallic rose and seafoam green.
Even the most traditional luxury houses have embraced this colorful new era. Hermès, long considered the authority on
leather goods, has expanded beyond their signature tan, now offering Birkins in deep teal and Kelly bags in mauve. Chanel’s recent shows have featured lambskin in pale pink and mint green, effectively blessing pastels as the new neutrals.
The streets have become living laboratories for this bold new approach to leather. Fashion week attendees are increasingly spotted in electric blue leather trenches with vintage jeans, or raspberry leather blazers layered over winter whites. These aren’t just outfits: they’re manifestos declaring that leather has transcended its role as a symbol of rebellion to become a medium for sophisticated self-expression.
Particularly telling is how this trend has resonated with younger consumers, who approach fashion without traditional constraints. For Gen Z, traditional black leather feels almost too safe. It’s the bold crimsons and electric reds that truly speak to their desire for authenticity and personal expression. The numbers back this up. Retail analytics show searches for “colored leather” and “bright leather” have more than doubled since 2022, while luxury resale platforms report bright and pastel leather pieces selling faster than traditional colors.
Most significantly, this leather renaissance has transcended the luxury sector. Mainstream retailers from Mango to Zara have democratized this trend. They regularly feature leather and faux leather pieces in unexpected hues. Additionally, stores like & Other Stories and Arket have made colored leather central to their premium offerings. Even AllSaints, known for their black leather jackets, has begun experimenting with forest greens and deep burgundies. As sustainable dying techniques continue to evolve and consumers’ appetite for individuality grows, we’re likely to see even more innovation in leather’s color palette.
Forward-thinking fashion lovers have already embraced the truth, acknowledging that black leather’s dominance is waning. In embracing the rainbow of leather possibilities, we’re witnessing a broader cultural shift away from rigid rules and toward joyful experimentation. Whether it’s a pistachio green tote or cobalt blue boots, colored leather has evolved from a fashion statement into a reflection of our times–proof that sometimes the most sophisticated choice is the one that breaks traditional norms.
WRITTEN BY ABBY PORTNOY
DESIGNED BY ATTICUS LIM
PHOTOGRAPHED BY MADELINE ISRAEL
Threads of Time: My Journey Through Vintage Shopping in Philly
How does Dorit Avganim curate her shop for the Philadelphia community and vintage lovers like me?
When I was fifteen years old, I stepped into my first Buffalo Exchange and was instantly captivated by the lives that each item of clothing seemed to embody. I was mesmerized by the sheer quantity of garments living along the racks, imagining the stories behind every piece: Who wore this dress? Where were they going? And though I was drawn to the mystery of it all, the affordable price tags didn’t hurt either. My teenage allowance could finally afford a spree of clothes filled with memories—both of those who came before me and mine to be made.
My passion for thrifting soon evolved into an interest in reimagining these stories. I bought a sewing machine, eager to repurpose the garments I discovered. I loved that a sense of unknown was enveloped in each and every thread of the fabric. The mystery behind each item—the life it once lived—ignited my obsession with discovering vintage stores across the world.
Before moving into my freshman dorm at Penn, I asked my mom to take me to vintage stores around Philly. This was a routine outing for us: every vacation was granted one full day of thrifting and vintage shopping, slowly building a collection of treasures from San Diego to Prague. On that humid summer day, my mom and I spent hours wandering all over South Street. We combed through Retrospect Vintage, The Raxx Vintage Emporium, and Philly AIDS Thrift, transporting into a collection of pasts.
As I spent more time exploring Philly’s vintage scene, my curiosity shifted. I wasn’t just fascinated by the clothes—I wanted to know about the people behind the stores. Who were the people responsible for curating these collections, and what inspired them to open their doors to time-traveling shoppers like me? To find out, I sat down with Dorit Avganim, the owner of my favorite vintage shop, Manzanita.
Located on 42nd & Baltimore in West Philly, Manzanita is a charming vintage clothing boutique, known for its accessible prices and collection of local entrepreneurial goods. Avganim designed Manzanita as a “third place”—a space between home and work where people can be themselves, relax, and find their own cozy corner of the world.
Upon entering, I was immediately charmed by the inviting atmosphere, with fragrant candles and carefully curated décor. As Avganim described it, “The adornment is in the people and the things; otherwise, it’s minimal.” During our conversation, she offered me a personal styling session—a signature experience offered on her website for those in need of a shopping partner, wardrobe refresh, or outfit for a special occasion. She dressed me in elegant trousers, soft sweaters, and chic coats, each piece making me feel like part of her thoughtfully curated collection.
