CY Fashion Mag Volume I Issue I

Contents

Spring 2020

36

Features 5 The True Cost Learning about sustainanility with professor Doire.

8 Scholarly Style Checking out the best dressed majors on campus.

25 Altered Ego A look at Charleston’s coolest new secondhand store.

33 Spring Trends We’ve teamed up with Hampden to bring you the chichest looks for Spring.

VA L E R I A , 2 1

The “it’s totally nobody’s business but mine” birth control.

The Implant. Now FREE or low-cost. Stop by Student Health Services or visit whoopsproofsc.org.

Fees for extra services requested or required are not covered by WhoopsProofSC. Valid only for students at participating colleges & universities in South Carolina thru 12/31/2020. Schedule an appointment to review your eligibility.

- LETTER FROM THE EDITOR

Making my first fashion magazine has been a thrilling and daunting task. As someone who has always loved fashion, being the editor in chief of my own fashion magazine is my biggest dream come true. Being surrounded by a team of stylish co-workers and living in a city where I constantly feel inspired has made the process of creating this magazine so much easier.

Charleston, and the College of Charleston, often doesn’t get enough credit for the fashion choices its citizens are making. From old money Charlestonians to freshmen at the College, people from all walks of life bring their own spin to dressing for the notoriously muggy summers and annoyingly jagged cobblestone sidewalks.

My team and I picked every story and picture in this magazine carefully to highlight amazing local businesses, boundary-pushing student style and awesome resources in the city. My team and I experienced so much joy from everyone involved in this magazine and we hope you feel it too.

Learn about new second hand store Altered Ego. Check out a review on Charleston Museum’s War on Fashion exhibit. Explore how the different majors at CofC dress.

This magazine is not just about fashion but the ways in which our style improves and informs our lives. We’re here to tell the stories of Charleston through clothing and we’re glad you’re here to listen.

Zoe murrieë Zoë Murrie

The TRUE COST:

Expl Oring Sust AIN ABLE FASH ION

by Ryle Ferguson

Do you know that one chair in your room? The one with the huge, messy and even sometimes stinky mound of clothing piled up on it?

That disreputable pile is like fast fashion. It sits there, day after day, staring directly into your eyes, practically begging you to pay attention to it. But you will clean it up tomorrow, or at least that is what you vow to yourself.

For most of us, it takes some sort of groundbreaking motivation to finally get around to it. The equivalent to that motivation for College of Charleston students is Professor Louise Doire’s sustainable fashion-focused first year experience class: You Are What You Wear.

Such information, however, is not highlighted in every textbook nor outlined in every powerpoint; to have been in this class focused on instilling in students consideration, determination and realization regarding fast fashion was a wonderfully rare gift. Teaching with insightful courage and genuine compassion, the softly-smiling Professor Doire is guaranteed to always wear only the chicest of outfits, comprised entirely of pieces made on her own.

One day, when reading about fast fashion and its horrific impacts on our world, she noted, “It literally just hit me—why aren’t we talking to students about this?” Now, two years later, she is responsible for guiding pupils through a curriculum that dives deep into the importance of sustainable fashion in a plethora of ways.

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Creative workshops that tied hand-in-hand with historical readings largely shaped how students’ considered a fact that Professor Doire consistently emphasized: “10 percent of the world’s carbon footprint comes from the apparel industry.”

The necessity of acting on this issue was made exceedingly apparent and the class came to realize one method of alleviating this ecological impact, among numerous others, was to employ natural rather than synthetic dyes in clothing.

A reading required for the course, Red, White, and Black Make Blue: Indigo in the Fabric of Colonial South Carolina Life by Andrea Feeser, taught about the historical and cultural processes of natural dyeing, even in relation to our sweet and beloved Chucktown.

Natural dyeing is a significant tradition in the city of Charleston, alongside many other places around the world.

Students were even given the chance to observe the dyeing process first-hand, when a local natural dyer, Stephanie Ondo of SLO Fiber Studio, visited for a demonstration. This workshop, alongside lessons taught from the book, brought to light the possibility for us students to take alternative routes in fashion in order to minimize our contribution to the carbon footprint.

Inspirational lectures acted as a gateway to individual research, which filled the class with determination to advocate for sustainable fashion; the most effectual method of which being subversive fashion. To be subversive through fashion is to raise awareness about an issue utilizing the clothing you are wearing. Professor Doire says that the first step is to “recognize what sustainable practices are and then determine how you can use them to be more sustainable with your own clothing.”

