VOLTA
VOLTA 2019-2020
PREP + GRUNGE Elise Nezir
Y2K
Tian Tang
CREATIVE EXPERIENCE Maria LaChica
PACIFICA Kiara Botha
IS VIRGIL ABLOH AN ARTIST? Ryan Chan
49 51 57 59 67
Puneet Shokar
STRUCTURE Vicky Jiang
THE INFLUENCE OF HIP HOP & RAP Jade Rozal
SUN DRENCHED Maya Chambers
FADE AWAAYS INTERVIEW Sophie Wright & Brittany Chang-Kit
GLAMSHOW
Kayleigh Gray
FASHION NOSTALGIA Nichole Schredl
REBEL REBEL SHOW Brittany Chang-Kit
39 44
Puneet Shokar
Catherine Warrian
Sadie Findlater Meghan Gray Amina Khan
Juliana Costa
EAST MEETS WEST Roveena Chand Jassal
ENTS
68 SH/E THROUGH THE AGES 75 MY BUZZCUT, MY EMPOWERMENT 83 DOWN THE RABBIT HOLE 89 VITAMINS 81 CREDITS 96 THE PLUGS I MET
CELLOPHANE
45
SUBURBIA
CON
DUNGEONS OF RAP
Kate Newell
05 09 17 19 26 31 35 36
LETTER FROM THE EDI TORS
Volta’s 2019/20 issue arrives at a pivotal moment. As COVID-19 forced school to move online in March and the world continues to self-isolate in the face of uncertainty, curating this years issue has felt especially meaningful. Even as we work from a distance and publish the magazine digitally, the power of every contributor’s creative work shines through as a means to connect a community and bring light to a stressful world. We hope this issue of VOLTA brings respite as we explore style, culture, individuality, heritage, and history on the precipice of the new decade and a rapidly changing world. For the decade issue, it seemed only right to take a look at fashion history. Tian Tang’s ‘Y2K’ shoot reflects on the style of the early aughts girl
who influenced contemporary celebrity culture, while Nicole Shredl analyzes our collective yearning for the fashion of the past in ‘Fashion Nostalgia: The Unbreakable Trend.’ There is a multiplicity of interests in the way cultural identities through history, whether based in race, gender, or counterculture, have shaped current fashion. F&LS’s fall show, ‘Rebel Rebel,’ detailed through fashion illustration, pays homage to the style of unconventional groups through history, while Catherine Warrian’s ‘Sh/e Through The Ages’ represents countercultures through the lens of gender. Sadie Findlater looks at the way gender norms can limit us, or allow us to break free, especially in regards to the trans identity, while Roveena Chand Jassal speaks to the power of combining cultural identities in personal style in ‘What Happens When East Meets West: Fusion Fashion.’ Music has a slowly growing place within the Volta pages. Jade Rozal’s ‘The Prominent Influence of Hip
and Rap Culture Within The Fashion World,’ looks at the place rap music holds in the rise of streetwear. Rising Toronto band ‘Fade Awaays,’ came in for an interview to tell us about their music and style. Special thanks goes out to Juliana Costa. Stepping into the new role of photoshoot manager, she was able to keep everyone on track and the quality of this year’s shoots are due in part ot her support. Thanks as well to media coordinator Diana Qian, and to Brittany ChangKit for her continued literary expertise. To the entire VOLTA team: your creativity and commitment are what brings these pages to life. We are so proud and thankful to have such an incredible community, and look forwards to bringing you a hard copy of the magazine in the fall. We hope you enjoy the 2019/20 issue as much as we enjoyed creating it.
KIARA BOTHA & MAYA CHAMBERS
TOP
Juliana Costa
In VOLTA, I took on the role of the photoshoot manager and was one of the creative directors. As photoshoot manager I worked with the two Editors in Chief as well as the creative directors to manage the logistics and organization of each photoshoot.
Glorija
I’m a third-year student in Honours Specializatio Actuarial Science, and I’ve been a part of F&LS since I began my first year at Western. F&LS has always been and will continue to be my favourite club I have joined. I have walked in many shows and been a part of countless shoots and videos. Both VOLTA and F&LS provide students with the opportunity to showcase their passion and creativity in a way that is unmatched, for which I am so grateful. Truly an amazing experience thus far!
s ean Lee
sphehar
Program: 4th year MOS accounting I have been with the club for two years and I regret not joining earlier. Being in this club really brought me out of my comfort zone and brought out my creativity to life with styling models. I never modelled before joining FLS and never even thought about it. I have never been so wrong in my life. The atmosphere of the fashion shows are always flooded with positive energy and genuine people. Being in the fashion shows actually lead to me being scouted! I do not regret anything and would not change anything with FLS.
Hi I’m Brittany! I’m in my 3rd year studying Medical Sciences, specializing in Epidemiology and Biostatistics. I’ve been a part of F&LS and Volta Magazine for the entirety of my undergrad and I am so grateful for the creative experiences and wonderful people I’ve had the pleasure to meet along the way. Journalism is a small but mighty division of Volta, and every year, whether as a writer or digital editor, and alongside a wonderful writing team, help to pen creative and engaging content. I’m so proud of everyone at F&LS and am excited to see what’s next!
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Brittany Chang-Kit
CONTRIBUTORS My name is Annie Nguyen and I am in my fourth year of an Honour Specialization in Film Studies and a Major in English Literature. My experience with FLS has been more than incredible. I know of the club through a friend and I started out doing makeup for the promo shoot for the 2018 Fall Fashion show and I instantly fell in love with the club. I feel so welcomed here; everyone is so friendly and everyone brings a different perspective to the club. Through working and learning from people in FLS, I’ve grown a lot as a makeup artist but also as a person as well. It has been such an amazing experience that I will forever cherish.
Annie
Nguyen
Claire
L am
I’m a second-year MOS student, and this is my first year as a part of F&LS. For the longest time I’ve had a passion for fashion, and being able to combine that with my love of photography has been such an incredible experience. This club has given me the platform to have a creative outlet, and express myself in a way no other club on campus really provided. I’ve also gotten to work with so many creatives that I wouldn’t have met otherwise, pushing me outside my comfort zone, and introducing me to new friends. I can’t wait to see what Volta has planned for the future and look forward to being a part of it.
I’m a photographer who currently resides in London - and this my first year as part of Volta. I’ve loved photography since the age of nine when my dad let me play around with his film cameras. Since then I’ve spent years studying and working on photography, with all sorts of cameras from digital, to medium format film. I’ve got a huge interest in fashion and editorial photography and hope to one day make it my career. I currently run the Fay Photography agency, with 3 other people - and I’m in my final year at Western for a degree in Software Engineering, with a minor in Fine Art.
Fayadh
Ahmed
Third-year student at Ivey Business School drawn to the distinct level of creativity I found in F&LS and Volta, I started as a graphic designer in second year and knew I wanted to get more involved with the club. This year, they had an opening for VP of Media and I thought bring some photography connections I had so I applied. I loved being able to help behind the scenes of the fashion shows and on top of that I modelled in the show for the first time! Although I realized I definitely needed to work on my walk, I had a really fun time and enjoyed modelling for VOLTA shoots even more.
