Zipped Magazine Fall 2015 by zippedmagazine

ZIPPED FALL 2015

FALL 2015

TABLE OF CONTENTS

ISSUE 16 | ZIPPED MAGAZINE

BRIEFS 6. GET THE LOOK

Revamp your wardrobe with clean-cut suits and flower power motifs

8. BRAIDY BUNCH

Braids get an update with spins on all the classics

10. GO FOR THE BOLD

Makeup looks that dare to stand out

11. THE DARK SIDE

Brown lips are back in every shade

FEATURES 12. GENDER BENDER

ENDINGS 34. ALL TOGETHER NOW

Family comes first in the fashion world

36. BARING THE BRA Evolution of the brassiere

38. TECHNICALLY SPEAKING

The industry breaks the gender binary and celebrates the spectrum

Technology is fashionâ&#x20AC;&#x2122;s new frontier

The soft femininity of the seventies reimagined

Founder of Edie Parker proves your riskiest idea could be clutch in redefining your career

14. GLORY DAZE

22. FASHION IS POWER Why designers are ignoring current social issues

39. Q&A WITH

BRETT HEYMAN

COVER jacket: Shrimps, jewelry: Forever 21

24. RENEGADES

Be the outlier with pieces all your own ZIPPED

ELIZA WEINREB Editor-in-Chief KAYLA ISAACS Executive Editor GIANCARLOS KUNHARDT Photo Director

FASHION & BEAUTY LAURA CABRAL Fashion Stylist

MAYA SOLO Fashion Stylist

JACQUELINE SIMPSON Beauty Assistant

KATE BROWSE Beauty Assistant

EMMA BATY Executive Managing Editor YERIN KIM Creative Director

FEATURES JACQUELINE HOMAN Features Editor

RENEE CHERRY Features Editor

TAYLYN WASHINGTON-HARMON Associate Features Editor

CHARLOTTE BICKLEY Fashion Director

PHOTO & DESIGN DANIELLE LAROSE Art Director

MARISSA ANGELONE Art Director

MICHAEL ISENBURG Contributing Photo Editor

MADISON BREAUX Copy Editor ELIAS ALBA Research Editor

BUSINESS

PUBLIC RELATIONS

SOCIAL MEDIA

LAUREN NATALE Publisher

LAINA PISANO PR Director

MEGAN SHELTON Social Media Director

ARIANA ECKSTEIN RACHEL MELVIN Brand Representative Brand Representative

LINDSAY CURRE PR Assistant

EMILY GANNON PR Assistant

MELISSA CHESSHER Faculty Advisor

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KRISTEN HURLEY SALLY PHELPS Social Media Assistant Social Media Assistant

LETTER FROM THE EDITOR

“WHEN YOU DON’T DRESS LIKE EVERYONE ELSE, YOU DON’T HAVE TO THINK LIKE EVERYONE ELSE.” - IRIS APFEL

must confess: last year I was in a style rut. While my fashion wasn’t at an all-time low (there is shameful photographic evidence of a tweed gaucho pant look I would prefer be incinerated) it was relatively uninspired and at times, dare I say, basic. I developed a uniform and adhered to those strict, self-imposed rules. There was nothing wrong with the blue jeans, oversized sweater, and knee-high boots I perpetually wore, but there was nothing expressive about it either. I still admired the unique fashion personalities I saw on my favorite blogs and Instagrams, but when it came time to execute these principles in my own outfit decisions, extreme morning laziness took over and it was back to the same stale routine. True, getting dressed in the morning was easier, but I felt like I lost part of my essence. As the last of the Syracuse ice melted, I made the conscious effort to shed my style security blanket. I mixed textures and patterns, tried new silhouettes, and paired odd colors together on my blank body canvas. Maybe my bedroom floor was a little messier before class, but at last—I felt like me again, only more revitalized. The energy shift translated to all aspects of my life. This issue dares you to be different and in 2015, there’s power in embracing who you are. Stick-thin

runway models are no longer the ones to emulate. Rather impactful icons, like 94-year-old former White House interior design restorer Iris Apfel and 19-year-old Rookie Mag founder Tavi Gevinson, are the forces reshaping the fashion industry (All Together Now, p. 34). Flip to page 12 and see how stores, like Target and U.K. Selfridges, grapple with the evolving gender spectrum, allowing customers greater freedom of expression (Gender Bender). In this issue’s 12-page fashion spread, Zipped defies long-standing “rules” and provides inspiration for you to combat your own wardrobe monotony (Renegades, p. 25). While fashion and life sometimes seem to operate in two separate realities, one thing I’ve learned they share is the value of risking it all. This winter, I encourage you to take a gamble, big or small, and see where you land—it may surprise you. Enjoy.

