The WALK Fall 2017 by The WALK

THEWALKMAGAZINE.COM

BEHIND THE SCENES

THE WALK / FALL 2017 Photos by Alisa Wadsworth ‘21, Michelle Lok ‘19, Jin Ma ‘19, and Noel Zheng ‘20

NADIA KIM

Editor-in-Chief

JULIEN ADVANEY Creative Director

ALDEN TERRY

STELLA GE, SIYUAN LIU Art Directors

Editorial Director

EMILY CIESLAK

DANIELLE MOORE

SABRINA ABERMAN

KIKI DOMINGUEZ, ANNABEL WARE

CHRISSY WALKER

KAREN YANG

Photography Director Operations Coordinator

Marketing Directors

Finance Director

Website Director Video Director

FASHION Fashion Director NOEL ZHENG Beauty Director MADISON KAHN Pro-Apparel Coordinator ESTHER WOO, CHLOE KIM Women’s Stylists CHELSEA LEE, LUIZA FRANCA, JI YOON, KALYXA ROMAN, ALEXANDRA NICHOLS, AIRIKA YEE, CAMILA JOHANEK, CAROLYN RYAN, DAVERY JOSO, ELIANA MARGHERIO, ISABELLA VURA, ISABELLA YU, JULIANA KEMENOSH, LULA CHOU, NATALIA ROMMEN, TERRY CHIEN, VERONICA FENTON, XIZI CHEN, ZOVINAR KHRIMIAN Men’s Stylists ARIANNE WONG, OLIVIA WEIS, PAOLO NASR, ANTONIO RINALDI, MARCUS TAPPAN Beauty Stylists JAMIE TRUBOWITSCH, EMILIO FRAYRE, SERENA WEN, RITA WENGER, SARAH THOMAS, GIOVANNA SENA, TINYAN OMERE

FEATURES Fashion Editor EMILY SCHWARTZ Features Editor GRACE LEE Research Editor COURTNEY GU, JESSICA SULIMA Copy Editors JESSICA SULIMA, SEENA PAUL Contributing Writers AMANDA KWON, ALEXANDRA NICHOLS, FRANCESCA CATANIA, VARSHINI GALI, JACOB KIND, ELIANA WAXMAN, CHRISTINE LAM

PHOTOGRAPHY Full-Time Photographers ARJUN DOSHI, MIRU OSUGA, CHRIS OH, EMILY JOHNSON, NOEL ZHENG, TONG POW Part-Time Photographers MADISON KAHN, MICHELLE LOK, ALISA WADSWORTH, FAITH CHO, JENNIFER HIGA, JIN MA, NOA BAKER, KARA HU

ART AND DESIGN Assistant Art Director EDWARD KIM Layout Team ANDREA FROST, ILANA NATHANS, KHUC THUY DUC CHAU, MICHELLE TERNG, CLAIRE SHIN, SELINA NIE, EDMUND CAI Illustrators BRYAN JOUNG, CATHLEEN GUI, GLORIA YUEN, KYLER MINTAH, RHEA GOENKA, SAMANTHA WU-GEORGES

MARKETING Internal Outreach ALISIA ESCOBAR Event Coordinators ANNA JELLINEK, LOUISE LU, ANYA SARAF, WENDY HIRATA Social Media ALLISON DOMM, VALENTINA RODRIGUEZ

MANAGEMENT Assistant Operations Coordinator OLIVIA LEVKOWITZ Strategic Projects Coordinator DANIELLE GOH Sponsorship Coordinators ARIANA CALLENDER, ADRIANA RAMIREZ, ALISHA JAIN, CLARA MENESTROT, RHEA AURORA

VIDEO Videographers SYDNEY JUDGE, RYNEL LUO, VANESSA WANYANDEH

THEWALKMAGAZINE.COM Editorial Director DANIELLE MOORE Website Manager/Designer EDWARD KIM Managing Editor EUGENIE SHIN Creative Director AIRIKA YEE Social Media Editor MICHAELA TINKEY Assistant Web Manager ANGEL FAN Senior Fashion Editors ALLISON WALTER, SARAH LLEWELLYN Senior Culture Editor SHIRI GROSS, FAITH CHO Senior Health & Beauty Editors MARIANNE DEMAROLLE, HELEN DUGAN Senior Features Editor GRACE LEE Junior Fashion Editors NATE REDDING, JAVIER PEREZ, EMILY GUO, ELLY CHOI, SOPHIE XI, FRANKIE REITMEYER, DANIELLE KRAMER Men’s Style Editor KELLY HUANG Junior Culture Editors SOPHIE BURKHOLDER, TYLER LAWSON, KATHERINE WALTMAN, AUDREY OSBORN, NEEDHI METHA Junior Health & Beauty Editors CAROLINE WONG, ANISHA YERRAM, LAUREN TAPPAN, HOLLAND STEVENS, VALENTINA RODRIGUEZ, ADRIANA RICHMOND Junior Features Editors JENNIFER CULLEN, LEANA REICH, MARINA GIALANELLA, VARSHINI GALI, MELISSA IGLESIAS Photographers AYCHIN SULTAN, ELLA BEI, YUI SHIMOKOBE, JESSIA SAAD, JOY LEE, EMILY JOHNSON, CAROLINE GIBSON Web Apparel Stylists KELLY HUANG, TIFFANY KI, CINDY NGO, SONIA HUSSAIN, HALEY SUH, FRANCES LIU, SYDNEY SHIFFMAN, ELIZA HALPIN, MEHDIA HAIDER, KILEY MAHONEY, ALINA PENG, HANNAH NASSERI, ELIZA CULP, JESSICA LU, CARMELA GARCIA ALONZA, MICHAELA TINKEY, OLIVIA NOVINS Web Beauty Stylist GIOVANNA SENA, KERI ZHANG, VIA LIM SEEN ON THE WALK BLOG Blog Director KENZA CHAMARIQ Street Style Photographers JESSICA MOH, KIARA HONMAW, KARA HU, MEGAN JONES, HANA PEARLMAN, VANESSA MOODY, KHULAN SOLONGOZAYA, KABELE COOK UNIVERSITY OF PENNSYLVANIA’S PREMIER FASHION MAGAZINE • VOLUME XII • ISSUE 1 • JANUARY 2018 The WALK was founded in 2006 as a student initiative and continues to be a student fueled organization. TheWALKmagazine.com was launched in 2010 as a sister to the print edition. The WALK aims to satisfy our community’s widely-demanded fashion fix year-round. Stories edited by the editorial staff will carry bylines of the original author. Please report corrections to info@thewalkmagazine.com. We will post corrections on our website. This publication was typeset using GeosansLight and Bebas for headlines, Justus Italic for subtitles and captions and Adobe Garamond Pro for body text. Page layout was created using Adobe InDesign. Original images were taken with DSLR cameras and adjusted using Adobe Photoshop. The WALK was printed in Sappi Flo 70-pound gloss text paper (FSC and 10% recycled) using sheet-fed offset presses. The binding is saddle-stitched. Printed by Garrison Printing Company, Inc., Pennsauken, NJ. To get involved or learn about advertising and partnership opportunities, please contact us at thewalkmag@gmail.com

FALL 2017 LIFESTYLE

IN TUNE WITH THE TRENDS

Exploring the contentious relationship between hip-hop and fashion.

GETTING MOIST

Welcome to the Decade of Damp.

THE BOLD REVIVAL

Here’s how to rock the revival of ‘80s trends.

working in volumes Penn First gives a voice to first-generation, low-income students.

HIGH IN HAIR, HIGH IN MEANING

Hair and volume throughout the years underline women’s place in society.

SPEAKING VOLUMES

An exploration into the controversy of politics in fashion.

Lxwxh A simple formula that becomes the basis for much more.

voluminous fashion throughout the ages From sky-high wigs to pointed nipples to Kim Kardashian style butt-implants.

depth perception

Extending the spaces of our visual environment.

not so cheap after all: fast Fashion's True cost

WALK ON

Vibrant nightlife brings out the loudest outfits.

FASHION

AFTER HOURS

Fast fashion’s high volume and low cost comes at a steep environmental price.

Comme Des GarÇons A homage to a brand famous for using volume.

AM/FM Exploring the dynamism and beauty of sound.

Walk in your space Style extends beyond the closet and into the bedroom.

Rachel tashjian (c'11) strips fashion of its frivolity From Vanity Fair to Vice, this Penn alum has made a serious career out of taking fashion seriously.

CAPTURE THAT The WALK photographers and stylists explore their personal interpretations of this issue’s theme.

WALK Online update Check out some of The WALK’s best online features from this past semester.

LAYOUT CREDITS Behind the Scenes - Stella Ge ‘19 Cover Look - Nadia Kim ‘19 After Hours - Nadia Kim ‘19 Hip-hop and Fashion - Ilana Nathans ‘18 Getting Moist - Claire Shin ‘20 Working in Volumes - Edward Kim ‘20 High in Hair, High in Meaning - Selina Nie ‘21 Wearing Volumes - Khuc Thuy Duy Chau ‘18 L X W X H - Nadia Kim ‘19 Voluminous Fashion Throughout the Ages - Edward Kim ‘20 Depth Perception - Nadia Kim ‘19 Not So Cheap After All - Edmund Cai ‘21 Comme Des Garçons - Selina Nie ‘21 AM/FM - Nadia Kim ’19 The Bold Revival - Michelle Terng ‘19 WALK in Your Space - Andrea Frost ‘19 Rachel Tashjian Strips Fashion of its Frivolity - Nadia Kim ‘19 Capture That - Nadia Kim ‘19 WALK Online Update - Nadia Kim ‘19

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COVER LOOK: VOLUME DIRECTED BY JULIEN ADVANEY ‘18, ALDEN TERRY ‘19, AND NADIA KIM ‘19 PHOTOGRAPHED BY ALDEN TERRY ‘19 MODELED BY MORGAN BROWN ‘18 Volume as the idea of space is, unsurprisingly, a difficult one to capture in a two-dimensional medium. Nevertheless, for our cover, we sought to push these limits of space past the expected and used optical illusions to go beyond the traditional boundaries of the camera lens. The intersecting angles and planes of the image challenge the viewer's conceptions of two- and three-dimensional space and visualizes our theme in its most unconventional and striking form.

