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BODY IMAGE & MEDIA PAGE 86
27 MASTHEAD 30 LETTER FROM THE EDITOR 38
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FASHION
DESIGNER PROFILE: ELIE SAAB Elie Saab modestly started out in Lebanon creating dresses for his sisters and women in his neighborhood. Now, delicate silhouettes and soft femininity set this designer apart on the runway.
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DESIGNER PROFILE: CHRISTIAN SIRIANO Christian Siriano has been captivated by design and the child’s game of “dress up” since he was young. Bold and Fabulous, Christian Siriano isn’t just a Project Runway star anymore RUNWAY REVIEW: ASIAN EVOKED NOTEN VAN DRIES More that just a trendsetter, Noten Van Dries’ latest runway show is reminiscent of a myriad of Asian influences. Expertly woven into wearable looks, the line is sure to be a must-have come fall.
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CULTURE
BODY IMAGE & MEDIA How much does culture affect how women view their bodies? Studies show that modern media plays a negative role in creating body image. The MIRROR editorial board explores the issue TREND WATCH: AFRICAN TRIBALISM Fashion designers offer a look into the powerful prints and striking colors of African fashion that have and continue to make their mark on American style.
INDUSTRY
DRESSING FOR OPTIMISM Vogue’s view brightens a recessionhit industry, but it may not do much good in the face of inflated prices and shrinking paychecks.
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DON’T SWEAT IT In the face of a global recession, sweatshops have become an even larger problem internationally. But is this really such a bad thing?
INDUSTRY TIPS: BAG CHECK Julia E. Willis gives some basic helpful tips on spotting counterfeit luxury bags. REALITY CHECK: PHOTOSHOP WARS Guest editor Clarissa Root gives her views on the realities of Photoshop usage in the fashion industry, and the movements other companies are making against it.
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MIR ROR WILLIAM GIBBS Editor in Chief
FASHION Fashion Editor EVI FIGGET Fashion Writers: LULU DEHAAN, DANA BRADLEY, AIMEE BAKER CULTURE Culture Editor ASHLEY WEAVER Culture Writers: LULU DEHAAN INDUSTRY Industry Editor TIFFANY HALE Industry Writers: JAMES RINER, HEATHER ORME, JULIA E. WILLIS, CLARISSA ROOT ART/DESIGN Art & Design Director WILLIAM GIBBS Associate Art Director EVI FIGGAT Photo Editor WILLIAM GIBBS Contributing Designer TIFFANY HALE, EVI FIGGAT ADVERTISING/RESEARCH/COPY Advertising Director WILLIAM GIBBS Research Analyst ASHLEY WEAVER, EVI FIGGAT Copy Editor TIFFANY HALE ONLINE Online Director ASHLEY WEAVER Weebly Specialist ASHLEY WEAVER, EVI FIGGAT
ELAINE HAWKER & RODNEY KELLER Senior Consultants
Published by Spori Publications
Chairman ELAINE HAWKER Chief Administrative Officer ALEX CHRISTENSEN Published at 383 South 2nd West, Rexburg, ID 83440 SUBSCRIPTION INQUIRIES: gib11005@byui.edu or www.mirror.weebly.com All images used under fair use laws. All text copyright Spori Publications. MIRROR SPRING 2012
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LETTER FROM THE EDITOR
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NEW BEGINNINGS
t is with excitement that we release the first issue of Mirror. In fashion, it’s important to always look ahead, and that is the attitude we have. At Mirror, we promise to bring you the latest fashion while telling you what’s ahead. That is why you will notice that we already have a review straight from the ongoing Fall/Winter 2012-2013 runway weeks. So far, it seems that the bright summer palate will be washed down into frothy, cool shades and tones. Of course for a full Fall report, be sure to check on the Summer issue hitting newsstands in June. For now, though, it’s spring! If the runways are any indication, geometric patterns and bright colors still dominate casualwear. Especially prominent at Jason Wu and Derek Lam, bold prints will also play a major role in summer fashion. However, not everything’s a party— subdued hues were also prominent. Donna Karan, Michael Kors, and Zero Maria Cornejo all featured earthy tones. I appreciated the many homages to African culture. For a more in-depth discussion of that trend, see LuLu DeHaan’s article “African Tribalism.”
For our first cover article we focused our attention to the deeply concerning body image issues in America. The problem of body image is not new, nor is it going away. However, we implore our colleagues in the fashion industry to promote healthy body image. Some in the fashion industry may say that culture plays a greater role in body image issues. That mindset is simply irresponsibility manifest—fashion’s influence is far-reaching, and should encourage public health. We chose model-of-the-moment Arizona Muse as our cover model. She is dressed in a three-piece bustier by Jean Paul Gaultier. Although Arizona is strikingly beautiful, she is also slightly unnerving. This cover represents what Mirror wishes to accomplish—to represent fashion while presenting controversial issues. As the magazine continues to grow, we look forward to hearing from you. Feel free to submit letters to the editor for our website. I hope you look forward to the Summer issue, which will feature full-length editorials and the latest industry news.