Interview with Dorit Avganim,
owner of Manzanita: Discovering Philadelphia’s vintage gems and the community curating their treasures
Originally from Los Angeles, Avganim’s love for vintage began during her middle school years, attending Bar and Bat Mitzvahs. She remembers walking into a Salvation Army with her mom in search of a threepiece suit like the ones her male peers wore. “It was about having access to anything, not being limited by price,” she said. “At that early point, I realized: Whoa, they’re just silhouettes. Pants are just pants; they come in all shapes and sizes and look different on every body.” This sentiment shaped the philosophy behind Manzanita, where racks are organized by color rather than gender or size.
Avganim’s career path took her from Los Angeles to New York, where she studied storefront corridors and their relationship to digital inequities for her Ph.D. at The New School. While living in New York, she was inspired by the city’s art scene and frustrated by the barriers faced by independent entrepreneurs. She imagined creating a storefront concept called Coming Soon, where community members could nominate entrepreneurs to occupy the space for six months. The idea lingered, but when the COVID-19 pandemic hit, Avganim found herself at home with her two young children, seeking a new passion. She launched an Instagrambased vintage store with her cousin, selling cottagecore clothing and antiques under the name Cousin’s Vintage. As lockdowns lifted, she debated returning to a policy job, but her husband’s words lingered: “What if you aren’t the ally? What if you are the storefront?”
That question led Avganim to create Manzanita—a business designed to give back to its community by creating an inclusive, accessible space. Avganim mission is to provide “comfortable vintage at comfy prices” and ensure that visitors “leave with their cup full even if they didn’t buy a thing.” Avganim also uses her space to hold free events aimed to elevate and share other people’s knowledge, like The Junto, which is “taking back Benjamin Franklin’s white man club.” Now, Avganim is designing an incubator called Coming Soon, where the neighborhood will be identifying an entrepreneur to take over the storefront in Summer 2026.
“I love giving space to other people and engaging my community in other new ideas,” Avganim says, “And I love other people bringing their community to my space. There is no negative.”
For Avganim, buying and selling vintage carries a deep sense of connection. “There is something really beautiful about carrying the life that exists in the garment, which is undeniable,” she reflected. “Somebody wore it, somebody lived in it, loved in it, cried in it and then we put it on and feel some synergy with that piece.”
Thrifted garments often bear the marks of their previous lives—stains, tears, or imperfections that tell stories all on their own. There’s a beauty in these flaws, a reminder that life was lived in them before us and will continue to do so long after we’ve passed them on. Through each vintage find, we don’t just inherit fabric. We inherit the memories stitched into it. In wearing these garments, we become a part of a continuum, where past and present intertwine in the threads of time.
WRITTEN BY ELIZABETH COLLINS DESIGNED BY MAYA MCQUEENEY ILLUSTRATED BY EUNICE CHOI
GUO PEI:
turning culture into couture, stitch by
stitch
From post-Mao China to Paris runways, Guo Pei weaves cultural heritage into golden threads of contemporary fashion
Guo Pei is not just a fashion designer; she’s a cultural alchemist. Her creations transcend clothing, turning threads and fabrics into stories of China’s rich, historical narrative. Born in post-Mao China, her journey from a society steeped in political and social shifts to becoming one of the world’s leading haute couture designers is nothing short of astonishing. Guo reimagines traditional Chinese motifs and ancient craftsmanship, turning them into wearable art that revives the colors and silhouettes of dynasties past—right on the runway.
A Childhood in Transition: Post-Mao China and Creative Awakening
Guo Pei’s early life in post-Mao China was shaped by the cultural, social, and creative restrictions of the time. The aftermath of the Cultural Revolution was an era of reconstruction, where survival took precedence over artistic expression. Born in Beijing in 1967, Guo came of age in a society where fashion served a purely functional purpose. In a world dominated by the utilitarian grays and blues of everyday life, 'fashion' in its modern Western sense was virtually nonexistent. Yet, even in a landscape stripped of vibrancy, Guo’s vision was anything but muted. She saw color where others saw only gray, finding beauty in a world that seemed devoid of it. Inspired by her grandmother’s stories discussing the splendor of pre-revolutionary China, Guo cultivated a dream that seemed improbable at the time: bring back the rich, ornate beauty of ancient Chinese craftsmanship and express it through the use of fashion. And that’s exactly what she did. Creating a body of work that redefines what fashion can be, her creations speak to both China’s past and its present, honoring the traditions she grew up hearing about while giving them new life in modern form.
