DWF Magazine | Issue 23

DWF Magazine | 2

Issue 23 | 1

MEET THE TEAM Co-Editor-in-Chiefs Taylor Mair & Mariana Valencia

Creatives Directors Maddy Bogan & Yasseen Semsem

Beauty Directors

Victoria Brumer, Julianna Gayoso, and Cara Longstreth

Beauty Team

Alex Buitrago, Kendall Cooper, Kayla Crooks, and Victoria De La Torriente

Graphics Directors

Kelli Sullivan & Gabrielle Wallace

Graphics Assistant James Ward

Graphics Team

Kate Andersen, Alex

Womenswear Director Buitrago, Ella Davey and Hadley Bouchlas

Chelbi Robinson

Womenswear Assistant

Videography Director

Bana Habash

Menswear Director Ava Romano

Menswear Assistant Alex Huynh

Stylists

Lexi Delgado

Videographers

Gabriel Curtis, Isabel Gonzalez, Autumn Love, and Abby Marcil

Photography Director Scout Owen

Blog Director

Natalie DelleDonne

Editors

Kendall Cooper and Anna Lee

Writers

Zoe Abovitz, Jessica Calderon, Alex Frantsvog, Savannah Gribbin, Madeline Laufer, Macy MacElderry, Taylor Murdock, Sophie Vargas, and Bria Wilson

Advertising Director Kate Andersen

Public Relations Director Kiara Gajo

Public Relations Assistant Camille Eynard

Public Relations Team Savannah Gribbin, Madeline Laufer, Devon Mullen, Taylor Murdock, Jalisa Redding, and Elizabeth Schutte

Photographers Samantha Bloom, Kayla Crooks, Mia Davis, Camille Autumn Love, Lola Rivero, Social Media Director and Taylor Mair Irina Garcia Amaro Eynard, Lily Flannigan, Alex Frantsvog, Isabel Gonzalez, Kalley Johnson, BTS Photographers Social Media Assistant Erin Kittleson, Caroline Alex Buitrago, Ella Davey Gabrielle Christina Lasher, Macy and Yone Mocke MacElderry, Kate Martin, Social Media Team Morgan Nystrom, Jalisa Assistants Isabel Gonzalez, Redding, Chelbi Robinson, Savannah Gribbin, Erin to the Editors Kaitlin Taing, and Sophie Kittleson, Devon Mullen, Isabel Gonzalez and Vargas Simone Murphy, and Michelle Polanco Elizabeth Schutte DWF Magazine | 2

DARK p.6-15

LIGHT p. 16-17 Rebel Wear Amidst Social Unrest

p.78-87

p. 28-29 Intersection of Fashion and Progress

p.18-27

p.40-41 Celebrity Beauty Brands

p.90-99

p. 64-65 Thrift for All

p.30-39

p.88-89 Fast Furniture and Fashion Ethos in the Home

p.42-51

p.100-101 Balancing Act

p.54-63

p.112-113 Authentic SelfExpression in the Age of the Male Gaze

p.102-111

p.114-123

p.126-135

p.66-75

Issue 23 | 3

I thought I had my life and myself all figured out when I started at Florida State University. But honestly, I don’t think I truly knew who I was as a person. That feeling became even more overwhelming and present in college.

I always thought you had to figure yourself out and be that one person your entire life.

It wasn’t until my Sophomore year that I decided to step outside of my head

and do something “out of character”, so... I joined DWF Magazine. I never allowed myself to explore my creativity because I always measured myself against other creatives and didn’t feel I was enough. But DWF proved me wrong. My ideas and creativity were welcomed with open arms.

I learned here that there are no requirements in life; you’re not meant to be one person forever. There are so many pieces that make us into ourselves.

Embrace each one of them and explore your mind to the fullest. There is no singularity, only Duality.

To this team… you will never know how much you’ve changed my life. I cannot thank the community that has been cultivated within DWF enough for giving me the courage to be myself. I’m always in awe of the passion and artistry each of you bring, to make this magazine possible. Getting to be your Co-Editor in Chief is beyond my wildest dreams.

Thank you for trusting Taylor and I with your art.

All my love,

DWF Magazine | 4

Joining DWF Magazine my freshman year was finding something I had lost. I walked into a room full of creatives who couldn’t help but make art out of everything they did. When someone is first talking about wanting to pursue anything in the arts, they speak with a hushed tone. Here, we scream it as loud as we can. We will create, and if the space isn’t available to do so, we will make it.

(the magic is in the untold stories)

When we’re young, we know who we want to be. I spent hours painting on anything in reach, putting stickers on my jeans, writing stories about my friends, making videos on iMovie, and using my dad’s printer ink for something called “The Taylor News” in the third grade. Since then, I’ve spent a lot of time trying to hone in one ‘serious’ thing I’d want to do in the future.

There is no need to choose one thing to pursue when we all have multiplicities of art within ourselves. We are a spectrum in every sense. Duality.

I can give this team a million thank yous for trusting me with their art and inspiring me, but I am most proud of how we have stayed true to what fills us. I’ve always known what I wanted to do in life, but within this group, I’ve found the courage to say it again. I hope you all say it with me.

With so much love,

Issue 23 | 5

DWF Magazine | 6

Issue 23 | 7

DWF Magazine | 8

Issue 23 | 9

DWF Magazine | 10

Issue 23 | 11

DWF Magazine | 12

Issue 23 | 13

DWF Magazine | 14

Issue 23 | 15

Rebel Wear amidst

the Pandemic

Over the past year and a half, we have borne witness to a host of tumultuous events: a pandemic that has claimed countless lives and toppled the economy, a contentious presidential race followed by a raid on our nation’s capital, and even a widespread workforce strike economists have titled “The Great Resignation.” Further, our nation’s partisanship is more divided now than ever, and workers are continuing to quit their jobs in record numbers with a total of 11.5 million workers handing in resignations from April to June of this year. These occurrences have not only sparked a heightened awareness of class consciousness, but have also called attention to the brokenness of our system and the racism and elitism that pollutes it. During times as uncertain as these, artists and designers have tried to make sense of the chaos through creative pursuits.

We must look to art not only as a place of refuge but also as a means of reflection on who we are as a society and where we should go to move forward.

As with all major societal movements, we can look to fashion as a source of further insight into these current events. As the world continues to evolve in response to the public’s push towards better, fashion houses move to meet the increasingly aspiring and emboldened attitudes of the consumers they dress. More and more we are seeing an uptick of rebellious styles that suit the mood of these unprecedented times. This trend manifests in a multitude of ways, both obvious and subliminal. Yet in all of these developments, the motive is clear: times are changing, and we’re dressing like it.

Taking a look at recent collections from DWF Magazine | 16

high-fashion brands like Balenciaga, Chanel, Balmain, and Burberry, we can see how the scope of these events is not lost on even the most exclusive labels. In response to growing instability in global power relations, the historically futurist couturier Balenciaga had their SS’20 runway models walk through a makeshift Parliament. The SS’21 collection continued these narratives with bold masculine silhouettes with square shoulders, business suits, and utilitarian wear in an array of brooding colors.

