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LEADERSHIP EDITOR IN CHIEF Jonathan Chau CREATIVE DIRECTOR Lauren Hurwitz MANAGING DIRECTOR Staci Soslowitz EDITORIAL DIRECTOR Jacorey Moon DESIGN ART DIRECTOR Jordan Clewner ART ASSISTANT Elizabeth Goldish ART ASSISTANT Julia Lawrence ART ASSISTANT Amelia Lytle ART ASSISTANT Harrison Mayesh EDITORIAL EDITOR Chloe Greenwald EDITOR Hannah Lees ASSISTANT EDITOR Kate Regan COPY EDITOR Lauren Spiezia EDITORIAL INTERN Willian Khabbaz EDITORIAL INTERN Mia Elortegui EDITORIAL INTERN Nell Schwartz DIGITAL DIGITAL DIRECTOR Abigail Fritz DIGITAL BEAUTY EDITOR Fjolla Arifi DIGITAL CULTURE EDITOR Alexandra McCartha DIGITAL FASHION EDITOR Elizabeth Salter DIGITAL CARE EDITOR Logan Toporoff FASHION FASHION DIRECTOR Marina Fernandez de la Cuesta FASHION ASSISTANT Toby Aronson FASHION ASSISTANT Kristiana Morell FASHION ASSISTANT Ella Mulligan PRESS SOCIAL MEDIA DIRECTOR Emmy Gnat EVENT DIRECTOR Sloane Hammerman PR DIRECTOR Sara Jaskot PR ASSISTANT Callie Collins MARKETING | FINANCE MARKETING DIRECTOR Catherine Chung FINANCE DIRECTOR Krista Stephens SPECIAL THANKS TO Melissa Chessher Dorian Electra Becca McCharen-Tran Emme
IN THIS ISSUE MORE THAN A MULLET The hairstyle that’s shaving a nation.
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MADNESS AT THE VANITY TABLE It’s. Tew. Much.
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EYE-CONIC Take a look at this BEAT, HUNTY.
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SWIMMING PAST THE PRESENT #GETWETFORZIPPED
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TAKIN’ IT “MAN TO MAN” We go ALL the Way. Flamboyantly.
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GENERATION M(EME) AiGhT, We GoNe HeAd OuT.
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LAYERED Layered like a 7-layer cake!
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EMPTY ECOSEXUALITES Are we horny for our environment?
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EXCUSE ME, MARC JACOBS Celebrities and fashion are conjoined at the Instagram.
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CURRENT, CUTE, CANCELED Girl, DON’T be late.
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Health-Ade Organic Kombucha, Ginger Lemon 16 FL OZ. Instacart, $3.29
EDITOR’S PICKS
Dr. Jart + Cicapair Tiger Grass Calming Mist, 50 mL. Sephora.com, $23.
Keep moisturized and glowing against the harsh winds and grab yourself the 6 must-need items this Fall.
L A em A pp on m le T a zo A ea n irp Ca .c o s o d e m s , ,$ 1 8. & 2 99 .
Glossier Cloud Paint, 0.33 fl oz. Glossier.com, $18
Jadon Boot, polished smooth leather. drmartens.com, $180.
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LETTER FROM THE EDITOR Everything’s a mess. Like all aspects of life (policial, cultural, and economic), fashion remains in a time of change -- an area of uncertainty. Looking at our last issue’s attention towards the future, I wanted to focus on now. We live in a state of tension, where people question their government, media, and safety. Thinking about the cover, we needed someone to represent this feeling. There’s where Dorian Electra came into mind (pg 21). I identified with Electra: someone who used my same pronouns (they/them), someone who presented themself boldly, someone who is an iconoclast in their field (pop music). I was able to candidly chat about their upbringing, state as an independent artist, and relationship to queerness. We decided to continue this outlook throughout the entire publication as well. In this issue, we look at how beauty, style, and culture is shifting. The mullet (pg 5) became a symbol of rebellion against the establishment, not just a hairstyle for country folk. With the death of Karl Lagerfeld, arguably the most celebrated establish in fashion history, addressing the rise in celebrity designers (pg 35) as a replacement to creative director norms was necessary. All these topics are layered. Even if it’s the shift from logomania and hypebeast central to the emphasis of tailoring and sharp garments (pg 27) because people are tired of excess or the lack of a unifying makeup trend (pg 9) as a means for expression and connections to separate subcultures. Like everyone else, I binged watched Euphoria. We had to recognize the HBO series’ impact on how we present ourselves outwardly and let everyone know how they could get the look. Think about the internet culture as the disruptor in the media discourse. Memes remain as the prominent currency to what’s in vogue (pg. 25). We also had to address the topics explored in the past, like the fight against fast fashion. I couldn’t help but think of designers’ ecosexual approach to clothing (pg 33) while maintaining an active threat to Mother Earth. Or reinvestigate diversity and inclusion, in terms of race, gender, size, etc. We spoke to Chromat’s founder, CEO, and Creative Director, Becca McCharen-Tran (pg 15) about what it really means to be a contemporary brand. Our team is proud of what we are presenting to you. And as you read our Fall 2019 issue, we are excited to present to everyone what’s current, cute, and canceled (pg 37). JONATHAN CHAU Editor-in-Chief
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MORE THAN A MULLET
By: Abby Fritz Photography by Isabella Abitboul
Once a taboo trend, the hairstyle remerges as a genderqueer statement.