Eliza Weinreb Editor-in-Chief

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BRIEFS

GET THE LOOK

BY ZOË MALLIAROS

DIEGO ZUKO

2 1. BAG $295, Rebecca Minkoff; rebeccaminkoff. com 2. SKIRT $69.90, Zara; zara.com 3. SUNGLASSES $22.90, Zara; zara.com 4. SANDALS $450, Tory Burch; toryburch.com 5. JACKET $149, Zara; zara.com 6. EARRINGS $19.90, Zara; zara.com

1 THE BAG Saddle up with this season’s favorite-shaped bag: a total blast from the past.

RETRO ROOTS

Designers felt a tinge of nostalgia with the season’s main aesthetic, which draws inspiration from the earthy tones and textures of the 1970s. THE SANDALS Finish off your look with natural leather, a hint of shine, and an artful edge.

5 THE JACKET A deep emerald suede biker jacket adds boho flair to a traditionally rock-and-roll piece. DIOR 06

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JUSTIN GOFF

1 1. BLAZER $95, Topshop; topshop.com 2. PANTS $58, Topshop; topshop.com 3. SHOES $159, Zara; zara.com 4. EARRINGS $19.90, Zara; zara.com 5. BLOUSE $295, Tory Burch; toryburch.com 6. WATCH $380, Larsson & Jennings; www.larssonandjennings.com 7. BAG $525, Tory Burch; toryburch.com

POWER MOVES

Embrace your inner girl boss with suits that flatter and tell everyone whoâ&#x20AC;&#x2122;s in charge.

THE PANTS Creating sleek lines and a flattering silhouette, this sharp cigarette style modernizes the classic power suit and commands attention.

MUGLER

THE BLOUSE Flowy tops with sophisticated details are easy to layer and can anchor both casual and formal looks.

THE BAG Polished off with a lady-like top-handle and pebble leather, this structured piece complements any look.

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BUNCH Follow these runway-inspired step-by-steps to get your own hair twisted. BY HANNAH MALACH Braids are to hair as Chanel is to fashion: classic, complementing the most versatile of styles. From the rainbow-colored halter dresses at Mara Hoffman to the bare-shoulder blouses at Michael Kors, it’s clear that the ‘70s are back and better than ever — its bold braids included. Plaits are nothing new, but according to Leslie Mueller, stylist and former owner of Industry Salon in Syracuse, what sets apart the styles shown for this spring is that they’re “loose and sexy,” much like those of the decade they’re trying to emulate. She recommends taking a rattail comb and pulling at some of the strands to loosen them into a laid-back style. If you’re ready to make waves with some runway-inspired looks, here are four ways to update the basic braid: Take a hint from Giles and opt for the Dutch braid — more or less its French 1 counterpart, except instead of crossing the strands over the center part, you’re crossing them underneath. To get this Dorothy Gale look, part hair down the center creating two sections. Braid the first section by creating three strands and alternately crossing the outer strands under the middle strand, adding hair each time. Sade-style braid made a comeback at Public School’s Spring 2016 show. 2 The Head designers Dao-Yi Chow and Maxwell Osborne have officially coined it

“The Power Braid.” Take charge and re-create the look by pulling your hair into a sleek pony and separating it into two sections. Twist each section to the right, while crossing the right strand over the left. Continue overlapping and twisting as you head downwards. Tie the bottom with an elastic. up your workout hair with this alternative take on the classic braid shown 3 Pump at Céline: Start by tying your hair into a low ponytail, then separate your hair into three different strands. Cross the right strand over the middle strand, then the left over the middle. Repeat until braid is completed. Secure the end with an extra elastic.

the models at Hervé Leger by creating a Dutch braid that wraps around 4 Channel the head. Once again, start by separating hair into three sections. Then, take a piece from each side, one at a time, and cross under the center section. Add a new piece of hair to each section as you go, keeping the braid angled towards the forehead. Once you braid down to the nape of your neck, tie in a low pony, and voila!

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BRIEFS

Photographed by Michael Isenburg | Modeled by Charlotte Bickley | Hair by Jennifer Scharf ZIPPED

BRIEFS

GO FOR THE BOLD Imitate these bright, maxed-out eye makeup looks stolen straight from the runways. BY KRISTINE KLEIN

Bold eye makeup looks were ubiquitous at the best of the fall 2015 runway shows. Colorful shadows, geometric liner, clumpy lashes, and glittery “twinkle eyes” all made strong statements that can be replicated in your everyday. NARS Larger Than Life Volumizing Mascara ($25)

CLUMPY LASHES Once considered “costumey,” clumpy lashes are now seen as more mainstream. Even some drugstore brands are marketing their formulas as clump-creating. The current trend takes inspiration from the ‘60s, when Diana Ross and Twiggy gave big lashes a boost. This fall, Nanette Lepore, Prada, and Gucci brought it back. The look is effortless; all you need is a bottle of mascara and a steady hand. The more coats you apply, the thicker your lashes will be. bon Black L’Oréal Voluminous Car .25) Waterproof Mascara ($7