Diana
Q ian
04
DUNGEONS OF RAP
Creative Direction: Puneet Shokhar, Tian Tang Photography: Fayadh Ahmed Styling: Doris Pang, Neil Shukla, Sean Lee, Sparsh Kohli, Models: Keith Sweeting, Neil Shukla, Trevor Petit, Waell Khaife
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The rise of Instagram has brought what used to be an underground culture to the forefront of fashion to become a global phenomenon. Sneaker culture has exponentially grown from sneaker lovers trading limited-edition shoes one-on-one to massive million-dollar companies, such as StockX, a marketplace that mainly resells sneakers. This culture is largely driven by ‘sneakerheads’, who are described by Independent Online’s Nontando Mposo as “people who collect, trade or admire sneakers as a hobby”. The sneaker community is a highly competitive group of people intent on curating unique collections of shoes. Exclusivity is king, which has created a consumer frenzy for limited-edition drops. Underground sneaker culment heavily influenced by hip-hop artists and basketball athletes. Naledi Radebe best summarized sneaker culture to Independent Online as, “At the most basic level, sneakers are a form of transport. At the highest, they are a symbol of character and status.” Her statement holds especially true in the black community. Sneakers have long been promoted since Michael Jordan’s first Air Jordan was released with Nike in 1985, as everyone wanted to “be like Mike”. African-Americans have long been oppressed and held back in society, so many black males saw athleticism or music as the best way to escape poverty. Sneakers were the ultimate way to be like their idols. Since then, the ability to buy in-demand items from companies like Nike was seen as a symbol of upliftment and achievement. Many people of colour have created widely successful businesses selling and customizing sneakers. Sneakers are no longer mere footwear — they are prized possessions that demand respect and bring admiration. Howevwork environments.
would become violent and really ferocious about these shoes, because the way [companies] market them, they market them as if they’re the dream.”
Can the blame really be placed on companies like Nike? After all, the purpose of advertising is to make consumers desire your product. Violent consumerism is not limited to the sneaker community. The fights breaking out outside sneaker drops do not compare to the mob scenes of customers stampeding – and often trampling – each other on Black Friday in some American stores. We are a society that wants what we want, and we will do whatever necessary to get it.Add the status of sneakers, and it makes sense that those desperate to prove themselves to others would resort to robbing, stabbing and shooting others to get their way. Renowned film director Spike Lee spoke out about addressing sneaker-related violence by empowering kids to understand the options “I thought people would and opportunities that lie beyond superficial consumerism. try to emulate the good
Dying For Sneakers things I do, they’d try to achieve, to be better. Nothing bad. I never thought because of my endorsement of a shoe, or any product, that people would harm each other,”
Additionally, while e-commerce is booming for sneaker resellers in China, big sneaker retailers like Nike and Adidas are still being pressured to improve worker conditions. Some Chinese sneakerheads made 6,600% returns flipping Jordans, as China has become a massive market for sneaker resellers. On the other hand, workers across Asia are being taken advantage of to make these shoes. -Michael Jordan, Sports After years of taking advantage of Illustrated poor labour laws in China, Nike has shifted manufacturing to Asian countries with even worse labour conditions like Indonesia, Cambodia and Vietnam. Although Nike and Adidas proudly claim that their suppliers are required to pay garment workers minimum wage, the minimum wage is below a living wage. Labour ridden with exploitation is the often-forgotten engine that allows sneaker Sports Illustrated published a highly controversial culture to run. cover story in 1990 titled “YOUR SNEAKERS OR YOUR LIFE?” where examined the 1989 case of 16-year old Like any fashion community, sneaker culture is comJohnny Bates, a high school student who was shot to prised of enthusiasts who celebrate the craftsmandeath by 17-year old Demetrick Walker after refusing ship of shoes and revel in the pride that comes with to hand over his Air Jordans. While this case seems wearing the hottest new kicks. However, we cannot far-fetched, “sneaker-motivated deaths” are incrediforget that it is a costly hobby — both financially and bly common. In 2015, GQ estimated that 1,200 peoto human life. ple die over sneakers every year – and most of those deaths were over Air Jordans. In the 1990’s, people criticized Michael Jordan and Nike for encouraging the frenzied consumer behaviour that caused mass bouts of violence. Comedian and sneaker collector Mike Epps told GQ, “It didn’t surprise me that kids
Sneaker Culture in Marginalized Communities
Kharissa Edwards
08
STRUCTURE
Creative Direction: Vicky Jiang Photography: Claire Lam Styling: Bella Zhang, Ryan Chan Models: Hannah Jones, Sam Stone
Some of the most popular streetwear trends that come to mind include sportswear tracksuits, gold jewellery, bucket hats and the baggiest pants one can find. One of the common factors in these pieces is that their popularity in the fashion industry comes from none other than the hip hop and rap community, which initially popularized them within their own social circles. Since the birth of hip hop, its cultural influence can be seen on both the runway and streets all over the world. Nowadays, the line between high fashion and streetwear is blurrier than ever, and so it can be easy to forget about the hip hop- and rap-based roots that luxury and hype designers alike often draw much of their inspiration from. It’s no doubt that hip hop and rap culture are widely responsible for influencing fashion trends worldwide. This inspiration is especially seen in several circles of the entertainment industry, including everywhere from the NBA to the Hollywood red carpet to the Met Gala.
Hip Hop Meets Fashion: On It’s Humble Begin-
The historical connection between rap and fashion stems from the humble beginnings of hip hop itself, from the 1970s to the 1990s. It all started in New York, where young adults belonging to Caribbean and African-American cultures would come together within disenfranchised neighborhoods to celebrate and connect. Whether this included a spontaneous block party, off-the-fly rap battles in front of big crowds or watching b-boys and b-girls breakdancing to the latest radio tune, it was a fun way for these individuals to embrace their backgrounds and voices in a country whose politicians often fought to stifle them. These get-togethers were well documented by A particular form of co-sign that rap ar various photographers, such as Jamel Shabazz and “Boogie Down was perwearing them at various press events or Martha Cooper, whose photographs showcase the formin’ hey they ain’t early emphasis of hip hop culture in various sports- no joke/And a bunch of One of the earliest and most significant wear, like brand tracksuits, custom sneakers and Brooklyn kids was lookin’ pants and matching Superstar kicks. A bucket hats. Expensive jewellery and large chains also all down my throat/Was it deal and signed rap group Run-D.M.C. became primary pieces, as their wear doubled as a my big chains with the big their upcoming album drop, Run-D.M method for flexing on lyrical rap competitors. plates on ‘em?/ Then they poorly of individuals participating in t It is also important to note that the influence of hip rolled on me and told me adults dressing akin to hip hop culture hop on fashion does not only stem from popular to run ‘em” - The Moment I were not on a pathway to success as th Feared”, Slick Rick rappers and celebrity icons – this impact can also be decided that they were going to headlin attributed to the lifestyles and fashion sense of drug this Dr. Deas, who’s trying to judge the dealers belonging to communities of visible minorities (i.e. Black, Latino and Asian hit, but Adidas company representativ groups) within the United States. Residents of low-income neighborhoods popularized Angelo Anastasio was flown out to Mad workwear pieces like Timberland boots and long trench coats, as these were pieces worn “My Adidas are seen on the mov specifically for function purposes on a daily basis, and their popularity within the fashion world followed. What was once worn on the streets as a representation of who had the knows we’re good if you know w most drug money to flex eventually made its way into the closets of high fashion stylists – “My Adidas” that rarely acknowledge this societal history. Run-D.M.C. Additionally, it is necessary to recognize the unique influence that African-American communities have specifically had over the developments of global fashion. As previousSince the renowned Runly mentioned, themes and activities of hip hop itself, along with its interconnectedness D.M.C./Adidas collabowith fashion, stem primarily from black cultures in America. As producer and filmmaker Sacha ration, there have been Jenkins, director of the 2015 documentary “Fresh Dressed” (which showcases the history of hip countless examples since hop fashion) explains: “Fashion has always been an important part of the hip-hop identity because of rap artists and groups fashion has always been an important part of black identity in America.” Furthermore, she states that have partnered up with that fashion is such a core aspect of the American black identity “because when you don’t have fashion brands, and even some much ownership over where you can land in society, your financial situation, your educational that have invested in their own. situation–the one thing you can control is the way you look” (LA Times, 2018). For example, Pharrell is known While other prior music movements such as punk and rock-and-roll shunned the idea of fashion for popularizing various skate in order to reject capitalism, hip hop embraced fashion. In addition, hip hop used fashion as a brands and the hype brand weapon in the music industry – every rapper wanted to be best dressed and employ this advantage BAPE and partnering with against their opponents. In more ways than one, these artists are not mere consumers of fashion; Timberland, while Kanye West instead, they are creators and motivators that demonstrate ways to use fashion in addition to their was seen in Polo Ralph Lauren music, beats and dance as forms of cultural expression. In my opinion, this is extremely powerful and Louis Vuitton backpacks as it allows marginalized individuals to exert power over industries that are systematically defor basically all of the 2000s. signed to disadvantage them. Connections built between rap and fashion fuel a path between the streets to the runway, which has become evident in various fashion genres even to this day.