THEWALKMAGAZINE.COM

LETTER FROM THE EDITOR Others may be transported back to middle school geometry class, associating volume with the amount of three-dimensional space enclosed by an object. Still others may think of volume as sheer quantity—a large amount or number of something. Even The WALK itself is inextricable from the concept of volume; with every published issue and with every new iteration comes another volume of the magazine. Volume sits at the intersection of countless meanings and interpretations, and it was precisely this polysemic nature that The WALK sought to explore in its Fall 2017 issue. When expanded to the world of fashion, volume takes on even more meaning. With the inevitably cyclical nature of trends, bigger is sometimes better (depending on the year or the season), as evidenced by Seena Paul's timeline of "big" fashion throughout history ("Voluminous Fashion Throughout the Ages") and Francesca Catania's exploration of the return of '80s fashion trends today ("The Bold Revival"). Volume also takes on significance in fashion through its ability to effect social or political change. Emily Schwartz discusses in "High in Hair, High in Meaning" the ways in which different voluminous hairstyles reflected women’s place in society from the 1900s till today, and Varshini Gali's piece "Speaking Volumes" investigates how fashion can be used to make loud political statements, both on and off the runway. Of course, we also delved into the concept of volume as sound. In “In Tune With the Trends,” Courtney Gu analyzes the ever-changing relationship between hip-hop music and fashion, and in “AM/FM” we repurposed different types of headphones—from Walkmans to Airpods—as fashion accessories. We paid tribute to volume as a measure of space in both literal and subtle ways, from "LXWXH", the age-old formula for finding the volume of a three-dimensional prism, to "Depth Perception", a more nuanced exploration of optical and physical space. Finally, we looked at the less palpable yet equally important aspects of volume, like the impact of our featured student group, Penn First, on first-generation, low-income communities at Penn and other universities.

If you try hard enough, nearly anything can be measured. The deafening swell of music at a concert can be boiled down to a specific number of decibels. The amount of space occupied by a human body can be quantified as a certain unit of matter. Even the less tangible things in our world, like the impact of an industry’s waste and excess, can be defined one way or another. Somehow, a single word encapsulates many of these systems of counting, measuring, and defining: volume. The beauty of “volume” is that the word conjures a vast array of different associations for different people. To some, the idea of sound immediately surfaces—the intensity of noise reaching your ears, or perhaps even the actual buttons on the side of your phone controlling your music.

THE WALK / FALL 2017

Through our exploration of volume, we have learned of both the value and the limitations in these measures of the world around us. Volume captures many planes of meaning, yet at the same time fails to capture so many others. In doing so, it invites us to pay attention to not just the aspects of our surroundings that are easily definable, but especially those elements that seem to defy measurement. Volume reminds us to listen, to look and to truly take notice of the big and small, the loud and quiet and, of course, everything immeasurable in between. Much love,

Nadia Kim, Editor-in-Chief

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hou rs

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On Lauren (previous): DFTI Boutique. On Chinaechelum (previous): Stylist’s Own. On Lauren: Multi-colored Faux Fur Coat, DFTI Boutique. On Avery: Stylist’s Own.

On all models: Stylistâ&#x20AC;&#x2122;s Own.

DIRECTED BY JULIEN ADVANEY ‘18, ALDEN TERRY ‘19 AND NOEL ZHENG ‘20 PHOTOGRAPHED BY EMILY JOHNSON ‘19 AND TONG POW ‘19 MODELED BY LAUREN KAHN ‘19, AVERY CALHOUN ‘18 AND CHINAECHELUM VINCENT ‘20 STYLED BY PAOLO NASR ‘21, ARIANNE WONG ‘21, JULIANA KEMENOSH ‘21, JANE CHEN ‘21, LULA CHOU ‘21, NATALIA ROMMEN ‘21 AND CARLY RYAN ‘21 BEAUTY BY MADISON KAHN ‘19 AND EMILIO FRAYRE ‘19

On Chinaechelum: Floral Crop Top, DFTI Boutique.

THEWALKMAGAZINE.COM 13

In tune With The Trends Music and fashion have always been intertwined. Both are essential elements of pop culture and society, making it difficult to imagine one without the other. This relationship, although natural, has not always been easy. BY COURTNEY GU â&#x20AC;¢ PHOTOGRAPHED BY NOA BAKER 14 THE WALK / FALL 2017

“V

ersace, Versace, Versace.” - “Versace” by Migos “Raf Simons, Rick Owens usually what I’m dressed in.” - “Peso” by A$AP Rocky

“That chick know she bad, tell by the Chloé bag” “Throw Some D’s (Remix)” by Kanye West

It’s not uncommon to hear the names of esteemed fashion houses referenced in the realm of hip hop these days. From Gucci to Chanel, Margiela to Balmain, it seems every well-known, high-end designer brand has been mentioned in hip-hop lyrics. While fashion houses are now more willing to reciprocate the love shown to them by these artists, this wasn’t always the case. Luxury fashion brands initially viewed their association with hiphop as a negative one and had little respect for the fledgling genre in the ’70s and ’80s. More than just a musical style, hip-hop is an art form that arose from urban decay and served as an outlet for expression for young people in predominantly black communities in the Bronx. This demographic was not one luxury labels were eager to serve. Hip-hop stylist Rachel Johnson expressed the attitude designer brands had toward the hip-hop community at the time. “As a general rule, many of the fashion houses are just closed. It’s a club that you’re either in or you’re not.” It was perhaps because of this perceived exclusivity that urban youth and hip-hop artists venerated high-end labels, even to the point of obsession—a sentiment most notably expressed by the Lo Lifes, a Brooklyn gang with a penchant for dressing in head-to-toe Polo Ralph Lauren. The rise and success of Daniel “Dapper Dan” Day’s Harlem boutique, which sold garments adorned with fake designer logos in the ’80s and early ’90s (later sued by Louis Vuitton and Gucci and eventually shut down in 1992), is also indicative of these marginalized communities’ aspirations for a luxurious life. Music and fashion were an escape for those living in impoverished urban environments. Wearing “designer” clothing—regardless of whether the garments were authentic or not—expressed a desire for a much different, more affluent lifestyle. Once hip-hop became a globally recognized phenomenon in the ’90s, the opportunity for marketing and monetization encouraged brands to finally acknowledge artists who had long been fans. Tommy Hilfiger was the first to embrace the hip-hop community, working with the likes of Snoop Dogg, who wore the designer during his 1994 “Saturday Night Live” performance, and Aaliyah, who modeled for the brand and served as inspiration for Tommy Hilfiger’s women’s collection in 1996. In 1997, Versace had Tupac walk down the runway, and by the 2000s it was common to see high-end brands partnering with the artists they had been previously reluctant to associate with. Simply donning designer labels isn’t the only way hip-hop artists display their appreciation for fashion. Knowledge of fashion is used to stunt in a world where status is often predicated on the ability to show off. While name dropping ubiquitously known luxury brands began as a way to demonstrate one’s ability to afford labels recognized, yet inaccessible to the masses, it has evolved into a method to flaunt knowledge of relatively lesser known brands before they reach the mainstream. The ability to predict trends and identify what’s hot before everyone else has become the new status symbol in a genre now saturated with mentions of “Versace” and “Prada.” Ironically, when hip-hop artists mention brands or designers previously unfamiliar to the larger public, they often boom with popularity. Notable examples of this are the “Kanye

Bump” on brands like APC and the “A$AP Rocky Effect” on designers such as Raf Simons—a testament to the powerful influence these artists have on pop culture and society today. Now, every designer seems to want in, sparking partnerships from Young Thug for Calvin Klein to Vic Mensa for Alexander Wang. High fashion’s eventual interest in hip-hop and departure from serving only elite (and often white) society members is a telling indication of a shifting cultural climate, though perhaps born out of designers’ need to remain relevant rather than out of voluntary acceptance. Gucci, which had previously sued Daniel “Dapper Dan” Day for unauthorized use of the brand’s logos in the ’80s, recreated one of his jacket designs for its 2018 Cruise collection without consulting Day beforehand and called it “a homage to Dapper Dan.” Accusations of appropriation and public outrage ultimately led to a partnership between Gucci and Day, including plans for a studio for custom commissions and a capsule collection. Giuseppe Zanotti’s unsanctioned use of Nicki Minaj’s name for several of the brand’s sneaker designs in early 2017 is yet another example that suggests brands are more interested in making a profit than granting the hip-hop community the respect it deserves. It’s clear an uneasy relationship between fashion houses and hip-hop remains. The influence of hip-hop isn’t merely limited to high fashion— it undoubtedly extends to streetwear as well. Many streetwear brands were popularized through hip-hop artists, such as A Bathing Ape (BAPE), brought to public consciousness by Pharrell in the early ’00s, or NASASEASONS, which developed an avid following after Rihanna was spotted wearing one of the brand’s hats in 2016. Nike’s presence in both streetwear and music is undisputed—Frank Ocean’s song “Nikes” and several editions of Air Jordans made in collaboration with OVO are just two examples. Off-White’s Virgil Abloh has ventured into the music realm, acting as a consultant for Kanye West and directing Lil Uzi Vert’s “XO Tour Llif3” music video (although the video’s problematic appropriation of Arabic is not to be overlooked). As was the case with hip-hop, high-end brands are now finding ways to capitalize on streetwear. Fashion is, after all, a business. One need only look at the recent 2017 Louis Vuitton collaboration with Supreme—a stark departure from the antagonistic relationship the brands had in 2000, when Louis Vuitton sued Supreme for using the LV monogram on its merchandise without permission—or the success of Vetements’ streetwear basics sold at a steep premium to see what once were defined barriers have become blurred lines between luxury and streetwear. This development isn’t without controversy. High fashion’s foray into streetwear is thought of by some as a form of cultural appropriation, especially when considering the socio-economic roots of hip-hop. Other criticisms include the accusation that brands are “selling out” by collaborating with luxury designers—perhaps the most serious grievance a streetwear label can commit. While it’s impossible to argue that hip-hop and fashion are mutually exclusive domains, the relationship between the two is fraught with tension. Despite the difficulties that arise from this interdependence, each has exerted immeasurable influence on the other and will continue to do so. Garments traditionally associated with hip-hop—sneakers, tracksuits and bucket hats, to name a few—have made their way into the mainstream, but it would be careless to forget the contentious origins and socio-cultural conditions that gave rise to the styles we see on runways and the streets today. W

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gETTING MOIST

OPIN ION :

Aridity is so 2003. Matte is out. The WALK writer Jacob Kind wants to start a conversation about being moist.