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illy Ray Cyrus was the king of the country mullet, the updo that merged a clean buzzcut with long waves. Pair that with his skimpy tank-tops and boyish charm, you have the Cyrus who wore the trend long after it had gone out of style in the ‘90s. Thanks to Lil Nas X, who featured the country singer on his hit track “Old Town Road” in April 2019, Cyrus found his way onto a new, younger generation’s radar. They, in turn, have also rediscovered the mullet Cyrus is famous for. With Cyrus’ return to the public eye, there is now a plethora of videos featuring people showing off their new mullets and awkwardly large pickup trucks on the popular short-form video-sharing app TikTok. Some have even gone viral, meaning the mullets in these videos are seen extensively by younger generations. Now with its regained popularity, everyone from country music stars to the high fashion runways have taken back the look.
The mullet hasn’t seen much of the spotlight in the past few decades. Not since the iconic, choppy David Bowie mullet of the ‘70s, and the more natural football-jock mullet donned by every ‘80s movie star. After its quick rise to fame, the mullet quickly became stigmatized as “unpolished.” By the ‘90s, the style was in steady decline. With its newfound popularity today, the mullet is now a go-to gender neutral style of the times. The queer community has taken the mullet back as a push against gender norms, functioning as a hairstyle that gives gender non-conforming people the space to express themselves. It has removed the confines of a hairstyle that unrightfully genders people and validates many different gender expressions.“The mullet definitely gives me confidence and
reinforces my androgynous style,” says Olivia Salamy, a SUNY-ESF sophomore, on why she decided to get a mullet. We can track the rise of the androgynous mullet in Western culture back to the queer DIY scene in New York City. The upsurge of the “Bushwick Mullet,” referencing the cluster of mullets that has become popular over the past few years for millennials in Brooklyn, seems to be the style’s origin. Unlike the “Country Mullet,” the Bushwick Mullet references the 80’s rock scene with its choppy edges and dramatic colors. The queer mullet has also popped up in the East Village of NYC. After moving from Tokyo in 2016, queer stylist Masami Hosono brought this look to Manhattan with the opening of “Vacancy Project,” a gender neutral hair salon. The salon has perfected a new genre of mullets called the “step mullet,” a cut with clean chops on the side and left longer in the back. Its popularity has grown exponentially with the mullet’s reappearance; even Euphoria star Barbie Ferreira rocked a subtle step mullet during New York Fashion Week at the Coach show. If Ferreira loves the look, what other stamp of approval do you need? While there have been some sporadic appearances of the mullet over the years, like Rihanna at the 2013 NYFW, it has taken a long time for this hairstyle to shake the bad wrap its had the past twenty years (even Rihanna got backlash). During NYFW this past spring, many brands featured mullets on their runway collections. More experimental brands like Balenciaga and Gucci styled their collections with mullets. The Balenciaga show featured models in business wear, complemented with the hairdo, normalizing the look for everyday people.
Notably, both brands’ shows had models of all genders and the mullet was seen on people of various gender identities. This look is further solidifying the mullet’s place as an androgynous hairstyle in today’s world. This representation of gender fluidity on runways serves to further validify the life of gender queer individuals, much like the spirit of the mullet. Even Chanel and Celine featured the hairdo this season, making the mullet not only fashion for country boys and subculture followers, but also for fashion’s key players. No matter the type of mullet, the biggest difference between the mullet of today and the mullet at its peak is that it is not for everyone. When you get this style, you have to wear it with the confidence that this bold look deserves. You must rep the mullet for its rocky past and recognize the power it has to make a new future in the realm of genderless fashion and queer culture. Queue Billy Ray Cyrus’ “I Want My Mullet Back,” because so do we, surprisingly.
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Madness At The Vanity Table By: Mary Keith Illustration by Julia Lawrence
There is an oversaturation of makeup trends being promoted by companies in the beauty world today.
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ENTY Beauty has created a standard of inclusivity through their extensive shade ranges, forcing both established and new makeup brands to follow. MAC has kept up with inclusive culture by using trans and drag spokespeople to stay progressive. James Charles popularized bright colors and inspired younger audiences with the launch of his Morphe palette. Glossier has become the go-to for the no-makeup makeup look. Tarte found its niche audience for the environmentally-friendly and cruelty-free advocates. The $532 billion beauty industry can overwhelm some with all of its competing trends circulating. According to Forbes, there are four main trends: the instant fix, the doll look, natural skincare, and personalization. Popular trends fall into each of those categories, such as Drunk Elephant’s T.L.C. Sukari Babyfacial for an instant fix, Huda Beauty’s Mercury Retrograde palette for the doll look, Kori Organics’ Noni Glow Face Oil for natural skincare, and Bite Lip Lab’s custom lipstick for a personal look.
with this can-do attitude, like Shrishti Matthews, a Syracuse University student who takes bits and pieces from trends and incorporates them into her own unique style. “I don’t want to look like a different person, just a better person,” Matthews says. “I do follow trends, but I don’t always participate in them because something that looks good on one person won’t necessarily look good on someone else.” Matthews opts for the no-makeup look with a Neutrogena tinted moisturizer, a dramatic winged eyeliner from Colorbar Cosmetics, and compliments her deeper skin tone with Huda Beauty lipstick to finish the look. She picks and chooses products to customize a style that not only keeps up with the latest beauty trends but also feels right for her. However, there are some people, like influencers, who don’t just follow trends — they make them. One Instagram blogger, who would like to remain anonymous, plays around with bold colors and graphics to create her own niche content. With almost 45,000 followers, she dedicates her feed to eye looks and stays away from full-faced beauty trends. While bold colors and graphics can be seen as a makeup trend aimed for young people, the beauty influencer believes that makeup trends have become fluid and intergenerational.