By Jade Rozal
The Significa Signs And Co
T en R T
In addition to merely seeing celebrities involved with the hip hop community front-seated at the most elite fashion shows around the world, rap artists are now taking the initiative to present their collaborations and original work on the runway. An early prominent figure that kickstarted the appearance of hip hop on the runway is none other than one of my favourite rappers, Tupac. Famously described by designer Gianni Versace as “the most beautiful man in the world” (14HQ, 2019) , Tupac is accredited as being the frontrunner for dipping his toe into the world of luxury fashion when rappers that came before him mostly remained in their comfort zones of Nike and Adidas sportswear. From mentioning Versace in his music to Rap and hip hop culwalking a Versace runway, Tupac paved the way for connections between luxury, streetwear and hip-hop. ture undoubtedly emits a It’s important to note that hip hop affords creators a unique sense of liberty in terms of their designs. One swagger unlike any other, can mix pieces belonging to different ends of the fashion spectrum, like preppy clothing and streetwear and designers recognize pieces, or casual wear and expensive sneakers. As shown by Kanye West’s high-fashion brand Yeezy, even the powerful influence fashion spectrum, like preppy clothing and streetwear pieces, or casual wear and expensive of their stakeholders. sneakers. As shown by Kanye West’s high-fashion brand Yeezy, even casualwear can be “’Cause However, while it is perconsidered high fashion everything missible to welcome this . designer, appreciation, I believe it’s her jeans A popular phrase currently used within the rap inalso important that these is Helmut dustry is the term “co-sign”. Co-sign refers to an artist designers recognize the Lang/ Shoes or brand supporting the actions and work of another lengths that hip hop and is Alexander through various platforms, including an Instagram or rap artists have gone to Wang and Twitter shout-out, a track feature or a mention in an in order to achieve the her shirt the interview. impact they have on the newest Donrtists often use is expressing their support or promotion of another brand within their lyrics and world, with fashion bena/ Karan, or even on an everyday basis. While co-sign is a fairly new term, this method has been in practice ing one of many enterwearing all since the early days of hip hop. tainment streams that are the Cartier t co-signs takes us back to 1986, where the standard hip hop “uniform” consisted of Adidas track affected. When recognizframes/ Jean As the story goes, popular sportswear company Adidas cut a check for a $1 million endorsement ing the role that hip hop Paul Gault., which also guaranteed them their own personalized signature line to wear and promote. Prior to plays within fashion, it is ier’s cause M.C. had been notified of a doctor figure in their neighborhood, Dr. Deas, who had been speaking extremely important to they match the hip hop movement. According to Dr. Deas, and to the dissatisfaction of Run-D.M.C., young discourage brands from with her e, including wearing adidas shoes without laces (which is one trend Run-D.M.C. popularized), discrediting the deeply persona” hey “only had a future in drug dealing and crime.” Upon hearing these sentiments, Run D.M.C. embedded cultural his– “Fashion ne a record about their beloved sneakers, but were going to use the track to “throw it in the face of tory of rap by continuing Killa”, A$AP e youth just by appearances”. After the release of the song “My Adidas”, not only was it an instant to commodify the expeRocky ves also noticed a spike in Adidas sales. Following this burst in sales, Adidas executive riences and traits of mardison Square Garden, where he witnessed the rap group asking the audience to put their ginalized groups. It is necshoes up in the air. After seeing all the Adidas sneakessary to understand the irreplaceable power that hip hop vie screen /Hollywood ers present, Anastasio expressed how impressed he was and rap culture holds within the fashion industry, and to what I mean” with the group and ended up signing them. The rest is identify ways to uplift the voices of marginalized individhistory. uals that possess this unique power.
Hip Hop On The Runways
ance Of Coollaborations
The Prominent Influnce of Hip Hop And Rap Culture Within The Fashion World
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SUN DRENCHED
Creative Direction: Maya Chambers Photography: Kiara Botha Styling: Alex Nahhas, Samantha Richard, Jagger Hope Models: Camille Baycroft, Gloria Spehar, Sean Lee MUA: Annie Nguyen
ON THE RISE:
fade awaays
Fade Awaays is the most underrated band. These Toronto natives bring charisma, authenticity, and most importantly, PUNK to their music. When we first started listening to Fade Awaays we were blown away by the timeless and nostalgic quality of their music. Not only are their melodies captivating and transcend common conventions of music, but their lyricism also speaks to the heart.
Sean: We’ve started to listen to Pavement and Television more recently.
Sean: “Be entertaining. I mean...that’s
Reid: There’s definitely a lot of 90s BritPop stuff like Oasis is the biggest one and The Stone Roses as of late-- less for U2 but we’re kinda getting on to that.
How do you be entertaining?
We were so lucky to have the chance to sit down with the band – Reid MacMaster (guitar), Owen Wolff (drums), Sean Hackl (guitar), and Duncan Briggs (bass) – before their concert at the London Music Hall, where they played alongside Goodbye Honolulu and The Beaches. In the dining room of the Kappa Alpha fraternity household at Western University, the band discussed, bantered, and laughed about their memories, experiences, and the journey of their musical career.
Reid: Our first gig together was the Horseshoe Show… wasn’t it?
When I listen to you, I’m reminded of Spoon, the early Strokes, late 70s punk bands like XTC or Generation X. I’m wondering if it’s bands from the 70s the 90s or something else altogether that made you fall in love with your sound? Reid: I think The Clash is probably a really good place to start. If we were going for a collective album, then London Calling by The Clash would be a good one because it has that really intense/ cool 70s punk sound, but it also has a wide range of genres and creative backgrounds to the songs. Owen: I think the Ramones are huge. We’ve been on a Zeppelin binge in the van for a bit. Also, tons of stuff from the 80s like The Cars, and The Cure, and a lot of post-wave stuff too-- I’m a huge Elvis Costello fan, and I think that’s one of my biggest influences.
Tell me the story of your first live gig.
Owen: Yeah that’s right. Duncan: That one was pretty good as the four of us. But we’ve had like worse, vulnerable ones. Sean: I think it was a CMW show that we played in 2016? 2017? Me and Reid started the band before that, and there were a couple of changes and Duncan came in, then Owen came in like 4 years ago. Owen: We played at The Horseshoe with Goodvibe and then we played in the Baby G with a band called Public Access TV. [Public Access TV] really finds ways to modernize 80s music and make the sounds contemporary. That was my second gig, and I just started getting introduced to all these amazing acts from all across the country. It was a real step up, almost immediately. It was like a big shock. I’ve read that live performance is important to you as a band. What have you learned about live performance either from your own experiences so far, bands you’ve seen, or bands you’ve played with.
one of the biggest ones, right?”
Reid: You have to keep that engagement up. We definitely discussed this a long time ago. Between songs, the performances are continuous–there are no real stops–and so you have to be really entertaining. Whether it be audience interaction, like talking with people or like talking about a song coming up...whatever it is, keeping people engaged throughout the performance consistently as opposed to doing like a stop-and-start thing is really important. Duncan: Yeah it’s a learning experience. But at the end of the day, as long as you show up and have fun, that’s what’s going to show off and that’s what people are going to see. Owen: We’re super goofy and like to joke around, so we don’t try and hold back anything on stage. We try to be ourselves and have a good time and know the crowd every night. We’re learning a lot about The Beaches right now. They have some sick choreo. It’s really subtle and– Sean: I don’t think it’s that subtle. Owen: ... and it doesn’t look forced when you see it. It’s definitely great to learn from them.