William Gibbs
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DESIGNER PROFILE WRITTEN BY LULU DEHAAN
DELICATE SILHOUETTES AND SOFT FEMININITY SET THIS DESIGNER APART ON THE RUNWAY
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oft femininity exhibited through blush tones with splashes of metallic and color flooded the runway as Elie Saab showed his latest collection. The genius of the line catches those in attendance wondering how
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ELIE SAAB this designer came to such heights. Elie Saab modestly started out in Lebanon creating dresses for his sisters and women in his neighborhood. At eighteen, he opened a shop in Beirut that sold his creations. While his beginning dresses are probably shadowed by the pieces he makes today, the self-taught designer soon gained recognition from surrounding areas. In Beirut he gained popularity and had quite a following with women seeking an original creation by the young designer. Due to the attention he received for his classic couture, in 2000 he was invited to show his collections in Paris. It was while he was showing his collections that he was invited to become a member of The Chambre Syndicale De La Haute Couture, the trade union of high fashion. The invitation launched him into fame, and he comfortably set up shop in Beirut, which seems to be the source of his inspiration. Saab’s
OPPOSITE PAGE: (LEFT) SAAB’S LOVE FOR THE COLOR SEAFOAM IS SHOWN IN THIS FLOOR LENGTH SHEER FROCK IN HIS SPRING 2012 COLLECTION (RIGHT) FROM HIS SPRING 2012 COLLECTION, A FLOWING MUSTARD COLORED EVENING GOWN WITH BELT THIS PAGE: SAAB’S SPRING 2012 COLLECTION FEATURES SEVERAL PIECES IN THIS DARK RED HUE COMPLETE WITH GATHERED ACCENTS ON THE BODICE.
popularity continues to grow, and his designs can be seen today on major runways. Saab’s focus has always been on Haute Couture and Ready-to-Wear lines that feature delicate intricacies and enhance a woman’s silhouette. Saab’s attention to detail is evident even in the procession of his runway shows. His latest Haute Couture collection showcased ice-like gowns that quickly melted into bright, spring colors. The show was completely reminiscent of the blooms that pop up after a snowy winter, and that allusion can be used to describe
Saab himself. His designs are a patch of delicate spring in a season of trendy dark style and edgy androgyny. Saab seems to be continuing in his trend of muted beauty with subtle color and texture complexities, and that is what keeps him in the game. While everybody loves the splendor of loud expression that collections like Alexander McQueen present, the industry needs grace to fall back on. Elie Saab’s soft style is timeless, and he has achieved a name within the industry through his elegance and sophistication. ☐ MIRROR SPRING 2012
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DESIGNER PROFILE WRITTEN BY DANA BRADLEY
CHRISTIAN SIRIANO
BOLD & FABULOUS, CHRISTIAN SIRIANO ISN’T JUST A PROJECT RUNWAY STAR ANYMORE
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hristian Siriano has been captivated by design and the child’s game of “dress up” since he was young. In his new book Fierce Style: How To Be Your Most Fabulous Self, he explains how his first inspirations included the popular movie The Wizard of Oz and Halloween. He told FUJI water, “I fell in love with clothes when I was backstage, maybe 5 years old, at my sister’s ballet performance, and I loved the costumes, hair, makeup, and the hustle of one dancer changing into her next look for her next dance. It was a fantasy world that I wanted to be in.” Tim Gunn, fashion mentor of the popular television show, Project Runway, calls him a “prodigy,” and Oprah calls his designs “works of art.” Everyone seems to be gobbling up Siriano’s designs, but it wasn’t always success from the beginning. Siriano grew up in Annapolis, Maryland, which he describes as “a boat town, plain and simple.” Even though he loved “dress up” and Halloween, his own personal style and interest in clothing design didn’t start until age 13 when he started working at Bubbles Hair Salon as a shampoo boy. There he learned the basics cosmetology and began designing clothes for the Bubbles Annual Hair Show.
After Bubbles
Moving away from Bubbles, he aimed his sights toward the world of high fashion. He studied at the Baltimore School of Arts, a high school where he specialized in fashion design. Even after being rejected from the School of Art and Technology, he didn’t give up and instead studied abroad at the American InterContinental University in London where
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he graduated in fashion. In London he met and interned with both high fashion designers Vivienne Westwood and Alexander McQueen.
Project Runway
Siriano began to gain attention during the popular television show, Project Runway. In comparison, he was a kid. Initially, Tim Gunn was skeptical and did not want to bother with a twenty-one year old who was fresh out of design school, but it only took ten seconds for him to realize how talented he was. As Gunn reflected
on Project Runway, he said, “...it was nothing but “wow” moments. It was the ambitiousness of his ideas and his deft ability to execute them. I would see his sketches and think, ‘How is this going to happen?’ And shortly I learned, well, it is going to happen. And it’s going to happen consistently.”
Current Success
Christian’s success has only sky-rocketed after winning Project Runway. Since fall of 2008, his self-titled line, Christian Siriano, has earned revenue of $1.2 million. Both Neiman Marcus and Saks Fifth Avenue have since picked up his collection. Before the debut of his line at Fashion week, he collaborated in several collaborations with Puma, Gaia Online’s virtual prom, and a maternity line called “Fierce Mamas” with the popular maternity line Moody Mamas. Since
then, he has taken up several other projects including a cosmetic line with Victoria’s Secret and a line of low-cost shoes and handbags for Payless. With a talented designer like Siriano, there will always be plenty more to come. ☐ THIS PAGE: (LEFT) A CHARCOAL BLACK SLEEVELESS DRESS WITH A SHEER SHAWL. (RIGHT) A OFF-WHITE GOWN WITH A LENGTHENING HIGH LEG SLIT AND PLUNGING NECKLINE WITH SHEER ACCENTS AROUND THE SHOULDERS. OPPOSITE PAGE: A WARM RED GOWN FEATURING AN ELABORATE PROFILE AND INTENSE SILHOUETTE.