Syracuse movie makeup artist Ashley Hansen notes that the sheer number of makeup trends have created somewhat of a sensory overload, but doesn’t think that people view makeup as intimidating. Instead, it allows people to create out-ofthe-box looks and start their own trends. “People think of a trend as a box around “I think a lot of people follow what they like you and that you should follow within as there is no set rule that states that a this box,” says Hansen. “They should trend is only for a certain age group,” said see makeup as more of an artistry and the influencer. “However, when growing up [something that’s] fluid.” with a generation where certain trends are more apparent than others, it may be more Activists have used makeup throughout common for a certain age group [to follow history, most notably for women’s age-defined trends].” empowerment in the 1920s, says Hansen. “When the flappers came out, The idea of generational makeup could women were awoken and they could start likely come from current brands targeting wearing makeup,” Hansen explains. “Now, specific audiences. Local makeup artist, nothing’s off-limits. We [women today] can Julianna O’Leary, gives examples of these really do anything and damn you for trying aims. “You’re always going to have your to judge me.” classics, like Bobbi Brown. She’s always going to keep it natural. She’s never going People aren’t confined to any trend to go off-brand,” O’Leary says. “But then, 9
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you have James Charles and Jeffree Star bringing that color look into it.” For any personality, there is a makeup trend to suit. Regardless of age. O’Leary agrees with the anonymous influencer that beauty is intergenerational, but she finds that it is mostly influencers and bloggers who incorporate a full face of makeup into their daily routine as part of their artistic outlet. However, for some people who don’t have the time to put on makeup every morning, there are trending options for more natural characteristics. O’Leary referenced the no-makeup makeup trend. This look can be considered as a nod to gender equality, just as more makeup trends align with global movements. Environmental activists use cruelty-free, vegan, and organic makeup to advocate for animal and climate rights. Sustainable makeup users avoiding products harmful to animals or to the environment, throughout the entire production process. These types of companies source organic ingredients and create recyclable packaging to reduce their carbon footprint. Social and environmental changes have impacted the beauty industry by diversifying makeup and the options that people have to try. If anything, makeup allows shoppers to become aware of what their makeup stands for and how that relates to their beliefs. Is it inclusive? Is it cruelty-free? Is it environmentally-friendly? Success in makeup is in brands, like FENTY Beauty, MAC, and Tarte because of the stances that they take, and staying progressive is the new trending priority.
Eye-conic
By: Dani Wolfenson Photography by Emporia Meng Makeup By Fjolla Arifi Move past your standard smokey eye.
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ince beginning to experiment with Since then, social media and the makeup almost a decade ago, I’ve internet have accelerated the graphic long perfected the art of “no-makeup makeup trend. YouTube beauty makeup” and remained in this bubble gurus, such as Jackie Aina and Nikita of natural-looking deception, obsessed Dragun, make videos guiding viewers with looking like I hadn’t tried too hard, through creating these intricate looks. even though I definitely had. I started However, graphic eye makeup has using makeup to conceal the chronic remained relatively taboo and unseen dark circles surrounding my eyes and in everyday life. I only used neutral-toned eyeshadows that would distract from the purple skin This all quickly changed with the release beneath. I was horrified at the thought of HBO’s Euphoria, a series starring of hugging a boy wearing a white shirt, actress Zendaya as a teenager battling as I knew that my face would practically drug addiction. Though the show was come off on the fabric, revealing that I made popular for its raw depiction of was, in fact, wearing makeup. the struggles that modern teens face, it also made waves on social media Thanks to the recent revival of graphic for its use of bold eye looks. Fans eye makeup in the mainstream, obsessed over the characters’ vibrant makeup wearers no longer worry about eyeshadow, glitter, rhinestones, and looking like they’re wearing makeup. sharp, colored eyeliner. In an interview Instead, people are encouraged to with Vulture, the show’s makeup artist embrace their love for makeup and Doniella Davy said that Generation Z is experiment with bold looks. Makeup is expanding peoples’ views on makeup. no longer made just to cover up, but rather to experiment with personal “They’re using it to challenge beauty style and expression. and makeup norms, to redefine what makeup is,” Davy says, “They’re using The ’80s brought the first wave of it to challenge stereotypical gender graphic eyes -- bright pink and blue identities. It’s definitely not just about shadows filling the lid and lining the like being pretty or using makeup in a waterline was made popular by icons corrective manner.” Diana Ross and Madonna. However, minimalist makeup was quickly Experimenting with graphic eye looks revived in the ’90s with it-girl Kate can seem intimidating. Luckily, we’re Moss. Low-key makeup prevailed here to guide you through it with both on screen and in everyday life inspiration from Davy’s article with Elle. until American counterculture picked up bright shadows and glitter. This ROCK SOME RHINESTONES was characterized by music lovers and festival-goers who were ready to To nail a rhinestone-filled look, begin experiment with bold makeup in public. with a base eyeshadow color and Festivals like Coachella became safe apply it from your lash line up to your spaces for people to try new looks, crease. For added drama, extend the and the rise of social media provided base color up towards your eyebrow a platform to show off this emerging then apply black winged liner with trend of festival makeup. a slanted flat eyeliner brush. Use
clear-drying eyelash glue to apply the rhinestones, outlining the shadow on the lid and connecting below the lower lash line. Rhinestones can also be placed randomly across the eyelids or even on the eyebrows. Keep the rest of the look simple with a nude lip and fresh brows, and finish with false lashes. BRIGHTEN UP BASICS When opting for a monochromatic eye look, begin with a cream shadow base. Use a flat concealer brush to apply the color all over the lid, bringing the color either just above your crease or up to your brow line. Spritz the brush with setting spray before dipping into the shadow to enhance pigmentation. Dust a shimmery, lighter-colored eyeshadow on top to set the base color. Use either the same cream eyeshadow or a slightly darker shade to line the lower lash line. To finish the look, apply a highlighter of your choice to the inner corners of your eyes and black mascara on both the top and bottom lashes. GET GRAPHIC For graphic liner looks, apply liner in the color of your choice with either a slanted flat eyeliner brush or a colorful felt tip pen. Next, carefully apply a liquid or cream eyeshadow over the liner. Davy recommends using cultfavorite Stila Shimmer & Glow Liquid Eyeshadow. For added sparkle, use eyelash glue to apply rhinestones on top of the eyeliner. When perfecting bold eyeliner, Davy says to be patient. “Perfect winged liner takes patience and practice to do,” Davy says, “Use small, pointy Q-tips to help make corrections.”