Resurrecting History: China’s Heritage Through Fashion
Guo Pei’s work is a love letter to Chinese cultural heritage. She delves deep into the aesthetics of the Qing Dynasty, incorporating imperial designs and age-old craftsmanship techniques into her creations. For her, fashion is a medium to preserve history. The ancient art of embroidery, long associated with imperial robes, finds new meaning in her garments. Her use of dragon and phoenix motifs—symbols of power, beauty, and balance in Chinese culture—reclaims their historical significance and repositions them as
timeless emblems of strength and grace. Take, for example, her dragon-inspired gown from the Legend collection. The dragons are painstakingly hand-embroidered in gold thread, curling across the fabric with a ferocity and majesty that echoes their mythological importance. But what’s remarkable is how she manages to make something ancient feel fresh and modern. She doesn’t just replicate history—she remixes it. Gold, a signature in Guo’s work, is rich with symbolism. Once reserved for emperors in the Qing Dynasty as a marker of divine authority, in Guo’s hands, it undergoes a transformation. She reclaims its grandeur, not for royalty alone, but for every woman, infusing her pieces with the brilliance of China’s imperial past while democratizing its power. Gold, once a symbol of exclusivity, now tells a different story—a story where anyone can embody the majesty of an emperor. It’s cultural storytelling, spun into golden threads. Fashion as Fine Art: Guo Pei’s Creative Process
Guo Pei doesn’t “make clothes” in the traditional sense. She makes art that’s also wearable. Her pieces are more akin to sculptures than garments, each one taking thousands of hours to create. The process is painstaking, obsessive, and utterly mesmerizing—she spends years on a single gown, crafting every bead, every thread, every stitch by hand.
If fashion’s usual tempo is fast and furious, Guo Pei’s pace is more akin to that of a Renaissance painter laboring over a canvas. Her attention to detail is almost maddening—yet the results are breathtaking. Case in point: the iconic yellow gown worn by Rihanna at the 2015 Met Gala. That piece, with its impossibly long furtrimmed train and intricate gold embroidery, took two years to complete. And it wasn’t just a gown—it was a spectacle, a cultural moment. Rihanna might have been the one wearing it, but the gown itself was the star of the night.
This level of dedication to craft speaks to Guo’s vision of fashion as something enduring, not fleeting. In a world that is increasingly obsessed with fast fashion, Guo Pei’s work is the antidote: slow, deliberate, and rich with meaning. Her garments are meant to last—not just physically, but in the cultural consciousness. They are timeless, in the most literal sense.
Cultural Alchemy: Bringing the Past Into the Present
Guo Pei’s genius lies in her ability to walk the tightrope between past and present. She doesn’t simply revive Chinese traditions; she reinvents them. In doing so, she introduces Western audiences to the grandeur of ancient Chinese culture while also pushing the boundaries of what fashion can be. It’s a cultural exchange that takes place in fabric and thread, embroidery and embellishment.
She serves as a bridge between worlds, between East and West, between past and future. In today’s globalized fashion industry, where trends change in the blink of an eye, Guo Pei stands as a symbol of endurance. Her work is not designed to be "consumed" in the way that much of fashion is—it’s designed to be experienced.
For Guo, culture is not something static. It’s alive, moving, changing. And fashion is her way of documenting its evolution. Her garments are cultural artifacts, rooted in tradition but reaching toward the future, showing us that art and fashion, when treated with respect and imagination, have the power to transcend time.
Conclusion: The Art of Culture, Stitch by Stitch
Guo Pei’s work reminds us that fashion is not just about what we wear. It’s about who we are, where we come from, and what we choose to carry with us. Through her designs, Guo invites us to look beyond the surface—to see clothing as a form of storytelling, as a bridge between cultures and generations.
In an era where fast fashion reigns supreme and trends come and go with the seasons, Guo Pei’s work is a radical departure. She asks us to slow down, to appreciate the art of making, and to understand that fashion, at its best, is not just something you put on. It’s something that stays with you—like a story, a memory, a piece of history.
And in the hands of Guo Pei, that history is golden.
WRITTEN BY KATE CHO DESIGNED BY OLIVIA HU
ILLUSTRATED
BY JACKIE HU
PHOTOGRAPHED BY MAURA CATHERINE DRESNER-PFAU, SARAH YOON, GIULIANA ALLEVA. DESIGNED BY JACKIE HU.
DIRECTED BY ALY KERRIGAN, JACKIE ERRERA, OLIVIA WENDEL, OLIVIA KIM. MAKEUP BY DOVI JAKUTYTE, ELAINE PENG. MODELED BY ANSH JAKATIMATH, ESHA PATHI, HANNAH ZHANG, MEGHA GOVINDU, SELMA NSIOUI, TOLU ADETOLA, USHA UMAIR.