A monumental proponent for subversive fashion, as Doire instructed her students, is Frida Kahlo, who defied gender norms and exhibited immense strength through everything she wore.

With Frida to look up to and admire, each student in the class researched an ongoing problem in our world and designed an outfit that addressed it.

The True Cost, elucidated the environmental inflictions caused by fast fashion and how unsustainable clothing imposes on the lives of those working in international sweatshops. It explained, in depth, how water is being polluted with dyeing chemicals, land is being filled with leftover fabric and trash and people working in the industry are facing terrible struggles.

A prime example highlighted in the film is the case of Rana Plaza, a sweatshop in Bangladesh that collapsed due to an inadequate inEngaging in viewings of many informational documentaries left the frastructure and killed thousands students with more compassion for of workers. sustainable fashion than they ever thought was possible when they When Professor Doire was asked first walked into this classroom in what she thinks some of the most August. important parts of the film were, she emphasized how “it takes A particularly poignant documen- 700 gallons of water to make one t-shirt” and that “$91.45 is the tary watched in the class, called This project resulted in a ballgown for the Amazon Rainforest fires, a t-shirt in the name of feminism and a denim jacket rejecting fast fashion, among numerous others.

Every project inspired the class to shift their focus away from irrelevant happenings and invest it into the critical issues that more acutely affect our lives; this illuminated the notion that we all have the power to endorse sustainable fashion through subversive wear.

average monthly income of garment workers in Bangladesh.”

These are facts that simply should not be in existence and need to receive more attention than they have been.

The pains inflicted by fast fashion extend far beyond environmental devastation, as Professor Doire has expressed time and time again, but it takes the knowledge of those widespread injuries to motivate the actions necessary to heal them—and finally clean up the neglected clothing piled on the chair.

Gracelyn Mahaffey: Studio Arts The Arts are known for breaking boundaries, sparking conversation, and even stirring up social change, and Studio Arts majors and their respective fashions are no exception to this. Art allows people to create and express their feelings through a visual medium that can resonate with and inspire an audience. Gracelyn Mahaffey is a stand-out example of a Studio Arts major with a breakthrough style, introducing elements such as a black beret, a gold chain, and an elongated cat-eye to an otherwise simple outfit. The major of Studio Arts stimulates constant inspiration for incorporating unconventional components into everyday style.

Humanities delve into all aspects of life; it is in its essence, the study of the human experience, and particularly what makes us human. Fashion is a part of that human experience, allowing an individual to express who they are, what they love, and even what they study. The students of the School of Humanities and Social Sciences take a deeper look into different societies, cultures, and histories which can inspire cultivated and worldly elements into their wardrobe. Although the major studies the history of humankind, the fashion of a humanities major is far from being labeled as out-dated and boring. The styles that come from the School of Humanities at the College of Charleston are, much like topics in the subjects they encounter, bold and unapologetic. Molly Kebe, a Psychology major, breaks down gendered constructs of fashion and fights against fast fashion with her style; marrying a thrifted button-down, a straight leg, and accessories from this century and the last, Kebe’s style is the result of the combination of her trained eye and her passion for sustainability.

The fashion of the hard sciences is one that can often be seen as utilitarian; every piece serves a purpose, and there is no space for that which could interrupt from goals of experimentation and discovery. In science fields, often, the focus is not on the individual who makes the discovery, but rather, the discovery itself and its implications. However, there is a sort of beauty in the uniform of the lab coat and safety goggles; especially when the individual behind them finds a way to break the mold of the outfits which they’ve been prescribed. Vi Truong, a sophomore Biology major with a minor in Chemistry, replaces her lab coat with a smart cocoon coat, her style echoing the profession she represents.

Senior Cam Lacey represents the duality of woman, pursuing degrees in both Psychology and Women’s and Gender Studies.