Similarly, even classically elegant brands like Chanel have edged into a darker side. Throughout the past couple of years, a defiant undertone has become increasingly evident in their collections, with the recent Resort 2022 show solidifying these shifts. In opposition with the chic pink tweed suits that are often associated with the brand, the show included references to aesthetics both Mod and Punk: striking black and white cropped coats and miniskirts, fishnets, leather holster belts, chains, and dog collars amongst others. Coming from a fashion house previously defined by their catering to the elite, it is fascinating to see their creative directors pulling inspiration from trends and tensions originating from the working class. Some might criticize this choice as an exploitation of these struggles, but fashion also serves as a means to communicate and publicize calls to action.

If Chanel can grasp the attention of the upper class in a way that brings awareness and concern to real-world issues, then the results may outweigh concern about the means. The more conversations that these fashion movements can strike up, the closer we are to enacting change.

by Sophie Vargas

These edgy styles have been similarly adapted in recent collections by Simone Rocha. This brand, previously typified by romanticism and melancholy, has transformed its artistic direction into styles that are both intimidating and distinctly beautiful.

Ballooning silhouettes, tulle skirts paired with leather biker jackets, and jet-black garments contrasted with pink and red flower embellishments have become recurring themes in shows presented by Rocha as of late. In the FW ’21 collection, designer Simone Rocha explains her artistic choice, describing it as “Fragile rebels. It’s about being very protective and hiding the fragility…” Like many, Rocha has used fashion to create a sort of armor for the wearer resulting in a poignantly pretty, daring combination that embraces both femininity and power.

While the aforementioned have showcased their interpretations of cultural rebellion in more direct and visually discernible ways, other fashion houses are choosing to communicate these themes through alternate approaches. Take fashion houses like Balmain and Burberry, for example. It is no secret that the fashion industry is a notorious offender in the pollution of the environment. Given that this issue has only grown in concern in both public and political spheres, these labels are stepping up to make a difference on this front.

In an effort to encourage more ethical production methods, these brands exemplify rebellion through their choice to increasingly integrate sustainable materials into the makes of their collections. In recent shows we have seen both Balmain and Burberry feature unique and environmentally-friendly details using recycled plastic, transforming waste into fishnets and other accessories. Burberry especially has been an outspoken advocate for fashion production reform, announcing their continued progress towards carbon offsetting and investing in regenerative agriculture and agroforestry.

With the cult following and vast influence that a brand like this has, it is encouraging to see them rise to the occasion and set an example for competing fashion houses.

Regarding popular trends among the public, there are several indications of the effects of societal upheaval in our style choices.

The trend of subversive basics proves to be an excellent example of a modern evolution of rebellious fashion. According to TikToker and trend hunter Agus Panzoni, subversive basics can be best understood as “basics that rebel up to the point of losing their utility.” For instance, you may see this style in ripped tights used as layering tops, keyhole cutouts, asymmetrical necklines, oversized and non-fitted pieces, and garments styled in ways not intended by manufacturers. There are still those who wear a more recognizable punk aesthetic complete with ripped clothes, safety pin details, and dark color palettes. However, the trend of subversive basics is a more approachable method of defiant fashion as it largely includes more neutral colors and can be made from what is found in any typical closet. This, combined with an increasing demand for utilitarian and unisex wear, reflects the mood of the populous: civil disorder and a longing for a more egalitarian, creative, and flourishing society.

Widespread self-reflection enabled

by Covid-19 lockdowns and the internet’s fast-moving spread of information concerning systemic injustices have encouraged these rebellious sentiments amongst the public.

Fashion these days has been used as a medium to unravel these complicated issues to a similar extent as the initial punk movement of the ’60s and ’70s. From observing changes in both high-fashion and mass-market trends, it is evident that these issues are only becoming more pressing. It is time to throw out the narratives that paint fashion as something that is base and ineffectual. Women in pants ran the second wave of feminism. Queer expression led to the legalization of gay marriage. Fashion is and has always been a means of communication foremost. It is a direct declaration of the wearer’s beliefs and values, and it has the power to facilitate much-needed conversations and change. It is armor–we dress for a better tomorrow.

Issue 23 | 17

the comeback

The Comeback by

Taylor Mair

DWF Magazine | 18

photographer Taylor Mair models Julianna Gayoso Hope Pumphrey Jordan Roberts styling Hadley Bouchlas Julianna Gayoso Morgan Nystrom Chelbi Robinson

beauty Hadley Bouchlas Julianna Gayoso Hope Pumphrey

Issue 23 | 19

the comeback

DWF Magazine | 20

Issue 23 | 21

DWF Magazine | 22

Issue 23 | 23

DWF Magazine | 24

Issue 23 | 25

DWF Magazine | 26

Issue 23 | 27

Intersection of Fashion and Progress:

By: Zoë Abovitz

fashion’s role in activism throughout history

The clothes people wear express who they are or who they want to be. This expression of our likes, dislikes, beliefs and identities can be empowering and even awe-inspiring. Throughout history, fashion, or the art of how people choose to adorn themselves, has played an important role for activists and movements.

Many of the clothes worn today, including popular trends, have been associated with protest and activism. While Sunday Best outfits consisting of suits, dresses, skirts and hats are largely associated with the Civil Rights Movement, denim also played an important role.

For example, wearing denim was a way that Black Americans brought attention to

DWF Magazine | 28

the movement during the 1960s. Denim, like jeans and overalls, were some of the garments enslaved Black Americans were forced to wear, so donning them post-abolition symbolized what little progress had been made. Jeans were specifically incorporated into the movement due to the physical difficulty of marching in Sunday Best attire. It was also common for Black Americans to wear traditional African garments to connect to their ancestry and disassociate from Western society. Another example from the Civil Rights movement is the Black Panther Party, a group that wore all black clothing, leather jackets, sunglasses and berets. This powerful uniform is still recognizable today, and at the 2016 Super Bowl Halftime Show, Beyoncé’s dancers wore the Black Panthers’ uniform — including their natural hair.

Hair, specifically, has deep historical roots tied to self-expression in many different cultures.

During the 1960s, the aforementioned Black Panthers spurred the natural hair movement. In doing so, they made the statement that Eurocentric features, like straight hair, should not be the standard of beauty and that Black is Beautiful. Even today, there is still a struggle for Black people to embrace their natural hair, and when someone chooses to wear their natural hair — it is a protest in itself. It is a powerful action that reclaims Black identity.

Visual symbols are another aspect of fashion that has continuously been important to movements and often incorporated into activism. In 2020, Yvonne Orji attended the Emmys with the Black Power fist shaved into her hair, a long-used symbol that is now associated with the Black Lives Matter movement.

Another example of symbol reclamation is the pink triangle, which was once used by Nazis to identify and shame members of the LGBTQ+ community. Pink triangles, that pointed downwards, were used in concentration camps, and they

were first reclaimed by the LGBTQ+ community in Miami, Fla. when it was worn on clothing to protest the repeal of an anti-discrimination housing law.

The pink triangle is simultaneously an acknowledgement of the past and a promise to the future that such horrific events will never take place again.