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Models: Omolara Akinfemiwa, Fjolla Arifi
By: Jacorey Moon Photography by Emporia Meng Zipped talks to the designer of Chromat, the bodywear brand for everyone. For the tenth anniversary show of Chromat, Lina Bradford, the trans DJ, stomped down the runway. Bradford’s curvaceous, voluptuous body juxtaposed to the tall, slender Asian-Pacific trans model Genna Rocero, exemplifies the brand’s mission. The blue light illuminating against the white stage complemented the brightly colored swimsuits worn while models walked hand-inhand on the runway. Bradford wore the one-piece wrap suit consisting of a hot pink piece of fabric wrapped around a red asymmetrical bodice, cinched with a silver buckle. Rocero wore the Stallion suit, complete with a hot pink and red thong one-piece with the midsection cut out and silver buckles on each hip, red strips of fabric fluttering in the wind of her stride. Inclusivity wasn’t only the vibe for the night, it’s a way of life for the brand. In an industry that tokenizes representation, there are a few strongarms setting the trend of where fashion’s standards should be. While some brands find solace in casting as little diversity as possible, other brands like Chromat, embrace it. Chromat, designed by Becca McCharen-Tran, is a bodywear brand that strives for inclusion, in all terms of the word. When people think about diversity, they tend to think of fair skin models with slightly heavier body types or they tend to think about the Ashley Grahams of the world. Rarely do designers cater to a wide range of shapes and create a truly inclusive experience for their consumers. McCharen-Tran has set out to change that industry standard. After obtaining an architecture degree, Tran thought about how she could merge the worlds of architecture and fashion to create a new brand for everybody. She packed up all of her things after following a friend’s advice and moved to New York City in order to pursue Chromat and a full-time job in architecture. Eventually, she realized that Chromat was her calling. Now based in Miami, Chromat continues to push the boundaries of known fashion constraints. From athleisure that will make you want to get physical to swimsuits that will make you into a total Chromat babe, McCharen-Tran designs for the right size, every size. With over 155,000 followers on Instagram, Chromat has become an exclusive producer of these products for their target clientele. Zipped had a chance to speak to the designer about what diversity looks like for the brand, sustainability in fashion, and what’s expected for years to come.
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Diversity is a topic that’s being oversaturated in fashion, but Chromat has always featured models that were never given a platform in the past, rather that is because of their size, gender identity, ability, etc. Why is so important to showcase diversity in every sense of the word? It’s really important to showcase diversity and be a truly inclusive brand because I think lives depend on it. I can only speak for myself, but growing up and only seeing one type of beauty, I thought that to be desirable, successful, or beautiful, you had to be skinny. It was really damaging and destructive for me, and I know that so many other people go through a similar experience of selfhate and having eating disorders. There’s just so many negative repercussions to promoting such a singular, narrow definition of beauty, so it’s important to use the platform that we have at Fashion Week and creating these campaigns. It’s really important for us to explode that narrow definition of beauty. When we’re talking about diversity in the fashion industry– it’s easy to find a model of any shape, size, and gender presentation. When we were starting out, we had to be really intentional with who we cast, but at this point, casting or hiring a black model or hiring a plus-size model is really the bare minimum a brand can do. The conversation is turning towards the people behind the scenes and how you can’t really have an inclusive brand if your whole team is white and cis, you have a singular viewpoint behind the camera. Can you describe to me the Chromat customer? How do you think wearing your brand plays into their identities? Chromat babes are strong, powerful, bold, unapologetic, not afraid to stand out, creative, and more. We love highlighting stories and featuring Chromat babes that inspire us. For example, the “Pool Rules” shot that we did a few summers ago, we wanted the lifeguards at the pool to create an inclusive and accepting place. We featured 5 amazing Chromat babes: Erika Hart, Geena Rocero, Denise Bidot, Mama Cax, and Emme. You should definitely look up all five of them. They are all amazing people. Erika Hart is a non-binary, sex educator, and activist for social and racial justice. Mama Cax is an amazing style blogger andvisibility advocate. She also has a prosthetic leg. Geena Rocero is an amazing activist for gender. She’s a trans Filipina woman who has done a lot of advocacy work around gender identity. Denise Bidot is an amazing Latina mom and body positive activist. She is one of the first plus-size models we ever worked with back in the day. And Emme, of course, a lot of people regard as the first plus size supermodels. Back in the ‘90s, she did a lot of Lane Bryant stuff. We wanted to utilize our platform and campaign to highlight the stories of these amazing people who are changing the industry and the world in so many different ways. So that’s who Chromat babes are, they’re all making the world a better place. Sustainability is another one of your focuses, how has this concept incorporated throughout your business? Sustainability has become a big priority for us,
especially since I moved to Miami. Being on the front lines of climate change here has impacted the way I think about my own footprint through Chormat and personally how I’m contributing to environmental degradation or restoration. For example, the use of toxic dyes that are poisoning the waterways or mountains of fast fashion trash. There is so much that the fashion industry contributes to ruining the Earth. We are trying to rethink how we have been doing it in the past and how we can improve. Since we started doing swimwear, we used recycled textiles from fishing nets. So, fishing people get a hole in their net, it costs them money to return the net or trash it, so people just drop them in the ocean. All these ghost nets trap sea life and pollute the ocean. There’s diving teams that go out and pull up these ghost nets from the bottom of the ocean, then this factory in Italy melts down the nets into nylon and weaves or spin them into a thread. The swimwear we create is made from this recycled nylon. It’s really important to continue to think of more ways in which we can reuse materials that already exist instead of always creating new ones and adding to the pile of trash. You mentioned in the past that you look at designing your collection