DWF Magazine | Issue 21

DWF Embrace.

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Contents ntents Co p. 10-19 Growing Into Fashion

p. 4-5 Letter from the Editor

p. 8-9 Is Fashion Becoming more Diverse?

p. 6-7 Inner Child p. 20-21 Stepping Into Sus tainability

p. 34-43 Walk of Fame

p. 32-33 Professionalism or Oppression?

p. 22-31 Boys in Serenity p. 44-45 Gentlemen...Start Your Engines!

p. 54-55 Cherry

p. 46-53 Delig htful Disarray

p. 56 -65 d B oyho o ity: Neutral y d o B 7 p. 66 -6 etween lthy Inb The Hea

p. 80 -89 Cyber Fantasy

p. 78-79 Fash ion Resale & Gentrifica tion

p. 68-77 Running Fence

p. 92-99 Pigment of My Imagination

p. 90-91 Yo u Know The Name

p. 100-101 Nonetheless, Fashion Perseveres

p. 102-111 See You in My Dreams

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Special to o ur thanks advisor, faculty r e Parke Roxann

DWF

Delaney Williams Editor in Chief

Yasseen Semsem Creative Director

Sophie Vargas

Assistant to the Editor in Chief

Fashion

Womenswear Director: Maddy Bogan Menswear Director: Jacob Terrell Styling Team: Irina Amaro, Gabrielle Wallace, Veronica Polanco, Nikki Cohen, Sophia Pend’ leton, Sarah Schaefer, Sharlynn Hurtado, Sophie Vargas, Brittney Pieper, Claudia Nieto, Carlene Powers, Breanna Tang, Morgan Nystrom, Nicole Pawlak, Catalina Padilla, Nyala Yvonne

Creative Team

Editorial photographers: Taylor Mair, L’Jai Brown, Summer Cortes BTS Photographers: Videographers: L’Jai Brown, Reece Sparr Graphics Director: Brittney Pieper Graphics Team: Gabrielle Wallace, Kiara Gajo, Jeffrey Mallo, Alexandra Armbrust, Veron’ ica Polanco, Nikki Cohen, Kelli Sullivan, Sarah Schaefer, Sharlynn Hurtado, Brittney Pieper

Public Relations

pr Director: Mariana Valencia pr Team: Alex Buitrago, Anya Byrne, Claudia Nieto, Kelli Sullivan, Nicole Pawlak, Nikki Cohen, Sarah Schaefer, Veronica Polanco, Simone Murphy

Beauty

Beauty Director: Sharlynn Hurtado Beauty Team: Alexandra Armbrust, Kiara Gajo, Nikki Cohen, Cara Longstreth, Kendall Coo’ per, Sarah Schaefer, Sophie Vargas, Brittney Pieper, Breanna Tang, Morgan Nystrom, Victo’ ria Brumer

Writing

copy editors: Axel Lagergren, Anya Byrne Writing Team: Keira Jackson, Kiara Gajo, Kylee Seaver, Arielle Vabre, Taylor Murdock, Ve’ ronica Polanco, Nikki Cohen, Kendall Cooper, Sophia Pendleton, Sarah Schaefer, Sophie Vargas, Brittney Pieper, Breanna Tang, Anya Byrne, Morgan Nystrom, Nicole Pawlak, Alex Buitrago Issue 20 | 5

Lett From Edi

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ter m The itor A

s Editor in Chief, I have never deliberately chosen a theme for one of our issues, but this one naturally came to fruition. Connecting with your inner child, specifically through fashion, is a powerful form of expression and healing. My mom always told me that I insisted on choosing my own clothes as a child and “when you put on a nice outfit you could tell that it made you feel differently.” As Yasseen (Creative Director) and I explored this topic together, we realized that inner child expression is deeply rooted in our work. Whether it is a memory attached to an article of clothing, or a color that fills you with love, fashion can set your truest self free; it knows no bounds just as we did not when we were kids. There is no limit to this form of expression and we tapped into that energy this semester. From rocking morph suits to playing in the rain, our team told fashion stories by dressing our inner children. Creating with this team has personally helped me to heal during this difficult time. I want to thank each of you for sharing your ideas and passions with us— it has been such a fruitful experience. While we have all been coping with immense change and divison, DWF has been a constant source of light for me. I hope you feel that light shine through these pages.

Xoxo,

Delaney Williams

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Is the Fashion Industry Becoming More Diverse or Are We Finally Paying Attention?