The symbol even played a significant role during the HIV/ AIDS epidemic. The disease disproportionately affected the LBGTQ+ community and gave rise to a heightened wave of discrimination. The triangle was rotated upwards and given a bright pink color by collaborators Avram Finkelstein, Brian Howard, Oliver Johnston, Charles Kreloff, Chris Lione and Jorge Socarrás for the Silence=Death project by the AIDS Coalition to Unleash Power. They made posters and shirts with the symbol while protesting the discrimination taking place and to raise awareness about the epidemic. The pink triangle has since been repeatedly used as an international symbol of solidarity for the LGBTQ+ community.

Indigenous fashion is another example of how the reclamation of fashion and identity tie into activism. Indigenous fashion designers are reclaiming their traditions, fashion and identities that non-Indigenous brands are notorious for appropriating. Designers like Bethany Yellowtail, Curtis Oland, Jamie Okuma and Evan Ducharme are utilizing traditional designs from their respective cultures and creating beautiful pieces that honor their people with the care and respect that it deserves. Indigenous peoples of North America have endured a long history of forced assimilation, their culture violently stripped from them, so this proud reclamation and reconnection to ancestry and culture is significant.

Model-activist Quannah Chasinghorse, who routinely speaks on Native issues, wore attire that honored her culture and ancestry at the 2021 Met Gala.

The year’s theme focused on American fashion, and Chasinghorse’s outfit reclaimed Native American culture and firmly acknowledged the stolen land that this country sits on today. Indigeneous designers are also influential supporters of sustainability, and they are leading the fashion industry towards a more eco-conscious future.

Reclaiming garments and symbols rooted in oppression shows that a marginalized group can no longer be hurt through these means. In other words, it allows marginalized communities to take

back some social power from their oppressors. This is the moment when garments cease to be uniforms or a means of subjugation — this is the moment when garments become fashion. Clothing and other adornments are only fashion if the wearer has a real choice in whether or not they wear them.

The reclamation of identity and power through fashion is crucial. Fashion and how people choose to adorn themselves have power, and when the power of self-expression is stripped, so is a person’s identity. But the stories of those who reclaimed certain styles and symbols provide the framework for utilizing adornments in people’s everyday activism as well as large-scale movements.

To best honor the fashion activists of the past, it is important to not forget their efforts and to continue their initiative by applying it to today’s issues. To strive for a better tomorrow, we have to dress for it.

Issue 23 | 29

super rich kids

$uper Rich Kids

by Mariana Valencia

DWF Magazine | 30

photography Taylor Mair model Gabrielle Wallace beauty Victoria Brumer styling Hadley Bouchlas Bana Habash Chelbi Robinson Mariana Valencia bts Yasseen Semsem Bana Habash

Issue 23 | 31

super rich kids

DWF Magazine | 32

Issue 23 | 33

DWF Magazine | 34

Issue 23 | 35

DWF Magazine | 36

Issue 23 | 37

DWF Magazine | 38

Issue 23 | 39

CELEBRITY CELEBRITY

By Kendall

Celebrities have long been setting both Cooperfashion and beauty trends. Jennifer Anniston is

responsible for “The Rachel’’ haircut fad in the 90’s.

Named after Annistons ever-popular character in the hit TV show Friends, women rushed to salons to get the shoulder length, layered look. And while she most definitely did not invent the technique, Kim Kardahsian is widely credited with the popularity and mainstreaming of contouring—a makeup technique that sculpts the face through precisely applied and blended “shadows’’ and “lights.” The global beauty industry, which consists of makeup, skincare, haircare, etc., is currently worth $511 billion, and it is estimated to be worth $716.6 billion by 2025. Over the past few years, celebrities have realized just how lucrative and recession-proof the beauty industry is, so naturally there has been a sharp rise in celebrity owned beauty brands. However, few of these companies offer creative and quality products in a market that’s already heavily oversaturated. Occasionally celebrities manage to make a good product, but more often than not, celeb-owned brands are little more than an overhyped cash grab.

For example, the exceedingly popular company Kylie Cosmetics embodies the term “cash grab” more than any of its business counterparts.

Launched in 2014 by Kylie Jenner, Kylie Cosmetics has seen extravagant financial returns but, according to Forbes, those profits were not nearly as extravagant as the Kar-Jenner family reported.

Regardless, Jenner is profiting richly off of products with cheap packaging and subpar formulas.

One star Kylie Cosmetics reviews from Ulta.com say “When I sharpen the lip pencil the whole color inside pops out. Super cheaply made but expensive for customers. 0/10 do not recommend” and “Not impressed at all!! Very expensive for a stain that dries out my lips and does not last. I put it on and waited till it dried and my first sip of my water and my straw was covered in lip stain! Very disappointing!!”

In the cosmetics industry, packaging is half the battle. Consumers crave packaging that is functional as well as reflective of the company’s brand.

DWF Magazine | 40

BEAUTY BRANDS

However, stock packaging has become pervasive as a cheap, albeit generic, way to distribute products on a large scale. Stock packaging is plain cosmetic packaging that is easily produced using preexisting molds at manufacturing factories. Colors, brand logos and other minor tweaks can be made, but the containers themselves are very cut and paste. For drugstore and high end beauty brands alike, using stock packaging makes sense seeing as it cuts down on both the cost of production and production time–which means that products can get launched faster at potentially cheaper prices. If consumers know what to look for, spotting stock packaging isn’t hard—just look at e.l.f.’s liquid eyeshadow packaging compared to Stila’s liquid eyeshadows and KKW BEAUTY’s lip glosses. With all of this said, stock packaging isn’t inherently bad. However, when brands like Kylie Cosmetics, and KKW BEAUTY for that matter, use uncreative stock packaging for their low-quality formulas and then charge professional grade prices, they are blatantly scamming consumers.

The existence of dupes further emphasizes the price gouging of celebrity products. The concept of a cosmetic “dupe” is when an extremely similar, cheaper alternative is found for a pricey item. Shortly after Kylie Cosmetics’ infamous lip kit launch in 2014, consumers found that Colourpop Cosmetics’ liquid lipsticks were a good dupe. However, upon further investigation, the two products’ formulas were found to be nearly identical. This was supported by how Kylie Cosmetics and Colourpop were both subsidiaries of Seed Beauty at the time, which meant that they both likely used the same lab (Spatz Lab in Oxnard, California) to manufacture and distribute products. Colourpop sold their lipsticks for $7 at that time (there has been a $1 increase since), and Kylie Cosmetics still sells theirs for $17. In short, consumers were paying an extra $10 simply for the product to have Jenner’s branding. Although her formula has undergone some changes since, the incredible upcharge of Jenner’s products in spite of their lack of quality makes Kylie Cosmetics a poster child of the rip off of celebrity beauty products.