COLORFUL EYESHADOW Colorful eyeshadows provide an alternative to the typical neutral shades with gold undertones. Try using brighter and bolder shadows — think coppery oranges, vivid plums à la Dior’s fall show, or striking shades of yellow like those seen on Delpozo’s runway. One way to achieve this look is with a multi-use eye product like MAC’s Chromaline: It goes on like gel, appears matte and is waterproof. To make a stylish statement, apply the color from the lash line all the way up to the brow bone. Urban Decay Vice 2 Eyeshadow Palette ($59)

Photographed by Michael Isenburg | Modeled and makeup by Jacqueline Simpson MAC Pearlglide Intense Eye Liner in Industrial ($16.50) Prestige Total Intensity Eyeliner in Powerful Purple ($5.95)

GEOMETRIC LINER The runway beauty looks this fall emphasized that liner pens and pencils can be used to create graphic shapes. At Anthony Vaccarello, Tom Pecheux drew angular shapes on the corners of the models’ eyes. And instead of drawing one long line horizontally across the eyelid, Peter Philips painted short strokes across the lid to create something more dramatic at Fendi. The result was a grungy, punk rock take on statement makeup. Getting these looks at home is easy. Spend some time experimenting with different liner colors and thicknesses to create unique shapes and lines. Too Faced Shadow Insurance Glitter Glue ($20)

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TWINKLE EYES The “twinkle eyes” trend involves using glitter, sequins, and sparkles in place of shadows and mascaras. The look can also be recreated by using shimmery shadows. Makeup artists at Temperley London scattered glitter around the eyelids, below the eyebrows, and on the sides of their models’ faces for the fall show. To get the look yourself, start with a neutral eyeshadow primer then apply a layer of eye glitter glue. To finish off your sparkling eyes, pile on the sequins, glitter, or crystals.

THE SIDE

BRIEFS

Wear this season’s power pout in all shades of brown. BY KATIE INTNER

he world’s fascination with throwbacks, currently expressed through the social #tbt, culminates in the latest fall beauty trend: brown lips, straight from the ‘90s. This dramatic lip color, previously worn by fashion it-girl Jennifer Aniston in “Friends,” resurfaced thanks to pop culture icons like Kylie Jenner, Rihanna, Lily Collins, and Beyoncé. Designers brought the trend to haute couture in the 2016 runway shows. The signature ‘90s eccentric look is a deep reddish-brown hue with a matte finish. But now, brown lips transform into a more modern and sophisticated style. “Makeup trends always stem from fashion trends. Trends in general are usually remakes of past trends but a newer take on them,” says Essie Cohen, a freelance makeup artist in Westchester, NY and retail manager at MAC Cosmetics, who witnessed the brown lip’s revival. Cohen noted that a dark color is perfect for transitioning into fall, but hue can be adjusted for those who are not as comfortable with a bold, statement lip. Cohen also suggests keeping the rest of the face clean and simple. “Liner on the eyes isn’t as intense as [it was in] the ‘90s,” she says. The biggest tip Cohen gives her clients is to go outside of their comfort zones. Brown lips are bold, but they’re back in a big way.

BEGINNER’S LUCK Paler skin tones should look for colors with cool undertones, and darker skin tones for colors with warm undertones. While first trying out the trend, go for a neutral caramel color that complements your complexion. A cheaper drugstore option is Maybelline’s Color Sensational The Buffs Lip Color in “Truffle Tease” ($7.49). For those willing to splurge, sweep your lips with a natural pinky-brown liner, like NYX’s Slide On Lip Pencil in “Nude Suede Shoes” ($8), and finish them off with a coat of Chanel’s Rouge Allure Long-Wear in the color “Pensive.” ($36).

THE DEEP END HAPPY MEDIUM For those who are used to dark lips but have never tried shades of brown, use a coffee-colored hue to balance your skin tone and add a hint of drama. For a cheap fix, try Maybelline’s Color Sensational The Buffs Lip Color in “Touchable Taupe”($7.49). It can dress up any outfit without looking overdone. MAC’s “Antique Velvet” ($17) adds some crème to the coffee as a richer, more luscious option. Pair Lancome’s Lipstique in “Sheer Chocolate” ($25) with the mediumbrown lip, and color intensity will stay all day.

Dark wine-chocolate colors will give you the perfect fall/winter pout. Choose a hue that is deep enough to stand out, but remember to stay cognizant of your skin’s undertones. When done correctly, this lipstick look can transition seamlessly from day to night. Revlon’s Super Lustrous Lipstick in “Plum Velour” ($7.99) is a good way to test the trend, and use MAC’s “Media” ($17) for a pricier pick once you’ve become a true addict. (from left to right) Chanel Rouge Allure Long-Wear in Pensive ($36), Maybelline Color Sensational The Buffs Lip Color in Touchable Taupe ($7.49), MAC Media ($17) ZIPPED