The pursuit of a dual degree often involves a level of code-switching those in pursuit master by graduation, and Lacey is no exception. Often required in professional dress at 5:00pm and casual at 6:00, their wardrobe is reflective of the multiple realities they seem to effortlessly balance. Lacey’s expertly chosen accessories make sure she stands out among the crowd, and serve as an easily-changeable fashion statement that can take a simple outfit from casual to business in the clip of an earring. Her sleeves are bold, and change her top from a staple piece to a conversation starter. Lacey’s style is reminiscent of a capsule wardrobe infused with her own personality and a sense of humanity that only the School of Humanities and Social Science can provide; a swiss army knife of a wardrobe, Lacey’s style is effective, impactful, and ready for anything.

Success in business comes from creating value. It comes from giving people what they need, not what they want. The fashion that stems from the School of Business follows in line with this necessity to create value within the corporate world.Students are able to blend the world of professionalism with a hint of eccentricism that derives from the city of Charleston’s fashion-forward aesthetic. As seen from Stevie Owens, a senior Accounting major, students are not afraid to stray away from the mundane suit-and-tie uniform. Instead, students are attracted to a style that is more than the numbers they crunch or the dollars they count, rather, a style that encompasses the vision and goals they want to achieve. And whether it be through their jobs at Morgan Stanley or PWC, or their classic leather jacket look, the students at the School of Business continue to chase these visions and goals by not only showing up, but by using their fashion as a way of standing out.

M E 14 Spring 2020 CY Fashion Mag

Ns E

by Mason Carter photos by Josiah Thomason

Menswear is an enigmatic category of dress that, in its simplest form, can literally mean the clothing that men wear. Typically filled with straight lines and tailored silhouettes, menswear seems fairly straightforward—also, very straight-forward. However, this definition soon becomes murky when the boundaries of what is accepted are tested. What happens when Billy Porter wears a dress or Harry Styles wears a blouse?

Aside from a few boundary-pushing examples, the main theme in high fashion menswear is a celebrity wrapped in a suit, and to make it avant-garde the fabric is velvet or if they want to be crazy, it has florals. However, this has little impact on the styles that dominate the ready-to-wear market that dominates retail. Ultimately, there is praise on the red carpets, mixed emotions among the viewers at home, and then menswear remains fairly static among the general population. While there are always forward-thinking designers who are churning out designs for the runway, the everyday person has limited options when it comes to what is considered normal dress.

Many men find navigating menswear a fairly haphazard experience of self-expression and conformity. It can be a journey of walking the thin line of what is one’s own style and what will still be accepted into the canon of menswear. While navigating this maze of what a man wants and what they think the world wants, it is easy to understand why menswear is so static for the everyday person.

If you walk into a typical retail clothing store, you will usually find that less than half of the store is devoted to menswear.

For example, it was thrilling to hear that Madewell was bringing its menswear line to its store in Charleston. However, this meant the back corner of the upstairs space would have some jeans and a few flannels— menswear, obviously!

Cultural constraints impose the notion that it is subversive for men to enjoy shopping and fashion.

However, this is not to say there is a lack of individuality and style among those who wear menswear. Here in Charleston, there is a diverse body of menswear styles that can be observed among our students.

On campus, there is a large leaning towards athleisure. Characterized by comfortable styles and a neutral palette, it is filled with sweatpants and joggers. I like to think of this style as elevated gym wear that looks effortless. The monochromatic layers paired with a nice sneaker works as a form of menswear that is functional for a college student while also raising the bar for the typical shorts and t-shirt combo.

Another promising trend on campus is the growth in men’s accessories, especially jewelry. Aside from the classic silver or gold chain, there has been a new rise in stacked necklaces and bracelets.

Also, piercings are becoming more mainstream with the rise of the single dangly earring and nose piercings.

While these are trends that have been practiced for a long time, they are finally being brought into the mainstream which shows some growth in menswear.

So, where does this leave the future of menswear? As for the future of menswear as a whole, I believe we will have to live with the slow changes to everyday styles as the trickle down from the top slowly takes hold.

WE Walk into Forever 21, one of the largest shops on King Street and less than a fourth of it is assigned to menswear.

The experience of shopping teaches menswear consumers that they do not have options and are not supposed to want them. Mainstream clothing brand commercials tend to focus solely on womenswear and if they include menswear, they highlight practical pieces exclusively. Menswear is understood only through staples like jeans, t-shirts and athletic wear.

It has become commonplace to view clothing not as an expression of one’s identity, but as a necessity.

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There is also a large trend towards a thrift aesthetic on campus—think Urban Outfitters without the price tag and the environmental impacts.