through the intersections of technology, architecture, and fashion. How do you see these concepts continuing to influence your outlook when creating? Coming from an architecture background, I’ll always think of design in that way. Architecture has influenced the way I think of garments as tools. Over the years, Chromat developed several fashion technology prototypes that physically react and change based on data that reads the body and its surroundings. We made a bra that opened and closed vents if it realized you’re getting hot and sweaty. Through sensors and shape-memory alloys, we’ve done other things over the years. I hope to continue to develop garments as tools. So my last question is, every industry feels like it’s always getting more crowded and that can make young creators and designers nervous. What’s your advice for them? I know what you mean. I definitely feel that all the time: “What makes me special?” There’s so many brands that don’t have the opportunities I have. Why did I benefit? There is so much talent out there. My motivation to get into fashion wasn’t necessarily to get rich or famous; that was never my intention. From the beginning, I started working in fashion [because] it was something fun for me. It was a hobby. It brought me joy. I still love doing it. I’m always inspired creatively in this medium so that will never change. No matter if I’m famous or not, rich or not. My own personal passion will never change, so that would be the only thing I could say. Evaluate why you’re in this. If it’s because you truly love it, then you have no choice. You have to do what you love as best you can, try to take any opportunity that is given to you, and make the most of it.
Models: Jenny Gines, Rayanna Harduarsingh, Victoria Patti, Taylor Steiner
TAKIN’ IT “MAN TO MAN”
By: Jonathan Chau Photography by Clare Worsley
Dorian Electra, the independent genderfluid artist, is changing how we look at pop.
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uring a warm afternoon in early October, Dorian Electra travels on the rural Missouri highway from Springfield to Kansas City for the next installment of their first headlining tour, a mix of solo events and supporting acts for electropop princess Charli XCX. The cellular signal is iffy, but this was the only time we managed to schedule a chat. They just took a short five-day break, which was needed after a harsh cold plagued their whole team. “Now we’re recovered and we’re feeling good,” Electra reassures me. Electra is Flamboyant — like the name of their lead single and debut studio album released in July — but not in the traditional cis and heteronormative use of the term. With a glance at the gender-fluid singer’s Instagram, their appearance stands out: their sapphire mullet, makeup that usually includes sunkissed overthe-nose freckles or drawn-on pencil mustaches, and clothing involving intricate, avant-garde takes on jock attire and everyday businessman attire. This extravagance is also reflected in their music. Critics, like cult-followed Youtuber Anthony Fantano, praised their album for its explosive pop mixes and intricate songwriting that examines nuanced topics like nine-to-five work culture in “Career Boy” or toxic masculinity in “Man to Man.” After dropping their album, the 27-year-old creative remains busy. They worked with companies like l.a.Eyework and Apple Music, released five music videos, and of course, continued touring, making sure to hit Midwest cities that other artists might skip.
Along with other transgender and non-binary artists like Kim Petras, SOPHIE, and ARCA, Electra is establishing a new representation, bringing their genderfuck sensibility to audiences that never see their identities in the mainstream. No longer are these artists on the fringes of the industry for niche audiences. These musicians are creating music with queer people in mind, but this time it’s for everyone. “Queer artists have had to downplay their identities in their music in order to be accepted or taken seriously in the industry,” Electra says. “We are creating our own version of girl power all over again.” Electra grew up in Houston, Texas, a place some still have misconceptions about; although, it’s becoming a progressive oasis. Their dad, who was in a cover band, introduced them
to classic rock bands like The Rolling Stones, Alice Cooper, and David Bowie, while their mom fostered their interest in musical theater, helping build their confidence on stage. Meanwhile, they consumed shows like Spongebob Square Pants, Monty Python, and Twin Peaks, and listened to bubblegum pop favorites like Britney Spears and the Spice Girls. “All these things are deep in my brain,” Electra says. When they attended Shimer College in Chicago, they studied philosophy and enjoyed small lecture classes of roughly 12 students. They were also hanging out with student artists, filmmakers, and musicians from DePaul University and Columbia College. During that time, Electra became involved with the drag community, where they began figuring out their own identity and playing with gender in their everyday life. In 2016, they started creating elaborate, feminist-based music videos for Refinery29, exploring the history of vibrators, telling people to keep their hands out of femme bodies, and creating an ode to the clitoris. But it was their collaboration with Charli XCX’s glitchy electronic track, “Femmebot” from Pop 2 that gathered attention in 2017. Since then, they continue to write about heavy social themes that are not commonly explored in commercial pop music — topics that they’re passionate about. Unlike other artists that look at songwriting through a romantic and poetic lens, Electra looks at it like an essay, very calculated about the phrases they use and with two or three Wikipedia pages dedicated to research usually open. By the time they finish a demo, Electra’s already thinking about the music video: the color palette, aesthetic, and overall vibe, regardless if they make one. “You can communicate so much more visually sometimes,” Electra explains. “Especially when it comes to gender presentation and challenging them. The way you’re dressed and the way you’re presenting yourself is the first thing people see about you.” Despite their recent rise in success, Electra remains a completely independent artist. Their latest music video “Adam and Steve” explores a modern take on the biblical creationist story to reassure queer Christians that God loves them all while including nods to art history, exorcism,