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ASIA EVOKED: ELEGANTLY LIGHT, DRIES VAN NOTEN RUNWAY REVIEW
WRITTEN BY AIMEE BAKER
DISTINCTIVELY ASIAN
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odern fashion is not only about European or even Western culture. The rise of a global market has, in turn, created a global fashion community. These designers travel around the world to find inspiration for their next line. This year, the quest has led many designers to create the latest and most beautiful designs to include Asian inspiration. The first Fall/Winter lines are full of fashion ideas from China, Korea, Japan and other Asian countries. The Asian influenced clothing of today is full of a variety of colors, from brilliant cerulean to deep red. Many items are characterized by their silk cloth and their tight waste lines.
Perfect For Fall
Luckily, mainland China can be very cold, making it even easier to find styles that fit Fall/ Winter lines.1 There are many styles that have been Asian influenced that work perfectly with the cold weather in North America and Europe: pant suits, pants, long dresses etc. Not only are they elegant and beautiful but they are functional.
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Dries van Noten
Dries van Noten’s line has featured some of the strongest Asian influence so far at the ongoing Fall/Winter fashion weeks. His show featured fabric prints inspired by pictures van Noten took himself.2 This may sound like an interesting way copy local fashion, but it works for van Noten because of what he then did with the images. Taking images of various designs and patterns and placing them would be plagiarism. Instead, van Noten took the images and fused very different Asian cultures to create a cohesive Asian feel. The line carefully avoided being overpowered by this distinctive trend by combining classic Asian looks with the standard wrap dress or playing with traditionally form-fitting designs by making them loose and airy.
Elegance For All
The elegance of fashion trend not only brings culture to dress; it gives a comfortable yet exquisite look to any wardrobe. Once these designs really hit the public, it won’t be long before everyone will want to wear the beautifully wrapped blouses and the decadent pant suits that fit every type of body. ☐
THIS PAGE: (LEFT) THROUGH THE USE OF PELICANS AND COLOR SCHEME VAN NOTEN CHANNELS ASIAN CULTURE AND FASHION. (RIGHT) THIS WHITE PANTSUIT ALSO POSSESSES AN ASIAN WRAP AND KIMONO FEEL. THE OUTFIT IS ACCENTED WITH A BLACK BELT AND A STUNNING CITRUS AND NAVY PRINT ON THE LEFT SIDE OF THE JACKET. OPPOSITE PAGE: (LEFT) WITH A LOOSE SLEEVE, A GOLDEN ASIAN DRAGON MOTIFF IS IMPLEMENTED.(MIDDLE) ASIAN INFLUENCED PATTERNS ARE ONCE AGAIN USED IN A KIMONO-LIKE FASHION ACROSS THE BODICE OF THIS PIECE. (RIGHT) WITH SPLASHES OF CERULEAN, THIS KIMONO-LIKE PIECE FUSES A CLASSIC JAPANESE KIMONO WITH MODERN GEOMETRIC COLOR BLOCKING. MIRROR SPRING 2012
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Body Image Media laughter” (Gerber). Having overweight women subject to such mockery persuades viewers to accept that overweight women are comedic before they are attractive. Viewers should not allow themselves to be persuaded by this illusion. Being healthy is different from being fat, and obesity is by no means a laughable matter. As men become influenced by TV’s inappropriate rag on larger women, women fear criticism because of their weight. How do you think that makes your slightly overweight friends feel? To add to the drama, one out of every four television commercials sends out a message about attractiveness (“Media Influence”). Regardless if they are thin, fat, short, or tall, women are constantly bombarded with the disrespect, “your body isn’t thin enough, so you aren’t good enough,” which never gets easier for any woman to hear. Is there no escape from these degrading remarks? Women and their body parts sell everything from shampoo to temporary diet plans, adding to the U.S.’s 40 to 100 billion dollar annual revenue for these exports (Gerber). Because the media chooses thin women for these ads, their body type has become the standard for what is beautiful. So many women watch these commercials, take one look at their body, hate what they see, and surrender their health to eating disorders.
How modern culture has distorted the image of health and beauty in America.