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ashion is the dominant style within a given culture and historically it represented the popular trends of specific eras. Fashion still represents the ideal of a popular style, but the image of fashion is changing. Now it is reflecting the image of the average consumer rather than the individual fantasies that different brands push out. Diversity within the fashion industry has always been a topic of conversation. Through representation on the runway, in advertisements, or even behind the scenes, fashion consumers have been continuously pushing for the companies that they support to diversify their image.

As the rise of boundary-breaking social movements continues, the truth of inequality is being voiced within the fashion world. Fashion workers are using their social media platforms to share their overlooked stories and experiences, showcasing the ongoing issues within the industry. Recently, the Black Lives Matter movement has been at the forefront of social change across the world, calling for the creation of equal spaces in all facets of society. As a result, the Blackout Tuesday hashtag was created as a way to show solidarity and bring awareness. Instead, it turned into a noticeable trend that came off as performative rather than productive. The performative actions were especially noticed when brands who often lacked representation in the past participated in the hashtag. As companies are challenged to reflect on the ways that they have misrepresented or silenced the minority voice, they are also faced with the question of showing support and creating a genuine space.

Chanel, Calvin Klein, and Versace are some brands that have been pushing the agenda of equality and tolerance, increasing diversity of models is of the utmost importance. They ensure to include models of different race, body size, age, and gender identity. Although companies are making an effort

to push boundaries through the changes of their image and mission statements, there is an apparent lack of systematic change. This has caused diversity within these companies to appear performative.

The French brand Jacquemus has recently received backlash for their Spring/Summer 2021 show. It was one of the first major fashion spectacles to take place since the worldwide lockdown caused by the COVID-19 pandemic. The show itself took place in Paris with a 600-meter-long wooden runway that snaked its way through a golden wheat field. The collection was themed in colors of cream, nude, yellow, and black. The models themselves were all of different race and ethnicity, showcasing a wide variety of representation for Jacquemus. When a photo of the team was revealed on social media, it showed that they were majority Caucasian. Social media users were in an uproar and began to note how the show was a form of performative diversity. Jacquemus is an example of companies creating the image of diversity but lacking that same representation behind the scenes. Equal spaces won’t be truly created until the decision-makers behind these brands are reflecting the image they are putting out.

The fashion world is beginning to recognize the lack of equal spaces within the industry. Initiatives have been circulating to ensure that serious accountability will be taken. The Council of Fashion Designers of America addressed the injustices that are occurring and created their own plan of action as well. Although these efforts were made, designers and other members of the fashion industry felt it did not truly address the issues. As a result, multiple Black fashion professionals took matters into their own hands to create the change that they wanted to see. One of the main initiatives being the creation of the Black in Fashion Council by Teen Vogue edi-

We want to encourage people in the industry to rise to the occasion, not just be called out so that we can see sustained, long term change.

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tor, Lindsay Peoples Wagner, and public relations consultant, Sandrine Charles. The mission of the council is “to represent and secure the advancement of Black individuals in the fashion and beauty industry,” as stated on their website. They also made it clear that they “want to encourage people in the industry to rise to the occasion, not just be called out so that we can see sustained, long-term change.”

The mission statement is a clear call to action for the industry to be at the forefront of true social change, not just making decisions based on what is being demanded of their brands.

The cultural norms that are considered desirable, attractive, and beautiful are influenced by the fashion industry. When designers choose to present themselves and their target audience in a specific light, it determines and shows what society is willing to accept. By choosing to be diverse in all facets the fashion industry would be creating a more accepting environment. To be a beacon of true change, the industry must be able to give platforms to

those who aren’t often recognized instead of using them as a short-lived statement. Our society is expanding in ways that are profound and unheard of.

What better way to demonstrate that than through an industry that is known for breaking boundaries?

As the world moves into more progressive ideals, it’s important that it’s reflected in the brands that we are constantly supporting and influenced by.

It’s not enough to create the illusion of inclusivity through image. True equal opportunity is created through platforms for models, stylists, designers, photographers, and more. As the newer generations continue to fight for their voice, I hope that the fashion industry strives to give them a platform.

By: Arielle Vabre

Black in Fashion Council members Lindsay Peoples Wagner, left, and Sandrine Charles, right)

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Growing Into

By: Brittney Pieper

Fashion

Photography: Summer Cortes, Yasseen Semsem Models: Kiara Gajo, Kaela Braxton, Lily Borror Beauty: Victoria Bumer, Sharlynn Hurtado Styling: Maddy Bogan, Sophie Vargas, Morgan Nystrom

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“I created this shoot with the intention of portraying how we grow into ourselves. Our identity is largely shown through fashion; the things we choose to wear represent parts of us.