The scam of celebrity beauty brands is successful because of the starpower that lies behind it. Celebrities that create beauty brands rarely have any credibility in the cosmetics industry prior to their company’s launch. Sure, celebrities might have more experience with cosmetics due to the nature of their occupation. But the experience of frequently sitting in a makeup chair coupled with possessing a mass following does not automatically mean celebrities can create a brand worthwhile for consumers. While Jenner may be the poster child of this phenomenon, she is far from the only celebrity responsible. Take TikTokker Addison Rae’s ITEM Beauty and actress Millie Bobbie Brown’s Florence by Mills for example. Neither are known for their makeup prowess, but have nevertheless found a way to profit off of their fanbase by participating in the industry. Even brands by celebrities famous for their beauty skills are not guaranteed to be quality. Beauty influencer Jaclyn Hill, creator of Jaclyn Hill Cosmetics, had a major flop with her first launch in 2019. Customers were quick to notice hairlike particles in their lipsticks; a slew of other quality control issues were also cited, leading Hill to release an apology video addressing the scandal.

However, not every celebrity owned beauty brand should automatically be dismissed. For instance, Fenty Beauty, created by pop icon Rihanna in 2017, has been a hit with makeup newbies and professionals alike. The company’s star debut product was its foundation, which was revolutionary at the time for its whopping 40 shades that didn’t leave out people of color. Since 2017, the foundation’s shade range has been expanded to 50. Those with darker skin tones have been severely let down by the beauty industry, and Fenty Beauty’s main goal is inclusivity. The large shade range made waves with consumers and industry professionals alike, and Fenty Beauty’s lasting legacy can be tangibly seen when examining today’s acceptable shade range for a skin product launch. Makeup brands have upped their game and are often called out by consumers if their shade range is too small or too pale. In 2017, YSL launched a new All Hours. 19 of the 22 shades catered to lighter skin tones with only one deep shade. Consumers had little sympathy for the luxury brand’s blunder, and the public scandal caused YSL to expand their shade range to 25 shades. Today, 39 shades are listed on Sephora’s website. Also not to be ignored is how Fenty Beauty’s prices are luxury, even more expensive than Kylie Cosmetics, yet their prices

better match their quality compared to other celebrity beauty brands. Fenty Beauty’s products are actually quite solid in regards to both their professional level formulas and upscale packaging, which is illustrated by their glowing reviews and many appearances in Allure’s highly regarded “Best of Beauty” annual lists.

Another example of a celebrity owned beauty brand doing it right is about-face (stylized in all lowercase) by singer-songwriter Halsey. Halsey, like Rihanna, is known for doing many of their own makeup looks for photoshoots, music videos and stage performances.

Taking a different approach to cosmetic production, Halsey created about-face to throw beauty norms out the window in favor of unleashing creativity. The brand’s formulas are professional grade, and many of the products are essentially high quality, multi-use face paint. For example, about-face’s fluid eye paint is a rebrand on the more traditional liquid eyeshadow. In a rave review from Allure, about-face and its matte fluid eye paints were cited as easy to use and super pigmented, and the brand also won a coveted Best of Beauty 2021 award.

Both Rihanna and Halsey show that it is not impossible for a celebrity to earnestly break into the beauty world, and they highlight what is needed for a celebrity-owned beauty business to be more than a tacky cash grab. As previously established, products’ packaging and formulas matching their retail price is essential. By marking up products simply because it has their name on it, celebrities are cashing in solely on their fame and take advantage of their fanbase. But more than that, the best celebrity-owned beauty brands do something that any good business does—they find a need in the market and address it. Fenty Beauty identified a problem faced by people of color and provided a high-quality solution. aboutface did the same and provided products for the underrepresented beauty consumer who applies makeup for creative freedom.

The beauty industry is heavily oversaturated.

Every brand has an eyeliner, a concealer, a brow pencil, an eyeshadow palette, etc., and there’s a seemingly infinite amount of cosmetic companies out there. To be a beauty brand worth it to consumers, celebrities who want to participate in the industry must bring something new to the table and ethically price their products. If they are not willing to do so, celebrities must acknowledge how their venture is directly taking advantage of those who support them most. Issue 23 | 41

PUNK IN ELEGANCE! punk in elegance

by MIA GONZALEZ + MORGAN NYSTROM + MIA GONZALEZ

DWF Magazine | 42

PHOTOGRAPHER lauren rivero MODELS lani daes kat kleber morgan nystrom cj thompson BEAUTY kendall cooper julianna gayoso cara longstreth STYLISTS macy macelderry isabel gonzalez mia gonzalez jalisa redding

Issue 23 | 43

DWF Magazine | 44

Issue 23 | 45

punk in elegance

DWF Magazine | 46

Issue 23 | 47

DWF Magazine | 48

Issue 23 | 49

DWF Magazine | 50

Issue 23 | 51

BEHIND THE SCENES DWF Magazine | 52

BEHIND THE SCENES

Issue 23 | 53

strangers by nature.

by Isabel Gonzalez + Gabrielle Wallace DWF Magazine | 54

Issue 23 | 55

infatuation to heartbreak

Artwork by Alfred Yeh DWF Magazine | 56

photographers Taylor Mair, Lola Rivero models Sydney Marie, Aidan Whitman-Baker stylists Mia Davis, Camille Eynard, Alex Huynh, Devon Mullen beauty Victoria Brumer

Issue 23 | 57

DWF Magazine | 58

Issue 23 | 59

DWF Magazine | 60

Issue 23 | 61

DWF Magazine | 62

Issue 23 | 63

BY ALEX FRANTSVOG

Whether it’s the low prices, the desire to be sustainable, or the thrill of the hunt driving the thrifting obsession, more and more people have been partaking in secondhand shopping. What began as a single cart full of used clothing has now transformed into a myriad of Goodwill’s, online consignment stores, and eclectic vintage boutiques. It’s hard to ignore the positive changes that the surge in thrifting has caused, especially when luxury brands are pausing their bonfires of last season’s clothes to invest in Vestiaire Collective.

However, as more people turn to thrifting and resale apps like Depop and Poshmark, concerns about the future of affordable used clothing have risen. Rumors of low stock and rising prices are floating around social media and pulling focus from the positive reality of the situation. Secondhand apparel wasn’t always viewed as favorably as it is now. The positive shift of the public perception of thrifting has directly contributed to these concerns. To fully understand how the culture around secondhand shopping has shifted, it’s important to understand how it all started.

Repurposing clothes has existed for centuries, but thrift stores are a relatively new concept. The reselling of clothes came about during the Industrial Revolution due to the mass production of clothes and the increase in immigration to the US. The mass production of clothes changed the fashion industry and the way we viewed apparel. Clothes became disposable and textile waste increased massively. Around this time there was also a mass influx of immigration to the US. Living spaces got smaller to accommodate the increasing population and more waste was created as people discarded their possessions. The sale of used clothing started in pushcarts predominantly run by Jewish immigrants nickDWF Magazine | 64

THRIFT FOR ALL

named “rag dealers.”

Unfortunately, around this time the stigma around secondhand clothes began to develop. Used clothes were seen as a sign of poverty and uncleanliness.

Not only did these stigmas stem from classism, but also anti-semitism. In 1884, the Saturday Evening Post ran a satirical story about a girl who caught smallpox from a dress she bought from a Jewish-owned resale shop.