BY JACOB KIND • PHOTOGRAPHED BY MADISON KAHN

n the cover of her New York Times bestselling, critically acclaimed book Selfish, Kim Kardashian West offers readers a minimalistic selfie: a smize, a three-quarter-angled face, a pearly complexion and a cascade of wet hair down her shoulders. The 448-page book is thick, and this thickness contrasts sharply against West’s plastered, soaked hair. As a result, the physicality of the volume suggests larger exploratory themes of femininity, feminism and female expression and how that expression engages with the intersectionality of moisture. Although only “51 percent of Google users liked this book,” (Google), and Tracy Young, Amazon reviewer, believes “a poor tree died for this” (Amazon), the cover of Selfish alludes to a larger conversation. The new IT trend is getting wet. I was introduced to the Decade of Damp by the most fashion-forward person I know: my 86-year-old grandmother. It seems like just a year ago, she showed me West’s wet, sultry look at the 2016 Video Music Awards. I arrived to my grandmother’s suite in Gold Acres to the elated scream, “Damn, that girl is wet.” And although my grandmother’s relationship to moist self-expression may seem troubling, her description of the larger trend affirms the universality of getting wet and its connective, intergenerational influence. Anyone can get wet. And anyone can appreciate wetness. Oftentimes when we think about wetness, we imagine droplets or things like water. But wetness is so much more than that. Wetness illuminates a spectrum of volume in regards to fashion and makeup. We see trends like wetting the hair and putting mousse in the hair or strobing and highlighting the face as means by which the people upend the state’s hegemony in regards to stereotypical fashion. And West has served the people as a visionary in this fight to get wet. West is just one of many celebrities who like getting wet in public. Over the past damp decade, the whole Kardashian-Jenner clan has graced the public with their red carpet moistness. And the wetness doesn’t stop there—no, it keeps seeping outside of Kris Jenner’s

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tight, moist grasp. From Parabal Gurung to Jason Wu, wet strands were perhaps the most universal hair trend on the runway during the latest New York Fashion Week. And Marie Claire named wet-look hair the biggest beauty trend of the 2017 Emmys. Nonetheless, the arrival of the moist trend transcends the circles of celebrity and high fashion. Academic research shows the moist trend impacting commercial areas such as everyday makeup and hairstyling, sending forth a wave of revolution into billion dollar industries. The new craze of highlighting and strobing the face to create a dewy, nearly soaked effect is a prime example of moisture’s reach. Moreover, with Rihanna’s release of 10 different Match Stix Shimmer Skinstick highlighter shades by Fenty Beauty, we have seen not only the importance of moisture and glow but also the unadulterated inclusion of varying degrees of wetness and moist confidence. Getting wet means getting out there. Getting wet means strobing. It means highlighting. It means wetting your makeup palette. And at the juncture of wet, highlighting makeup and soaked, moist hair arrives a new kind of restructuring of what volume means. Through a postmodern lens, we see a new perception bubble forth from the depths of the hegemonic status of typical voluminous personal expression and styling. Rather than augment the value of voluminous hair and diminish the value of facial volume, we see a reversal, an upending, of the old order. Now volume is being added to the eyes, lips and cheekbones through strobing, and that same catalytic force of moisture is detracting volume from the hair. Consequently, the head transmutes itself into a physical manifestation of disruption and opposition to the hegemony of typical voluminous ideologies. As a result, moisture opens up an avenue for revolutionizing and dislodging the grasp of soft, bourgeois, dry, arid power. And although our efforts to break down the hegemonic rule of soft, bourgeois, dry, arid power may never rival the selfless work of West, our efforts are not to no avail. We too can be the moistness we wish to see in the world. So get your rose water and get wet.

THE

BOLD REVIVAL

BY FRANCESCA CATANIA • ILLUSTRATIONS BY CATHLEEN GUI The ’80s are back and chicer than ever. The WALK takes a closer look at how to pull these fashion trends off and why exactly they have returned.

ne way to characterize the 1980s is with a single word—“bold.” Fashion in the ’80s was hardly demure. Despite all the spunk, the trends people thought were laid to rest in 1989 have risen from the closet and drawers. There are certainly ways to wear them and look fierce today—just turn to shoulder pads, oversized denim jackets, colorful leather boots, wide belts, power suits and trench coats. The ’80s are a stand-alone decade. When they arrived, they seemed drastically different from the decades that preceded them; perhaps one of the only similarities between the ’80s and ’70s was a message of freedom. While the ’70s had a “stick-it-to-the-man” attitude, the ’80s actually made you the man. These were the times of Madonna, Diana and the ultimate power suit. By donning large shoulder pads and a masculine silhouette, women embraced that power. Yet, style comes and goes. Much of the reason for the reemergence of ’80s fashion this year is simply due to the cycle of fashion. However, its reemergence seems to also be a political statement. People are done being demure when the world is in turmoil. Women, especially, are over being polite. To understand how the fashion trends manifest today, it’s useful to consider specific looks. Designers like Isabel Marant loaded their runways with huge, slouchy leather boots, big belts and oversized power suits— shoulder pads and all. Balenciaga’s scrunched pleather dress with strong shoulders similarly emulates the style of the ’80s. These trends are not the easiest to adopt but can be achieved with balance. In fact, they can be very flattering. When not overdone, large shoulders create a strong silhouette and give the illusion of a particularly slim waist. For those who may feel a bit strange in these looks, try incorporating the boldness of the ’80s one piece at a time. A loose trench

Across college campuses, students seem keen on adopting certain elements of this decade’s return. When students at Penn were asked how they felt about these trends, most said they would wear a customized denim jacket but felt a little more apprehensive about trying the other looks. It’s more a question of what has become mainstream: Marcella Plazas (W’19) said she felt “oversized and customized denim jackets have become normalized.” “I don’t feel ’80s when I wear a big denim jacket, but I would feel a little weird in huge shoulder pads,” Plazas said. The colorful leather boots and intense shoulder pad trends may take longer than others to take off at Penn, but could certainly appear as students feel riskier from a fashion and possibly political standpoint. looks effortless hanging open over any outfit. You can also take inspiration from Madonna and her classic white lace outfit by wearing a pair of white pumps or boots. Celebrities, like Gigi Hadid, have adapted this ’80s trend to look modern and sleek. A third choice is to keep it cool with a punk-like, oversized—or even customized—denim jacket, taking inspiration from stars like Sarah Jessica Parker. It might be best, however, to take the word “inspiration” lightly. Looking exactly like these ’80s models could be a bit shocking. Try to keep jewelry and hair simple, and wear sleek, fitted tops underneath, leaving jackets and coats unbuttoned. This will ensure your silhouette won’t “swallow” you up. Overall, the success of so many looks comes down to how they make you feel. If you feel amazing in an outfit, you more than likely look amazing. THEWALKMAGAZINE.COM 17

WORKING IN

VOLUMES

Since being founded in 2015, Penn First has had an incredible amount of influence on the University of Pennsylvania as well as first-generation low-income organizations at different universities around the country. This February, the club will be hosting the 1vyG conference for the first time. BY ELIANA WAXMAN

olume. When we see this word, we think of blaring music sliding out from under the cracks of our roommate’s door. We think of our frizzy hair sticking out from our heads as we get ready in the morning. We think of the massive piles of homework currently weighing down our backpacks to the point of shoulder cramps. Yet, it is rare that we talk about volume in respect to change affecting our daily lives on a university campus. Whether you realize it or not, there are people working all around to create a ripple effect in Penn’s community. Penn First is one of these organizations. “So many [first-generation low-income students] will be attracted to Penn and the community that we have here,” said Communications chair Nicole Posadas (C’20). “I hope they know something like Penn First exists for them, and it’s something that we are working to continuously grow for them.” The club was founded by a handful of Penn students who attended the first 1vyG conference held at Brown University in 2015—1vyG standing for first-generation Ivy students. The annual conference is an inter-Ivy and Ivy plus conference for first-generation, low-income, or FGLI, students. Inspired by the discussions they had with their peers, the Penn delegation decided to create Penn First, understanding the importance of bringing the conversation back to the Penn community. Prior to the club’s foundation, FGLI students had minimal public presence on campus. Now, just three years later, Penn First will host the 1vyG conference in the spring, led by Candy Alfaro (C’19) and Anea Moore (C’19). The conference is set to last three days and similar to previous years, will be made up of keynote speakers and intimate discussions, all with the intention to build a national network of first-generation students and to dissect the issues that stem from being first-generation, low-income at a high-level university.