Health
The Council of Fashion Designers of America say, “Together, we can let the world know that diversity and ‘Health Is Beauty’ are what we stand for.” So, do we compare ourselves to the distorted images invented by the fashion industry? Do we conform to the fantastical expectations that we find in pornography? Do we fear public ridicule blasted across the big screen? Many have answered yes to one or all of these questions, and as a result they fall victim to disastrous eating habits. We all know someone, whether directly or indirectly, who suffers from an eating disorder. Evaluate the cause. More often than not, the cause has spawned from pressures of comparison, meeting expectations, or fear of ridicule. But we, like the entertainment and fashion industry, have the power to
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“Is it impossible to find a lovely, slender, female paratrooper ?” —Miranda Priestly The Devil Wears Prada
Models
Fashion models have become the definition of beautiful, but how? The media flaunts unrealistically skinny women in fashion ads and magazines. When the average woman sees these unattainable sizes on unimaginably beautiful woman, she naturally compares herself to them. Even doctors, such as Dr. Anne E. Becker, recognize that when the various Fashion Weeks lthough many of us laugh at hire size zero models, readers “set a standard of Meryl Streep’s over-the-top what is socially desirable” based on each model’s portrayal of fashion guru, figure.5 If a woman expects herself to look like Miranda Priestly, Priestly’s a fashion model just by purchasing the latest quote is a realistic portrayal of fashion trends, there is a chance that she believes American society and societal her original self is not good enough to display ideals. When was the last time you saw a woman these styles. When a woman finds herself below with a dress size of sixteen modeling the latest the media’s weight standard, she adopts selffashion trend? Compared to Marilyn Monroe’s destructive eating habits because that is what 24” ideal waist in the 1950’s, today’s standards for society “expects.” the human body have drastically changed for the The models we see in magazines are not your worse. One study showed that when Vogue and average run-of-the-mill women. The average Ladies Home Journal employed thinner models American woman is 5’4” tall and weighs 140 the number of anorexia cases in young women pounds, while the average American model increased from 7 to 26.3 per 100,000 people from is 5’11” tall and weighs 117 pounds.6 Off the the 1950s to 1990. That is an average increase of 3 runway, the fashion industry goes to extreme 36% every five years. The media has re-defined measures to make their models appear perfect society’s idea of the ideal body, resulting in those who resemble beauty and fashion to become using Photoshop and other photo editing suites. thinner through the This sends the The average American woman is years. What’s more dangerous message depressing is that 5’4” tall and weighs 140 pounds, to all who compare due to this reality, to these while the average American model themselves viewers, especially phony human beings younger women, is 5’11” tall and weighs 117 pounds that they must attain have been pressured these bodies at whatto adopt self-destructive eating habits to achieve ever cost, even if it means surrendering their the standard of this new body image. health and well being to anorexia or bulimia. Obviously, this is a serious issue. We all Sadly, the viewers who are most susceptible know women who have diminished self-images. to these images are young girls. Reports show Everyone has heard a friend envy after the body 47% of girls in grades five through twelve said of supermodel. Which is unfortunate because they want to lose weight because of magazine those that develop eating disorders face the pictures while 69% of them said that magazine highest mortality rate of any mental illness. pictures influence their idea of a perfect body Reports show 5-10% of anorexics will suffer shape. When Vogue uses thin models, it has been death within ten years of developing the disease. reported that anorexia cases for women 10-19 The worst part about these statistics is that the years old increases.3 American culture has fully embraced media’s claim that thin is beautiful. numbers of cases continue to grow.
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Muse is pictured in designers such as Kenzo by Antonio Morros, Boucheron, Roberto Cavalli, and Balenciaga.
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friends feel? Additionally, similar to their response to pornography’s representation of the Pornography is another way the media female body, women surrender their health to imposes the ever-thinning ideal for female eating disorders. beauty. It specifically alters men’s’ perceptions of Regardless of their body-type, women are women. Male expectations have been distorted constantly bombarded with the criticism: “your by the media, without them even necessarily body isn’t thin enough, so you aren’t good knowing. In one enough,” which 1980 study, it The less we obey the unjust standards never gets easier explained that for any woman to that society places upon us, the between the hear. To add to the more free and happy we will be. years of 1959 drama, one out of and 1978 both every four telePlayboy centerfolds and Miss America Pageant vision commercials sends out a message about contestants grew dramatically thinner.1 A huge attractiveness.4 Women and their body parts sell amount of women look upon those images as everything from shampoo to temporary diet the most beautiful and desirable women in the plans, adding to the U.S.’s 40 to 100 billion dollar nation. Still, despite male expectations, how annual revenue for these exports.4 Because the many women want to fit the male expectation media chooses thin women for these ads, their of what is real, when it is indeed fake? Thus, a body type has become the standard for what is natural response would be to alter their body beautiful. image so they can meet the male expectation. You may read this and think that this response Health is completely ridiculous, but the pressure to The Council of Fashion Designers of become a fantasy female is frighteningly real for America said, “Together, we can let the world some women. In order to meet men’s desires, know that diversity and ‘Health Is Beauty’ are women create unhealthy, unrealistic goals for what we stand for.” So, do we compare ourselves their bodies. to the distorted images invented by the fashion industry? Do we conform to the fantastical Television expectations that we find in pornography? Do we David Letterman poked fun at Kirstie Alley’s fear public ridicule blasted across the big screen? weight after she joined the cast of Dancing with Many have answered yes to one or all of these the Stars: “If you don’t already own one, now questions and as a result have fallen victim to might be a good time to own a wide-screen TV.” destructive eating habits. We all know someone, Did you laugh after reading this comment? On whether directly or indirectly, who suffers from TV, heavier actresses are more liable to receive an eating disorder. Evaluate the cause. More negative comments from male characters about often than not, the cause has spawned from the their bodies. Usually, “80 percent of these negapressures of comparison, meeting expectations, tive comments are followed by canned audience or fear of ridicule. But we, like the entertain2 laughter.” Having overweight women subject to ment and fashion industry, have the power to such mockery persuades viewers to accept that influence the perception of the “ideal” bodyoverweight women are comedic before they are type. Individually, we take steps to promote attractive. Viewers should not allow themselves health over thinness and redefine society’s view to be persuaded by this illusion. Being healthy of beauty. The less we obey the unjust standards is different from being fat and being obese is by that society places upon us, the more free and no means funny. As men become influenced by happy we will be. ☐ TV’s inappropriate rag on larger women, women fear criticism because of their weight. How do you think that makes your slightly overweight
Pornography
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AFRICAN TRIBALISM
TREND WATCH
WRITTEN BY LULU DEHAAN
INTENSE PRINTS, BRIGHT COLORS, AND SUBTLE DETAILS HIGHLIGHT Geometry Lesson THIS CULTURE TREND Geometric shapes and color blocking were
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frican influence on catwalk was evident as the latest shows hit the runway. Designers like J. Mendel, Derek Lam, and Oscar de la Renta all explored African tribalism. Other major lines, like Burberry Prorsum and Holly Fulton, also had explicit African influences in their fabric and print choices. This influence was most evident in the details—intricate prints, dress fringes, and bold embellishments. Of course, this trend is not easy to implement. Tribal prints are risky and could very well elicit bad memories of your college roommates’ zebra print pumps. These designers gracefully (thankfully!) sidestepped those memories. Instead, they chose to offer a course in geometry and subtlety that is accessible.