I love choreography in a concert. I saw Earth Wind Fire and they do a step pattern in every song. It’s gorgeous. Reid: Did you see them recently? No I saw them in 2016, and they were performing with Chicago. It was crazy. All: Nice! The Dirty Nil is a band who formed at my highschool and they’re known for their authentic punk sound and energetic live shows. To me, there’s an authenticity to your sound as well. What matters to you when you’re creating music? What are you striving for when you write a song? Reid: Well obviously, speaking for myself, all of us in the band have our own individual creative input. It’s almost like chasing a sound. You have this sort of idea in your head that could be extrapolated a hundred million different ways, but it’s this whole idea of getting the sounds from your head to your computer or a tape or whatever it is you’re working on. It’s the whole job, to be able to translate ideas into recording music. Sean: I think that being honest when you’re writing songs is super important. If you’re trying to send a message, whether it’s heartfelt or writing about something that other people have encountered, it’s super important to be authentic.
Owen: One thing I go by is my emotional reaction when I listen to a song. Every song’s got that pathos that makes you feel something, whether it’s sadness or happiness or whatever you’re going for. Especially when you see those things live, when it’s a sort of moment and it becomes so ingrained into your memory, and it’s like wow, this is perfection. It’s like a cloud nine kind of thing. And so one of the things that I strive for is to provide those sort of moments for people to take to heart.
Owen: So the question becomes “Who is your favorite band besides The Beatles?” Because The Beatles are always going to be #1, but like, how else is cool?
What’s the coolest venue you’ve played in?
Owen: I’m the most eclectic. I just buy the most things.
Sean: Probably the nicest venue we’ve played at was Montreal. Not sure about the craziest show though... From any era in music, what would be your dream band to open up for? All: Can we take five? Reid: 1972 Rolling Stones. Sean: Thin Lizzy. Duncan: Let’s just go savage and say The Beatles. All: Boo! Why boo? Reid: We love The Beatles, we’re very obsessed with them. They’re also the answer to like any question you could ever ask. What’s your favorite band? The Beatles. Who are you influenced by? The Beatles. Dream band? The Beatles.
Duncan: I’ll change my answer to Queen. Owen: I was going to say The Kinks or Eddie Cochran. Which band member has the best style? Or who is the style guru in the band?
Sean: We all sort of balance with each other. Duncan: I’m going to say not me. Sean: The question should be, “Who has the worst style?” Duncan: I’ll take that one home. You all seem to have a very cohesive style, though. It all seems to mesh very well together... Duncan: We literally came straight from soundcheck. And you’re all wearing muted colours? It’s cohesive, but I can definitely see the individual style between you all. There is a lot of creative interest in vintage 80s and 90s style that I see in your wardrobe. Your recently released sci-fi merch reached back even further to the 50s and 60s. Tell me about your thinking behind the designs for your merch.
Reid: We all just really like the whole idea of metro sci-fi and the 50s and 60s...We really wanted to do something like that so we ended up finding an artist on Instagram that we really liked named Joe Donovan who’s based in New York (@spacecadetarts on Instagram). He does collages and we really wanted to collaborate with him; we love his work.
What was your Spotify wrapped artist of the year for 2019?
Duncan: It’s been a conversation for a while, actually. Maybe for almost 2 years? We’ve always wanted to like a sci-fi thing, but we never had the chance to actually pursue it until we found that Instagram page and thought, “this is what we’re talking about.” So it was really satisfying to finally get the shirts and see them.
Reid: I think mine was Guided by Voices. They just have so many songs, so there’s so much to listen to.
Are one of you like a really big sci-fi nerd? All: All of us. Owen: We actually researched a lot about the art style and even went to the library and looked it up…We were pulling stuff from so many other places, like a lot of propaganda art, especially Russian... The art in that is absolutely wild. You guys picked this house to conduct this interview. Tell me the story of this house… why are we here? Reid: We didn’t actually pick this house. It was our friend Alex, who is a member of this Kappa Alpha fraternity, but we’ve played house shows here. He’s been our London connection for a while. We’ve played multiple sets….right there [points to living room space]. Owen: It’s like, how is this the house we always keep coming back to? I mean it’s great, we love coming back here. Is there a specific draw to the architecture? Is it the deer head? [points to deer head on wall] Owen: We never leave thirsty. It’s all good. Actually one time we got paid in jungle juice! I’m writing that down!
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Duncan: Funny thing is, I’ve only had Spotify for like maybe a month, so it was something like Led Zeppelin. But that’s only because I had it for a month. Owen: For 2020 it was Hank Williams Sr.
Sean: I use Apple Music. But I think if I did use Spotify, it’d be King Gizzard & The Lizard Wizard. What can we look forward to this coming year from the fade awaays? Reid: We have a new single coming out in less than a month. We’re going to do more tour dates and we’re hoping to do a ton of shows this year. Come to Hamilton! All: Of course! You guys played at The Doors Pub, right? I can’t figure that place out. Duncan: I remember once on the day we were set to play our manager texted us that the venue was closed because there was a fight and someone got stabbed or something… So all day we were running around Hamilton trying to find another venue, which thankfully we did. I think it was The George Hamilton.