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“Many first-gen students struggle with guilt when they arrive to college because they may feel like they are abandoning their family and their roots,” Alfaro said. She estimates there will be more than 500 attendees including students, alumni and administrators from universities such as Harvard, Yale, Stanford and Amherst. The first 1vyG conference had less than half of that amount. This year, Penn First expanded the alumni section to include five alumni panels with expertise in a variety of fields, including entrepreneurship, pre-health, public service, academia and technology. Students will have an opportunity to speak with alumni during a luncheon that will follow the panels. 1vyG’s purpose embodies the intention the founders set when creating Penn First: to form a welcoming and inclusive community of FGLI students. According to secretary Lyndsi Burcham (C’19), this begins by having honest conversations with one another about what it is like to be among the minority of students of their backgrounds. A QuestBridge scholar from Kansas City, Burcham wants to break “the chain of low income” in her family. Her older sister attempted to achieve her dream of being a kindergarten teacher but struggled with the finances of attending a community college and raising two children. After watching her sister’s dreams fall apart, Burcham knew if she made it to Penn, she would devote herself to Penn First. “I knew my entire existence at Penn was going to be defined by me being a first-generation, low-income student,” Burcham said. She was concerned about entering an environment where a lot of students would be of high socioeconomic status and

DIRECTED BY JULIEN ADVANEY ‘18, ALDEN TERRY ‘19 AND NADIA KIM ‘19 PHOTOGRAPHED BY MIRU OSUGA ‘18 MODELED BY ANA MILETIC ‘18, NICOLE POSADAS ‘20, LYNDSI BURCHAM ‘19 AND CANDY ALFARO ‘19 STYLED BY ESTHER WOO ‘18, ISABELLA YU ‘21 AND LULA CHOU ‘21 BEAUTY BY MADISON KAHN ‘19

FASHION\thewalk

On all models: Stylists’ Own. THEWALKMAGAZINE.COM 19 THEWALKMAGAZINE.COM 00

20 THE WALK / FALL 2017

connect the freshmen to [upperclassmen], because some of them don’t get to be involved with the FGLI community,” “I was really scared of the culture shock I was going to Gonzalez said. face,” Burcham said. Not only does Penn First foster a dynamic social She knew having that support network was vital for climate for FGLI students, but it also provides seminars her to thrive at Penn and now works hard to ensure others and workshops for students to learn about both academic have that same experience. Most recently, she helped and career opportunities outside of Penn. Professional coordinate dining options for people who cannot afford development chair Ana Miletic (C’18) wants to ensure to go home over school breaks. Burcham wants to make members have equal opportunities to that of their peers. sure Penn is “more open and accessible to people from my Last semester, Miletic hosted a joint event with Career background.” They have around 300 members but stress Services to introduce FGLI students to their resources as any student from a first-generation and/or low-income well as to Handshake, the online forum used to apply to background is automatically part of the community. internships and jobs. Looking toward the future, the club Co-mentorship chair Daniel Gonzalez (C’20) also hopes to host monthly panel discussions or dinners with noted the importance of forming this type of community FGLI alumni alternating with workshops surrounding for friendship, mentorship and social support. Within the marketing and finance. Ivy League in particular, Gonzalez emphasized how many Although the goal for the club initially came social situations are influenced by money—whether it from students, many board members have noticed involves grabbing a nice dinner, going to an event in the the administration also wants to create an inclusive city or even attending a BYO. Gonzalez first noticed this environment and equal opportunities for FGLI students. when spending a summer at Harvard before coming to “I’ve been able to speak to different kinds of people Penn. on campus, like librarians, about how we can help other To combat these dividing factors, Gonzalez and his students,” Posadas said. She not only plays a vital role in co-chair Mohammad Oulabi (C’20) have put together a publicizing the club’s events to students but also speaks to mentorship program for underclassmen in the Penn First other members of the university. community. “I wanted to build a program where I could would not be able to empathize with her experiences.

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Burcham agreed on how responsive the university is to Penn First’s thoughts. “They’re very open with us about things I wouldn’t expect them to be open about, like what their limitations are,” Burcham said. “They’ve been really candid about that, which I appreciate. It gives us a kind of framework of knowing what we can and can’t ask for.” Most notably, Penn First worked with the administration to bring a center for FGLI students to the Greenfield Intercultural Center in 2016. The center shares the club’s goal of making students feel included as well as providing any assistance they may need. It is currently the administration’s main resource for FGLI students. Despite the university’s intent to inform FGLI students of the resources available to them, there are still points of contention between them and the board.

“We’ve been way too understanding for way too long. It’s time for Penn to share and help lessen our daily burdens.” ANA MILETIC C’18

“We are in a position right now where we are still trying to get the university to recognize the problems,” of how much money they make or the assets they have are viewed Burcham said. by the university as able to pay for the education they get by coming here,” Burcham said. “That’s not always actually possible.” These issues include providing more monetary resources to students. Although the university does give financial aid Unfortunately, this is an issue FGLI students across the to some students, oftentimes there are those who fall through country are facing. However, Penn First is motivated to create the cracks. This includes lower-middle class students who may change for the better. Miletic hopes this year’s team of students not qualify for financial aid based on family income yet have will push for reliability and resources from the administration. difficulty getting all of the proper resources they need—from “We’ve been way too understanding for way too long,” textbooks to club dues—to thrive at Penn. Miletic said. “It’s time for Penn to share and help lessen our daily “It’s really troubling that [students’] families by definition burdens.”

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THEWALKMAGAZINE.COM 25

HIGH IN

hair HIGH IN meaning BY EMILY SCHWARTZ PHOTOGRAPHED BY NOA BAKER

WRITTEN BY KARIS STEPHEN PHOTOGRAPHED BY MICHELLE LOK

26 THE WALK / FALL 2017

air stylists across the country are well acquainted with the concept. On any given day, clients may demand, “Plenty of volume, please,” or emphatically detest the look. Yet the debate over volume is not unique to the current hair landscape. Big hair has fallen in and out of style periodically in the past, and examining its popularity speaks, well, volumes about the female image and its position throughout the 20th century. There is little question that the first, most widely-recognized hairstyle of the 1900s is the Roaring Twenties’ Bob. Cropping the hair short and keeping it straight soared in the 1920s, representing the political climate at a time when men had returned to the states from World War One and women were allowed to leave their posts at home to explore a new lifestyle of independence. Women were granted the right to vote at the start of the decade, the prohibition called for a new type of promiscuity and social lives blossomed. Hair was snipped, and with it went society’s traditional views of femininity, as women rejected length and volume in an effort to rid themselves of their duties and perception as sheltered housewives. Characterized by economic strife, the following decades sparked a return to volume, nearly opposite the 1920s trend. By the 1950s, when the U.S. had made it out of the Great Depression and the Second World War, women were ready to reclaim the opulence and sophistication that had been unattainable during prior years. Movie stars like Rita Hayworth, Elizabeth Taylor and Marilyn Monroe popularized the Old Hollywood glamour look—distinguished by its deep side part and flowing, loose curls—as commonly seen on the red carpet today. Volume was revered—symbolic of the beauty, romance and allure women could finally afford. In the ’60s and ’70s, volume became more contested, neither universally desired nor discarded as in earlier decades. Well-liked styles of the ’60s included the flip (height on top and ends curled up and out) and the beehive (hair piled on top of the head in a round, beehive shape). Women were infatuated with stars like Elvis Presley and naturally imitated the puffy bouffant worn by his then-wife, Priscilla. Equally imitated, however, was supermodel Twiggy, known for her ultra-short pixie, a style that grew increasingly sought-after as mod fashion found its place in the spotlight. The choice of whether or not to incorporate volume may have been reflective of increased choices available to women in the decade, as the first oral contraceptive was approved by the United States Federal Drug Administration in 1960, the Equal Pay Act was passed in 1963 and the National Organization for Women formed in 1966. The 1970s saw similar variation. Cher, beloved singer and Goddess of Pop, was photographed everywhere with her signature, straight blowout—sans volume. Yet at the same time, pasted on many bedroom walls was a poster of Farrah Fawcett, smiling at the camera from behind billows of blonde curls and waves. What was finally less varied was the acceptance of natural hair of African

American women, who could reclaim their hair’s original texture with the rise of the afro. As much as voluminous hair served as a symbol of independence and freedom for some, it functioned just as much as an object of exclusion for others, particularly for minority women, who couldn’t achieve the styles only attainable for women with smooth, easy-to-manipulate locks. It wasn’t until the 1980s that volume was unanimously preferred again, as big hair of all shapes and sizes became the norm. Even men began to proudly flaunt tight coils, as Jon Bon Jovi demonstrated, and Madonna became an instant icon thanks to her electrified mane, as captured by photographer Francesco Scavullo. It was musicians like these that explained the rise of big hair in this era, as punk became the fad in music along with metal and glam. Women everywhere requested perms at salons and teased their hair as high as it would go. Attaining these styles was no easy feat—the harsh brushes, chemicals and heat required for a full head of curls proved just how far women went to feel as larger than life as their hair looked. Hair calmed down by the 1990s. The hairstyle of the decade was undoubtedly Jennifer Aniston’s characteristic look: The Rachel. Everyone watching “Friends”—and even those who weren’t—wanted to copy The Rachel: a shoulder-length cut with extra choppy layers. Aniston remained an inspiration well into the early 2000s, even after she began to wear her layers longer and sleeker than before. Outside of “Friends,” the rise of new technology in the ’90s, like cable television and the World Wide Web, connected Americans in unprecedented ways, allowing multiculturalism to become more recognized and new movements like hip hop to spread. Yet despite how music has lead to the popularity, and often appropriation, of traditional black hairstyles like cornrows and afros, society still has a long way to go in treating ethnic hair equally. Just this year, Grazia UK and the Evening Standard were caught photoshopping curls and braids out of Lupita Nyong’o’s and Solange’s magazine covers, respectively. Aniston brings us to today, when volume manifests itself in myriad ways. Some women still go for classic volume with maximum height. Others seek it in less traditional ways, like thick ponytails and braids, or bouncy curls or extensions. Some refuse volume altogether. Styles of the past have been revived as well, with new representatives like Michelle Williams now typifying the pixie cut instead of Twiggy, or Kate Middleton, and not Cher, exemplifying the glossy blow out. With such a range of preference, the hairstyles of current years are more indicative than ever of the world’s increased awareness of both diversity and culture, and of how far society still has to go to achieve total equality. It is unknown which hairstyle will define the current decade and unclear whether or not volume will be honored, hated or something in between. What is certain is regardless of the outcome, attitudes towards volume can make waves in more ways than one, shedding light on hair as a means for personal expression and change.