and bondage. For this video and many others, Electra codirected and styled their looks, among other roles. Even for their tour, Electra booked it themself, personally emailing venues to set up shows. During the creative process, however, Electra is all about collaboration. They never sit in a room alone and write a song by themself, but collectively work with other creatives like Dylan Brady, Robokid, and Socialchair, who participated in the creation of Flamboyant. Working with seven different producers on the project, they wanted to highlight each person’s unique style while making a cohesive sound. Electra also collaborates with close friends like Mood Killer, another experimental pop artist, or their partner, Weston Allen, who codirects and edits most of their videos. Electra is doing the most with what they have. “We try to make [the videos] look as big and expensive as possible but they’re extremely DIY, and low budget compared to other artists working with industry support,” Electra says. “It’s a labor of love.” People noticed, especially younger fans, and that keeps Electra excited to create. Electra is growing as a creative and is ready to take their artistry to the next extreme. Their fan base continues to increase, actively “stanning” them on social media, dressing up in similar attire, and coming to their concerts. While they are looking for more support on the business side, they want to keep the do-it-yourself sensibility approach to producing music that allowed them to acquire the success they have. Electra continues to curate a persona unique to them. Whether they twerk upside down in front of a sold-out crowd, whip themself as they’re chained against filing cabinets, or virtually perform live via Minecraft (which is exactly like what it sounds like), it all feels natural. “There’s a limit to trying to appear cool or limiting yourself to what you think people are going to like when it’s something you don’t feel passionate about,” Electra says. “People can sense when something is raw and authentic, even if it’s what looks like a big, put-on persona.”
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Generation M(eme) By: Kate Regan Art by Jordan Clewner and Lauren Hurwitz
The shareable media became the hottest internet currency and companies are using it to their advantage.
This past Paris Fashion Week, model
Leon Dame staggered down the Maison Margiela runway in a contorted, hunched manner that captured the attention of everyone — on and offline. Dame closed the show in a belted oversized leather jacket, donned with a sailor striped scarf and military-inspired hat. While Margiela is known for their unconventional designs, it was the walk that made an impression. Within 24 hours, the clip of Dame’s distinct strut was circulating social media with different “relatable” captions attached to it. This high fashion moment quickly took over Twitter with user @ chuuzus comparing Dame to “walking down the halls with headphones in.” As of November, this tweet has been liked by over 120,000 people.
In an instant, the show was shared through social media at an alarming rate. While this wasn’t expected, Dame worked with Creative Director John Galliano and Movement Director Pat Boguslawski to choreograph the walk that would close the show. It appears that Galliano wanted to create a lasting impression and leave the audience wondering. Not only did this bring attention to the brand from an atypical audience, but also introduced Galliano and his creative eye back into mainstream culture, something that hasn’t happened since his heyday at Dior. In 2019, memes are the quickest form of communication, an internet currency that is rapidly exchanged throughout social media, group chats, Reddit pages, etc. They’re a common ground, one that is universal and available to anyone, anywhere, via the World Wide Web. Whether Kylie Jenner capitalizes on the phrase “rise and shine” and trademarks it as if it was was inventive or Lipton uses the classic picture of Kermit the Frog sipping iced tea, brands are learning that memes are the gateway to viral success
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and sequentially, growth in sales. Enter the Jacquemus Fall/Winter 2019 collection, where Simon Porte Jaquemeus released his “Le Chiquito” bag, priced at $258 and measuring 8.5 by 5 centimeters. While shockingly small, there was no surprise that the internet was quick to react. Memes were immediately created, comparing different things one could fit in a bag that size. People were claiming it could fit “my patience,’’ a JUUL pod, or a single airpod.
feel more comfortable in their fashion knowledge, these designers are raking in money from demographics that they wouldn’t typically capitalize on.
While Viktor and Rolf are known for creating pieces that are art-driven and beautifully handcrafted, they decided to branch out a bit more for their Fall 2019 show. Instead of their usual handcrafted cut-outs and structured add-ons, they chose to cover their dresses with relatable slogans such as, “I’m not shy, I just don’t like you,” “Sorry I’m late, I Without the attachment of the meme didn’t want to come” and even, “Fuck to the mini bag, Jaquemeus would you.” While these pieces were snubbed not be the brand it is today. This purse by fashion critics, they were adored by singlehandedly increased Jacquemus’ millions of people online. Dresses printed social media impressions by 1,831%. It with the words, “No” or “Get mean” were only took a few weeks for the style to sell tweeted alongside relatable thoughts out in multiple colorways and the bag of, “When bae wants to come over” or alone has accounted for at least 30% of “When a bitch tries to mess with me.” the brand’s total revenue. Without the These collections were highly sought comedic, Instagram-able qualities of the after because, for those who previously purse, Jacquemeus wouldn’t be nearly couldn’t, they felt as though they could as popular or successful. finally relate to high fashion. While the internet was mocking the ridiculous size of the purse, Jaquemeus was selling out because humor is always marketable and desirable. These purses were selling out because of their viralability. People were inclined to purchase the purse after seeing the attention it received online; some are willing to drop the money on a novelty accessory because it’s viral and will bring attention to themselves. When attention has a $258 price tag, some people consider it a steal. There is a superiority complex to those who understand the world of high fashion compared to those who don’t. These memes have created a bridge between the Twitterverse and haute couture by not only bringing attention to these luxury brands, but by normalizing the pieces and in turn, increases sales. While everyday people on the internet
With any collection, there will be a paradox between those who love it and those who despise it. It has now been normalized to highlight opinions via social media, as opposed to the traditional critique. Twitter user @cunninqham said what we were all thinking, “Those viktor and Rolf dresses are the worst fucking things I’ve ever seen not just because they are ugly but they are a prime example of people thinking high fashion = clothes that cost a lot. We have all been making fun of forever 21 for doing it but now it’s couturé?” On the other hand, Instyle tweeted, “Viktor & Rolf made couture dresses into memes— and it’s a total mood.” paired with, “The new @Viktor_and_Rolf dresses are peak Aquarius season vibes” from Glamour UK.