All things oversized and vintage find a place in this style and on campus you will frequently see patterned button-downs from the eighties and vintage denim everywhere.

These broader trends then combine and intermingle to form variations that give us things like the skater style. Taking elements of the athleisure such as the sweatpants and mixing it with the oversized sweatshirts, this group creates a new style.

Unique elements to this aesthetic such as Vans or Converse bring about a relaxed vibe that gives the skater style its attributed cool factor.

While the trends here in Charleston show promise from a generation that defined their own styles, we must learn that we can use our clothes for whatever we want. Comfort and practicality are not the be-all and end-all of menswear. Yes, be comfortable and practical but also be creative and say something with what we choose to wear. That is how we change the face of menswear.

EAR

WAR ON

by Mason Carter

The history of fashion is one that is living and dynamic, as one garment flows into another. As a living history that is constantly referenced in popular culture, we have seen the resurgence of the corset and bell bottoms. With the constant ebb and flow of trends and styles throughout the history of fashion, how does one develop an understanding of how fashion has become what it is today?

The Charleston Museum attempts to tackle this challenge with their War on Fashion exhibit. Described by the museum’s website as “an in-depth examination of both how and why fashion changed after the Age of Revolution, World War One, and World War Two,” this exhibit breaks women’s fashion into distinct periods categorized by war and explains how these periods of conflict brought about significant changes to the silhouette and styles of women’s dress.

Beginning with clothing dating before the American Revolution, the exhibit opens with a Robe a l’Anglaise—French was very in vogue during this period—and spans all the way to a Dior dress design following WWII. The exhibit places the clothing at the forefront opting for minimal text which allows for the stark differences in style to shine through. However, the real star of the exhibit is the way in which the information is communicated to the visitors.

In a typical museum exhibit, you are presented with large blocks of text explaining the item seen before you, however, the Charleston Museum opts for a fresh take on this old approach. In the exhibit, you will find garments displayed in front of a white background which has short facts about the garment encircling it.

War of 1812

Revolutionary War

1800

FASHION A particularly distinguishing element of the exhibit, however, was the fact that the information did not pertain to who designed the dress; the information had a refreshingly female-forward lens and focused on problems found within the designs, such as their lack of pockets and mobility issues associated with wearing them. Instead of highlighting the beauty of the apparel, this exhibit gave the honest truth about what a woman was forced to go through while wearing these styles and the impracticality of a man designing garments for a woman’s body. Instead of giving voices to the male designers, the exhibit brings to light the ways in which the male gaze heavily influenced the silhouette of female clothing.

The exhibit was also amusingly modern in their methods of appealing to visitors. In one description of a Pre-WWI dress, the museum writes: “Straight-fronted corsets pushed in the belly pooch and shoved everything to the back, Kardashian style.”

The use of pop culture in this way not only allows viewers to relate to the constraints of the fashions of the time, but it also changes the atmosphere of the museum from one of quiet observation to a more fun and engaging experience.

The War on Fashion exhibit at The Charleston Museum is attempting to rewrite the script of women’s fashion and bring untold, but salient, narratives to light. At a typical fashion exhibit it is uncommon to learn about what it was like to actually wear the clothing and, much less, relate to the struggles of past women. Who knew they wanted pockets too? This exhibit is a unique interpretation of fashion history that will offer a narrative told through a female perspective—something most museums sorely lack.

WWI

Civil War

1900

WWII

photos by Sophia Barham and Karly Kolodziejski

MEET CY FASHION MAG’S CLASS OF 2020* *Exploring personal style on CofC’s campus 20 Spring 2020 CY Fashion Mag

How would you describe your personal style?

My style is oversized, minimal and mostly neutral. I like to deconstruct normative masculine silhouettes and add an aspect of femininity to create balance.

I draw inspiration from everything, from fashion shows I watched on YouTube to my friends around me.

How has college changed your personal style?

Being in college has taught me to focus more on function and comfort over fashion. Don’t get me wrong, I love to pull a waist snatching look but most days I prefer something relatively comfortable.

RYAN Do you think your style influences your personality or does your personality influence your style?

In my case, I believe that my personality influences my style. I identify as non-binary and I think that aspect of my identity is explicitly shown through the clothes I wear.

How would you describe your personal style?