With age, I’ve entirely grown into myself, wanting to show who I actually am. I hoped to show the beauty of that process through

this shoot, and the life that it gave me.”

- Brittney Pieper

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Stepping Into Sustainability

By Brittney Pieper

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rying to reduce your carbon footprint can be incredibly overwhelming, especially with the many layers associated with environmentalism. Buying clothes can seem harmless, especially if you donate them when you’re ready for something new. In reality, fast fashion and material choice create lasting consequences that many aren’t aware of. When buying clothes it’s imperative to consider the damage that typical materials, such as cotton, synthetics, and animal products, may cause.

Animal-derived products, such as leather and wool, are not as widely produced as cotton or synthetics but have a large impact on the environment. Leather outputs huge quantities of methane, with methane being at least 20 times stronger of a greenhouse gas than carbon dioxide. In addition, eighty-five percent of leather is tanned with chromium, an extremely harmful toxin that leads to cancer and skin conditions in employees. Considering the ethical aspects of fashion, it is essential to acknowledge where this material is coming from. One billion animals are killed for leather each year, all to create something that will just end up in the landfill.

A less deadly material, wool, only comprises around two percent of all fibers used and can safely biodegrade, as long as it is produced without concerning substances. The chemicals used to preserve both wool and fur may pollute waterways if the material is poorly managed.

This leads to health concerns and pollution, impacting the communities living along the banks.

It is essential to recognize where these materials are coming from, and whether you can agree with the treatment these animals may endure all for a piece of clothing.

Synthetic material, most commonly referring to polyester, nylon, and acrylic, are considerably worse for the environment. Despite DWF Magazine | 22

the damage this material causes it accounts for sixty-three percent of material input, polyester being the most common. Synthetic material relies on fossil fuels, is made from oil, and is not biodegradable. Not only will this synthetic material sit in landfills, but washing polyester releases microfibers into the waterways, damaging marine life and ecosystems.

Cotton is one of the better options when considering its carbon footprint because it is biodegradable, it will decompose rather than exist in a landfill for years to come. Unfortunately, it is one of the most demanding crops. It is incredibly water intensive and accounts for onesixth of all pesticides used globally. For those working directly with the crop, specifically in developing countries, the pesticide use leads to cancer and miscarriages.

It may feel like there is no possible way to purchase clothing without experiencing an ethical and environmental dilemma. However, fabrics such as recycled man-made cellulose and bast fibers have little environmental impact.

Recycled wool, cotton, and synthetic fabrics are a few examples of what can be repurposed. For example, recycled polyester prevents plastic from building up in the landfill and only requires half as much energy to make. Cellulose is a sustainable plant-based material that can be extracted from plants or treated chemically. Bast fibers are another form of plant-based material, adding more options to the bank of ethically sourced material. Plants such as hemp, flax, nettle, jute, and rame hold a woody core and fibrous bark, have low water consumption, and a small footprint on the environment. The several options outlined above may seem too foreign or expensive to be attainable. Don’t give up! Here are several stores with a wide price point awaiting your ethical purchases.

PACT Pact uses non-GMO and organic cotton, protecting the farmers and workers producing it. Further, the entire supply chain aims to be as clean as possible.

-Based in Colorado -Fair Trade Certified, uses organic cotton, and is a Class B Corporation (companies that act in ways to benefit society as a whole) -Best known for their cotton basics for women, men, and children -Size range: from an XS to a 3XL -Price range: under $50

PATAGONIA Patagonia promotes labor ethics, utilizes US factories, and uses recycled materials.

-Based in California -Fair Trade Certified, uses organic cotton, and pledges environmental sustainability -Best known for their outdoor clothing, such as swimwear and activewear.

-Size range: from an XXS to an XXL -Price range: $50-$100.

KOTN Kotn uses Egyptian cotton and helps suppliers switch to organic cotton. This quality material is made thoughtfully, meaning it will last longer.

-Based in Toronto -Class B Corporation, organic, and holds safe and fair labor standards -Size range: XS to an XXL -Price range: under $50

ALTERNATIVE APPARELS Alternative Apparels is a model brand praised for their ethical and sustainable practices while remaining affordable.

-Based in Georgia -Ethical production, Fair Labor Association, uses over eighty percent sustainable materials, and is Green Certified -Best known for: sustainable activewear and loungewear -Size range: XS-2X -Price range: under $50

ABLE

Able promotes themselves as a feminist brand supporting women.

They believe in ending generational poverty, and their products are created by fairly paid women from all over the world.