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NOW & LAYERED
Location: Skaneateles, NY Photography by Sam Bloom Models: Toby Cole, Plum Sawatyanon, Kaiyang Zhang
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Empty Ecosexualites By: Valerie Torres Art by Jordan Clewner
Can the fashion industry love nature, if it’s killing her?
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dark, mystical forest set the theme for Dior’s recent Spring/Summer 2020 collection, as the rows of tall planted trees surrounded the runway and paid homage to our natural world. The garments that graced this man-made jungle consisted of versatile plant species on flowy, neutral fabrics that were black, brown, white, and gray. Dior wasn’t the only brand catering to our environmental senses. Creative Director Maria Grazia Chiuri, in collaboration with the Coloco workshop, planted 164 trees which would then be replanted in four locations. Chiuri wanted to merge creativity with sustainability, since the relationship between fashion and the environment is not equally beneficial. Not only is the fashion industry the top industrial polluting sector of the world’s water, but it additionally emits 1.2 billion tons of greenhouse gases annually from textiles production. With the prevalence of convenient and inexpensive fast fashion, our consumerist society is addicted to having new, seemingly disposable clothes to keep up with fashion trends. With companies meeting these consumer demands, there is a call to action for consumers to feed into it. Ironically, the fashion industry has still managed to maintain its sexual obsession with nature-inspired trends. During the Spring/Summer 2019 fashion week, Dolce & Gabbana presented floral business couture sets. Florals for Spring? Groundbreaking. At Prada and Marc Jacobs, floral print dresses and jackets were prevalent at Fall/ Winter 2019 Fashion Month. In Spring 2020, Versace showcased vintage rainforest inspired prints recreated from J.Lo’s 2000 Grammy awards dress, which created Google Images. Although the industry’s obsession with nature is trendy and prevalent, we’ve seen this before. Leopard print thrived in high fashion during the 80s and 90s, along with other animal prints in addition to floral patterns. One of Alexander McQueen’s most notable works was his 1995 Spring show, “The Birds” based on the Alfred Hitchcock thriller. Another nature-inspired obsession that has stuck in fashion is outdoor workwear and
athleisure. Designers have glorified the outside world and have made oversized, utility apparel tasteful to fashion subcultures, incorporating it into everyday wear. The North Face and Columbia collaborated with streetwear-centric hyped brands like Sacai, Supreme, and Opening Ceremony. Major fashion houses like Prada, Gucci, and Louis Vuitton also began to incorporate looks that are nature-oriented and at times androgynous, making these looks appeal to a larger audience, one that is more inclusive of all gender identities. Fashion’s coexistent relationship with both the glorification and destruction of nature is a major paradox. Manufacturing outdoor gear is difficult and expensive, and often includes the use of hazardous chemicals that end up harming the environment. Most outdoor brands have not shown any agreement to abating the use of these chemicals any time soon, according to a Greenpeace product test in 2016. An early 2019 report showed that the overall progress for fashion sustainability is slowing down while the industry continues to expand. This is due to the lack of immediate action to compensate for the detrimental environmental effects. And yet, sustainable fashion is trending. In July, Zara announced their plan to use sustainable fabrics, implement eco-friendly stores and packaging, and launch a more eco-friendly collection by the end of the year. On the other end, H&M CEO KarlJohan Persson recently expressed his concern of the sustainability movement and the focus on consumerism. He explained that fashion retailers should still push for maintaining sales while simultaneously being environmentally innovative. H&M currently offers an eco-conscious collection for shoppers, and while the clothing is more expensive than pieces that are not sustainable, the emphasis on the brand’s use of organic and recycled resources shape the consumer appeal to buy. In August, 32 brands, including Chanel, Prada, Nike, Adidas, Zara, and H&M signed a fashion pact in France agreeing to act against climate change by minimizing their greenhouse gas emissions and reaching carbon neutrality by 2050. Although there
is no penalty given for failing to meet the goals set in the pact, the agreement strides towards collective consciousness of how vital sustainable fashion is for the future of our earth’s environment. Kanye West stated in his October 2019 interview with Zane Lowe that he planned to implement full sustainability for his brand,Yeezy, by building farms on his own estate in Wyoming to plant sustainable resources for production. This will help ensure conscious use of Yeezy’s own locally grown resources. He also unveiled a new environmentally friendly shoe, made with foam made from algae, at the Fast Company Innovation Festival. In 2020, West will be releasing the shoe, the cheapest product compared to other Yeezy models. SARDIN, a platform allowing consumers to access brands using ethical production, serves as a resource for those that care about consuming responsibly. Products on the platform site are available for pre-order only, mitigating unnecessary waste.“There is no such thing as a sustainable fashion brand. It’s impossible to give back, at the same rate as you will be taking resources” says Rune Orloff, founder of SARDIN, “But for me, it’s everyone’s moral obligation to understand the negative impact and always keep that in mind when designing, producing, buying, or wearing fashion.” The evolving industry clashes with the conventional ways of the older, wellrespected fashion houses like Dior, Gucci, and Prada who did not initially start as brands with a sustainable core. Nonetheless, these brands have all shown their new assimilation to the industry’s sustainability trend through recent moments of progress. But these moments are not yet significant enough to compensate for the harm of the environment that the fashion industry is still responsible for. It is up to the consumer to support sustainable initiatives and to hold companies responsible.