I don’t think I have a singular definition regarding my style as it is ever-changing. I typically draw inspiration from an array of sources: current and past fashion trends, movies, book characters and so on. People like Rihanna inspire me to just go for it and typically…I do (some outfits could have stayed in the drafts though).

How has college changed your personal style?

College has led me to buy more comfort oriented clothing items. Beforehand I thought sweatpants and t-shirts were a waste of money. I’ve gotten better though. I think I have 3 pairs of sweats… that’s a lot for me. And as far as living in Charleston goes, I’ve grown to love pastels since being here. They just brighten your day.

CELESTE

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Do you think your style influences your personality or does your personality influence your style?

A little of both. Putting on a great outfit or piece can really lift my spirits. If anything my mood is what influences my style. Sometimes that’s good and sometimes that’s bad but no matter what its always gonna be me.

MARCO

How would you describe your personal style?

It’s hard to truly define my style because it really varies with the season, my mood, and my current aesthetic. But overall, I would say my style is consistently bold and colorful. I draw inspiration from modern Japanese streetwear, European haute couture, designers like Virgil Abloh, and counterculture fashions of the past—especially from the 80s, 90s, and early 2000s. Almost all of my clothes are thrifted because I can’t stand fast fashion.

How has college changed your personal style?

Being in college has provided me with a setting in which I feel comfortable to dress how I like. I like that Charleston has a mixed bag of young, progressive people who appreciate fashion statements, and then the older, more conservative crowd who still cringe at the sight of female nipples visible under a shirt. I like for my outfits to inspire young creatives and offend prejudiced boomers.

Do you think your style influences your personality or does your personality influence your style?

I think my personality definitely influences my style. I’ve never liked the idea of doing what other people do just because everyone is doing it. I’ve also always been a do-it-myself kind of person, and I think a lot of the clothes that I’ve upcycled, drawn on, dyed, or sewn together reflect that. I love to see how shocked people are when I reveal that my entire outfit came from Goodwill, because it reinforces my belief that one man’s (or woman’s) trash is another one’s treasure. I think my personality is reflected in my clothes, and I like that I can communicate certain aspects of myself through fashion.

How would you describe your personal style?

I define my style as Art Hoe but make it grunge?... but also add weird patterns.

And I usually draw inspiration from music videos, my friends, cartoon characters, and fashion influencers.

How has college changed your personal style?

Being in a new environment such as CofC and away from the people of my hometown it allowed me to freely experiment with my style without fear of judgement. And moving down here also led me to become more comfortable with my queer identity and meeting other LGBTQ+ people with their own distinctive styles, it allowed me to incorporate both the feminine and masculine silhouettes/clothing pieces in my own wardrobe.

DESMOND Do you think your style influences your personality or does your personality influence your style?

I feel that my style and my personality influence each other. For example, if I decide to wear a clothing piece that has bright colors and/or a fun pattern in a way, it allows me to show off my outgoing, wacky side of my personality.

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ALTeRED EGO

An interview with owner, Will Anderson photos by Malik Gist and Karly Kolodziejski

1. What was the inspiration for opening altered ego, what gap did you think was missing in Charleston?

Original inspiration was as simple as having an outlet to express myself in a medium that was unique and enjoyed by a lot of people.

I just started off bleaching and distressing band tees. Band tees never go out of style.

Then adding my own creative touch to it.

Easy enough concept to start selling online and make a side hustle out of. Altered Ego is only a year old. But then it evolved into so much more...very rapidly. It became a form of expression through products not really being offered here in a manner that was unique in the market scene.

I would be apart of markets and stick out like a sore thumb. But in the best way imaginable. As the months passed I evolved along with my products. Then early fall of 2019, I was welcomed with open arms in a part of the community that may have felt pushed to the side because it wasn’t the “typical Charleston” product or approach.

During that time, that’s where I met my other two partners Jon and Kevin. My wife, which rounds out the four partners, has been a part of the process ever since Altered Ego’s inception. With the four of us joining forces, the store front of Altered Ego Apparel was created.

We wanted to create a completely unique retail experience in a commercialized and one dimensional market. Since we felt there was a noticeable gap to who Charleston caters to. We would go around talking to interested parties about our idea and the same response was time and again “Charleston needs a place like this”…but no one was doing anything about it.

No matter what your beliefs are, size of your clothes, skin color, what your interests are…we’re here with open arms creating a space for you to feel welcomed. While portraying an overall brand presence that is unique as you are. Becoming aware of who you are as an individual and being able to express that in whatever fashion you want.