After our insightful conversation, it is that much more clear that these four individuals take music seriously and are ones to look out for in Canada’s music scene. Their versatile knowledge of music and radiant personalities shine through as talented musicians. If you like bands that are a little bit punk, and a little bit brit-pop, then this is the band for you. To speak of their characters – Reid, Owen, Duncan, and Sean were incredibly welcoming and kind, inviting us to poke and prod about their musical journey. You could easily tell that they’re the kind of musicians who care about not only their music and career, but also their fans and their responsibility as artists. We strongly urge all to take a chance and visit them at their venues, or for the homebody, perhaps open up Spotify (or Apple Music, ahem Sean) and check their music out ASAP. It’s worth it. Fade Awaays is who you should be listening to because they really are doing it “As They Do”. Check out more at fadeawaays.com and stream their newest single, “As They Do” on available music platforms. By Sophia Wright and Brittany Chang-Kit Photography: Fayadh Ahmed
30
GLAM SHOW
Creative Direction: Kayleigh Gray Photography: Tian Tang Styling: Erica Pin, Kayleigh Gray Models: Nicole Schredl, Peter Bishay, Sabrine Hunziker MUA: Zaina Haq
In dictionary terms, we understand “nostalgia” as the concept of wistfully yearning for something to return from a period of the past. Moreover, think about the presence of nostalgic fashion trends within the past couple of years… history is repeating itself, and it’s cyclic. Every year we see more and more people practicing the reintegration of previous decade’s fashions; our nostalgic inspirations arise anywhere from classic movies to runway photographs to antiquated magazines. Routinely, the millennial generation stands in as the perfect audience – receptive and obsessive – for “throwback” styles, and brands are quick to notice. Does anyone remember the Marc Jacobs Spring 1993 collection for Perry Ellis? This collection epitomized the “grunge” look we all know today, giving fashion fanatics something to repeat, or faintly alter for decades to come. Are we surprised that Marc Jacobs brought grunge back in November 2018? Did Alexander McQueen’s grunge-inspired Fall 2019 collection shock us? I’d have to say that we can almost expect #inspo to be endlessly taken from periods of the past, and contemporary trends are more than likely to uphold these nostalgic fashion notions. The majority of trends seen in millennial fashion today are pulled from outfits worn by fashion icons of the past. We see these re-worked “looks” being strut on the runway, flexed on Instagram, hauled on YouTube, and glorified on the street. In particular, prevailing fashionistas are increasingly obsessed with looks from the ’00s, ’90s, ’80s, and ’70s. This throwback-fashion trend has tied neatly into major trends seen on the catwalks within the past year – such as ’70s colour palettes, ’80s denim, ’90s chic/grunge wear, and the ’00s #y2k clothing aesthetic. To get even more specific, I’m sure we can all agree that 90s fashion was a hit in 2019, and continues to trend onwards. The ’90s were a revolutionary decade for fashion. It’s no surprise that several trends of this decade have made a robust comeback – including black leather jackets, mom jeans, crop tops, biker boots, and more. We take inspiration from anywhere we can find it, especially from film. An overly representative example of the ’90s movie style is depicted in the 1995 film Clueless. Every outfit from this movie grasps the attention of millennial girls hoping to recreate the nostalgic flair of characters Cher and Dionne. The coordinating plaid skirt set, worn by the two “it girls,” denotes an iconic illustration of the “90s aesthetic” praised by many young females today. Noteworthy enough, the Clueless costume designer, Mona May, told Interview Magazine how these plaid sets kicked off in the ’90s. At the time, grunge looks were red-hot in high school teens; flannel shirts and baggy jeans lingered on the bodies of girls and boys everywhere. The creative team for Clueless was determined to start a new trend, masking the old one, and sparking interest in femininity again. It’s quite remarkable that one trend can be “overruled” by another, yet be re-introduced again, decades later. Simultaneously, the grungy and girly looks of the ’90s are exceptionally appreciated by modern fashion lovers – symbolizing the nostalgia and diversity valued in the world of fashion today. More now than ever, contemporary young people are becoming captivated by the styles seen in old-school film, including the girly and flirtatious fashion seen in Clueless (1995), the femme-fatale look recognized in Pulp Fiction (1994), the broad array of grunge styles featured Empire Records (1995), and so on. Evidently, fashion and film have always gone hand in hand, whether it’s designers/brands finding inspiration from a movie’s wardrobe or an everyday millennial recreating their favourite character’s look. This “relationship of replication” is produced by contemporary fashion, and guided by styles of the past. As mentioned previously, we take style inspiration from anywhere we can find it, but the notions of nostalgia will remain in the world of fashion for years to come. Is your personal style inspired by a decade from the past? Consciously or unconsciously, it probably is.
FASHION NOSTALGIA THE UNBREAKABLE TREND (NICOLE SHREDL)
“For the movie, it was really to bring back the feminine in Cher and Dionne. To bring back the fun, the girly.” -Monna May, 2018.
FROM SKETCHBOOK TO RUNWAY: REBEL REBEL
ILLUSTRATION & TEXT BY BRITTANY CHANG-KIT
FASHION & LIFESTYLE SOCIETY AT WESTERN UNIVERSITY CELEBRATED THEIR ANNUAL FALL FASHION SHOW WITH STYLE AND SMOKE. THE THEME- “REBEL, REBEL” -IS MEANT TO CHANNEL THE AESTHETICS OF REBELLIOUS GROUPS THROUGHOUT HISTORY. “GENERALLY, THE OUTFITS WERE MEANT TO BE BASED IN NOSTALGIA RATHER THAN CURRENT TRENDS,” EXPLAINS FALL SHOW CO-DIRECTOR SAMANTHA RICHARD. ALTHOUGH THE PIECES WERE MADE IN MODERN TIMES AND PULLED FROM CURRENT SHOWROOM RACKS, F&LS STYLISTS AIMED TO RECONCILE PAST WITH PRESENT BY GATHERING INSPIRATION FROM TIMELESS TRENDS AND MODERNIZING THEM ON THE RUNWAY. THREE PROMINENT IDEALS WERE BROUGHT TO LIFE IN REBEL REBEL: THE OUTLAW, THE REVOLUTIONARY, AND THE ANDROGYNOUS. EACH OF THESE FIGURES HAVE EARNED AN ICONIC POSITION IN CULTURAL HISTORY, AS WELL AS IN THE FASHION SCENE, BUT NOT WITHOUT PUTTING UP A FIGHT. W
THE OUTLAW A household and staple ‘rebellious’ character, often seen as the classic American frontiersman. Problematic real life history (i.e. colonialism and settler dynamics), but nonetheless a strong influence on American cinema and ‘Western wear’.
THE REVOLUTIONARY
Ode
to
the
1960s
hippie
movement
and
the
struggle
for
world
peace.
THE ANDROGYNOUS A recognition away from
of the gender
queer norms;
scene and inspiration
those taken
who dare to break from the 80s-90s.
THE ANDRO G Y N O U S
Conformity is outdat flowing top. Framed by a st
Rocky stares and a brushed-off shoulder. Sharply contrasting in pattern and form. Bright streaks of color enveloping deadly serious denim.
THE OUTLAW
ted. Reinvigorating forest green into an ample and traight skirt, which ends at military platform boots. Could almost be camp, but elegance takes over.
THE REVOLU TIONARY
Intense, vivacious color. So noticeable are the patterns that line the outfit that she demands the room’s attention. Voluminous sleeves and thigh-high white leather boots –it’s a statement.
REBEL REBEL WESTERN UNIVERSITY FASHION AND LIFESTYLE SOCIETY CO-DIRECTORS SAMANTHA RICHARDS AND QAIL JAMAL
CELLOPHANE
Creative Direction: Juliana Costa Photography: Claire Lam Styling: Bella Zhang Models: Ayham Yasein, Cindy Xie, Emilie Aporeigah MUA: Annie Nguyen, Zaina Haq
What Happens When East Meets West: Fusion Fashion Roveena Chand Jassal In fashion, experimentation and trying new trends is fundamental. Fashion has become so deeply rooted in cultures around the world that it can reveal many aspects of personal identity and background. Especially on campus at Western University, you can see fashion influences from both the eastern and western hemispheres, but what happens when they meet and create one ensemble altogether?
“I’m proud to be who I am, so I’m more open to exploring other cultures and what makes them proud to be who they are,” Natalia mentions.
Fashion can connect people and has the potential to start a cultural revolution by bringing various cultures together through educating one another.
Disha Natalia, a 2nd year honours specialization Chemistry student, talks about the experience of fusion fashion: mixing everyday western wear with Indian clothes. She mentions that it can be difficult to combine two cultures because society can be judgmental and not accepting. They ask questions like, “Why is she wearing that? Does she even belong here?” However, Natalia believes that starting trends and wearing different types of ethnic clothing Eustace Imafidon, a 2nd year Engimore often will encourage people to be neering student, also explains his experience with fusion fashion: mixing more accepting of these combinations. everyday Western wear, ethnic IndiFor her fusion fashion ensemble, Natalia an wear, and ethnic Nigerian wear. often wears ripped jeans and a leather jack- Originally from Lagos, Nigeria, and et with an Indian lengha (skirt) blouse, attending Western University as an international student, Imafidon feels bindi, chudi (bangles), and jutti (shoes). that fashion serves as a reminder that To Natalia, the lengha blouse, jacket, bin- he’s from a place with rich culture. di, jeans, chudi and jutti represent her own personal fusion: Indian roots with a Cana- Imafidon’s fusion fashion ensemble dian upbringing. The blouse is patterned consists of a light grey kaftan shirt with gold sequins and typically worn with and black sandals from Nigeria, black a long skirt for Indian weddings. The jeans, and a bright orange dupatta shoes and bindi also represent her Eastern with gold lining (Indian scarf). Ofheritage, while the jeans and jacket were ten times, he wears a kaftan shirt to purchased from the iconic Vaughan Mills, university semi-formals and church a local shopping mall. She says that out- because wearing different ethnic fits have the ability to show who someone clothes shows people that there are is. Fusing clothes from different cultures other cultures out there. Imafidon exdemonstrates a person’s ability to mix and plains wearing Nigerian clothes in a match, which is indicative of how accept- westernized setting allows him to be stylish, stay connected to home, and ing they are of other cultures. share his culture with others.