FEATURES

R E D N E R G NDE E B From pink, blue and everything in between, the industry moves towards acceptance, intersecting fashion with gender and sexuality. BY VICTORIA RODRIGUEZ

arget has recently made changes that allow for self-expression in regards to gender. For years, the retailer used colored backdrops to group toys according to gender: pink and yellow were used for girls, while blue and green were used for boys. In one store, an aisle was separated by “building sets” and “girls’ building sets,” prompting an upset shopper to tweet a picture of the sign. After all, most toddlers are capable of building the same forts and castles, regardless of their gender identity. The picture went viral. Target announced that, while the signs in the apparel section of the department store will stay the same due to fit and sizing differences, the colored signs in the Toys, Home, and Entertainment will change. Target’s progressive actions show the fashion industry’s

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“

Clothing is no longer imbued with directive gender values, enabling fashion to exist as a purer expression of ‘self.’

“

resistance binary gender. In the U.K., high-end department store Selfridges announced it plans to do away with gender-specific clothing sections in favor of offering solely unisex garments. The new policy also applies to mannequins, accessories, and beauty products. Selfridges told The Times in a statement: “We want to take our customers on a journey where they can shop and dress without limitations or stereotypes. A space where clothing is no longer imbued with directive gender values, enabling fashion to exist as a purer expression of ‘self.’” In Western society, fashion and gender intersect at the moment of birth. If it’s a girl, she wears pink, and if it’s a boy, he wears blue. Before they can even speak, babies are doing gender, which in turn, maintains and solidifies the binary ways in which our society thinks about it. In response to the simplified boy-or-girl approach, activists are now encouraging society to think about gender in terms of a spectrum. Kimberly Williams Brown, a teaching associate for a Women and Gender Studies course at Syracuse University, says that gender is more fluid than we ever thought, and the average person is beginning to acknowledge that. Brown explains that this is a pivotal moment because more people are talking about gender and there are more examples of variance in the media. Brown also notes that gender is much more complex than just putting on clothes. That being said, in the fight against gender norms, Brown encourages the fashion industry to resist from boxing individuals into categories. It is important for designers and department stores to provide space for individuals to express themselves. “The right thing to always do is to think about the marginalized group of people,” Brown says, adding: “Why do I care to restrict how Caitlyn Jenner represents herself?” Though variations of gender are more visible today, the

concept of gender has been evolving for quite some time now, and the fashion industry has consequently demonstrated the evolution in society’s mindset. For example, beginning in the 1920s, gender-neutral apparel became very popular. Women wanted to participate in the workplace and prove their independence. As a result, they often flattened their breasts, cut their hair, and donned drop-waist, figuremasking dresses. Then, throughout World War II, women began wearing trousers and brogues, both of which were originally branded as menswear. Men have integrated what is typically considered women’s fashion into their attire as well. In the 1960s, Mick Jagger, a member of The Rolling Stones and well-known genderbender, even wore dresses while performing on stage. Chantel Morel, the beauty and fashion assistant at Latina Magazine, believes there is a direct correlation between social movements and the trends on the runways. “Whatever is going on in our society is going to be reflected in the industry. The fashion industry relies a lot on what’s going on socially within our culture,” she says. After attending multiple shows this past fashion week, Morel says that the runways are more diverse than ever before and are catering to a range of customers. She saw models of different shades and shapes. The importance of gender fluidity in our culture is impacting fashion, says Jennifer Barthole, the fashion market editor at Cosmopolitan For Latinas. “Transsexual women like Laverne Cox and Caitlyn Jenner are putting a face to a huge population that has long been ignored and taboo-ed.” says Barthole. “Instead of being viewed as undesirable or ‘weird,’ they are covering glamorous magazines and being embraced as fashion icons.” Several designers have also used models to contribute to the gender revolution. For its Fall 2015 campaign, Acne Studios featured a 12-year-old boy wearing pink, and in Spring 2016, the brand’s menswear show had the male models wearing heels. Also in Spring 2016, menswear brand Craig Green featured female models on the runway. This past August, & Other Stories, an H&M sister brand, used transgender models for its ad campaign, including Valentijn De Hingh and Hari Nef, the first transgender model signed to IMG. The crew for the campaign was composed of transgender individuals as well--Amos Mac was the photographer, Love Bailey was the stylist, and Nina Poon was the makeup artist. Gender fluidity in the fashion industry is not entirely new; androgynous men and women have been making strides in popular media for half a century with no end in sight. It’s only now that women and men who were not necessarily born as such have been able to make it to the front page of high-end magazines, and with recent legislative and social changes to our culture, we’re well on our way to genuine self-discovery. ZIPPED

GLORY DAZE Draw from decades past with the casual elegance of the 1970s.