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SP EA K IN G

VO LU M ES BY VARSHINI GALI ILLUSTRATION BY BRYAN JOUNG

The aftershocks of President Donald Trump’s election have permeated the realms of art and literature—and fashion hasn’t been spared, even a year out. But does fashion effectively amplify volume about politics or simply generate white noise?

lmost one year ago, America was reeling from one of the biggest events of our country’s recent history: the election of President Donald Trump. Amidst the triumph and outrage of the public, a revival of political fashion sparked, which manifested in a multitude of ways, from “Make America Great Again” baseball cap parodies to “The Pussy Grabs Back” T-shirts. Even colors have become political—millennial pink, the color of 2016, has stood as a symbol of defiant and unrelenting femininity. But this isn’t without precedent: the deeply-intertwined histories of fashion and politics are a testament to society’s capacity for creativity and expression. In the 18th and early 19th centuries, caring about clothing was seen as a frivolous “women’s activity.” However, this apparent frivolity was cleverly transformed into an asset by American suffragettes. By embracing contemporary trends and creating their own fashion statements, these stylish women made it cool to be political and subverted the notion that putting thought into dress implied a woman’s insensibility and lack of intelligence. Bloomers, a pant-like garment revolutionary for bringing women out of their restrictive clothing, had their heyday in the 1850s. During this period, bloomers made their way across the nation, as a

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popular symbol for women’s rights—so much that they began to have a stigma of radical feminism. The themes of fashion and women's political liberation continued well into the next century, with notable examples, such as the flappers of the 1920s and the hippies of the 1960s. Politics in fashion had largely cooled off since the ’60s and ’70s—until now. In a revolutionary move, designers passionately embraced the use of political statements in their pieces during the F/W New York Fashion Week 2017. From the runways of NYFW to the brick stones of Locust Walk, the real question emerges: is fashion a worthy vehicle to promote political activism or is it simply fashionable to be political? Many believe fashion is inherently political and thus is a valuable vehicle for social activism—high fashion houses in particular seem to be proponents of including political values in their art. Last February, Dior took a stance with their NYFW designs. Models walked down the runway wearing white shirts emblazoned with “We Should All Be Feminists,” a reference to an essay published by Nigerian author Chimamanda Ngozi Adichie in 2014. For Maria Grazia Chiuri, the first woman to hold the position of Artistic Director at Dior, the emphasis on femininity at her shows was a

deliberate decision made to address our politically-charged climate and the role of women and feminism within it. “There is some argument that people's beliefs are political, and so they prefer not to speak about them. But if you have a point of view, I think you are political in some way; everything is political now,” Chiuri said in an interview with Elle. “I work in fashion, so I have to also speak about this. It's not possible to not speak about it. I think to be feminine now—and this brand speaks about femininity—to speak about the way you dress yourself, your point of view, you define yourself in the way you want. Because fashion on one hand is a beautiful dress, but if there's no message, it's just a beautiful dress.” Prabal Gurung was similarly inspired, as his runway show was characterized by T-shirts with slogans such as “The Future is Female” and “Nevertheless, She Persisted.” Public School and Philipp Plein took more on-the-nose political stances, with the former introducing “Make America New York” baseball caps and the latter, upside-down American flags. Even entire institutions were not immune to the movement: the Council of Fashion Designers in America announced they would be distributing pins at their fashion shows in support of Planned

Parenthood. While there is no denying fashion is an industry that has the potential to capitalize on public emotion, it is also a particularly progressive institution. Many designers donated all proceeds from their shows and merchandise sales to charities and activist groups. At least in the case of high fashion, political play seems to be doing good in the world. However, politics on the runways is quite different from politics in the real world. On college campuses like Penn, statements through clothing are not rare sights, from campaign tees to subtle connotations in everyday attire. The months preceding and following the election were characterized by students proudly declaring their political views across their shirts and fastening enamel pins and patches to jackets and backpacks. The normalization of political culture on col-

something to be gained by cultivating political thought in spheres outside of the debate room. “Shirts like that welcome political discussion. They’re a conversation starter. I think it’s cool that people are confident enough to show that passion to strangers,” Natasha Menon (C’20) said. However, there also exists repercussions to the power of the slogan tee, especially at universities where the student body majority is known to skew towards a certain side of the political spectrum. Swimming in a sea of blue “HILLARY 2016” shirts can certainly cause a conservative student to feel uncomfortable wearing their “Make America Great Again” hat. Strong political styles have a polarizing ability, as well as that to create a feedback loop: by seeing an initial majority of Democrats wear political attire, more liberals join in and more conservatives back out, creating an environment where the true distribution of stu-

such. Although clothing can be a powerful insight to someone’s character, it quickly becomes risky to make hasty judgments about other people and their beliefs based solely on the clothes they pick while getting dressed in the morning. “It’s hard to generalize Penn students based on how they dress, because we have such diverse backgrounds, styles and life perspectives,” Mark Pino (W’20) said. This is especially true at Penn, where name brands hold a special significance, due to the divides in socioeconomic status of the student body. Canada Goose has become an unwitting political symbol on campus, and the frequent Facebook posts about losing these coats at frat parties have come under fire as a “humblebrag” way to broadcast class status. Seemingly innocuous posts about a simple garment can easily stir up political discourse.

Photographed by Alisa Wadsworth

lege campuses, due in large part to social media influences, has made being political in person much easier than it used to be. What better way to prove you’re “woke” and “with-it” than a snappy slogan tee? In this era of activism, there’s more “street cred” to gain and less to lose by being a part of the socially-conscious in-crowd. Now, there’s somewhat of a peer pressure to hold a clear-cut political opinion. Perhaps seeing so many of their peers wearing campaign clothes would lead students who haven’t fully defined their personal politics to get swept up with the crowd and emulate the style (and ideology) that has become so popular. The intentions of someone wearing a campaign shirt exists on a spectrum from casually wanting to fit in with the liberal status quo, to deliberately intending to spread awareness about the political party he or she supports. For some, a slogan tee is a fashion choice; for others, it’s political. But do these intentions truly matter? The same goal is accomplished, regardless of the apparent purity of thought behind it. Political attire can foster community on campus, as well as create an atmosphere of activism. Many believe there is

dents in either party is misrepresented. Meanwhile, some students choose not to embrace the slogan tee or backpack button in favor of a subtler approach. In these cases, connotations (whether intentional or not) play a powerful role—alternative or retro pieces, such as mom jeans and crop tops, can conjure up an image associated with liberals and social activists, just as the combination of Sperry boat shoes, salmon shorts and polo shirts is reminiscent of conservatives. A study conducted by YouGov in 2016 found young Republicans tended to gravitate towards timeless and classic brands, such as Ralph Lauren, Brooks Brothers and L.L. Bean. Meanwhile, millennial Democrats were more diverse in their choices and were more open to trying “trendy” clothes at stores such as Uniqlo, H&M and American Apparel. This is different than the usual intersection of fashion and politics—this time, the politics are produced by the observer, not the wearer. Impressions are not made because the clothing is inherently and intentionally political, like a slogan tee but because the observer deems them as

“Many students at Penn use fashion to make statements about who they are, which is a core part of politics,” Menon said. “Clothing highlights exclusivity and inclusivity, and I think that comes into play especially with the branding and logos on your clothes.” For fashion houses and college students alike, the intentions behind wearing a political piece are not as important as the act itself or its aftermath. When designers react to current events through the clothing they create—whether to raise awareness, donate to a charity or even to make a profit—the sheer fact is, their efforts actually work to amp up the volume about political causes. Because they choose to incorporate these ideologies into their pieces, customers worldwide become part of the cause they are wearing. This resonates in the real world, where students and citizens can contribute to the political climate through voices loud and soft, deliberate and unwitting. The power of politics is such that it can be inferred even with the quietest signals, and fashion is a fitting medium to broadcast them.

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LXWXh

On Anab (left): High-low White Top, Palmer Harding, $596, Joan Shepp. On Thomas: White Ruffle Shirt, Comme des Garรงons, $548, Joan Shepp. THEWALKMAGAZINE.COM 31

On Anab (left): Transparent Regid Dress, MM6 Maison Margiela, $365, Joan Shepp. On Bradley: Stylistâ&#x20AC;&#x2122;s Own.

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DIRECTED BY JULIEN ADVANEY ‘18, ALDEN TERRY ‘19, NADIA KIM ‘19, AND NOEL ZHENG ‘20 PHOTOGRAPHED BY NOEL ZHENG ‘20 AND CHRIS OH ‘19 MODELED BY ANAB AIDID ‘19, LUCY FERRY ‘20, THOMAS DELAHOULIÈRE ‘20, AND BRADLEY SMITH ‘20 STYLED BY PAOLO NASR ‘21, ARIANNE WONG ‘21, ESTHER WOO ‘18, ISABELLA YU ‘21, AND ISABELLA VURA ‘21 BEAUTY BY MADISON KAHN ‘19, SARAH THOMAS ‘19, AND GIOVANNA SENA ‘20

On Bradley: Stylist’s Own. On Thomas: Oversized Hooded Poncho, Y-3, $790, Joan Shepp. On Lucy: Stylist’s Own.

On Lucy: Origami Shirt, Issey Miyake Cauliflower, $455, Joan Shepp. On Bradley: Stylistâ&#x20AC;&#x2122;s Own.

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VOLUMINOUS FASHION

THROUGHOUTTHE AGES BY SEENA PAUL ILLUSTRATION BY GLORIA YUEN

You may laugh at the thought of walking around in a towering white powdered wig, but Louis XIV would have probably cringed at the idea of surgically stuffing salt water balloons into boobs, so let’s not judge. Give our sizeable list of fashion phenomenons throughout history an ample amount of attention and read up on the world’s biggest and baddest trends.