The Revival of TRADITION
How South Asian Jewelry is Being Reimagined
South Asian jewelry has long served as a powerful expression of cultural identity, with intricate pieces often passed down through generations. Traditionally, these items were reserved for significant cultural events, like weddings, religious ceremonies and festivals. For many in the diaspora, there was a subtle pressure to conform to Western fashion norms, which relegated these beautiful symbols of identity to these cultural events.
Today, this trend is reversing. Traditional South Asian jewelry is making its way into everyday fashion, marking not just a resurgence of cultural pride but a reimagination of how these pieces can be incorporated into modern life. This shift reflects individuals reasserting their heritage by making traditional jewelry a part of their daily style.
Bangles were once seen only at weddings or religious festivals. Now, they are frequently mixed with contemporary bracelets, fusing old-world charm with modern tastes. Similarly, jhumkas, which were typically worn with sarees or lehengas, are now paired with jeans and casual dresses. The growing popularity of layering delicate necklaces and pendants, such as traditional mangalsutra or coin pendants, over simple work blouses contributes to this emerging trend of blending old and new.
This movement is not just about aesthetics, however. It signals a larger cultural shift toward blending multiple facets of identity. For many, wearing a maang tikka—a traditional hair accessory with a decorative pendant and chain worn on the forehead—alongside a Western outfit could be a symbolic gesture, asserting that their cultural heritage can not only coexist with modern global influences, but thrive alongside them. This blending of styles reflects a refusal to compartmentalize one’s identity to specific cultural settings and social surroundings. Instead, it embraces fluidity, allowing tradition to evolve and adapt to new contexts, pushing back on how those in the diaspora were forced to adapt to life across multiple cultures.
In recent years, South Asian designers and small artisans have been at the forefront of this revival. They’ve created toned-down, minimalist versions of traditional jewelry that are more practical for casual wear. For instance, brands like BySimran are producing lightweight, versatile jhumkas—a traditional earring shaped like a bell, often decorated with intricate designs, beads, or tiny dangling ornaments—as well as bangles and necklaces that blend traditional aesthetics with current sensibilities. This gives wearers a range of options to incorporate these pieces into formal, professional, or even casual Western outfits and offers consumers the chance to integrate tradition without feeling restricted to more ornate or festive designs or occasions. Additionally, these brands create pieces that can easily transition from a work environment to a social gathering, allowing wearers to express their heritage authentically throughout their daily lives.
South Asian fashion influencers, celebrities, and public figures are big proponents
of this change. They are spearheading this movement by proudly wearing traditional jewelry in contemporary ways, and employing their visibility to spread the trend. Figures like Deepika Padukone and Rupi Kaur have played pivotal roles in this transformation, using their platforms to showcase how traditional pieces can be worn in ways that resonate with a younger, more global audience. At the Cannes Film Festival in 2022, Deepika Padukone exemplified this immersion by pairing an ornate kundan choker necklace with a casual, floral blouse and high-waisted green trousers. Typically worn with sarees or lehengas, the choker takes center stage in her modern ensemble. In another instance, she paired a sleek Louis Vuitton black gown with statement jhumkas and intricate bangles. These choices displayed how South Asian jewelry can add a cultural touch to high-profile international events, blending customary craftsmanship with contemporary fashion. By choosing this combination, Deepika demonstrates that traditional accessories can transcend cultural boundaries, making them relevant in both everyday wear and high-fashion settings.
In a world where identity is increasingly multifaceted, this reimagining of South Asian jewelry speaks to a desire for continuity by allowing tradition to adapt to modernity. Whether it’s a simple pair of jhumkas worn to the office or a maang tikka added to an evening dress, this blend of styles bridges the gap between tradition and the present, as well as the gap between one’s heritage and the eurocentric norm, ensuring that these cultural symbols remain dynamic and alive for generations to come.
WRITTEN BY SURINA RAMOUTAR DESIGNED AND ILLUSTRATED BY JACKIE HU
The American Dream: Ralph Lauren and Dressing Team USA
From Olympic stadiums to social media feeds, Ralph Lauren's Team USA designs have shaped how the world sees American style
WRITTEN BY SONIA MEHTA
DESIGNED BY OLIVIA HU
ILLUSTRATED BY ELLEN ZHANG
Since 2008, Ralph Lauren has been the official outfitter for Team USA at the Olympics, merging American patriotism with high fashion in a unique partnership that has become a global spectacle. From the opening and closing ceremonies to major influencer campaigns, Ralph Lauren’s designs have not only dressed athletes but also celebrities and influencers, showcasing the brand’s timeless interpretation of American pride. This relationship between Ralph Lauren and Team USA encapsulates more than just fashion—it’s a celebration of national identity, tradition, and modern style.