“People are intrigued about cultural attire because fashion is often the quickest way to get to know someone’s culture”, Imifadon mentions. “Fashion is about seeing things, patterns and colors. People ask questions and want to learn more about a certain piece of clothing or its background because they haven’t seen it before.” However, Imafidon notes that although clothes from different cultures can create beautiful ensembles, they are at risk of losing their traditional or religious meanings in the process. This mainly occurs when people wear cultural clothes without respecting the history or true meaning just to beautify themselves, which has been frequently highlighted on Halloween. “The more traditional a clothing item is, the more social tension there will be because of how deeply rooted the symbolism of that garment is”, Imafidon says. “To combat this and increase acceptance, perhaps mixing everyday and common ethnic clothes could help promote the mixing of cultures in a more respectable and authentic manner.” Wearing a bright orange dupatta is not intimidating for Imafidon. In a place with so many cultures, but doesn’t have it’s own, he’s become more open to combining styles because it’s made him want to learn about other cultures and their histories. Fusion Fashion serves as an outlet for the opposite parts of the world to meet on equal grounds, to understand and learn about different cultures, and above all, appreciate one another.
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Creative Direction: Kate Newell Photography: Vicky Jiang Styling: Jada Lau, Sara Hodaie Models: Rachel Boyd, Romano Watt MUA: Zaina Haq
45
SUBURBIA
prep
+
the best of
The start of a new decade is the perfect opportunity to predict what style will overtake mainstream media. From the ‘20s flapper girls to the ‘60s mods subculture, every decade had a strong ethos for fashion. However, looking at the popular fashion trends of today, it is much harder to truly define the specific aesthetic people are
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trying to achieve. It girls like Kaia Gerber and Bella Hadid seem to be recycling trends from previous decades and adding their own spin to it. But what is truly interesting is the specific pieces they are reworking; Doc Martens, mini skirts, ripped jeans, blazers, leather jackets & cardigans. Ironically, a mix of two opposing cultures, Grunge and Prep, seem to be working together to create this generation’s chic look. So how exactly did these clashing forces come together? Let’s start off by analyzing the histories of each style and why a mix of the two would have seemed analogous to mixing water and oil. Prep or “preppy” style emerged from the group of upper class American children who attended prep schools for Northeastern Ivy League schools. This classic trend started all the way back in the 1910s, but was popularized in the 1970s
as a fashion style. Preppy style served as the original “athleisure,” as the clothes reflected a strong association with old English outdoor activities such as tennis, golf and sailing. Ralph Lauren, Lacoste and Tommy Hilfiger are all influential preppy brands that specialize in this specific aesthetic. While the original wave of prep fashion was more exclusive to the upper class Americans, this generation was introduced to prep style by TV show called Upper East Siders teenagers of New York City, the show was
not only hailed for its scandalous drama, but for its opulent clothing choices. As the first few seasons take place in the teenagers preparatory high school and then follows them on their Ivy League journeys, the modern day take on preppy fashion is heavily present throughout. Characters like Blair Waldorf, the Queen Bee of the Upper East Side, embody the rich and classic style through the use of school skirts, button-downs and loafers. school skirts, button-downs and loafers.
Grunge fashion, on the other hand, has roots in the complete opposite side of society. Rather than being worn by the rich kids in private schools, grunge emerged from youth in Seattle during the 80s who refused to conform to societal norms. They viciously opposed materialism and had an nihilistic outlook for their futures. The fact that grunge was originally a word for dirt is also reflected in their unkempt style. Rather than the clean silhouettes of preppy fashion, grunge’s “slacker” look focused on oversized flannels, ripped mom jeans and unlaced combat boots. If prep fashion was trying to showcase status, grunge was trying to show a com-
+
grunge
both worlds
makeup are the first appearance of the two subcultures juxtaposed on the same body. plete lack of care. A key figure in the grunge movement was Nirvana’s lead singer Kurt Cobain. Obviously well known for his influential music and thought-provoking lyrics, Kurt Cobain also was a trailblazer for grunge fashion. Ironically, Cobain’s matted unwashed hair and oversized clothing, which was the antithesis of traditional male beauty, him a fashion icon to his generation. future. Both trends took inspiration from the outdoors: prep from glamorized country sports and grunge from lumberjacks. However, there was a style that emerged from grunge fashion that connects the two, and makes the seeming conflict seem
less exaggerated. “Kinderwhore” style was popularized by female grunge musicians, such as Courtney Love and Kat Bjelland. Popular pieces included dresses, Mary-janes and barrettes–the very same pieces embraced by prep fashion. The entire aesthetic of the kinderwhore movement was a perversion of the classic “good girl” trend enforced in the media. These classic pieces worn with ripped tights and smudged
The root of today’s blend of grunge and prep is traced back to the early/mid 2010s. After the questionable choices made in the late 2000s, it seemed that people decided to drown their sorrows in nostalgia. Social media sites like Tumblr were key tools in
revitalizing grunge fashion to today’s generation. Celebrities also became interested in reintroducing grunge pieces in their wardrobes. For example, even though Miley Cyrus during her controversial Bangerz Era was making hip hop music, her style was definitely influenced by grunge fashion. Doc Martens, flannels and looser
fitted clothing began to drift back into style. On the other side of the spectrum, classic prep pieces like tennis skirts and rugby tops, were making appearances in American Apparel stores. The two trends may have been resurfaced independently, but once they were both in the limelight, they were paired together in a way to recreate the kinderwhore aesthetic. A classic piece, such as a skirt, paired with an edgy piece, such as Docs. This formula is now what we see present in present day fashion.
By tracing the lineage of two popular but clashing styles, it is interesting to see how fashion trends can reference opposite corners of culture. Prep and grunge did not start off as fashion movements, they were subcultures, and the values of those subcultures were reflected in how people decided to dress themselves. While cropped preppy pieces showed pride in heritage, ripped baggy grunge style showed contempt for society. When the kinderwhore movement began, they used prep pieces in order to subvert and mock the prep ethos. However, the combination of the two silhouettes resonated enough that decades later, we are still creating variations of the same look.
Elise Nezir.