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Makeup by Giancarlos Kunhardt Styled by Charlotte Bickley, Laura Cabral, Maya Solo Photographed by Giancarlos Kunhardt Modeled by Alice Zulimire ZIPPED

sweater: One Teaspoon at Amelia Leigh Boutique, skirt: Amelia Leigh Boutique

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jacket: Rebecca Minkoff, shirt: rag & bone, skirt: Joie, shoes: Diane von Furstenberg

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shirt: Rachel Comey, skirt: Topshop, shoes: Valentino, bag: Chanel

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FEATURES

Social movements are on the rise, but many designers are avoiding whatâ&#x20AC;&#x2122;s in the headlines in favor of nostalgic, repetitive collections. BY MARY ANDERSON Photographed by Giancarlos Kunhardt

FEATURES

n his Spring/Summer 2016 collection, designer Kerby Jean- upset. You want them to feel happy,” says Harriet Brown, Raymond of Pyer Moss harkened the Black Lives Matter associate professor at the S.I. Newhouse School of Public movement protests with white bloodstained sneakers and Communications. “The things that were being protested the names of the victims of police brutality scribbled on the in the ‘60s and ‘70s are long gone: there’s no more negative sides. Jackets with the words “Breathe, Breathe, Breathe” spray- emotions…[but with] Black Lives Matter people are dying.” painted on the back referenced Eric Garner’s last words as he The return of 1970s fashion has received media coverage was suffocating from a chokehold by policemen. Although Jean- from high-end to mass market brands, while Black Lives Raymond’s show was groundbreaking, it was one of the few, Matter-inspired clothing has barely covered most fashion ads. if only, collections that referenced today’s Black Lives Matter “There are very few household names…that represent that life movement and current social uproar. experience and that point-of-view,” says Melissa Chessher, The fashion industry often reflects, echoes, and sometimes professor and chair of the Magazine Department at Newhouse. interjects itself with current issues and events. With the rise “The only reason why we know the young man who did that of the Black Lives Matter movement, fashion designers have amazing show is because it got a lot of press, [and] because he a unique opportunity to chronicle today’s issues through was doing something brave and bold. But sadly there are very style. However, this season many designers chose not to show few [designers like] him.” collections inspired by recent protests, but rather to profit Because of a lack of diversity in fashion, the Black Lives Matter from the nostalgia and idealized version of “war versus peace” movement may not be viewed as an imperative issue to reflect on associated with the 1960s and ‘70s. the catwalk. From fashion covers to spreads to even commercial Brands at every price point, from Saint Laurent to Forever catalogues, minority representation in fashion is lacking. 21, have adopted the resurgence of bell-bottoms, floral patterns, Recent improvements have been made through the Diversity and suede fringe. But when the 1970s trends first appeared, the Coalition, which was an initiative spearheaded by legendary famous flower-power style was frowned upon for going against the models Iman, Naomi Campbell, and Bethann Hardison. grain. It was seen as synonymous with Vietnam War opposition: The trio demanded that fashion designers increase minority “betrayal” of the U.S. and its military men. representation on the runway and sent letters to numerous “A lot of people look back at the designers and the Council of Fashion Vietnam war with a lot of nostalgia Designers of America. and an ironic picture of patriotism,” Although the CFDA took note of “If the Black Lives says Laura Jane Kenny, who wrote the Coalition’s concerns, Syracuse Matter movement her fashion studies master’s thesis University junior Soleil Young has could have such regarding New York City police’s noticed only a modest improvement “Stop and Frisk” program at Parsons on the runways. “From a modeling a cultural impact, The New School for Design. “I think perspective…diversity is increasing, but I think that would live depending on how Black Lives Matter it’s not there at all if you’re looking at on forever in movies and evolves…it can be looked back on in size, race, or gender identity,” Young art and also fashion. ” an optimistic way,” Kenny added. says. “And a lot of that is [because] The problem is not that designers they’re just not signing people. And if are afraid to create scandal or you’re not signing people then you’re shock-- Vivienne Westwood, for example, used her collections not going to have a diverse perspective to begin with.” to unabashedly express her views on everything from politics Although brands may not want to directly connect themselves to to the environment. However, it’s still surprising that many the Black Lives Matter movement, through television costuming, designers would choose to distance themselves from current they have inadvertently done just that. During a Black Lives movements in favor of a sentimental time that millennials Matter protest in the Season 2 opener of “Empire”, Cookie Lyon weren’t even alive for. wore a Fall 2013 Gucci dress. Former Vogue Editor-at-Large What was once considered a controversial look four decades André Leon Talley even made a cameo appearance. A Fergusonago is now deemed safe in comparison to the protest fashion inspired “Scandal” episode had Olivia Pope chanting, “No more of today. After Jean-Raymond discussed the inspiration of his black men under attack” with her black Prada bag in tow. collection with the Pulitzer Prize winning fashion journalist Despite those episodes, the brands featured haven’t issued Robin Givhan in The Washington Post, his show’s venue and a statements addressing their stance. Those in the industry can’t European buyer withdrew. They said it was due to capacity issues, fear what’s in the headlines by staying silent. although the designer disagrees, according to a September 2015 “If the Black Lives Matter movement could have such a cultural Fashionista.com article. impact, I think that would live on forever in movies and art and Choosing 1970s “protest” fashion over parallel protests in also fashion,” says Kenny. Although the Black Lives Matter 2015 is perhaps decided to avoid offending customers. “No movement may not be marketable enough to merit more presence matter how you think of it, it’s horrifying. So from a business on the runways today, designers should not simply ignore it. They perspective, you don’t want to make people feel angry and have a social responsibility. ZIPPED

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poncho: handmade

RENEGADES Style icons know fashion rules are meant to be broken.