especially present in the J. Mendel and Derek Lam collections. For J. Mendel, Earthy and jeweled tones separated by sharp lines decorated tunics lining the catwalk. By splitting full-length dresses by geometric patterns and solid colors, he created busy but clean looks. Derek Lam’s collection was beautifully pattern based with bold print skirts and dresses. The sophistication that he lent to a possibly wild look was a great way to introduce the trend. The prints’ were very intricate, and incredibly symmetrical. This symmetry created cohesion throughout each piece. Each piece was subtly, though unmistakably born through the inspiration of African culture.
Textural Material
Oscar de la Renta’s African influence was apparent with certain pieces being reminiscent of sandy desert texture and the use of earthy colors. Silky dresses looked nearly sandblasted, while lacy and thickly woven dresses were instead often solid colored, which a hint of creamy sand peeking through. The African tribalism theme also played in crucial role in Burberry’s Prorsum line’s materials. The line featured warm, BRIGHT COLORS AND BRILLIANT GEOMETRIC PATTERNS DOMINATED THE RUNWAY AT DEREK LAM (LEFT). OSCAR DE LA RENTA OFFERED A SIMILAR COLOR PALLETE, BUT WITH A TOTALLY DIFFERENT APPROACH TO PATTERNS (RIGHT).
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OSCAR DE LA RENTA’S LACY DRESSES EXPLORED AFRICAN LANDSCAPE THROUGH COLOR (LEFT). J. MENDEL CREATED BOLD, GEOMETRIC GOWNS THAT EVOKE AFRICAN ART (RIGHT). MIRROR SPRING 2012
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TREND WATCH AFRICAN TRIBALISM thickly corded material in savannah green which was used to create sleeves. This technique completely changed the classic trench silhouette while paying homage to Africa’s landscape. Burberry Prorsum also explored earthy tones in the choice of striped patterns on many of the line’s coats and accessories. Holly Fulton’s collection featured beautiful dresses that mixed smooth fabric with animal print that suggested the texture of fur. The effect was subtle enough to avoid becoming 80s tacky, but apparent enough to leave an impression.
Fringe Benefits
Finally, the beauty of African culture was brought to the runways with the incorporation of unique embellishments and intricate geometric patterns. At Burberry, this meant ceramic-looking geometric embellishments added to the collars of dresses and trench coats. Earthy beads also adorned the line’s sandals and necklaces. For Fulton and de la Renta, this translated into
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grassy dress fringes, keeping the African theme. Many of the most unique and risky fashion elements found within the African continent were brought to life. Coupling them with modern details, designers undoubtedly set a major trend for spring. Though each collection took a different approach in interpreting African fashion, each successfully accomplished bringing a modernity to a style that is often all too traditional. Colors, patterns, embellishments, and texture all brought the look a fresh perspective. For everyday wear, this trend will most probably translate into small details that are distinctive. Remember that with any trend, too much of a good thing is a disaster, but always have fun! ☐
THIS PAGE: HOLLY FULTON’S ANIMAL PRINTS HELPED LIVEN UP EVEN THE MOST BASIC MINI DRESS (LEFT), WHILE DISTINCTIVE, COLORFUL DETAILS CONTINUED THE AFRICAN INFLUENCE. OPPOSITE PAGE: BURBERRY PRORSUM MIXED AN EARTHY COLOR PALETTE WITH HEAVILY WOVEN MATERIAL TO CREATE A SAVANNAH LOOK (LEFT), WHILE UTILIZING GEOMETRIC SHAPES TO EMBELLISH COLLARS AND ACCESSORIES.
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DRESSING FOR OPTIMISM WRITTEN BY HEATHER ORME PHOTOGRAPHY COURTESY US VOGUE
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VOGUE’S VIEW BRIGHTENS A RECESSION-HIT INDUSTRY
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hen the word “fashion” comes up in everyday conversation one of two things flash into your mind, “this is a must!” or “what a bust!” Today there are very few who can sit on the fence about fashion. If you want to be a trend-setter then you have to look for new fashions as well as pay the pretty penny, and let’s face it, in this economy a penny may seem like a lot. You might not care about fashion, or feel that you have any influence on the business, but in reality your thrifty shopping ways are the main threats to the fashion industry’s prosperity.