Ralph Lauren’s designs for the Olympics started with a bang during the 2008 Beijing Games, where he set a new standard for sportswear on the world stage. His classic Americana aesthetic—rooted in preppy styles like navy blazers, white jeans, and boat shoes—immediately became synonymous with Team USA’s Olympic appearances. Over the years, his looks have evolved, incorporating cutting-edge technology such as heated parkas for the Winter Games and lightweight, cooling fabrics for the hot summer months. Yet, no matter the changes, the core elements remain consistent: the red, white, and blue palette, the bold use of the American flag, and Ralph Lauren’s signature blend of rugged elegance and sophistication.
This partnership is more than just a functional collaboration; it has helped solidify Ralph Lauren’s place in American culture
as a symbol of patriotism. The aesthetic of his Olympic uniforms—whether the sharp tailoring of blazers for the Summer Games or the cozy, insulated looks for the Winter Games—evokes a sense of pride, nostalgia, and the American Dream. The look is preppy yet rugged, effortlessly blending Ivy League sophistication with down-toearth practicality. His designs for Team USA are as much about telling a story as they are about dressing athletes: a narrative of hard work, ambition, and the pursuit of excellence—values central to both the Olympic spirit and American identity.
In recent years, this narrative has expanded beyond just the athletes. Ralph Lauren has tapped into the influencer era, inviting celebrities and online personalities to wear his USA-themed designs at Olympic events, further solidifying the connection between fashion, national pride, and pop culture. For the 2024 Paris Games, social media star Emma Chamberlain turned heads at a Ralph Lauren-hosted cocktail party in Paris, wearing a matching striped set that epitomized the effortless, preppy cool the designer is known for. Other high-profile attendees included First Lady Jill Biden and singer Nick Jonas, all dressed in Ralph Lauren, blurring the lines between fashion and patriotism in a way that felt fresh, youthful, and distinctly American.
By dressing both athletes and influencers, Ralph Lauren has managed to keep the brand relevant, bridging generations of
fashion lovers. For the opening ceremonies of the 2024 Paris Games, his designs featured a classic look with a modern twist: single-breasted wool blazers paired with striped Oxford shirts and jeans, a nod to American denim heritage. The closing ceremony looks, meanwhile, channeled the laid-back summer vibes of the Hamptons, with white jeans and sporty moto-style jackets—a perfect mix of Ralph Lauren’s preppy roots and a more contemporary, casual edge.
This intersection of fashion, pop culture, and patriotism speaks to Ralph Lauren’s broader legacy. From Olympic athletes to social media influencers, the designer continues to craft an image of America that is aspirational yet approachable, classic yet modern. His partnership with Team USA is a masterclass in branding, one that merges sport and fashion to create a sense of unity and national pride. At every Olympic Games, Ralph Lauren's designs tell the story of America—bold, resilient, and forever chasing the dream.
As the partnership continues, Ralph Lauren’s work with Team USA will likely evolve, but one thing remains certain: he has cemented himself as a key player in shaping how we view American patriotism through fashion. Whether it’s athletes marching into the stadium or influencers posting their looks on Instagram, Ralph Lauren’s designs have become synonymous with the American spirit.
Professor Spotlight
Interview with Professor Anne Duchene
Anne Duchene is a Senior Lecturer of Economics and Director of the Microeconomic Principles Program in the College of Arts and Sciences.
How would you describe your personal style in a few words? What are the key elements that define it?
I don’t like to be in a box so I don’t have a specific style. I like to change things up. Some days, I feel like I’m a bit dressier and other days, I love wearing sweatpants and sneakers. I actually like to have a different style every day, almost. So I would say I’m flexible for sure. What I like to do is, for example, if I wear sneakers I try to wear, like, dress pants with them. I like to break things. That’s something I like. Or, you know, if I wear nice shoes, I’m going to try to wear jeans to try to break things, so it’s not like a uniform. Not too dressy or too casual. If something is dressy, something else is going to be casual. If everything is too casual, I feel like it’s too much, you know, of one thing. And then if I get too dressy everywhere, then I don’t feel comfortable.
What are some key pieces in your wardrobe that reflect your unique taste?
I love blazers, but I also love jeans. Black jeans are definitely a staple, sneakers, for sure, but I also like more fun shoes, like I have red shoes with straps that I love. I have a few items that I really like, but they’re all different. It’s hard to define only one thing. I would say maybe blazers, black jeans and boots, for sure. And maybe, like, cashmere sweaters.
How has your fashion sense evolved over the years?