Photographed by Giancarlos Kunhardt Modeled by Stella Dudley, Jordan Roney, Alice Zulimire

Hair & makeup by Giancarlos Kunhardt Styled by Charlotte Bickley, Laura Cabral, Maya Solo

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coat: Coach, shirt: Gap RIGHT hat: vintage

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vest: Leviâ&#x20AC;&#x2122;s, skirt: Arrogant Cat

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clutch: Edie Parker, coat: ChloĂŠ RIGHT hat: Givenchy, sweatshirt: ami for colette paris, overalls: THE GREAT

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dress: Net-a-Porter, jacket: IRO

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all together now Spearheaded by families and figures of all ages, designers show a truly inclusive side to the industry. BY TAYLYN WASHINGTON-HARMON

Illustrated by Rachel Wendell

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osmopolitan decided to feature the “First Family” on the November 2015 cover, but Barack and Michelle were nowhere to be found. Rather, Kim, Khloe, Kourtney, Kris, Kylie, and Kendall — The Kardashians, or to Cosmo, “America’s First Family” — graced the glossy pages. The reality television stars may not be considered as important as the real first family by most, but evidently, the fashion industry disagrees.

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Fashion is obsessed with families. The Kardashians are sowing their wild oats in the business with everything from their Kardashian Kollection line to Kardashian Kids.; Kendall and Kylie are designing for PacSun, and a Kardashian appears on a fashion magazine cover nearly every other month. But it isn’t just the Kardashian family that dominates the industry. Dolce & Gabbana and Balmain promote the family aesthetic in their ad campaigns, and families like the Olsens and the Pradas run major fashion houses. Where the motto is “keep the business in the family,” the fashion industry follows suit, maintaining the powerful image of the celebrity kin popular with fashion’s consumers. “Fashion is about selling,” says fashion photographer and Syracuse University professor Lawrence Mason, Jr. “If you’re trying to sell any product, you want to take advantage of every opportunity there is to gain extra attention.” With celebrity families that the public obsesses over comes the attention brands seek. Families in the spotlight have a high-end lifestyle factor that consumers aspire to, and famous families, like the Jolie-Pitts, represent that. Top photographers like Steven Klein are paid well to snap photographs of the power couple and their sixchild family for fashion editorials centered on their lifestyle and how the world should perceive it. Most fashion brands’ target market audience is women ages 18-34; however, there are some outliers in the mix making their way into the spotlight. With 94-year-old Iris Apfel recognized as a fashion legend and 65-year-old Caitlyn Jenner rising as a style icon, the “fashion in the family” trend may be paving the way for older women, showing that style has no age. “It’s a healthy thing for young people to see older, fashionable, successful people who have a strong point of view in advertising as something to aspire to,” says Chris DeVito, an advertising copywriting and strategy professor at the Fashion Institute of Technology. Documentaries like Iris and Advanced Style open up viewers to the lives of fashionable older women, giving them opportunities to bond with the average older female consumer that desires a more diverse representation of age in the industry. The women featured in these documentaries have gone on to model for brands such as Lanvin and Kate Spade New York. And now, older non-fashion icons like Joan Didion and Charlotte Rampling are endorsing Céline and NARS Cosmetics respectively. While younger women looking at these advertisements may not aspire to look like Didion or Rampling in age, they can instead look at their influence, flipping the purpose of fashion and beauty advertisements on its head. Iris Apfel, a businesswoman and interior designer, worked at Women’s Wear Daily as a young woman and launched a textile firm with her late husband Carl Apfel, which they ran for nearly 50 years. She also made a name for herself as a

design restorer, even working for nine American presidents, including Bill Clinton and Ronald Reagan. Her expertise in fashion and design led her to teach students and become one of The Guardian’s best dressed people over 50, solidifying her place as a style icon. “Her unique style that she’s developed over the years has longevity... she’s constantly been relevant,” says DeVito. Juxtaposed in a spring advertisement for Alexis Bittar jewelry with Apfel is Tavi Gevinson, the 19-year-old editorin-chief of Rookie Mag and widely recognized “teen queen.” Gevinson, who also hosted the fashion talk “Good Taste/Bad Taste: The Evolution of Contemporary Chic” at the Met with Apfel in 2012, has been in the spotlight since age 12 for her blog, Style Rookie. Her advanced sense of fashion and cheeky writing style led her to the front row of a variety of shows at New York Fashion Week. Her launch of Rookie Mag provided a new outlet to discuss issues related to feminism and all things growing up as a teenage girl, cementing her spot as a teen idol. Seeing a young, but accomplished woman next to an older and just as accomplished one opens up the conversation to whether age can determine style and success. With young starlets like Zendaya, Bella Thorne, and Kylie Jenner constantly on the radar for their style, it seems that age and time provide no barriers to the style it-girl. And they may even get younger as blogs and social media profiles document the style of celebrity children like North West, Suri Cruise, and the Jolie-Pitts.