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Excuse Me, Marc Jacobs By: Asiah Williams
Celebrities have a massive following that they cash in on. When fashion and our favorite stars collide, the celebrities become the designers.
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n e F A M U P X n Jo a e k S r a P Y V AGE V A y S Beyoncé glares at the camera as she lays gracefully sprawled across a bed of more than 100 colorful sneakers. With one hand tucked behind her head, clad in an Adidas bodysuit, she teases her multi-layered deal with Adidas that includes the relaunch of her activewear line Ivy Park. She initially launched Ivy Park with Topshop in 2016 but ended the 50/50 partnership in 2018. As creative director of a signature shoe and apparel line, Beyoncé is just one of many celebrities taking advantage of their influence and inking deals with distinguished brands. The idea of celebrity designers has been around since the 90’s, but it was modernized in the early 2000s. Celebrity designers have made a resurgence in the last three years in the form of collaboration. We explore the history of celebrity designers and how the trend has evolved.
‘80s hip-hop culture forever revolutionized the fashion industry with the styles of beat-boxing bigwig Doug E. Fresh, the eye-patch poet Slick Rick, and the tracksuit trio Run DMC. These icons wore dookie chains, windbreakers, cazal glasses, and fat shoelaces. This was the precursor to what is known to us as “athleisure.”
In 1992, Russell Simmons, co-founder of Def Jam Recordings, recognized the influence of hiphop culture and created a streetwear line with a preppy twist called Phat Farm. By 1999, Phat Farm expanded to Phat Fashions and his thenwife, Kimora Lee Leissner developed a high-end women’s line called Baby Phat. Leissner earned the moniker “Queen of Fabulosity” when she introduced the urban world to the Baby Phat brand. The line included kitty embossed bodycon dresses, waist-cinching puffer coats, curve-hugging sweatsuits, and bedazzled denim. Though the brand was sold for a seven figure payoff in 2010, the reigning popularity of Baby Phat pivoted into a 2019 relaunch with Forever 21.
Mogul Sean Combs (more commonly known as p-diddy or puff daddy) staked his claim in hip-hop fashion history when the worlds of streetwear and menswear collided to create Sean John. The line was founded in 1998, but didn’t gain mainstream notoriety until the early 2000s. In 2004, Combs was dubbed CFDA Menswear Designer of the Year and Sean John continues to thrive with steady endorsements from artists on the verge.
One thing that the original Bad Boy and Bad Girl RiRi have in common is their hustle. Earlier this year, Robyn Rihanna Fenty partnered with international luxury goods conglomerate LVMH
(Louis Vuitton Moet Hennessy) to design a selftitled high-end fashion brand. Fenty is a readyto-wear line, including outerwear, suits, blouses, dresses, jewelry, and shoes that defy normality. It’s an intricate women’s brand that embraces freedom and tells a variety of narratives for a very diverse group of women.
Public relations major Brandon Jackson is impressed by Rihanna’s ability to identify the needs of the fashion industry. “If you look at her shows and runway looks, you would know that she is a very fashion-conscious individual. She leveled up by exploring inclusivity, factoring in thick women and varying price points. This groundwork made Fenty what Fenty is,” Jackson says. Although she’s the first woman of color to team up with a pillar in the high fashion community, this isn’t her first time creating a clothing line. She started with her Puma collaboration in 2016, introducing the Fenty Creeper. The following year, she broke beauty barriers with the launch of her inclusive makeup line, Fenty Beauty, offering 40 shades of foundation. Then in 2018, she released her lingerie line called Savage X Fenty that features a plethora of sizes. Riri has successfully parlayed her entertainment platform into a fashion and beauty empire, and shows no signs of slowing down with the release of her visual autobiography this past October.
Just as Rihanna and Nicki Minaj’s smash hit “Fly” suggests, both ladies came to conquer. Minaj lent her eclectic personal style to Fendi for a collaboration called Prints On. This 127-piece capsule collection features a shearling bomber, printed sweatshirts, and lycra dresses, complete with “F” shaped bamboo earrings, viscose leggings, and baguette bags. With a mix of fluorescent pink, chrome, and gold, the pieces embody the true essence of “Barbie Tingz”. Minaj’s fans, the Barbz, impatiently awaited the Oct. 14 online release. The line is meant to empower women with curves and bodies similar to hers. Celebrities are the original influencers as they were the first to connect with their audiences by promoting products for themselves. Now, celebs enter partnerships with large retailers and brands to produce clothing lines. The hype surrounding the announcement of these partnerships can be attributed to a newly adopted love for collaboration and the exploration of inclusivity. Size variety and shade range is what’s solidifying some of the newest celebrity designers as fashion giants.
2019 zippedmag.com