As time passed, Christian ministries saw resale as a good way to raise money and from this realization came the birth of Salvation Army and Goodwill. These companies hired lower-income employees to collect and repair used clothes to resell. These stores were an asset to immigrants by providing jobs, clothes to look more “American,” as well as some social service operations.

As Goodwill and the Salvation Army evolved their business, they decided to rebrand from a “junk dealer” to a “thrift store” by setting up their shops to mimic department stores. This rebrand made secondhand shopping more marketable to draw in middle class women interested in giving back through supporting these stores.

After World War II more resale options became available. Consignment shops came about in the 1950s during the postwar prosperity. They catered towards the wealthier consumers looking for affordable vintage and couture pieces. Garage sales began popping up around this time as well. Now there are a plethora of in-person and online resale options that can appeal to almost everyone in search of a good deal.

Where did this increase in thrifting come from?

Most thrifting experts point to August 27, 2012: the day Macklemore and Ryan Lewis released their hit single “Thrift Shop.” Other researchers say the thrifting movement can be traced back to the hippies of the 1960s and

has risen in popularity since. It’s hard to say which theory is most accurate, but we can all agree that thrifting isn’t just a fad. Fashion trends are cyclical, and thrift stores will always be there to provide the latest vintage trend.

The most recent push to thrift stems from our generation’s desire to get away from fast fashion. The sustainability movement continues to gain traction as we all learn about just how much waste and pollution our week-long trend cycles create. According to a report done by threadUP, an online thrift store, 1 in 3 consumers care more about wearing sustainable apparel than before the Covid-19 pandemic and 51% of consumers are more opposed to eco-waste. With Gen-Z turning the act of buying second hand into a lifestyle, thrifting is for young people from all types of backgrounds looking to save money and the environment. Over 40% of Millenial and Gen Z shoppers have shopped second hand in the past 12 months.

In 2020, 223 million consumers say they have or are open to shopping second hand products. This is a huge change considering where we started. With resale shopping attracting consumers from all economic levels, there is no typical resale shopper!

We often discuss the increase in thrifting in a negative light. Many are frustrated with the high resale price of clothing on Depop or the huge thrift hauls they see on social media. Will the increase in thrifting lead to an increase in prices? Will resellers snatch up all the best pieces?

In reality, the odds of inventory dropping are slim. It is becoming overwhelmingly common to throw out products and apparel for the newest trends.

There is plenty of secondhand clothes to go around, so much so that thrift stores are turning away donations due to overflow of stock. With this in mind, if people are willing to reuse clothing rather than shop fast fashion, that should be celebrated! Secondhand clothing remains a better alternative to contributing to increased textile waste.

There is also little research to support the idea that the rising popularity of thrift shopping is raising prices. Prices rise for a plethora of reasons, from inflation to rising rent costs, so a change in prices at secondhand stores like Goodwill was inevitable. Of course, we can’t forget the ever-present corporate greed that lurks behind every price increase. In the eyes of corporations, if affluent teens are flocking to secondhand clothing shops, why not raise the prices and make a larger profit off them despite how it might

impact lower-income customers?

Everyone is taking notice of the resale craze. Retailers are recycling textiles or upcycling vintage pieces. Social media influencers known for thrifting and upcycling are gaining popularity and brand deals. Websites and apps for selling second hand apparel and designer items are popping up everywhere. Businesses are racing to capitalize off of Gen Z’s favorite hobby.

“The new thrifting lifestyle is causing retailers to adjust in an attempt to appeal to today’s generation’s love for all things sustainable and affordable.”

We are seeing fast fashion retailers like ASOS and Urban Outfitters incorporating vintage collections and promoting recycling apparel for rewards. Some retailers are even partnering with threadUP for popups and recycling programs. Even high end brands are changing their tune towards resale. Ralph Lauren partnered with Depop to create a curated collection of vintage items that was available in a New York pop-up and on Depop’s app. Kering, the company that owns Gucci and Balenciaga, invested in the resale platform Vestiaire Collective. This is a huge deal considering the luxury industry’s past disdain for resale and the way it affects the distribution and pricing of their brands. Many brands are warming up to resale and recycling apparel–not because they saw the error of their wasteful ways, but because they want to appeal to the thrifty teens and 20-somethings. Gen-Z has turned shopping secondhand into a trend that is forcing brands to take notice and adapt. It’s hitting fast fashion and department stores where it hurts. It’s changing the way luxury brands run their business. It’s slowly enacting the change that the retail industry needs.

There is more than enough used clothes to go around. We can all enjoy the thrill of thrifting and watch the ripple effect of our actions change the retail industry for the better.

Issue 23 | 65

opposites attract

ATTRACTION by

Maddy Bogan + Kelli Sullivan

DWF Magazine | 66

Issue 23 | 67

opposites attract

DWF Magazine | 68

photography Lexi Delgado + Yoné Mocke models Shannon Oreo + Nia Alexander stylists Maddy Bogan, Alex Franstvog,

Erin Kittelson, Jalisa Redding beauty Alex Buitrago

Issue 23 | 69

DWF Magazine | 70

Issue 23 | 71

DWF Magazine | 72

Issue 23 | 73

DWF Magazine | 74

Issue 23 | 75

Up to this point, we’ve explored the darker side of our duality theme.

Now, we begin our transition to the lighter side, an array of curated col-

ors, wardrobes, graphics and articles that represent the spectrum of light in our universe. For this edition, we wanted to explore the multidimensionality of life, people, art and reflections of that nature. While drafting and guiding ideas for the theme, I was absorbed in the thoughts that centered around identity,

self-expression, and just how multi-faceted we are as people. There are so many layers to us,

intricacies, complexities, contradictions and

feelings that we experience on a daily basis, and the creation process of this magazine really reflects that.

We intended for it to be a vessel for

self-reflection; a way of looking at the art and not only seeing all that is on

the page, but to see parts of yourself in it as well. We also included shadow work prompts to help guide you in

exploring parts of yourself you may not shine a light on too often.

I’m beyond grateful at all the effort,

love and creative energy that has been put into this

magazine. It’s been a truly wonderful

endeavor meeting and creating with many

of the brilliant people that have been involved

in DWF this season. There are many beautifully

talented people in this organization within every

department and without the influences and input of

all of you this magazine wouldn’t be the iconic work of art that you’re reading now!

Yasseen Semsem, Co-Creative Director

DWF Magazine | 76

In today’s social climate, we seemingly live in a constant state of duality.

It seems like we are always being pushed by opposing ideas and opinions, forced to make a decision that aligns with one or the other. We are en-

trenched in the idea of separation that it’s led us to this extreme state of

polarization today. We no longer know how to co-exist with one another.

When the theme of duality got brought up for this magazine issue, I was really forced to think

about the principles of duality and under-

stand how it can coincide in my life, rather than being a negative premise to dwell

on. And through this journey of understanding duality, I came to terms that it can be a series of checks and bal-

ances that demonstrate the choices people have. It can teach us that

every aspect of life is created from a balanced interaction of opposite and competing forces. And when

we can appreciate both sides of the

situation and learn to coincide with

our differences, that’s when you,

relationships, communities, soci-

eties, etc., can operate at its fullest

capacity.