“IF YOU’RE TRYING TO SELL ANY PRODUCT, YOU WANT TO TAKE ADVANTAGE OF EVERY OPPORTUNITY THERE IS TO GAIN EXTRA ATTENTION.” -LAWRENCE MASON JR. With more couture designers like Marc Jacobs and Stella McCartney designing for children and designers’ families controlling the business of couture houses, the industry is using the conventional idea of “family” to make a powerful statement. “Fashion tries to be at the forefront of social issues... sometimes by creating controversy for that extra attention,” says Mason. The inclusion of families and showcasing a wide age range in the fashion industry opens it up to those outside of the cookie-cutter thin, young mold. Fashion should be for everyone — moms, dads, grandparents, and even children included. ZIPPED

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baring the bra Illustrated by Devyn Passaretti

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BY ANNIE O’SULLIVAN

Corsets, a tightly fitted undergarment worn by women beginning in the 16th century, were gravely important for shaping the ideal figure. Such a luxury was often limited to women of wealth, like Queen Elizabeth I of England, as it was expensive and required assistance to tie on.

During this period coinciding with the French Revolution, there was also a rebellion against undergarments. The fashion styles advanced from fitted bodices to high waisted dresses with looser fabrics that allowed for movement. Corsets were deemed “out of fashion” and inappropriate.

The bra evolved as WWII raged on, influencing the creation of the “SAF-T-BRA,” designed to protect women working in factories with a strong and sturdy form. Underwire began to be used, and the Bullet Bra, which added one full cup size, became popular. Celebrities, like Marilyn Monroe, were nicknamed “Sweater Girls,” as they became associated with promoting the possible prototype to Victoria’s Secret’s Bombshell Bra.

The ‘60s are known for change and the emergence of counterculture, coinciding with increasing interest in the quality and styles of bras. Victoria’s Secret started their annual bra and underwear show in 1977. At the same time, many women were revolting against bras, as they believed the restricting garment represented oppression and opposition to women’s rights.

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2015 is the year of the bralette. These lacey alternatives to restrictive underwire now dominate the hosiery department. But, this style wasn’t always en vogue. Zipped takes a look back at the evolution of the up-lifting undergarment.

During the Roaring Twenties, the first “bras” replaced the traditional corset look. Undergarments became less constricting, holding in the bust while promoting a popular “boyish” figure. This new look went hand-in-hand with the changing roles of women, who flocked toward the workforce and broke out of their domesticated roles.

The first bra with cup sizes was created, and styles were less about how they made the figure appear and more about comfort and fit. It was the start of the journey toward the modern bra.

With the era of the ‘90s, bras became more about visual appeal, as sports bras became a notable trends. One of their biggest appeals was their “acceptability” both in public and private. It was a style to show off a sports bra in public, often paired with overalls and white tennis sneakers.

As the 2000s came around, there was increasing demand for versatile bras to support plunging necklines or strapless shirts. There was also greater need for more sizing variety to appeal to different body types. Designers started using fabrics, colors, and patterns to satisfy this demand for fun and flirty styles.

ZIPPED

TECHNICALLY SPEAKING

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BY ERIN REIMEL

Advances in technology take fashion to new heights with fresh possibilities and transformative outcomes.