Fashion’s Performance
When we decide that we can shop at Target instead of Nordstrom or when we decide everything on our Christmas list can be bought at Wal-Mart instead of the mall, these decisions definitely damaged the industry that provides the dos and don’ts of our wardrobe each year. You might not be a high fashion shopper if Burberry sounds like a foreign fruit instead of the inspiration for the plaid on your new scarf. The average consumer doesn’t understand the “true designer business,” which is reportedly “in trouble” according to Cathy Horyn of the New York Times. The average American spent about 1,700 dollars a year on clothing in 2011, a figure that has dropped since 2008 by about four percent.3 This might not seem like much individually, but when added up in accordance to the high fashion industry we are looking at drops up
OPPOSITE PAGE: CARLA MARTINENGO, DALLAS; TRENCH COAT, DRESS, AND PLATFORMS BY ROCHAS; CHANEL JACKET AND DRESS. PRADA CLUTCH. ROCHAS PLATFORMS. THIS PAGE: HAND-PLEATED JACKET, PLATFORMS, AND SKIRT BY ALEXANDER MCQUEEN.
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to 17.2% between the years 2007-2010. In most recent years, from 2011 to the beginning of 2012, increases have bounced spending above where it was in 2007 by 7.9%. (1) This means that while in 2009 when the industry was at its worst, the number of people shopping at “H&M and other purveyors of cheap chic” has increased (2), however, in the coming years the numbers are looking up for designers and fashion lovers. While the fashion industry might be improving, it’s not exactly healing all the wounds of the recession, as much as we might love fashion it can’t bandage up all those who have been affected by it. If we look around our bewildered country and see the many empty businesses, failed markets, and inflated prices we will also catch a glimpse of the somber affects that have taken place. But because fashion often reflects the atmosphere of its surroundings, this spring designers are using their influence to bring a more positive outlook on life. “The pervasive message for spring is the power of positive dressing,” is the phrase that graces the cover of March 2012 Vogue.
Make Believe
The feeling of optimism is prevalent throughout the issue causing some to wonder, what is there to be “positive” about? Admittedly not much, but that doesn’t stop the Editors at Vogue from trying to spread the optimism that is missing from the market. With a buoyant spirit they ask us, “Whatever you buy this spring, do try to keep [positive dressing] in mind.” Honestly, the bright and shiny colors won’t make a huge difference in the stock prices or the war in Iraq, and the Editors admit that they can’t promise it will make consumers feel a “whole lot better about the economy . . . the calamitous state of the Eurozone, or the governmental torpor that seems to be in each and every election year,” but they argue that there are plenty of bright and happy clothes to lighten up some of life’s more testing moments.4 We can be sure that while the recession did damage the fashion world they aren’t about to let that forever darken their outlook. This trend of “stripes and persuasions [that] have awoken to the optimisminducing joys of color and print”4 can definitely be attributed to the recession and the fashion world’s determination to turn our frowns upside down. ☐
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FROM LEFT TO RIGHT: STAMPED-LEATHER JACKET BY MARC JACOBS, LIGHT PINK PENCIL SKIRT, AND MARC JACOB HEELS; LACE COAT, BANDEAU TOP, SKIRT AND JEWELRY BY L.A. PRADA. LACE DRESS BY VALENTINO PAIRED WITH MARC JACOBS HEELS.
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THIS CONTROVERSIAL AD FROM CORDAID’S “THE PEOPLE IN NEED” CAMPAIGN HAS BEEN SEEN IN VARIOUS MAGAZINES
DON’T SWEAT IT ARE SWEATSHOPS IN FASHION?
“M
ade in China” is as common in the U.S. home as is a kitchen sink. And yet the controversy over little tags like these rages on. The apparel industry has been given quite a bump from the government when it comes to outsourcing. Economist, Matt Zwolinski says, “In the United Sates, the apparel manufacturing industry has long benefited from various protectionist measures, including a series of exemptions from various free-trade agreements. . . The motivating belief was that free trade, in general, benefits all parties.”2 From this freedom, a notorious beast has risen for the apparel industry: a beast named sweatshops.
Sweatshop Conditions
Imagine working from sun up to sundown in a filthy factory- no bath room breaks, and no talking. These are the kind of working conditions that Charlie Kernaghan, National Labor
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WRITTEN BY JAMES RINER
Committee director, testified before a congressional committee in 1996. He reported that the Global Fashion sportswear factory in Honduras had teenage girls, sometimes as young as thirteen, working 75-hour weeks. Most days they worked from 7:30 in the morning to 9:00 at night with little to no bathroom breaks. Supervisors would often verbally or even physically abuse the girls into working harder, allowing no nonbusiness related talk on the floor. This and many other cases during the 90s brought modern day sweatshop conditions to the public’s attention.