y2k CatALoGuE VOLTA y2k CatALoGuE MAGAZINE 2019-2020 y2k CatALoGuEy2k CatALoGuE
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IN DEMAND: CREATIVE EXPERIENCES Whether it be a small boutique in the suburbs or a 5-storey department store on 5th Avenue, in the fashion industry, retail spaces are an extension of the brand. Through spatial design and curated merchandise displays, the space itself is a tangible exhibit to house, protect and showcase a designer’s creative visions. The allure of retail spaces is that they are innately playful – they invite shoppers to physically experience the visions of the designer and play dress-up in their space, with an end goal of hopefully providing a wonderful enough experience to end in a transaction. The first retail spaces of the 18th century utilized this playful model of custom-wear and dress-up, and it was a wild success. Retail gave consumers a place to enjoy spending their leisure time and this experience would often take up the majority of their day. This spurred the growth of retail centres to house these coveted shopping experiences. Mega malls and fashion avenues started popping up in every city’s business district across the globe. Fast forward to the 20th century, the original shopping experience is being rapidly displaced by business e-commerce models. Playful and slow-paced shopping experiences have become nostalgic and old school. These newly emerging e-commerce business models aim to achieve the goal of saving consumers time, and provide them with the latest fashions without having to wait for the retail team to assemble the season’s new display. However, existing retail structures have already been built, leaving cities and commercial spaces with the potential to become ghost towns. Some of the biggest brands from high fashion to fast fashion which include Net-aPorter, Nastygal, and Fashionnova are all natively digital. The “retail apocalypse” is among us. Commercial Real Estate trends reveal that retail is a threatened industry for both fashion and non-fashion merchandisers alike. 20% to 25% of malls have been predicted by Credit Suisse to shut down between 2017 and 2022. This is largely driven by store closures, which totalled to over 9,300 in America in 2019; with 75% of these closures selling softline goods, namely fashion merchandise. A quick and dirty glance at these facts can lead one to think that it is time to throw away any retail dreams run
straight to e-commerce development… but not so quick! Fashion enthusiasts and creatives should actually be excited in the midst of this declining trend. It reveals a market shift with a world of creative and innovative opportunities, in spite of the apocalyptic headline. The powerful forces of showrooms, pop-up shops, and retail tech which are driven by the experience economy, in particular, have the ability to transform the term “retail apocalypse” into a “retail rebirth”. Stores are now called to be more than just a place to sift through merchandise and swipe your card. Now that transactions can be made seamlessly online, stores need to level up and find a new purpose to serve other than being solely transactional. “For retail to succeed, in-person experiences must become more engaging and memorable than online shopping is convenient”, says Shopify’s Retail team, and there couldn’t be a statement more fitting. In an era where no one needs to physically get up in order to get what they want to consume, brands need to provide consumers with an experience that they are willing to get up for. Fashion brands which adopt experiential, curatorial and service-based retail strategies will be the ones to survive. Showrooms are the latest craze in fashion retail, with over 69.2% of showroom operators selling fashion. In this business model, inventory is not necessarily available for immediate purchase, but rather is on display for customers to see and try on. However, at the end of their visit, purchases may still take place online or through arranged shipping at the counter. Showroom floor plans have also begun to feature consumption activities separate from merchandise. Concept stores such as Nordstrom Local in California and Saks Fifth Avenue locations all over North America offer in-store bakeries (Pusateri’s at Saks), nail salons, clothing alterations, and even in-store bars. Customers initially come for the fashion, but stay for the experience.
Pop-up leasing is a tool used by fashion brands which drive immense attention and impact. Pop-up leasing is when companies work with landlords to arrange temporary leasing agreements ranging anywhere from a day to a few weeks instead of the traditional method of signing a contract to set up shop for
years. This strategy is a win for brands as they appeal to a consumer’s fear of missing out (FOMO) given short timeframes, and provide a low-risk way to test markets in different neighborhoods without losing money to long term contracts. Gucci’s “Gucci Pin” alternate reality experience of late 2019 found a sweet spot of leasing for 5 weeks at a time. Their pop-up went international, appearing in exclusive locations across the world with each experience embodying a unique theme corresponding to the products which were only available to certain pop-up locations. Talk about exclusivity! In sneaker culture, shoe releases can be comparable to pop-ups, with their limited time frames often generating crowds large enough to cause security concerns. A notable example being the hundreds who lined up for Travis Scott’s Jordan 1s at the Jordan Store in Toronto in May 2019. The equation explaining pop-up success goes like this: limited time only + compelling creative experience = foot traffic galore. In a trend called “clicks-to-bricks”, online-only e-tailers have begun to invest in physical retail, revealing an opposite shift from the tech trend. Fashion dominates in the clicksto-bricks trend, with 74.3% of online to brick and mortar expansion selling apparel, footwear and accessories. The top 3 cities housing the clicks-to-bricks fashion trend are New York City, Toronto, and Chicago, as per fashionunited. com, all of which are a quick trip away for our fellow VOLTA readers. There exists a “Halo Effect” of physical store openings driving up e-tailing web traffic for the store, averaging a 27% increase as reported by the International Council of Shopping Centers. Natively digital, UK-based brand Missguided has capitalized on this clicks-to-bricks strategy, opening stores in England, and even the massive e-tailer Amazon (the world’s largest seller of apparel) now operates over 600 physical retail venues around the world, deviating from their original online warehouse model. While tech advances have brought e-commerce to the market, technologies like IoT, AR/VR, machine vision and more are also being used to enhance the delivery of creative retail experiences. The Canada Goose Experience in Toronto employs retail tech to provide a memorable experience. In their experience includes digital floor panels designed to crack under foot to mimic walking on ice, floor-to-ceiling screens with video projections of wilderness to mimic the entering of an alternate reality, “cold rooms” which simulate arctic conditions, all while still showcasing their product as they include virtual buttons on coats which display product descriptions on nearby screens.
Experiences of this calibre are simply just not replicable in online settings. Organizations are beginning to see the opportunity in retail tech, such as Fashion Tech Toronto, which was formed to address retail and fashion based problems with innovative tech-based solutions. The difference between the experiential retail experience and the nostalgic playful shopping experience is that while a purchase is still the end goal, the act of purchasing is no longer the heart of the experience. Just as each clothing collection released by a designer tells a story, their retail spaces need to be a home for creative storytelling, making memories, and for worthwhile experiences that allow shoppers to discover the creative messages behind the clothing. We should be celebrating the “retail rebirth” rather than fearing the “retail apocalypse”. It signals a market shift that is driven by consumers demanding better experiences in exchange for our time. Anything short of a wonderful experience or exceptional service provision is not worth the trouble or the money for modern consumers, and will certainly cease to survive in the market. In our tech-driven era, human beings crave spaces which provide an experiential avenue for creative discovery or in-person social connection. The heart of it all is to re-invigorate imagination and creativity in the real world, and allow us to take a break from the digital world. The future of fashion retail, although increasing in selectivity, is looking memorable, invigorating and bright.
THE REBIRTH OF FASHION
MARIA LA CHICA
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PACI
FICA
Creative Direction: Kiara Botha Photography: Kiara Botha Styling: Kiara Botha, Maya Chambers, Sean Lee Models: Diana Qian, Jagger Hope, Jacqueline Chen MUA: Annie Nguyen, Zaina Haq
Recently, I watched a documentary about Virgil Abloh. It was a summary of the projects that lifted him from an unknown to being named the creative director of Louis Vuitton in just five years. Virgil Abloh is undoubtedly the most influential person in fashion right now due to his meteoric rise in popularity, culminating in his appointment at LV. The documentary states that Virgil is a symbolic “changing of the guard”; he’s redefining what it means to be a luxury brand. And I completely agree. However, throughout the film’s runtime, Virgil continuously referred to himself as an “artist”, which initially didn’t strike me as anything out of the ordinary. After all, fashion is a form of art. But the more I thought about it, the more I questioned the accuracy of the statement. Yes, Abloh is a gifted designer, but is he an artist? Abloh got his start in fashion with his first brand, Pyrex. He essentially took $40 Champion hoodie blanks, printed “PYREX” and “23” on the back, printed a Caravaggio painting on the front, and sold it at a 700% markup. At this point, Abloh was already well connected to the music world through Kanye West, so many celebrities started wearing his designs. This momentum allowed him to build his next brand, Off-White. Much of it was the same as Pyrex, with many products spelling out “WHITE” above a square of diagonal bars. The use of instantly recognizable motifs, like the infamous quotation marks, was becoming a part of his regular design language. commercial nature of his work would disqualify him as an artist, but I don’t think that his penchant for plas-
By Ryan Chan
society, and so he made art to tering logos over his clothes comment on it. The intent beis the root of the issue. I hind the commerciality was to mean, just look at Andy War- express Warhol’s own disdain. hol. A print of four colorful Marilyn Monroe por- Virgil Abloh, in my opinion, traits or some Campbell’s is different. He first undersoup cans may be commercial, stands the market, and then but there’s never been any creates a product to satisfy doubt that Andy Warhol was that market. The intent behind an artist. And if people can Abloh’s commercial designs is derive artistic meaning from to be recognized by others. chicken noodle soup, who’s For a fashion house like Louis to say people can’t do the Vuitton, the recognizability that Abloh brings is invalusame for quotation marks? able. With hindsight, we can It really comes down to how see that what the fashion meyou define “artist”. I think dia saw as a huge risk taking that the main difference be- Abloh on to be LV’s creative tween a designer and an art- director was really the obviist is the intent behind ous choice. In just two years, creating their work; where he has massively increased designers create for others, LV’s sales, and I think that artists create for them- his work crafting LV’s image selves. Andy Warhol saw the is genius. But I don’t think superficiality of American he’s an artist.