his fall, Japanese fashion label Anrealage showed some of and use technology to create fabrics that look the most drab, average designs of the season. But when the similar, bringing high fashion to the mainstream. audience was instructed to start taking photos with flash, A neoprene skirt featured on the runway at Zac the clothing transformed. As the cameras clicked, the flashes Posen can be found in a similar iteration on the revealed hidden prints and patterns in the fabric that could only racks in Forever 21. be seen in the lights. Similarly, the Nike Flyknit ANREALAGE Current runway trends are experimenting with the growth and material has taken fashion and sports influence of technology. by storm. It can flex to fit Since the industrial revolution, fashion has evolved into the foot without seams a worldwide industry, thanks to the speed and efficiency of and stitching. It’s technology. Mass markets boomed. In the past, technology not only innovative: changed fashion; today, it is shaping the future. the technology behind Iris van Herpen is a designer who works with technology it breaks rules we’ve in the form of 3-D printing. She’s been creating not only understood as true in embellishments with the raw materials, but full looks for her relation to shoe design. “The runway shows. With a 3-D printer, a designer can make just rules in the past, they don’t about anything. The printer uses a digital file with instructions apply,” Gatley says. for the dimensions of the object. It adds the material, usually a plastic filament, in dozens of layers to build something solid. And with new advances in materials, the printers can make something flexible enough to be worn. Van - To Long Nam Herpen even used a 3-D printer in a performance art piece during her Paris Fashion Week show, weaving actress Gwendoline Christie from Game of Thrones Through technology, into a tree-like structure, juxtaposing nature and tech. This fashion becomes all about took the show to an entirely new place in terms of innovation. lifestyle; gone are the days “It might be the next big thing,” says To Long Nam, fashion when you had to be tied design professor at Syracuse University’s School of Visual and into a corset and dressed in Performing Arts. He believes technology is part of the vision the layers of skirts to fit into the industry is working toward and thinks it’s especially appealing to fashion mold. Technology the avant-garde designers. makes life easier and more Of course, the average person doesn’t own a 3-D printer low-key with the stretch but still likely wears products of technological innovations and fit of yoga pants, the everyday. Thanks to technology, we aren’t limited to certain streamline of the running boundaries we had before. “We have textures that they didn’t shoe, and the versatility have in the past,” Shannon Gately, assistant handbag designer of the fabrics available for Steve Madden, says. She’s excited to see the athletic wear from couture to low-end touches show up in fast fashion clothing like H&M and Zara. retailers. Technology Gately loves how fast fashion brands can take a runway design forms new possibilities.

“IT MIGHT BE THE NEXT BIG THING.”

ZIPPED

WITH BRETT HEYMAN

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Brett Heyman, founder and creative director of handbag brand Edie Parker, is a 2002 Syracuse graduate. Majoring in Television, Radio and Film, Heyman learned how to tell a good story: a concept she now uses everyday in creating her bags. Working in the Gucci public relations department after graduating, Heymen noticed a lack of evening bag production in the market, prompting her to found Edie Parker. Zipped got the scoop on how Heyman began her company, and her advice to those following in similar footsteps. BY CHARLOTTE BICKLEY ZIPPED: How did you come up with the idea of the awareness, which really legitimized what I was trying to do, and Edie Parker bag? little by little it grew. BRETT HEYMAN: I grew up in LA, and my whole life I have collected vintage bags from all decades. Today I have a Z: What are your plans for the future of the company? How huge collection. Every time I wore are you hoping your company one of the acrylic bags from my will grow? Do you have plans to collection, people would stop me FAVORITE DESIGNER open a freestanding storefront? and ask about them or would relay H: I envision twin growth with the Haider Ackermann nostalgic stories, such as my Mom brand. What I mean by that is I would had a bag like that, or my grandma like to keep growing the handbag FAVORITE CURRENT TREND had a bag like that. Through work, I and keep growing the breadth of the Sneakers was aware of the lack of evening bag product. Each season, we do more choices, limited to Judith Leiber or combinations such as acrylic and WARDROBE ESSENTIALS small bags from collections, such as leather and acrylic and snakeskin, so the mini Proezna Schouler, so after Blazers, jeans, and lots of denim, rag and bone that will continue to grow in a very T-shirts, and anything from Chanel I had my daughter Edie, I wanted to organic way. Also, I would like to do something that was mine and that grow the acrylic part of the business. I had more control over. So with my FAVORITE VINTAGE PIECE We are right now launching trays, fashion contacts, ingenuity, and A Versace gold chain-mail mini dress that I acrylic trays that look like the bags, blind faith, I decided I would try to and we want to make boxes and other searched for for years remake the vintage bags that I had table top objects. Eventually, I would collected and sell them. like to do eyewear and make the FAVORITE ARTIST brand much more lifestyle than just Rauschenberg Z: How long did it take for your handbags. I would love a freestanding bags to get a significant following? store one day starting in New York. FAVORITE EDIE PARKER CLUTCH H: We were very lucky. Some of I envision a world of Edie Parker, The Rainbow Stripe Clutch the people I had worked with at and I think there is no better way to Gucci ended up at Barneys, such showcase that vision than through a FAVORITE THING TO DO as my old CEO at Gucci, ended up freestanding store. ON THE WEEKENDS becoming the CEO of Barneys, and Be with my kids in Connecticut the president of Gucci became the Z: What advice would you give a president of Barneys. When I was Syracuse graduate looking to go ready to sell my bags, I went to them, into the fashion industry? and they bought the line exclusively. Through some other PR H: You have to get internships during your summers and figure contacts, I was able to go to Vogue, and they covered the bags out a way to somehow get your foot in the door, because that is how in an article. I was able to get the bags on the red carpet through people get jobs. Get an internship and do an amazing job. Never Kate Hudson. Kate wore a bag to the Met Gala in May 2011, complain, work really hard, and go above and beyond. Interns that before the bags were even in Barneys, and that got covered in US work hard are the ones that get recommended for the jobs, because weekly. Right away, there was all this great coverage and great people in the industry are looking all the time for young workers. ZIPPED

FALL 2015