3100 BCE-30 BCE

1500-1600

• Jewelry transcended social class • Men and women piled on gold earrings, bracelets, rings, necklaces and collars, which sparkled in stark contrast to their plain white linen clothing

• The farthingale, a take on the hoop skirt, consisted of multiple willow cuttings, rope or whalebone circular structures that were either situated at the waist or followed the shape of the skirt all the way to the floor • Referred to as “verdugado” in Spanish or “farthingale” in English • Joan of Portugal was the first to popularize the trend, sparking rumors that she used farthingales to conceal an illegitimate pregnancy

Egypt • 24K Magic

753 BCE-476 BCE

Europe • In a Land Far, Far Away

Rome • Drapes on Drapes

• Togas were popular costumes that showcased intricate draping • White woolen cloth usually 12 feet in length draped over a white linen tunic • To achieve ultimate elegance, toga wearers would often slide pieces of wood into the folds of the fabric the night before an event to create exaggerated drapes

618 CE-907 BCE China • Fairy-trails

• During the Chinese Tang dynasty, female dancers wore “fairy dresses,” which featured majorly elongated sleeves that trailed far past the hands

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1600-LATE1700s Europe • Wig Out

• Trend credited to Louis XIV, who rather than adorn a subtle hairpiece, decided to combat his hair loss by wearing a huge wig • Wigs were made of human hair, animal hair, framing and cushioning materials, coloring agents, powdering products and scents • Both men and women shaved their heads in order to comfortably sport their wigs • White powdered wigs were among the most popular • Wigs are still worn today in England by judges and barristers

1700s

Europe • Some Action on the Side • Panniers, also known as side hoops, extended the width of the figure while maintaining a flat facade at the front and back, thus allowing for a larger amount of surface area than previous skirts in order to display intricately woven patterns and decorations • Sporting the trend, a typical mid-1700s woman took up three times as much space as a man • The term stems from “panniers,” which in French refers to the wicker baskets hung on the sides of pack animals • Some say it originated in Spanish court while others claim it began in Germany or England. Regardless, the trend quickly spread to France and the rest of Europe

1850-1900 United Kingdomn • Hourglass • Tight corsets to contrast gigantic hoop-skirts and huge bustles that piled up fabric in the back of the skirt • Because so much fabric went into one skirt, women usually owned a few outfits • The demand for hoop-cages grew so great that two New York factories collectively produced about 3,500 hoops a day

1970s

Europe & North America Bell Bottom Blues

• The style of pants ending in bell-shaped cuffs was first popular among sailors of the United States Navy in the early 1800s, however, they became extremely fashionable for both men and women in the '60s • The style demanded curved hems with a circumference of up to 26 inches, made of denim, cotton or satin polyester • Their peak popularity was in 1970, when entertainers such as Sonny and Cher wore them on television

1980s

North America • Pre-Ski

• Snowboarding became popularized and skiing was a hugely popular sport • Fashion-forward men and women dressed up in obscenely huge furry boots, neon, oversized puffer coats, bulky ski suits and chunky sweaters to chill at the ski lodge and sip on spiked hot chocolates, regardless of whether they planned on hitting the slopes after

1950s

North America • Take Me to Church

• The cathedral bra arose as women began exploring new shapes for their bodies with the help of corsets and girdles • The bra’s boning created pointed arches over breasts that gave a bullet shape to women’s chests

1900-1913

Europe • Crazy Funky Junky Hat

• Hats took the Western world by storm, either “excessively wide” or “obnoxiously tall” and were popularly decorated in dried flowers, real leaves or twigs and feathers • The bird population suffered as a result of the trend and milliners began to replace feathers with more ethically sourced materials like ribbon and tulle

Who Let the Dogs Out? • The poodle skirt was meant to be a conversation starter • Made out of felt, the skirt was simple to make at home and became a popular DIY piece • Specifically, the skirt was made by cutting a circle out of felt for the waist and then adorned with appliqués to reflect the wearer’s interests and hobbies • Known as the “first teenage fashion trend” according to Elizabeth Woessner

2000sTODAY North America • My Humps (in the Back and in the Front) • Breast and butt augmentation are popular surgical procedures • As media has made celebrities like Kim Kardashian accessible to the public, many women seek the perfection they see on magazine covers and phone screens • At the same time, there has been a decrease in stigma surrounding breast and butt enhancement recently, which is often attributed to social media’s ability to stimulate open discussion and promote ideals

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On all models: Stylistâ&#x20AC;&#x2122;s Own.

DIRECTED BY JULIEN ADVANEY ‘18, ALDEN TERRY ‘19, NADIA KIM ‘19, AND NOEL ZHENG ‘20 PHOTOGRAPHED BY ALDEN TERRY ‘19 MODELED BY ALEXIS AMANDA MALCOLM ‘18 AND ANGELICA REVILLA ‘20 STYLED BY VERONICA FENTON ‘21 BEAUTY BY GIOVANNA SENA ‘20

NOT SO CHEAP AFTER ALL : FAST FASHION'S TRUE COST Though fast fashion’s low prices and massive volume of choice make it an alluring stop at the mall, the barrage of controversies surrounding it have become harder and harder to ignore. In light of this debate, many students are choosing to shop sustainably instead. BY ALEXANDRA NICHOLS • PHOTOGRAPHED BY JIN MA

bright, chaotic array of fabrics litter the floor and hang precariously off of nearly every table, chair or ladder. Crowded bodies jostle each other in a desperate lunge for the exit or, God forbid, the fitting room. Stains and tears adorn the polyester crop tops. Three stories of bedlam loom over the unsuspecting pedestrians who stroll by outside. Walking into a Zara is as close to entering a hellscape as many of us will ever get. Zara, among other fashion giants such as Forever 21 and H&M, runs its production under a business model known as “fast fashion.” Fast fashion refers to designs that move very quickly from the runway to the sales floor, made available to consumers in inexpensive fabrics at affordable prices. Hence, the pandemonium that ensues once the trendy styles hit the shops. Often store atmosphere and quality are sacrificed for quantity and price. Fast fashion has accelerated the trend “cycle” by allowing runway trends to rise to mainstream popularity and saturate the market. These stores flood consumers with countless fashions to choose from, in the hope that at least some styles will stick. “It’s the most overwhelming experience [about Forever 21]. I usually have to dig for a while before I find something I like,” Nika Kunwar (E’20) said. With the rise of e-commerce, transitioning retail to the Internet has made it possible to avoid the disarray of brick-and-mortar shops. As many shops close their physical stores to focus on e-commerce, a new set of “ultra-fast fashion” online shops have cropped up. Companies such as Boohoo, Missguided and ASOS produce merchandise in as little as two weeks, versus five weeks for traditional fast fashion retailers. The effects of this model are readily seen: ASOS adds up to 4,500 new items to their website every day. Thus, these retailers are able to quick-

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ly adjust to new trends and supply and demand fluctuations. While many American retailers were closing stores across the country, Boohoo’s shares soared about 260 percent in 2016, according to Bloomberg. Yet for as long as fast fashion has stood as a dominant force in fashion, controversy has followed. The rapid turnover of trends has led to a huge amount of over-consumption, and the volume of discarded goods has skyrocketed. High volume, low quality seems to be the anthem for these brands. The excess has created a huge amount of waste in landfills. Pollution and energy/ resource waste is also an emerging issue, generated as a direct result of those same landfills. 2016 alone generated 14 million tons of textile waste in the United States, more than 80 pounds per person. Not only are these textiles being tossed at an alarming rate, but they’re not going anywhere. Synthetic fibers can take years to biodegrade, and natural fibers, due to the intense processing, can leak toxic chemicals into the earth. These drastic effects have not gone unnoticed. In light of these controversies, sustainable fashion has been growing as a viable alternative. Sustainable fashion aims to create a system that doesn’t significantly impact the environment and can (theoretically) be supported indefinitely. One such brand, Reformation, has taken the sustainable living model to heart and has recently become a celebrity favorite. Reformation lists the amount of waste saved for each of its products when you click on it and actively promotes sustainable practices on its website and social media. For instance, a striped tank dress claims to save 4,178 gallons of water and 20 pounds of carbon dioxide waste versus the industry standard. Nicole Novo (C ’20), an occasional Reformation customer, emphasized her distrust of fast fashion stores and underscored, “I like to know where my clothes are coming

from” and added that Reformation’s sustainable focus is “100 percent” of the reason she is willing to pay more for their brand. Patagonia, a popular outdoor apparel brand, has been credited for starting the sustainable fashion movement in the ’90s and has only gained steam into the 2000s and 2010s. Even fast fashion brands, like H&M, have jumped on the sustainable fashion bandwagon, implementing initiatives such as recycling projects and pledges to use organic cotton. Unsold merchandise also poses a huge issue in fast fashion. While many fast fashion retailers choose to either dump the goods in landfills or ship them overseas for foreign countries to deal with, many retailers like Patagonia and Madewell have programs in which customers can bring back their old items to recycle them into new clothing or housing insulation, respectively. However, these sustainable brands are often significantly more expensive than fast fashion brands, making them inaccessible to a large portion of consumers. Wendy Lee (W’20) said she would prefer buying fewer high quality pieces over an abundance of fast fashion items but finds that much of her wardrobe is fast fashion, due to its accessibility. While fast fashion continues to dominate the market in terms of affordability and accessibility, sustainable fashion is catching up. Reformation recently launched a more budget-friendly line of sustainable clothes, dubbed Reformation Jeans. Though fashion trends are only just reaching a turning point toward environmental practices, it’s important to be aware of one’s waste and cognizant of green living. Being a conscious consumer in an age when shopping habits directly impact the future is crucial to ensuring a healthy planet, regardless of whether your next purchase is from Reformation or Forever 21.

THEWALKMAGAZINE.COM 45

comme de garçons BY GRACE LEE PHOTOGRAPHED BY ALISA WADSWORTH The WALK's interpretation of the iconic label. The outfits—if you can even call them that—surpass all convention. Shape, size, material, arrangements all blur the boundaries that encompass their definitions, straddling the line in-between. And so, Comme des Garçons founder Rei Kawakubo’s exhibit at the 2017 Met Gala, Art of the In-Between, is aptly named.

46 THE WALK / FALL 2017

She also wanted the art to be as three-dimensional as possible, with no barrier between the guests and the garments, seeking a “democratic” space. Perhaps Kawakubo’s education in fashion has something to do with her message: while she was not formally trained in fashion design, she took a degree in “the history of aesthetics.”

Kawakubo has always been fascinated with “interstitiality,” or the “space between boundaries.” The name of her women’s and menswear company, Comme des Garçons, translates to “like boys,” a reflection of her effort to transcend. Ruffles, ruching, splatters and scraps are all part of her carefully curated collection designed to challenge preconceived notions of dualism.