the plugs i met
Creative Direction: Puneet Shokar Photography: Fayadh Ahmed Styling: Puneet Shokar, Sean Lee, Sparsh Kohli Models: Peter Bishay, Sean Lee, Sunday Ajak
sh/e through the ages
Creative Direction: Catherine Warrian Photography: Fayadh Ahmed BTS Photography: Bamdad Tayyari, Vicky Jiang Styling: Eimear Mcnamara, Qail Jamal Models: Diana Qian, Gloria Spehar, Hannah Jones MUA: Adryan Jacob Korzen, Xavier Orlando
WORDS BY SADIE FINDLATER ILLUSTRATION BY MAYA CHAMBERS
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Buzzcuts on women are hot–I’m not ashamed to admit that. Kristen Stewart killed it when she unveiled to the world her new platinum blonde hairstyle. However, I have never seen any trans women sport the badass hairstyle. I wondered to myself, why could that be? My conclusion was dysphoria; it would make women like me look closer to men than to women. That assertion upset me greatly, not because it made my own dysphoria act up, but because I was angry that other women were scared to embrace the look they wanted. And so, I made the appointment–I was going to shave my head.
else. That confidence gradually seeped into me, imbuing me with the passion to do it.
Now this wasn’t a new practice to me; before coming out, I had done it once before to dress up as Eleven from the TV show Stranger Things for a costume party. And people said I looked like Charlize Theron (which is to this day, the greatest compliment I had ever been given). However, shaving my head didn’t have the same visceral effect as it did when women did it, as most male haircuts were simple and the buzzcut was tried and true. I knew once I got deeper into my transition after I had come out that I would dare to do it again. And now with my second year on hormones underway, I thought, “What better time?”
My hopes of changing perceptions may appear to be a bit of a pipe dream, given that most people I mentioned it to thought it was just a simple haircut. But to me it wasn’t. I was saddened by the lack of buzz cuts amongst trans women, and I wanted to do it to show it was possible. I knew I’d be misgendered more, that some radical folk would claim I was reverting back to being a man because of seeming regrets. It was a big middle finger to all those ignorant around me, those who thought I couldn’t, and those who thought it solidified my own defeat. I am still a woman no matter what I wear, and no matter the length of the hair on my head. I now walk with confidence and pride that I did this for myself. Because it looks rad as hell.
For the longest time I had internalized the idea that to look traditionally feminine I had to have long hair because it hid the sharp jawline I was cursed with. However, my fair lady estrogen took care of that, rounding out my face to an extremely satisfying degree. As months progressed all my fears that my inherent “masculine” features would haunt me for the rest of my days faded. The estrogen and testosterone blockers were making fast work of undoing the damage wrought by puberty. Finally, I could stand to look at myself shirtless in the mirror and I wasn’t afraid of short hair. My fears and internalized assertions of how to be a woman were gradually crumbling, giving way to a flourishing confidence. However, my mother had many thoughts on my femininity and how I should proceed through puberty. Her opinion consisted of long hair and constant shaving. Originally, I would have agreed with her, but as I left for university and met some of the greatest, most influential people of my life, that agreement shattered. I met another woman who like me had to construct her femininity, as it wasn’t gifted to her. And she was confident, unyielding in how she presented the fact she was herself and not anything
So, as I sat in the chair and the stylist asked repeatedly if I was sure I wanted to shave my head, I felt no fear. Part of that was because I wanted the Charlize Theron compliments to come back, but also it was in part motivated by my new experiences. I wanted to challenge the trans experience, and hopefully if other women like me saw what I was doing, they’d be inspired.
Dysphoria has long challenged me, even in my early journey to womanhood–I thought I would never be able to blend in. I never believed I could have a buzzcut or any kind of short hair for that matter. I gave too much credence towards what people thought, that everyone who looked at me knew I was a pretender. Then something snapped in me later down the line, and I realized that no stranger is worth sacrificing my own happiness and experimentation. Nor were friends who held me back because they were worried that I wouldn’t pass well enough. What matters was my own domination over my own dysphoria, and doing what I wanted regardless of the apparent social norm limitations. There is no grand illusion, no lie. Me shaving my head has been a gesture of power, a direct “F you” to the world at large, showing that any woman is free to pursue what she pleases. Life is short, and in my opinion, trying new things is the key to growth and happiness. So being misgendered more, and people stopping and staring to figure out what I am, means next to nothing to me anymore. I feel powerful and I feel feminine, and nobody can rob me of that.
84
down the rabbit hole
Creative Direction: Meghan Gray Photography: Claire Lam Styling: Sean Lee Models: Holly Clemas, Naveen Chankar MUA: Zaina Haq
VITAMINS
Creative Direction: Amina Khan Photography: Claire Lam BTS Photography: Brittany Chang-Kit Styling: Brittany Chang-Kit, Chanelle Tham, Dorothy Lin Models: Emilie Aporeigah, Brianna Gonga-Cave, Holly Clemas MUA: Summer Weldon
CREDITS Editors in Chief Photo Shoot Manager Creative Advisors
Layout Editors Head of Styling Stylists
Head of Photography
VOLTA 19/20
Kiara Botha, Maya Chambers Juliana Costa Amina Khan, Catherine Warrian, Juliana Costa, Kate Newell, Kayleigh Gray, Kiara Botha, Maya Chambers, Meghan Gray, Puneet Shokar, Tian Tang, Vicky Jiang Kiara Botha, Maya Chambers, Tian Tang Puneet Shokar, Samantha Richard Alex Nahas, Angie Demaria, Bella Zhang, Brittany Chang-Kit, Channelle Tham, Doris Pang, Dorothy Lin, Eimear Mcnamara, Erica Pin, Jada Lau, Jagger Hope, Kayleigh Gray, Kiara Botha, Maria Lacha, Maya Chambers, Neil Shukla, Puneet Shokar, Ryan Chan, Samantha Richard, Sara Hodaie, Sean Lee, Sparsh Kohli, Qail Jamal Fayadh Ahmed
Editorial Photographers
Claire Lam, Fayadh Ahmed, Kiara Botha, Tian Tang, Vicky Jiang
BTS Photographers
Bamdad Tayyari, Brittany Chang-Kit, Maria Lachica, Vicky Jiang
Editorial Director Literary Editors Writers
Brittany Chang-Kit Elise Nezir, Kharissa Edwards, Ryan Chan, Winny Wang Brittany Chang-Kit, Elise Nezir, Jade Rozal, Kharissa Edwards, Maria Lachica, Nicole Schredl, Roveena Chand Jassal, Ryan Chan, Sadie Findlater, Sophia Wright
Hair and Makeup Artists
Adryan Jacob Korzen, Annie Nguyen, Kayleigh Gray, Summer Weldon, Xavier Orlando, Zaina Haq
Models
Ayham Yasein, Brianna Gonga-Cave, Camille Baycroft, Cindy Xie, Diana Qian, Emily Chan, Emilie Aporeigh, Gloria Spehar, Hannah Jones, Holly Clemas, Janelle Allan, Jacqueline Chen, Jagger Hope, Keith Sweeting, Naveen Chankar, Neil Shukla, Nicole Schredl, Peter Bishay, Rachel Boyd, Romano Watt, Sabrine Hunziker, Sam Stone, Sean Lee, Sunday Ajak, Tian Tang, Trevor Petit, Waell Khaife