When we introduced the theme to our

team, I was awestruck to see how duality

was interpreted in every shoot. Concept di-

rectors really explored parts of themselves,

ideas, experiences, and feelings that they at-

tributed to this idea of duality. This magazine is

beautiful because it’s a collection of individual expe-

riences and emotions, and I’m so appreciative we get to

share it with everyone.

Maddy Bogan, Co-Creative Director Issue 23 | 77

S c i n tructure a g r O

by Kate Andersen and Jessica Calderon

DWF Magazine | 78

photography

Kate Andersen + Scout Owens models

Aimee Burnette + Grace Hunziker + Noel Hernandez + Kenny Ninomiya + Joshua Samuels styling

Lily Flan + Alex Frantsvog + Morgan Nystrom + Chelbi Robinson + Sophie Vargas beauty

Kendall Cooper + Julianna Gayoso + Victoria de la Torriente bts

Sophie Vargas

Issue 23 | 79

DWF Magazine | 80

Issue 23 | 81

DWF Magazine | 82

Issue 23 | 83

DWF Magazine | 84

Issue 23 | 85

DWF Magazine | 86

Issue 23 | 87

Fast furniture and fashions ethos in the home

BY: TAYLOR MURDOCK

Self-expression is often viewed through the lens of dress, but the home is an equally important vessel for showcasing one’s individuality. In Joan Kron’s The Semiotics of Home Décor she states that “having is intricately tied up with being.” Clothing sets the tone for this outward expression. Rooted in its accessibility and exposure, it is the jumping-off point for managing and maintaining aesthetics. Interior design is a similar outlet for self-expression, one that mirrors and molds to the world of fashion.

The possessions that hang on our walls and sit on our mantels are essential to our identity. Much of our behavior regarding home décor is influenced by our sense of style. Just as fashion offers us the freedom to bolster and maintain a sense of self, the living space encourages a similar pursuit. Emerging trends and collections of clothing brands lay the foundation, creating a blueprint that bleeds into the interior design world. Tones and textures heralded by the fashion community enter our living spaces; colors and patterns that debut on the runway are translated into throw pillows and tapestries. For example, the eclectic style of Gucci’s floral collection has trickled down into patterned wallpapers, upholstery, and rugs. This dynamic allows fashion to saturate the world of interior design, shaping the aesthetics of the season.

Further, the latest aesthetics are disDWF Magazine | 88

tinguished by designs that can be seen across industries. The use of gemstone colors and velvety materials promotes elegance and luxury in both fashion and interior design. An emerald luxe gown creates a mood that can be replicated through a tufted olive tone couch or chateau curtains. For those who desire simplicity, minimalism offers a classic silhouette that is easily recognizable on and off the runaway. With a concentration on form, fabric, and monochromatic colors, popular minimalist home decor takes inspiration from the designers and artists who championed the movement such as Martin Margiela, Calvin Klein, Jil Sander and Frank Stella.

This overlap between how we adorn ourselves and how we ornament our home is indicative of fashion’s pervasiveness. As interior design continues to parallel the world of dress, it is no surprise that the home décor sector has its own fair share of issues. While adopting trends and fads through dress is more cost effective than opting for a new backsplash, home décor and furniture is slowly facing the repercussions of the fast fashion cycle.

“The most glaring obstacle that has long prevented furniture from falling victim to fast fashion is its cost.” While expensive in nature, furniture and décor are also cumbersome. The challenge of redecorating is a taxing process–one that increases these pieces’ longevity. However, this desire to have our living spaces reflect ourselves, paired with cycling trends, has encouraged consumers to

toss out the old and bring in the new. Couches that once lasted consumers decades are becoming seasonal. Companies such as Wayfair and Amazon are the most common offenders of encouraging fast furniture. When the cost of redecorating is low, buyers see it as an incentive to buy furniture even when they don’t need it. While the growing interest in home goods and interior design has led the industry to expand overall, this desire for affordable and trendy furniture has also led to the collapse of brick-and-mortar stores such as Pier One Imports and Bed Bath & Beyond. These companies crumbled under the pressure of their competitors, unable to provide goods at the price point of Home Goods or at the ease of Amazon.

Fast fashion plays into the wants and needs of buyers. Such desires can be summarized by Synder and Fromkin’s theory of uniqueness, which explores how one chooses to differentiate themselves amongst friends, neighbors, and peers when they perceive high levels of similarity. What we buy is often an easy and tangible means of such separation. Further, the desire to be surrounded by objects that nod to one’s individuality, whether due to their rarity or desirability, is driven by wanting one’s self-perception to be echoed and reinforced by one’s surroundings.

This inherent need to distinguish and differentiate ourselves is exemplified in the fashion industry through designer collaborations comprised of pieces tailored to buyers with a knack for the finer things. For instance, the homeware brand, Smeg, continues to collaborate with Dolce & Gabbana; together they have created three collections with striking designs paying homage to both brands’ Italian heritage. Other designer brands such as Off-White and Fendi have dipped their toes into the home design sector. In leaning into buyers’ need for conspicuous consumption, Fendi’s concept titled Fendi Casa aims to “dress

up” rooms similar to how they would a client, a feat accomplished with exotic furs and their classic logo.

Such collaborations draw us in due to the nature of their status and exclusivity. To have a home adorned in limited edition and designer pieces instills an air of prestige and individuality. However, if rarity is a driving force of uniqueness, why aren’t we seeing an increase in antiques and secondhand furniture? While the ability to adorn our home in designer isn’t feasible for most, pre-owned furniture offers its own personality to a room. The fashion community and shoppers alike have embraced the need for secondhand clothing in an effort to engage in mindful consumption, although interior design hasn’t experienced the same undertaking.

This discrepancy possibly stems from planned obsolescence. Since the digital age our most loved and costly possessions are electronics, with phones and computers being designed with a shelf life to promote long term sales and a shortened replacement cycle. This strategy is one we’ve become accustomed to, creating a negative correlation between cost and longevity. Such a relationship has lessened our desire for pieces that stand the test of time such as antiques. They simply aren’t practical for a generation that is conditioned to replace. However, the tides may be turning; startup companies are aiming to frame the secondhand furniture market in a more desirable and user-friendly light. Drawing inspiration from clothing reseller sites like Poshmark and Thredup, companies are going the online route to appeal to a new generation of buyers. Apps like Chairish and Etsy are targeting fashion centric buyers with a focus on aesthetics, design, and one of a kind buys.

As the interior continues to pay homage to the world of fashion, buyers are reminded of the goal of such ornamentation: to see the self in the home. Whether this is done with something borrowed or something new, interior design offers us another vital outlet for expression.