As seen first at last year’s Met exhibit, her impact remains timeless. Young designers still look to Comme des Garçons for inspiration to push and expand definitions. Pierre Davis, principal of nonbinary fashion institution, NO SESSO, calls the brand “soft sculpture art,” noting in particular the “deconstruction of garments and [use of ] recycled materials.” Creatures of the Wind duo Shane Gabiers and Christopher Peters applaud Kawakubo for her ability to maintain “commercial viability even within the most conceptual work.” This balance she strikes precisely in-between is the over-the-top, eye-widening result of the courage to break age-old convention.

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DIRECTED BY JULIEN ADVANEY ‘18, ALDEN TERRY ‘19, NADIA KIM ‘19 AND NOEL ZHENG ‘20 PHOTOGRAPHED BY ARJUN DOSHI ‘19 MODELED BY CHLOE ONBARGI ‘20, MATEO FORTES ‘18 AND CHLOE LE ‘19 BEAUTY BY MADISON KAHN ‘19 AND GIOVANNA SENA ‘20 ILLUSTRATED BY EDMUND CAI ‘21

THE WALK

IN YOUR S PA C E The WALK invites you inside some of Pennâ&#x20AC;&#x2122;s most eclectic and fabulous student rooms. BY CHRISTINE LAM & AMANDA KWON PHOTOGRAPHED BY JENNIFER HIGA

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SEBASTIAN BEAGHEN C’20 A Chicago-born, design-oriented architect, Sebastian Beaghen has the apartment of our Pinterest dreams. Full of eclectic items from thrift stores, his abode is the ultimate combination of grandma vibes and college student aesthetic. The WALK: How would you describe your apartment aesthetic? Sebastian Beaghen: On the whole, I tend to try to make stuff look as homey as possible. Which to me, with the way I was brought up and the shops I went to, is a very kitschy, thrift store environment. I have a lot of tacky paintings you might expect to see in someone’s grandma’s house. I tend to try to hang framed stuff or older posters, and I have plants. I really try to make it look cozy. W: What are your favorite elements of your room? SB: Currently, I’m really into these posters I got over the summer in France. I got them in Nantes at a wonderful old store full of really cheap posters and books. They’re ’40s teaching posters for elementary schoolers. So, they have great illustrations, colors, and they’re a wonderful reminder of that trip. The other thing I would point to would be my desk chair. It’s a molded fiberglass chair by Charles Eames, who is really an icon of modern design, and I got it for free! W: What is a benefit of having such a personalized living space? SB: I think it’s really the ability to feel at home in college. Last year, when I was living in the Quad, I was miserable in an environment I didn’t feel was mine. But now, having this personal environment and sharing it with my friends makes me feel much more stable and relaxed. When I go home, I really feel at home. W: What is the typical reaction from people when they first visit your apartment? SB: Most people don’t think it looks like a student apartment. But, I don’t think that’s quite true because it does, just like a really strange student apartment. Our landlord let us paint the walls and hang pictures and that really took us to another level that we couldn’t have gotten to in a dorm room. No one’s ever said this to me, but I think [guests wonder] “Whose uncle did we steal this apartment from?” It just looks like someone has lived there for 20 years. When I look around, it really doesn’t look like we put this stuff here three months ago.

W: How did you shop for all of your furniture and decor? SB: I have a sort of route of thrift stores I visit in Philly. The Goodwill at 50th and Parkside, Philly AIDS Thrift and The Second Mile Center are all great resources for cheap furniture. Then the Penn Free and For Sale page and Craigslist as well. But, we really struck gold with my boss who was kind enough to give us some of his extra furniture. Everything comes from various sources, and I don’t think we could have gotten it to feel so cozy if we had bought everything from one place or new. W: How long did it take for you to decorate your apartment? SB: It took about two weeks of really solid work but a lot of forethought and finding things throughout the previous year. While I was living in the Quad, I stuffed my closet full of decor. The thing about thrift shopping for furniture is that you have to be very patient, sometimes you’ll go and it’ll really just suck so you have to go back or wait for a sale. It takes awhile to get everything. W: Any tips for people trying to thrift furniture for their apartment? SB: Never pay anything close to what it would cost new. Having a good looking apartment can be a lot cheaper than you think it would be, especially if you share the cost with your roommates. The most expensive things, and the only things I bought new, were my bed and mattress.

BOBBY BAILEY C’20 Bobby Bailey is a sophomore PPE major from New Jersey who has created the ultimate hangout and relaxation space. Designed with his musical interests in mind, he transformed an everyday Harnwell apartment into an escape in the middle of campus. The WALK: How would you describe your room’s aesthetic? Bobby Bailey: I’m very into music, so my room is centered around that. I have my guitar out, a record player and posters of bands I enjoy like The Beatles or Bob Dylan. W: What is your favorite element of your room? BB: I like the view a lot. It looks over the bridge on Locust Walk and

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you can see all the way to the city. It’s especially beautiful at night since you can see all the lights from the city. W: Who or what inspired the design of your room? BB: My interests, primarily music. Also, functionality and comfort were important things I considered when organizing the apartment. For example, I made sure to have space in the living room for my record player and instruments. W: Where did you shop for decorations and furniture? BB: Most of the furniture was already there, so I didn’t have to bring much. In terms of decor, I brought a lot of the posters and records from my house or got them online. W: How long did it take to put your room together? BB: Really just one day, if I had to put an estimate on it, it probably took around three hours. W: What is the best part of having a personalized and well-designed room? BB: It definitely elevates my Penn experience by making going to school more comfortable. At the end of the day, it’s a nice place to hang out with friends and socialize. W: Do you have any tips for people looking to improve their own rooms? BB: Make sure there are things in your room that you enjoy so it can be an escape for you. Sometimes, school can be stressful, so it’s nice to have things in your room that can help with that—whether it be a musical instrument or art supplies. For me, I have my guitar and harmonica.

GRACE KIM C’21 Born in South Korea and raised in North Jersey, Grace Kim’s favorite places to shop include Anthropologie and Urban Outfitters -- and it shows. Her beautiful replication of the store displays with some added personal touches makes you forget how small the rooms are in the Quad. The WALK: What do you do to make your dorm feel like home? Grace Kim: Honestly, a lot of the things in my room I bought online, but there are some little things that I brought from home. Everything on my desk is from home, like my organizer and photos from fifth and eighth grade, which remind me of my friends. I guess those things help me maintain my sense of home. W: What was your main priority when decorating your dorm? GK: My main priority was coordinating with my roommate. We found each other on Facebook after she saw my post on Roommate Finder. I posted a picture of my room from home to show how I liked to decorate my room, and she reached out to me. We sent each other links of how we wanted to decorate our room. Our first question to each other was, “What kind of bedding do you want?” So clearly, our main priority was style. Comfort is important, but it has to look nice! W: What are you most proud of in your room? GK: I’m proud of how personalized our room is, even with all the decorations, because we each have one wall that we can personalize. A room can look pretty, but it might not tell a story. I would say that my mood board is my personal touch to my room. And I’m proud that our room looks so put together, even if we’re not! W: Why did you decide to decorate your room? GK: I lived at my house back in Korea for 10 years, and I never really got the chance to personalize my room. I had pink wallpaper and my bedding was from third grade. My mom likes decorating the house, so it never looked bad, but I felt like it wasn’t a representation of my own style. I was really excited to go to college and decorate my dorm, no matter how crappy the dorm was. Once I got my acceptance letter, I immediately started watching room tours on YouTube. My dad gave me the authority to buy everything I wanted, and I guess I went a little overboard, but I really wanted the freshman experience, and the fact that my roommate was also very into decorating made me more excited.

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W: What inspired your decor style? GK: I watched a lot of YouTube videos, and I would save some of Urban Outfitters’ Instagram posts to show my mom. I visited New York during winter break, saw the display at Urban Outfitters and decided it was what I wanted, so I bought a bunch of stuff and brought them back with me to Korea. So I would say I already had a strong sense of what I wanted.

AMY CHEN C’18 Amy Chen studies Fine Arts with a concentration in Design, and her room is as aesthetically pleasing as you would expect. The harmony of the colors and the curation of furniture are warm and peace-inducing, not to mention a testament to the sharpness of her artistic eye. The WALK: What do you do to make your dorm feel like home? AC: I like a very cozy feel, so I generally have a color palette of warm colors, such as white, tan, browns and reds. I love keeping candles, tea, music, fuzzy blankets in my room, and I am crazy about organization so everything is color-coded. W: What was your main priority when decorating your dorm? AC: I have a lot of useless accessories in my room. A lot of it is decoration that pretty much serves the function of making me happy. W: What are you most proud of in your room? AC: I really like my desk—it’s a large work table the size of a dining table. I’m a designer who likes to work from home, so I need a lot of desk space. It was an old table from my last apartment’s previous residents. It’s made from beautiful wood and the legs look like an easel, but they were going to throw it away, so they sold it to me for $15. Aside from that, I have a collection of design books that I love— particularly this old magazine from the ‘50s called Eros Magazine. Only four series of the magazine came about before the owner was thrown into jail for writing provocative material. I bought all four of them on eBay, and they are really beautiful works of design. W: Why did you decide to decorate your room? AC: Interestingly enough, I don’t have any posters on my wall, because I have more objects rather than prints. It’s funny, because I have a lot of my own work I can put up, but I don’t like feeling crowded, so I leave the walls blank. I think it’s really important that the light reflects off of blank walls to fill the room with natural light. I am very much a homebody, and when I’m home, I like to be comfortable, so I wanted to curate a space that allows me to refresh and recharge. W: What inspired your decor style? AC: I curated my room from very different places. Most of my furniture is purchased off of Craigslist. After I moved out of the Quad, I spent so much time on Craigslist looking for quality furniture that were neutral colors and at a good price. I think all of the furniture in my room like my bed frame, bookshelves, leather futon and work table, I purchased collectively for under $300. As far as what inspired my decor style, I think it’s just me trying to put a reflection of myself into objects or pieces of furniture or colors. I essentially buy things that make me happy. If it’s something I enjoy, then I put it in my room.