I think it has changed a lot over the years. My sense of colors has improved, hopefully. In fact, now, I’m a bit too much into, like black, gray, brown, beige. I think over the years I have found my style, which is, as I was saying, just a mix of casual and dressy. I’ve had many stages to get to that. Moving from Paris to the US I think really changed my style. Before I moved to the US, I was always in jeans and a hoodie and a blazer. I loved mixing up the hoodie and the blazer. And then I got to the US, and I saw that everybody was wearing jeans and hoodies. I decided, okay, let’s change. I don’t want to wear what everybody else wears and that’s probably how my style has evolved. Before, I was much more influenced by fashion and trends. I was just trying to do what I was seeing on TV but now I think I’ve accepted the fact that not everything that looks good on influencers looks good on me. I think that’s basically the biggest change in my style, just accepting that I don’t need to look like everybody else, and I just need to like what I wear. I don’t care if everybody else likes it or not.
Professor Duchene masters Parisian chic with a dynamic blend of casual comfort and timeless elegance
Who or what are your biggest style influences?
I don’t follow anyone but I loved British fashion as a teenager–Vivienne Westwood, Alexander McQueen, all these designers. I think I was influenced by them for a long time. I lived in Paris for many years, but every time I was going to London, I was seeing a very different style, because Parisians all dress the same way. It’s mostly black and you don’t want to be too different. You don’t want to be too noticeable. In London, it was the opposite–the more different you were, the better it was. So it was a lot more freedom, basically, in terms of fashion. And I think that really influenced me, because I was raised with a lot of rules in terms of how to dress, how to present yourself, but then I saw that other places had very different rules or actually had no rules at all. That was nice. In terms of influence I like some French brands like Rouj and Sezane. I try not to follow them, because I like their styles, but I don’t want to be too influenced by them, but those are definitely some places I get my inspiration from.
What are some of your favorite places to shop, whether locally or internationally?
I used to love thrift stores a lot, and I was really good, you know, when I was younger. I would be able to find the one thing that was really worth it. But now, when I go to thrift stores, I’m, like, overwhelmed–it’s too much and I don’t even want to start looking. So I try to go there sometimes, like, in Paris, or I was actually in Montreal last week and I found some really nice thrift stores there. But otherwise, the brands I like besides the two French brands are Madewell and Reformation and it’s funny, because now my daughter likes those brands too. I get a lot of inspiration from them and even if I don’t buy everything from them, I think it still influences my daily wear. Otherwise, I also like COS. They look a bit like Japanese fashion at times with interesting geometric shapes. That’s a brand I like; I think it’s really interesting.
WRITTEN BY RACHEL LEE
DESIGNED BY NISHAT OLAYIWOLA
Professor Spotlight
Interview with Professor Burcu Esmer
Burcu Esmer is the Academic Co-Director at Wharton Harris Family Alternative Investments Program and a Senior Lecturer of Finance at the Wharton School.
How would you describe your personal style in a few words? What are the key elements that define it?
I would describe my personal style as classic with a modern edge. It’s all about combining timeless staples with thoughtful, unique touches. The key elements of my style revolve around clean lines, well-tailored pieces, and a commitment to quality fabrics. I’m someone who values structure, but also believes in comfort and ease, so there’s a balance between polished and relaxed. I prefer versatile pieces that can transition seamlessly from professional settings to casual ones, like a perfectly cut blazer or a pair of flared jeans that feel both sophisticated and comfortable.
Fabric is another non-negotiable element for me—I always gravitate toward natural materials like silk, cotton, wool, and leather. Not only do they offer a sense of refinement, but they also reflect my interest in sustainability and durability. In my mind, fashion should be as much about how a piece is made as how it looks.
What are some key pieces in your wardrobe that reflect your unique taste?
Some of the key pieces in my wardrobe that best reflect my taste are well-crafted blazers that can instantly pull an outfit together. I love jackets that have a bit of structure and flair, whether it’s a classic black or a unique color or fabric that stands out in a subtle way. Flared jeans are another signature piece for me—they’re timeless, flattering, and give a touch of elegance to even casual looks.
Silk shirts are also staples for me because they’re so versatile. They can be dressed up for a more formal event or worn casually with jeans, and they have a softness and sheen that make them feel luxurious without being over-the-top. And, of course, my handbags—I believe in investing in a few high-quality, understated handbags that speak to craftsmanship. I prefer designs that are elegant and timeless, with no visible logos, because they reflect a quiet confidence.
Statement jewelry is the final touch to my outfits. I believe a bold piece of jewelry can transform a look, making it uniquely yours, without overpowering the simplicity and elegance of the rest of the outfit.
How has your fashion sense evolved over the years?