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That’s what its all about. I truly feel that within the last year Charleston growth with acceptance of self expression has been amazing. We’re not all one cookie cutter shape or flavor.

Charleston is making some moves for sure.

2. Where does your stock come from?

Our inventory literally comes from all over the world. Overseas sellers, resellers from across the country. We are always on the hunt for unique vintage and custom pieces that you will not typically find here in Charleston.

Charleston can be saturated with the same old vintage or only catering to a specific demographic.

We’ll go on buying trips to the west coast, down south, and of course hit up all the hot spots here in the area. A key part of our inventory, our mission, and our overall vision are the other

local vendors that help build upon our store’s aesthetic. We have a total of seven other vendors that bring in their amazing products to showcase.

Also in the mix we have local artist’s work displayed throughout the store.

For clothing items we have the hard to come by 80s-90s pieces, tie dyed clothing, custom apparel, nostalgic/memorabilia items, female focused vintage, handmade leather items, and highly sought after sneakers. Can we do it all on our own? Of course. But when we have such a unique opportunity and platform to shine light on our community in the best way possible. We’ve created a whole new retail experience here in Charleston that’s all inclusive and supportive of individuality. Its a no brainer.

3. How would you describe the store’s style/where does the inspiration for the stores style come from?

The beautiful part about the store’s style and inspiration is that it’s both derived from Charleston as a community. The style is a free flowing mixture of social settings and creative minds that some how came together to create a store.

All of Altered Ego owners come from different walks of life, the style is a little all over the place, but still blended together to make a completely unique space and vibe.

From shelves collaged with 80s rock n roll magazines to walls covered with beautifully taken photos by local photographers and painters and apparel items to match the same paradox.

We’ve actually had a handful of CofC students aid in the creative process of the stores overall aesthetic. We are very blessed to have such a supportive and creative community. That is why we are so inspired everyday to produce a product that our community and customers can be proud of. In a space that is their own and makes them feel welcomed. Creativity, self expression, and what makes everyone unique is what we’re about.

4. How do you envision altered ego functioning as a community space?

We envisioned it and we’ve created it.

You’ve experienced it first hand. Being welcomed into a space you feel comfortable in that is non judgmental and all inclusive. We’ve tried to create a setting that is diverse but still cohesive.

There’s so many elements added to the store from the community, that its hard to believe we’re in the heart of Charleston’s retail district. I truly feel why Altered Ego has grown so much in just a year is because we try to do best for our community. While still being true to who we are as individuals.

5. What are your future goals/visions for altered ego?

Ooh so many. Just like any fully driven brand…other locations, diving more into specific niches of vintage, hosting events throughout Charleston, being apart of events in every ones favorite stores/music locations, clothing lines, collaborations...

literally the sky is the limit with this.

If there is anyone who reads this and feels the same way that we do about being creative, community support, and being apart of something bigger than typical commercialized fashion.

We’re always down to assist with talent placement, whether that’s with us or reaching out to someone we know that could aid from the perfect connection.

We’re here to help any way possible.

We would never be here if we did this alone. So its only right to give back as much as we can. Our major goal is to grow together as a community and be true to ourselves in the process.

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“Ghetto” Until Proven Fashion article by Mia Jennings photography by Malik Gist fashions modeled by Deja’ Burrell, Bryce Warner, and Kay Riley

While scrolling through your Instagram feed, skimming over fashion blogs or even walking around campus, you can see the influence of Black culture in everyday life. From sneaker culture, hairstyles, jewelry and nails, the fashion industry continues to thrive off of appropriating Black style, and many of you reading do too. Before wearing Air Force 1’s, bamboo earrings and oversized Champion sweaters were all the rage, those who did rock such a style were not called creative or expressive—they were just called “Ghetto.”

For years, the fashion industry has fixated on the Black community’s styles in order to set trends. While one might think there is no harm in “borrowing” style from other cultures, it can be extremely damaging for Black self-esteem. Copying a culture, renaming it and then ignoring how that same community is systematically disadvantaged is exploitative and screams: “I don’t care!” When Black style is worn

by Black people, there is a negative connotation associated with it, often expressed through the terms: “ghetto,” “ratchet” and “hood.” Even today, Black people are being turned away from jobs because of their hair, while the same hairstyles worn by white celebrities are socially accepted and even celebrated. Hairstyles such as braids, dreadlocks, “edges” and even accessories like durags are mocked, until they’re worn by culturally-confused celebrities like the Kardashians and Jenners. Side note: they’re called cornrows, not “boxer braids.”