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Rachel Tashjian C’11 Strips Fashion of its Frivolity GARAGE Fashion Features Editor and Penn grad Rachel Tashjian talks shopping in Philly, Crocs on the runway and the future of fashion journalism. BY JESSICA SULIMA PHOTOGRAPHED BY JIN MA

was the first person to explain to me how to style clothing. She’d explain how just because a sweater is shaped a certain way doesn’t mean your arms have to go through the sleeves.”

A member of the class of 2011, Tashjian studied English and art history at the University of Pennsylvania. She ran the F-Word magazine and also took part in the Vagina Monologues. “That was like, the really chic thing to do at the time,” she says, tucking her bleach-blonde curls behind her ear.

Tashjian always loved clothes, but she did not grow up reading Teen Vogue or Seventeen, dreaming of becoming a fashion journalist. It wasn’t until she got to Penn that she discovered the possibility of talking about seemingly trivial things in really intelligent ways.

achel Tashjian walks into New York City’s Dimes Deli with a Supreme fanny pack and a fistful of elegance. “Well I guess the best thing about Penn was the fact that it made me want to move to New York,” she begins.

But even more chic was her regular visits to Joan Shepp, a luxury store located in Rittenhouse—the first high-end boutique she went into where she could “actually touch the Rick Owens.” “I would just go in and try stuff, figure out how to put a Commes des Garcon garment on,” Tashjian says. “There was this woman who works there named Tuesday. I knew clothing, but she

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Tashjian throws her head back and laughs, “And to top it all off, her name was Tuesday.”

“I started to figure out that academics write theses about Patti Smith and television and that sort of thing. And there are also people that write about Balenciaga or Givenchy,” she says. “That was very exciting to me, so I started reading about those things from an academic perspective.” It was around this time Tashjian began digging through the archives of The New York Times, reading through an entire history of fashion criti-

cism. She cites Cathy Horyn as one of her biggest inspirations. “I’ve always really liked journalism, but when I discovered that there was this person writing news pieces and criticism about clothing in the way that I read criticism about rock albums, that was really exciting,” Tashjian says. “The idea that people were thinking about these things in a deep way really inspired me.” Tashjian is drawn to the ideas behind the clothes. According to her, seemingly nonsensical decisions, like Balenciaga’s recent inclusion of Crocs on the runway, always have a story to tell. “It’s not some accident that Jeff Koons was like, ‘Oh, I guess I’ll put these paintings on a bag and people will love it’ or that Demna Gvasalia was like, ‘Yeah sure, we can put Crocs on the runway, that sounds cute.’ There’s a lot more thought behind it that people can appreciate,” she says. It was this astute perspective that carried Tashjian into fashion journalism, though a career did not come right away. After graduating Penn, Tashjian worked as a public relations intern for the creative director at Betsey Johnson for three months and gained a comprehensive understanding of everything that goes into building a fashion business. Then began her dark period, in which

she could not find work as a writer and had to resort to a “super corporate job” in consulting. “I had to wear like, J.Crew every day,” she says with an eye roll. But she was able to write on the side and created the blog, Pizza Rulez, to allow her witty voice to shine. Tashjian used her middle name, however, so that if people were to google her, they would not find “crazy essays about sneakers.” She continues to post on her Instagram, @theprophetpizza, which is flooded with eclectic outfit pics and vintage photos of her idol, Princess Diana. With the help of her blog, Tashjian found her first “real adult job” at Vanity Fair. Working in the PR department, her responsibility was to promote the magazine. She learned to gage which stories would elicit a response, but more broadly, she learned what “news” is and why people choose to write about certain topics. Tashjian believes her time at Vanity Fair was great training for what she does now at GARAGE, a contemporary art and fashion biannual owned by Vice. GARAGE recently launched a website, which features cutting-edge stories that are often overlooked—the kind of stories that hail Shia Labeouf as the “king of fashion.” “We’re building this website, and we’re figuring out how we can create stories that people will want to talk about and share,” she says. Because Tashjian has become so good at an-

...IT DOES SEEM THAT EVERYONE IS MUCH MORE ATTUNED TO DIVERSITY AND INCLUSIVENESS AND NOT HAVING SUCH A DEVIL WEARS PRADA ATTITUDE ABOUT THINGS.

ticipating what kind of stories will make noise, she has recognized subtle differences in the way women are fed media. She likens this difference to the female shopping experience. “When women are told to buy something, it’s more like if you have this, then X will be better. If you have this dress, imagine the life you could have. Whereas the male shopping experience, exemplified through brands like Supreme, is much more about ‘Oh there’s this

thing and it’s cool in a certain way and you just want it because it’s cool to have.’ It’s unhealthy in its own way, but it’s slightly more appealing,” she says. “The way that magazines and websites market things towards women is more like, ‘You are less than what you should be. We know that you feel like you’re not enough.’” But Tashjian remains optimistic about the direction fashion media is turning in today’s political climate. “The industry is becoming much more conscientious. I don’t know if that’s to do with the election or a deeper respect for identity politics, but it does seem that everyone is much more attuned to diversity and inclusiveness and not having such a Devil Wears Prada attitude about things,” she says. “As a lot of older editors of prestige magazines are stepping down, it will be really exciting to see what younger people are going to do.” And although video might be replacing traditional editorial images, Tashjian believes fashion writing will continue to exist. “Sites like Racked or Business of Fashion came into prominence within the last 10 years,” she says. “People are writing and thinking about clothing more than they ever have before. It’s not going away; I think it’ll get better.” So what is Tashjian’s advice for this younger generation of fashion journalists? Read everything, from fashion to politics. “Reading things that don’t have to do with your specific area of interest or expertise will always make your writing better in ways that you can’t even comprehend,” she says. And don’t worry about mimicking the voices of others. “When I first started going to fashion shows and writing about them, I didn’t know how to do that. I remember looking at other runway reviews and thinking, ‘Well I guess this is the way you’re supposed to do this.’ But in fact, no one really cares. You’re just saying what you think about it and why it’s interesting.” And this graceful IDGAF attitude is what Tashjian is all about.

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CAPTURE THAT In the fifth installment of our “Capture That” challenge, teams of The WALK photographers and stylists competed to articulate their own interpretations of our theme, VOLUME, for a chance to have their photos featured in our Fall Issue. Photographer Arjun Doshi ‘19 and stylists Davery Joso ‘21, Paolo Nasr ‘21 and Arianne Wong ‘21 were chosen for their unique exploration of volume in both anatomical and spatial forms, resulting in avant-garde images inviting a fresh perspective on this issue’s theme.

See what the winners had to say about their project: “Our look was inspired by The WALK’s upcoming Fall Issue theme: Volume. Before the construction of the dress, we came up with an idea to incorporate sculpture and clothing in a geometric sense. We were inspired by the monumental works of Rei Kawakubo (creative director and founder of Comme Des Garçons), Hussein Chalayan, Issey Miyake, and Alexander McQueen. These designers have respectively given their own definitions of fashion in unconventional ways, and this dress is an ode to their creations and contributions to the industry. The construction of the dress started off with a base “fabric” of paper maché (we used newspapers). We obtained a mold of the model’s body, and from then on, we used balloons to direct the shape of the silhouette to our liking and later spray painted it.”

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ONLINE

THIS FALL The website turns up the volume. Get a snippet of the sound here and then go to TheWALKMagazine.com.

REACHING NIRVANA BY AIRIKA YEE • PHOTO BY ELLA BEI Kurt Cobain was the one to reimagine the millennial standard of dress. In a time when punk musicians wore studded leather and sculpted hair, Cobain’s live shows in multi-layered shirts and beat-up sneakers gave both music and fashion a new approach.

South Asians in Pop Culture: Why So Many Comedians? BY NEEDHI MEHTA By playing on stereotypes and making people laugh, South Asians subsequently mitigate the adverse effects of deeply rooted racism and micro aggression. But are these comedians lessening the harmful rhetoric or merely reinforcing it?

Image courtesy of Meg McIntyre

Top Girls: A Photo Series BY AIRIKA YEE • PHOTO BY AYCHIN SULTAN While there may be a diverse array of women at the entry and intermediate level, the executive floors of the big fashion conglomerates are still disproportionately run by men. The fashion industry, although less hyper-masculine than other fields like technology or business, still prescribes to structures and practices that allow for continued gender inequality. And it’s a significant problem when many brands’ leadership lack representation from their core demographic of strong, independent THE female WALK /consumers. FALL 2017

Trend Time Machine: ‘70s Bell Sleeves BY FRANCESCA REITMEYER Break out your roller-skates, because this fall one of the most versatile trends is the bell sleeve. This ’70s classic that conjures up memories of bell bottoms and Woodstock is coming back, and in a big way. Image courtesy of We Wore What

What We Can Learn From Scandinavian Style BY ELLY CHOI More than a few viewers of Skam, the viral Norwegian TV series, have been utilizing the almighty powers of Google or Reddit to research Scandinavian fashion, getting their share of oversized knit sweaters, turtlenecks, and wool coats. Image courtesy of NRK TV

How to Increase Volume for All Hair Types BY LAUREN TAPPAN Are your attempts to pump up the volume—of your hair, that is—falling flat? While your first instinct might be to hide your hair under a low brim baseball hat, there’s another fix. Image courtesy of StyleCaster.com

A Novel Antidote to the Instagram Age BY AUDREY OSBORN I have discovered that devoting some time each day, however little, to reading a good, old-fashioned book is a fulfilling, gratifying antidote to a culture saturated by social media. Though novels themselves may be grounded in other-worldly dimensions, the act of reading, reflecting, and turning pages feels familiar and undoubtedly real. Image courtesy of Sony Pictures Classics

Fit or Fake: Açai Bowls BY VALENTINA RODRIGUEZ While media may be bombarding you with pictures and articles of society’s new health craze, the reality of açai bowls is that their effect on your body is not much different than that of Ben and Jerry’s ice cream. THEWALKMAGAZINE.COM 63 Image courtesy of Pop Sugar

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