Over the years, my fashion sense has evolved to become more relaxed, yet still refined. I’ve always gravitated toward classic pieces, but recently, I’ve started incorporating more oversized and laid-back elements, like wide-leg jeans and sneakers. This evolution is partly driven by a desire for comfort, but also by a shift in how I view fashion — it’s not just about looking polished, but about feeling comfortable and confident in what I wear.
For example, in the past, I would have never imagined myself wearing something as casual as Crocs, but now I see them as part of a playful, practical wardrobe. There’s something empowering about embracing a more relaxed look while still staying true to my core style of quality and timelessness. As I’ve gotten older, I’ve realized that fashion should serve you, not the other way around. It’s about embracing who you are in every phase of life, and that reflects in the way I’ve adapted my wardrobe over time.
Professor Esmer perfects modern classic style, blending timeless, tailored staples with natural fabrics for effortless sophistication
Who or what are your biggest style influences?
Rather than drawing from a single person, my style is influenced by a combination of classic fashion icons and a commitment to craftsmanship. I admire people like Audrey Hepburn and Jackie Kennedy, who embodied timeless elegance. They understood that simplicity, when executed with precision, can be incredibly powerful. Their style wasn’t about following trends, but about consistency, elegance, and knowing what worked for them.
Recently, I’ve been following Semiramis Pekkan, a retired Turkish actress and singer, on Instagram. She was an international trendsetter with boutique stores in London and LA. Now, at almost 80, I admire how she effortlessly blends comfort with chic sophistication in her style.
I must also add another name here: I admire Dean Erika James of the Wharton School. She has a remarkable sense of style that is professional and polished.
As a general philosophy, I’m inspired by the concept of quiet luxury—that subtlety and attention to detail can speak louder than bold logos or overly trendy pieces. This approach allows me to express individuality while maintaining a sense of timelessness.
WRITTEN BY ABBY PORTNOY DESIGNED BY ATTICUS LIM
What are some of your favorite places to shop, whether locally or internationally?
For many years, my go-to place for clothing was my uncle’s shop in Ankara, Türkiye, where I’m from. It was a special place because I always knew I’d find pieces that perfectly matched my style. When I visit Türkiye, I always check out Network, Vakko and Beymen.
For some time, BCBG and Max Azria were staples in my wardrobe—their elegant designs worked well for my petite frame. European brands, in general, tend to suit me better in terms of both fit and style.
These days, I also enjoy shopping at places like Uniqlo for fun, versatile basics that fit my more relaxed, everyday look. I occasionally browse stores like Banana Republic, J.Crew, and department stores. That said, here’s a fun fact: I don’t actually enjoy shopping that much! And believe it or not, I’ve never bought anything from Zara!
When it comes to handbags and shoes, I love exploring Parisian and Italian brands for their understated elegance and impeccable craftsmanship. As someone who travels often, I also have a habit of browsing local stores for unique jewelry pieces. Museum shops, in particular, often have some of the most interesting and distinctive jewelry that adds a special touch to my collection.
Professor Spotlight
Interview with Professor Taije Silverman
Taije Silverman is a Senior Lecturer in the English department of the College of Arts and Sciences, a poet, and a translator for Italian.
How would you describe your personal style in a few words? What are the key elements that define it?
In a few words: flowy, contradictory, comfortable. My style is my own. I think when I moved out of New York, I started trying less hard.
What are some key pieces in your wardrobe that reflect your unique taste?
Always overalls. They are my staple. And everything that I’ve inherited from my mother and most of what I’ve been given by my sister and father. Things that embody memory, whether it’s the moment in which I was given that particular necklace or sweater, or remembering my mother wearing the same skirt I’m wearing now, for example. I like to link what I’m wearing with the source.
Follow up question: What was your most recent meaningful purchase?
I haven’t bought clothes in over a year. Last August, I was in Southern Italy and was about to go on a boat. I was wearing shoes that didn’t breathe, and it was very hot outside. So, I walked into a small shoe shop—it was like a candy shop, but with shoes. I saw this color and I liked it—she pointed to her red flats with small holes —and I bought them for myself as a birthday present. It’s hard for me to think of clothes as meaningful if they weren’t given to me, but I suppose if you give something to yourself it has a fair amount of meaning to it.
How has your fashion sense evolved over the years?
I try much less now as I’ve gotten older, as my body has changed, and as I become less interested in what other people think of what I look like. I don’t wear heels anymore. I’ve had this skirt for thirty years. I still wear bright prints that remind me of someone or something. My basic style hasn’t changed, but heels have been exiled from it. If something isn’t comfortable, even if I once loved it, I won’t wear it anymore.