Side note: they’re called cornrows, not “boxer braids.”

In fashion-technical terms, this is known as the ‘trickle-up’ theory. This theory suggests that styles and trends popular among lower-income and minority groups make their way up to higher-income groups, celebrities and designers.

Since the ‘00s, Black men, women and children have been sporting clean and always-crisp Air Force 1s; they were a staple in every Black closet. Bamboo earrings and extravagantly large hoops were originally only found at a local beauty supply store (and no, not Sally’s). Now, they can be found at Urban Outfitters and Forever 21 for triple their original price. The phrase: “the bigger the hoop, the bigger the hoe” works until hoops become fashionable, right?

While non-Black groups benefit from copying Black styles without receiving the degrading cultural associations, brands and companies simultaneously benefit from the growing popular demand. At one time, Champion was sold in Walmart. Shocking, right? It was not originally the expensive and well-sought out brand it is today; instead, it was affordable and easily accessible apparel until non-Black groups appropriated it.

...

While being fashionable is a key method of expressing one’s identity, it is important to acknowledge those whose identities were caricatured to set these heavily-followed trends—the people who are called everything but their own names are the same people who inspire celebrities, runways and the outfit you chose to wear to class this morning.

Spring Style w/ Hampden

by ZoĂŤ Murrie Spring in Charleston is such an exciting time to get dressed.

The city comes alive with new blossoms, great events and waterfront dinners. Whether you’re looking for a new pair of strappy sandals to waltz down King Street or a ball gown for your next high society event, Hampden located on the 300 block of King Street has what you need.

photos by Malik Gist Hampden consists of four storefronts. Hampden, renovated in 2017 with industrial fixtures and plush carpets, sells ready to wear brands like Tibi, Rhode Resort, Mara Hoffman and Golden Goose.

James, a much smaller storefront selling shoes and accessories, was added in 2012.

Small, opened in 2018, sells brands (modeled here) like

like Ganni and Ulla Johnson that are meant to be worn everyday.

The final piece of the Hampden family is an extension of the original store that was opened at the beginning of 2020. By bringing down the wall between James and this new storefront, Hampden now has the largest storefront on King Street.

The new store features a curated gown room, a touch screen kiosk to browse the website and view outfit ideas, an Instagram photo booth, and a VIP suite for private appointments.

Owner Stacy Smallwood’s unique personal style and eye for designer clothing has helped Hampden make a name for itself not just in Charleston and the Southeast, but the whole country. The boutique has been featured in Harper’s Bazaar, InStyle and Vogue for its beautiful clothing.

We teamed up with Hampden for our first big spring style spread to show what Charleston is capable of sartorially. Working with their stylists, they pulled looks for us that understood what it means to be a student in spring in Charleston.

Showcasing what Hampden does best, the outfits have clean sleek lines with usual pieces like bodysuits, mini dresses and sweatshirts, but punches a lot of color and vibrancy into the look.

Mixing florals, plaid, denim and even tiger print, the Hampden staff created looks that were young, fresh and trendy—but timeless.

Hopefully these looks inspire your wardrobe this spring and summer. It’s not hard to be comfortable but cute walking around Charleston by pairing sneakers with printed babydoll dresses, slides with denim shorts and even wearing a bathing suit under your favorite skirt. If you’re trying to nail the “Hampden” look, look for statement pieces with daring prints that make you feel flirty, flouncy and youthful.

Next time you need some retail therapy, pop into one of Hampden’s storefronts and admire all of the beautiful pieces. While their clothes are an investment for college students, they are pieces that will last a lifetime and elevate your style.

THE STAFF editor in chief and founder

zoĂŤ murrie

creative director

tyler mccormack

managing editor

katie hopewell

creative assistant

shannon murray

head of photography

malik gist

contributing writers

contributing photographers

jenni ashikari

sophia barham

mason carter

karly kolodziejski

ashley cox

josiah thomason

karisha desai

jillian thorvaldson

ryle ferguson mia jennings mary keohan catherine lafrance