Issue 23 | 89

HUE

Hue by:

Scout Owens / Camille Eynard

DWF Magazine | 90

Issue 23 | 91

photography

Scout Owens models

Nina Chong Macy MacElderry styling

Hadley Bouchlas Alex Frantsvog Sophie Vargas beauty

Hadley Bouchlas Taylor Mair bts

Ella Davey Yasseen Semsem

DWF Magazine | 92

HUE

Issue 23 | 93

DWF Magazine | 94

Issue 23 | 95

DWF Magazine | 96

Issue 23 | 97

DWF Magazine | 98

Issue 23 | 99

BALANCING ACT:

A Reflection on Un p l u g g i n g in the Digital Age

I’ve always loved noise. Before I knew noise, my parents would say noise knew me. Talking was all I did as a kid, and while that much hasn’t changed, I began outsourcing this obsession. What began with music morphed into anything and everything that would eat up dead air. When given a minute to myself, I spent it bouncing from one form of media to the next.

Media can be a mind-numbing agent if not used in moderation. I found myself becoming increasingly distant and distracted in social settings. The hardest hit of all was to my productivity.

How anyone gets anything done when the world is at their fingertips is beyond me. To escape the pull, I was forced to incentivize myself. Like a parent would a child, I doled out screen time, a reward for completing tasks and finishing assignments.

That was when it dawned on me — all the reasons I cling to media are why I need to reevaluate its role in my life.

In assessing my overconsumption, my concerns boiled down to one question, are we neglecting our own creativity in pursuit of consuming someone else’s? While my writer’s block is worsened when I turn to the comfort of my vices, the issue is perhaps not solely with the medium, but rather my use of it. At their core, these apps and forums push and implore creativity.

DWF Magazine | 100

by

Taylor Murdock

“The duality of media, a sedative for some and a creative instrument for others, is where the issue becomes a matter of choice.”

I always prided myself in escaping the iron grip of Instagram. This little victory clouded my judgment. Despite being reliant on videos and music, I had absolved myself of any guilt. So, what if I listened to a handful of podcasts or played an audio book when the moment allowed? How could wanting to stay in the know be a bad thing? The issue didn’t rest in the content, it was in my intention. Mindlessly scrolling on TikTok is easy to find issue with, but the incessant consumption of videos that I deemed okay wasn’t as easy to spot. Once I was forced back into the stillness, I was met with discomfort and a creative hangover.

In hitting a wall with my media consumption, I am engaging in an act of intention. My need for senseless noise has become a bad habit, one I’m desperate to kick. In tackling the comedown of overstimulation, I am aiming to rework my relationship with media. In mitigating the mindless noise, I am forced to get comfortable with simply being. There’s a whole world to listen to, one that I’ve been willfully drowning out for the better part of my adolescence.

Pablo Picasso famously said, “lesser artists copy, great artists steal.” Here lies the power of inspiration. Other’s work doesn’t have to take away from our own. The world of art and fashion embodies this ethos. The ability to see, hear and appreciate other creatives is a fundamental part of the artistic process. Creatives mold their voice and style by paying tribute and homage to their predecessors.

We see this most notably in fashion; designers nod to the work of artists, Louis Vuitton explored this concept in their Masters collection, showcasing the work of Van Gogh, Leonardo da Vinci and Peter Paul Rubens on their luxury bags.

Inspiration makes way for ingenuity. As creatives we feel compelled to create something new, but originality is no easy feat. The burden to invent paralyzes many of us. However, there is value in using media as a tool for creative insight and direction. Consuming in a meaningful and intentional way allows for this integration to occur and the weight of reinvention to lessen.

As I kicked off my week of mindfulness, I was nervous and a little overzealous. In a brief but bold attempt to go cold turkey I quickly discovered that social media, in all its forms, is deeply embedded into my routine. One assignment without music and I was itching for my earbuds. Things didn’t get any easier, and if I wanted this to work, I needed to find a way to enjoy it. I ditched the full fledged detox and opted for a selective approach. When I wanted to turn to media as an outlet, it needed to be intentional. I coupled this approach with allotting time away. Taking walks and engaging in tasks without the added impulse of playing music or podcasts.

To succeed I had to remove the temptation.

I left my headphones at home, ditched my phone when the moment allowed and ventured into situations crutch-less. Without the safety blanket of my specially curated sounds, I felt exposed. I was in and amongst the chattering, all my senses engaged.

Nothing magical occurred, but I was grounded and present. For once I didn’t miss what the cashier was saying or stumble when a stranger asked a question I couldn’t quite catch.

As the week continued, I spent these moments of stillness trying to locate a feeling. When I chose to listen to media, I was selective.

When silence presented itself, I leaned into it. In putting productivity and creativity before my comfort, I couldn’t retreat into the familiar. The balancing act allowed me to listen and learn.

The magic of social media lies in the avenues of interests that would otherwise go unfound if not for the endless supply of content.

Creativity is around every corner for those who are willing to find it. Social media operates at the discretion of the user, moderation being the key ingredient to avoid feeling overwhelmed and creatively stunted.

Courtesy of the digital age, moments of silence are few and far between. Endless distractions sit inside our pocket, a temptation that, for many of us, requires active refusal. Productivity is sacrificed and creativity seems senseless in these situations.

The opportunity for inspiration exists, however the greatest challenge of all is tailoring our approach.

While social media continues to shape the way of the world, it is crucial that we understand its implications on our lives.

Issue 23 | 101

out of place

by

Alex Frantsvog

P f l a o c t and

u

DWF Magazine | 102

e

O

Sophie Vargas

Issue 23 | 103

photography Autumn Love

DWF Magazine | 104

models Roxana Chen Lila Rush Sophie Vargas

styling Samantha Bloom Hadley Bouchlas Alex Frantsvog Claudia Nieto Kaitlin Taing Sophie Vargas

bts Gabriel Curtis Claudia Nieto

beauty Kendall Cooper

Issue 23 | 105

DWF Magazine | 106

Issue 23 | 107

DWF Magazine | 108

Issue 23 | 109

DWF Magazine | 110

Issue 23 | 111

Authentic Self-Expression in the Age of the Male Gaze

by Sophie Vargas

Whether you are a follower of the latest fashion discourse or not, you have likely come across the conversation surrounding the effects of the male gaze on one’s personal style. It is not uncommon on platforms like TikTok and Twitter to find people sharing their stories about discovering their authentic selves through their wardrobes. Usually, the individual shares pictures of what they used to wear, and then counter it with a movie-style “after” reveal. The contrast is shocking: the before style being so strikingly unpersonal compared to the after–an image of someone whose inner self is so completely represented by their outer self.

Many might look at New York based stylist Alex Hildreth as an example of this trend. On TikTok she had shared photos of herself in high school decked out in Lily Pulitzer and the like, then showing her current self wearing chic designer Tabby boots and a Marine Serre bodysuit. But this transition of style can look different for everyone, including the timeline it takes to realize you might need a change.

The journey from an object of desire to the subject of one’s own narrative is not an easy one, nor is it so obvious to recognize as an issue in the first place.

Nonetheless, each of us have the right to feel entirely comfortable in our own skin, regardless of any unwanted judgement or discrimination. It can be daunting, I know–constantly feeling like you are fighting an uphill battle with crushing patriarchal standards. But, as they say, the change you wish to see in the world

DWF Magazine | 112

starts with you–further, it could start with your closet.

Perhaps unsurprisingly, the concept of the male gaze is not exactly a new development. The term was first coined in 1975 by British film theorist Laura Mulvey in her essay, “Visual Pleasure and Narrative Cinema.”