I would maybe characterize my style as boho chic, although I would feel pretentious if I said that. My style is inspired by a mother who made clothes for me, and a grandmother who was a seamstress and made clothes for my mother. I grew up in a house with a sewing room that was stacked with different kinds of fabric. I knew that if I got stains on whatever I was wearing—which I often did—I could then sew stars, hearts, or letters over the stains with another fabric. I could claim my clothes as my own, but it didn’t feel too commercial or capitalistic.
I had a pair of Reeboks, and my mother elaborately drew a garden on them so that no inch of the white sneaker was visible. I was very proud of those. I grew up with some understanding that I could use clothes to say a) I’m like nobody else, and b) I’m loved. I think that translated into my style. But also my body type influenced my clothes: big hips, slow walk, lazy gait. Flowy clothes suit my body type. Perhaps even a slow, soft way of thinking has also influenced my style.
Who or what are your biggest style influences?
Probably The L Word, a show about lesbians in Los Angeles in the late 1990s. There was one character in particular named Shane who was absurdly hot. Would I call her an influence? I was in love with her, but I also wanted to be her. I wanted Shane’s hair, I wanted Shane’s style, but I also wanted Shane.
I would also say all of the women I went to Vassar with, who didn’t need to become fifty to stop caring what people thought of what they looked like, who shaved their heads when they were nineteen, who lived in overalls, and who felt and were absolutely beautiful. It was just because they were themselves—they were style influencers.
WRITTEN BY REDINA RAPI DESIGNED BY ATTICUS LIM
Professor Silverman embodies a laid-back, bohemian style, marked by flowy, memory-filled pieces, embracing comfort and individuality over trends
What are some of your favorite places to shop, whether locally or internationally?
There is a shop in Bologna, Italy where I spend a fair amount of time each year that has great dresses. I don’t want to admit that I come from a shopping-obsessed family. They are always shopping for clothes, especially in thrift stores. But when those boutiques in Bologna have sales, it’s a siren call that’s hard to resist.
Most of my clothes have come from a store on Fabric Row in South Philly (Fabric Row is a historic thoroughfare that stretches down South 4th Street between Bainbridge and Catharine streets) called Moon+Arrow. They have secondhand clothing where I’ve gotten some dresses and overalls that I love. There’s also a store called Vivaia that makes shoes from plastic bottles. They have really bright, great, comfortable ballet flats.
When asked about thrifting, Silverman stated: “I wish we all were only shopping at second hand stores. The idea of something new is a myth.”
Professor Spotlight
Interview with Professor Deborah A. Thomas
Deborah A. Thomas is the R. Jean Brownlee Professor of Anthropology in the Department of Anthropology at the University of Pennsylvania.
How would you describe your personal style in a few words? What are the key elements that define it?
Fun. I like statement pieces, especially statement earrings. I like putting things together, like high and low, and I like mixing patterns in an interesting manner.
What are some key pieces in your wardrobe that reflect your unique taste?
There are lots of different things I like, but they’re situational. I’ve got this really great pair of black pants that have ruffles on them that move. It looks like a skirt, but then you realize they’re pants, and I bought them for special occasions. I also have jeans I’ve had since 2000 that I keep patching because I love them so much. I don’t love shopping, to be honest, so I end up getting things when I’m taking my daughter shopping or if I’m going to a special event and need to figure out something interesting. I bought a really cool vintage dress for the honorary degree dinner last year from Moore Vintage Archive. Generally, I really like eclectic stuff.
How has your fashion sense evolved over the years?
I still have stuff even from the 80s because there are things that last and stand the test of time. But I’m not twenty anymore, so I can’t wear what I wore then. Life changes, finances change. I used to put stuff together in funky ways because that’s what I could afford, but now it’s easier to be more thoughtful about some things I buy. There are things that are constant and things I’ve always liked. I’ve always liked mixed patterns. And also, as you get older, how you represent yourself definitely changes.
Who or what are your biggest style influences?
I can’t think of anyone specifically. I’ve always subscribed to Vogue, though. I end up shopping when I go out of town because I have time or because I’m with a friend, so I often end up picking up pieces from local designers that remind me of being there with that person in that moment. It’s all about creating the memory, I suppose. I see what the trends are, but I don’t always love them, so I only take them into account.
Professor Thomas balances refined sophistication with a creative edge, pairing structured pieces with artful details
What are some of your favorite places to shop, whether locally or internationally?
Locally, I like vintage from Moore Vintage Archive and also Joan Shepp. Internationally, I always find a great consignment shop in Cape Town or other places I visit, and also check out local designers, but I don’t have a set place. I used to thrift. My daughter liked this one line at Target when she was younger, so thrift for me now is Target.