Good or Bad: The Debate
Since their public debut in the late nineties, sweatshops have been connoted with exploitation and greed. Companies as familiar as DKNY, GAP, and Abercrombie & Fitch, were all using sweatshop labor as part of their supply chain, to cut back spending and earn more profits. Many of us viewed this as another example of big business tyranny. But some experts have argued that
sweatshops are a blessing to third world workers. Most economists view sweatshops as “the best available alternative for people living in developing countries,” says Matt Zwolinski. Oddly enough, he uses the apparel company Nike to prove his point. If Nike were to shut down its factories in third world countries, the unemployed would have to find lower-paying
Shutting down sweatshop factories would “hinder the growth of the economy” contends Zwolinski, and would “prevent the development of better options for future generation.”2 Sweatshops are promoters of increased production, employment, and a growing economy. And if this growth is coupled with free markets and liberty, eventually these countries may be able
Daily pay of $1.50 seems like an inhuman sum. But to a third world worker, it just might be the good life. jobs. And more than likely most of these people would have “to make money by illicit means, often by prostitution or theft”2. Economist John Stossel, well-known contributor on Fox News, agrees. He sees sweatshop work as an opportunity for a better life in third world countries. “Sweatshops routinely pay twice what local factories pay, and more than triple what people earn doing much harder and more dangerous work” argues Stossel. But to us Americans with our $8 minimum wage laws, the average sweatshop daily pay of $1.50 seems like an inhuman sum. But to a third world worker, it just might be the good life. MANY SWEATSHOP WORKERS, LIKE THE ONE PICTURED BELOW, WORK COUNTLESS HOURS AT THEIR INDUSTRIAL SEWING MACHINES
to develop beyond the need for sweatshops. Countries such as South Korea, Taiwan, Hong Kong, and Singapore stand as proof of third world countries that began to “work their way out of poverty” using sweatshops.1
No Easy Answers
But not so quick sweatshop supporters; you’re not the only ones who realize this. Most anti-sweatshop advocates already know the benefits that first-world factories bring to third world countries. They are not anti-factory, just pro-ethics. As Zwolinski puts it, “by and large, anti-sweatshop activists are not calling for U.S. companies to pull out of Third World countries altogether . . . they simply demand these companies ensure those jobs be provided in a way that meets basic ethical standards.”2 Their call is for better working conditions, not for the repeal of outsourcing. The process is difficult. Refusing to buy “made in China” ultimately puts workers on the street. And trying to regulate U.S. businesses to quit outsourcing, the higher production costs will ultimately be paid from the consumers’ pockets. All we can hope for is the industry’s humanity to prevail. Today apparel sweatshops may seem a horrible blight for the apparel industry, but it may well be just what the doctor ordered to promote employment for those who need it most. MIRROR SPRING 2012
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INDUSTRY TIPS WRITTEN BY JULIA E. WILLIS
HOW TO TELL A FAKE FROM THE REAL DEAL
C
oach, Chanel, Fendi, Gucci, DKNY, Prada, and Versace are only a few of the hundreds of handbag designers that continue to make a mark on fashion. According to the International Chamber of Commerce, counterfeiting makes up five to seven percent of global trade, or $450 to $500 billion. While any name brand is at risk for counterfeiting, the most commonly ripped-off labels include Louis Vuitton, Kate Spade, Dior, Prada, Gucci, and Burberry.1 So, how do you tell the difference between real and fake name brands? Experts say it’s the small details that are often overlooked by manufacturers of designer knockoffs.
Check Craftsmanship
Watch for lining that isn’t stitched in, but glued on. The stitching on a designer bag is impeccable. Stitches that are different in width or have threads coming off the seam are a great way to spot a knockoff. Some knockoffs do take the time to stitch the lining into place; in these, look for threading that is pulling in spots. A real designer bag would have near-perfect threading. The same detail goes for labels. Real products are concerned with pattern. Their handbags are fashioned in such a way that the material or fabrics will be perfectly aligned, avoiding any obstruction to the pattern. The material used can A COMMON COUNTERFEITED BAG: FENDI (THE LEFT IS REAL, THE RIGHT IS FAKE)
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BAG CHECK also be a dead giveaway; if the signature plaid of a Burberry bag, for instance, is even slightly askew, then it’s a fake. Inspect the zipper of the purse. On most designer bags you can simply tell the difference between what’s real and what’s fake by looking at the zipper. Most brands will have specific lettering or a symbol. Look for the engraving. If you are still not sure, zip the purse a few times to see how smoothly it works.
Check Origin
Know where the bag came from. Ask where the bag was made or look for a label. If you see “Made in China,” you can pretty much pass that purse up. Research designer manufactures before you go shopping, so you know where the real thing was put together.
Check Pricing
Always keep in mind the cost of each handbag. The price of a classic Louis Vuitton, for example, runs from $400 to more than $1,000. If you’re paying any less, then you are not getting the real deal. Know the pricing of the handbag you are looking for. Of course, you will want to get a good deal where you will save money, but you will also want to get the real deal for a handbag made with the best quality. ☐
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REALITY CHECK WRITTEN BY CLARISSA ROOT
GUEST WRITER CLARISSA ROOT GIVES HER OPINION ON PHOTOSHOPPING
W
ill a real fashion model please stand up? Photoshop. We’ve all heard of it. A lot of us might have used the program at some point. Most of us seem to realize that the images we see in today’s magazines, billboards, and posters are likely photoshopped. Despite our best efforts with hair and make-up designers, nothing we do physically can achieve Photoshop quality. Its effects go beyond hair and make-up; eye shape, eye color, and body shape can all be altered with several clicks, scrolls, and drags. “The fashion industry’s yen for perfection is made absurd” says Maura Murnane, a famed Photoshop artist, “The work I do allows your mind to wander, and reality becomes increasingly surreal, or just too real... After hours on the computer, you look at a friend and are distracted by the realization that their left eye is smaller than the right one, that they have chapped knuckles and abnormally blue veins.”2 What does that mean for all who are exposed to these false images? For Murnane, it means she can’t even look at anyone without critiquing them based on her photoshopped perfection.