Throughout it, she elaborates on the almost non-existent perspective of women in media, and the oppressive and objectifying view of the men controlling the camera. She goes on to criticize the traditional story-telling that too often depicts a female character as merely “the bearer of meaning, not maker of meaning,” a narrative that remains a common occurrence in media today.

Unfortunately, society is still slow-going in correcting this imbalance that prioritizes the viewing pleasure of men over venerating the complexities of women and non-binary people. Yet the film industry is not the only offender to blame.

Almost nowhere else is this unequal social power so evident as in the fashion industry. Though targeted at and majority financed by women’s consumption, the world of fashion business is still scarce in its count of female executives. In fact, a study by Price Waterhouse Coopers reveals that only a mere 12.5 percent of retail and apparel companies in the Fortune 1000 are women-led. This lack of control in narrative by women about women’s apparel has unfortunate yet predictable outcomes: hyper-sexualized advertisements of female bodies and devastatingly un-inclusive beauty standards.

Take the infamous 2007 Tom Ford for Men cologne campaign for instance. The ad–showcasing a series of close-ups of a thin, nude female figure posing suggestively with the glistening glass bottle–stands as a prime example of this crude and exploitative imagery of women’s bodies: a thing, consumable, and disposable.

So, if our aim is to reject the male gaze, many have posed the question: should we instead aspire to incorporate the “female gaze”? This solution, though well-meaning, is an oversimplification and remains largely undefined.

After all, if diversity and inclusion are the end goals of this movement, then it is a bit counterproductive to make a champion out of a concept rooted in the gender binary.

In many ways, that could set us back from the progress we seek. Instead, let us throw off the practice of dressing for anyone else other than the self–continually seeking that which brings authenticity and agency to the individual.

To move forward, we must understand what lies in front of us. For many, the effects of the male gaze result in a few different attitudes towards clothing choice. On one end, the constant awareness of predatory onlookers can lead some to hide themselves in any way possible. A good example of this is seen in the style evolution of musician Billie Eilish. She began her career as a teenager and, up until recently, her style consisted solely of baggy and oversized clothes that hid her body from unwanted scrutiny and sexual harassment. It was only when she turned 18 that she ventured into wearing more mature and revealing styles; disappointingly, she was met with the same objectification she had tried to avoid all along.

On the other end, there is the pressure to conform and wear the largely plain but objectively “sexy” clothes. Think of what you might see first walking into fast-fashion retailers like Forever 21 or H&M: tube tops, short shorts, skin-tight body suits, and, of course, skinny jeans. At face value, there is nothing wrong with these items–and there certainly isn’t anything wrong with anyone likes to buy them.

Further, there is nothing wrong with finding personal empowerment in dressing in sexier styles and

silhouettes. I too enjoy glitz, glam, and a figure-hugging dress if the occasion is right. But the problem is the generalization that these styles empower absolutely everyone who is femme presenting. The reality is so many do not resonate with or fit comfortably into these styles and yet feel they must wear something like them to be seen as not only attractive, but acceptable.

Yet womenswear fashion has so much more variety and purpose than mere sex appeal–it can be comforting, or intimidating, or gloriously strange and outlandish! Look at fashion houses like Balenciaga, Schiaparelli, or Comme de Garcon for instance. Though distinct in their differing aesthetics, these brands primarily center their creative theories on seeking whatever is artful, original, and inspiring.

Sure, sometimes that overlaps with sexiness, but it is not the driving force behind their designs. Especially when looking at Comme de Garcon, designer Rei Kawakubo is known for her deconstructive, excessive, and Avant Garde designs. Her SS’22 collection “Lumps and Bumps” stands as a prime example of her creative spirit, the collection full of billowing silhouettes and quirky prints contrasted with constructive formal wear. The result? A collection that is wildly expressive and beautiful and not a bit sexy, at least in a sense.

Of course, the fight against the oppressive patriarchal narrative is not going to be won overnight. But there is hope. It is evident with each new fashion season, where styles are constantly evolving and pushing the limit of what we’ve accepted till now. Lines are becoming fuzzier between gendered clothes, allowing for more free-flowing expression and creativity. Diverse designers are finding their way into the limelight with their unique perspectives and one-of-a-kind creations. There are so many possibilities now more than ever for people to find clothes that truly resonate with them. Everyone deserves to present themselves to the world in a way that is completely fulfilling and authentic no matter what forces might try and suppress that, be it the male gaze or otherwise. The more we reject these outdated norms and embrace societal progression, the more we are able to celebrate rather than vilify individuality. So, take the time, sift through brands and styles, old and new, and find a place of belonging and validity through a newly curated style. If you look, there really is something for everyone.

Issue 23 | 113

still an innocent

by Jenesis Shaw

DWF Magazine | 114

photographer

Autumn Love

models

Tobi Arubuola Karen Toussaint

stylists

Kalley Johnson Danielle Morales

beauty

Julianna Gayoso

bts

Kiara Gajo Taylor Mair

Issue 23 | 115

DWF Magazine | 116

Issue 23 | 117

DWF Magazine | 118

Issue 23 | 119

DWF Magazine | 120

Issue 23 | 121

DWF Magazine | 122

Issue 23 | 123

SHADOW

h ow d o yo u d e f i n e s u c c e s s ? w h at d o yo u wa n t t o s a y ? w h at a r e yo u r b e s t q u a l i t i e s ? w h at wo r d d e f i n e s yo u b e s t ? w h at wo u l d yo u r i d e a l s p a c e l o o k l i ke ? w h at d o yo u m i s s ?

DWF Magazine | 124

WORK

h ow d o p e o p l e s e e yo u ? h ow d o yo u s e e yo u r s e l f ? with no consequences, w h at wo u l d yo u d o ? w h at d o yo u wa n t t o b e fo r g i ve n fo r ? h ow d o yo u wa n t p e o p l e t o fe e l a r o u n d yo u ?

Issue 23 | 125

DWF Magazine | 126

Issue 23 | 127

DWF Magazine | 128

Issue 23 | 129

DWF Magazine | 130

Issue 23 | 131

DWF Magazine | 132

Issue 23 | 133

DWF Magazine | 134

Issue 23 | 135

CREDITS https://www.mockupworld.co/free/floating-iphones-mockup/

https://www.pinterest.com/pin/510525307763444973/

https://www.chronicle.com/package/the-male-gaze-in-retrospect/

https://www.nicepng.com/maxp/u2q8a9w7t4o0u2w7/

https://www.futurity.org/swirl-self-mixing-self-propelling-liquids-2522002-2/

https://www.pikpng.com/freepng/red-lipstick-png/

https://www.macys.com/shop/product/hue-control-top-sheer-fishnet-tights?ID=3752866

https://www.vogue.com/article/yvonne-orji-emmy-awards-2020-beauty

https://people.com/style/model-quannah-chasinghorse-felt-ostracized-met-gala-2021/

https://www.thecut.com/2017/11/the-new-york-origins-of-vintage-shopping.html

DWF Magazine | 136

Issue 23 | 137