Digital Advertising
Despite the negative effects, these falsified models sell. This is good news for the fashion industry. The industry can save a pretty penny by creating a digital model as opposed to contracting a real one. H&M has implemented this idea. If you were to log onto their onlineshopping you might feel a bit of déjà vu until you realize that each model is in the exact same pose. That’s because H&M has given up using real models for virtual ones. “For our Shop Online we are using a combination of real life models pictures, still life pictures and virtual mannequin pictures,” explains H&M’s press officer, Håcan Andersson.1
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PHOTOSHOP WARS Using digital models is not only the cheaper option, but it saves face for the fashion industry. In the past, H&M has received several complaints about using wafer thin models in their advertisements. By using virtual dolls H&M can say that it’s not a promoter of models who are unhealthily thin. So why do we use Photoshop? It’s efficient, cheap, and safe.
Anti-Photoshop Movement
My realization of this Photoshop mania was a result of Dove’s “Campaign For Real Beauty.” Dove released a short YouTube video, which unveiled the process behind the extensive Photoshop edits that take place in the industry. The video shows in fast-forward a models daily routine: preparing hair, doing make-up, and taking pictures at the photo shoot. Then it shows the cropping, smoothing and lengthening done by editors. By the end of the minute long video, the model hardly looks like her picture. In the last few years, Dove has taken a stance for the promotion of natural beauty. Dove makes the societal impact: “The fashion industry creates a surreal idea of beauty and women put unrealistic expectations on themselves every day. After all, you don’t get professional hair and makeup and a digital face-lift every day before you head out the door.”3 Dove’s campaign is aimed at raising the overall female self-esteem. Its website has links to books, movies, and music that celebrate real beauty. I doubt whether Dove’s campaign will really make a mark on the industry’s use of Photoshop. It’s too much in the industry’s interest to discontinue Photoshop’s role in advertising. However, Dove’s efforts to promote realism are commendable. ☐
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IN THIS ISSUE CULTURE
BODY IMAGE AND MEDIA 1. Cohen, S. (2006). “Media Exposure and the Subsequent Effects on Body Dissatisfaction, Disordered Eating, and Drive for Thinness: A Review of the Current Research” Mind Matters: The Wesleyan Journal of Psychology, 1, 57-71. 2. Gerber, Robin. (27 Feb. 2012). “Beauty and Body Image in the Media.” Media Awareness Network. Media Awareness Network, 2010. Web. <http://www.mediaawareness.ca/english/issues/stereotyping/ women_and_girls/women_beauty.cfm>. 3. Lucas, Alexander R., Mary Beard, W. Michael O’Fallon, and Leonard T. Kurland. (1991). “50-Year Trends in the Incidence of Anorexia Nervosa in Rochester, Minn.: A Population-Based Study.” American Journal of Psychiatry. 148.7: 917-922. Print. 4. “Media influence.” (2011). Radar Programs. Rader Programs. Web. 7 Mar 2012. 5. Pearson, Catherine. “Fashion And Eating Disorders: How Much Responsibility Does Industry Have?” The Huffington Post. 5 Mar. 2012. 6. “Statistics Eating Disorders and Their Precursors.” (2011). National Eating Disorders Association. National Eating Disorders. Web. 6 Mar. 2012.
INDUSTRY
DRESSING FOR OPTIMISM 1. Bureau of Economic Analysis, U.S. Department of Commerce. (2012, January 27). Retrieved from website: http://www.bea.gov/index.htm 2. Horyn, C. (2009, September 10). High fashion faces a refining moment. New York Times. Retrieved from http://www.nytimes.com/2009/09/11/ style/11fashion.html?_r=1&emc=eta1
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3. NAICS Manual Standard Industrial Classification, United State Department of Labor. (2009). Career guide to industries, 2010-11 edition font size: minus font size plus font size print: Print. Retrieved from website: http://www.bls.gov/oco/cg/cginfo.htm 4. Tally, A. (2012, March). Letter from the editor. Vogue, 218-236. DON’T SWEAT IT 1. Stossel, John. (2003, Oct. 10). “Are Protesters Wrong About Sweatshops?”. ABC News. Retrieved from http://abcnews.go.com/2020/ GiveMeABreak/story?id=124264&page=1 2. Zwolinski, Matt. (2006). Sweatshop. In Social Issues in America: An Encyclopedia (Vol. 7, pp. 1640-1646). Armonk, NY: Sharpe Reference. INDUSTRY TIPS: BAG CHECK Both of these references were summarized throughout the article. 1. DivinePurses. “Coach Purses: How to Tell an Authentic Coach Handbag from Fake Coach Handbags.” (2008, May). Hub Pages. Retrieved March 16, 2012 from http://divinepurses. hubpages.com/hub/CoachPurseFakeorReal 2. Glouberman, Noa. Fake or Fendi? The Difference Between Designer Bags and Knockoffs. (2011, June). Hilary Fashion. Retrieved March 16, 2012 from http://www. hilary.com/fashion/fakeorfendi.html REALITY CHECK: PHOTOSHOP WARS 1. Goodson, Scott. Forbes. December 14, 2011. Retrieved 3/22/2012 http://www. forbes.com/sites/marketshare/2011/12/14/ hm-uses-computer-generatedbodies-with-real-model-heads/ 2. Labarre, S. (2012). Maura murnane’s photoshop art, a surreal take on the fashion industry [Web log message]. Retrieved from http://www.fastcodesign. com/1664019/aura-murnanes-photoshopart-a-surreal-take-on-the-fashion-industry 3. The Dove Campaign for Real Beauty [Web log message]. (2008). Retrieved from http://www. chickjunk.com/dove-campaign-for-real-beauty/
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