-Based in Tennessee -Fair labor practices and are a Class B Corporation -Best known for women’s apparel, shoes, and accessories -Size range: XS-XL -Price range: under $50-$100

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Professionalism Or Oppression?

What does it mean when someone tells you to dress “professionally”? What do you think of?

Our modern world has cultivated the idea of “professionalism” as a whole genre of not only a dress code, but a way of behaving, acting, speaking, and even thinking in the workplace. The concept of dressing and acting professionally has become a norm that crushes individuality. It was a word automatically associated with work. The restrictions exclaiming “don’t say this...wear that suit...no colors in your clothes...don’t speak too loud...don’t speak your mind…” was just life at work, nothing more and nothing less. But as we look at these phrases closer, this question comes to mind: “ Why are employers so adamant on making employees appear as if they ’re something they ’re not?”

For the minority in the working industry, that includes queer people, women, people of color, and working/lower class people, professionalism has become coded language for white favoritism in workplace practices that more often than not privilege the values of white and Western employees, especially in The United States of America. In office environments especially, profes-

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By Kiara Gajo

sionalism reinforces social hierarchies that put standards of normalcy, which is often white individuals, above all others despite merit, intelligence level, and social skills. According to American grassroots organizer-scholars, Tema Okun and Keith Jones, professional standards “are heavily defined by white supremacy culture—or the systemic, institutionalized centering of whiteness. In the workplace, white supremacy culture explicitly and implicitly privileges whiteness and discriminates against non-Western and non-white professionalism standards related to dress code, speech, work style, and timeliness”.

For decades, the concept of professionalism has skyrocketed and taken over the fashion industry. Suits of Hugo Boss symbolizes power. Ralph Lauren blazers represent intelligence. We have become so subconsciously conditioned to associate these high end items with success, desire, and luxury to the point that we have ignored the notion that success can come in all forms of shapes, sizes, and colors. And I think it’s safe to say that this is a growing problem. A recent Northwestern University study shows that systemic racism doesn’t start when you walk in the door, it starts at your application. The study concluded that “white applicants received 36% more callbacks for jobs than equally qualified applicants with Black-sounding names… [and] people with classically South Asian and East Asian names were 28% less likely to get called for an interview than their white counterparts”.

Imagine that. Before being able to make a first impression for yourself, before being able to have a

clean slate to identify yourself on, non-white applicants are already at a significant disadvantage if their name sounds “too foreign”.

The story continues to unfold in many ways. In regards to style, there is often an emphasis for a white or a Western standard of attire. Straightened hair, little to light makeup, no piercings, no tattoos, suits, pencil skirts, blazers, and only neutral colors are permitted in a typical 9-to5 career.

Many African

American women are shamed, and sometimes fired, for their natural hair styles and are often forced into a Westernized work appearance just to be taken seriously at their careers. Whether this is intentional or not by the company, the implementation of conformity leaves out any expression of creativity, culture, or originality within the employees. And although it is often the goal to generate an equal status at the workplace, it is hard to look past

the environment of ‘mindless robots’ that employers subconsciously promote with their intense restrictions. Shahamat Uddin, a writer for The Tulane HullaBaloo, claims that at his first interview when he was forced to strip himself of colors, piercings, identity, he saw a mere “shell of who I am, an individual transformed to fit the historically white standards of business professionalism.”

Solving this issue will not be an easy task. It would have to start at the root of each company that claims an employee’s natural appearance, hairstyle, makeup look, and mannerisms are non-professional and unsuccessful. Each company should value individuality as well as the promotion of true diversity.

As much as there is a

common standard for luxury, the view is often a Westernized, “white dream” that places ethinic inclusiveness on the backburner. The view must be changed where individuals just acting as themselves, dressing like themselves, and being themselves is enough for the workplace to consider them successful and valuable to the company. It is important to continue to spread professionalism awareness so hopefully we will be able to slowly change the mentality of oppression that has been implemented in America for far too long.

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Gentlemen.

By Kendall Cooper

START YOUR ENGINES! DWF Magazine | 46

...

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rom contour to cut creases, drag queens’ influence on the beauty industry is undeniable. ...Many, if not most, steps in modern makeup routines, especially “Instagram makeup” and “full beats”, can be traced back to drag performers. Unfortunately, they’ve rarely gotten the credit they deserve. But with drag’s launch into the mainstream, queens are now at the forefront of the action instead of quietly influencing from behind the scenes.

The last time something like this happened in the beauty industry was when RuPaul was the first face of MAC’s Viva Glam lipstick campaign in 1994. MAC donates every cent of profit made from the yearly Viva Glam launch to help combat AIDS. Since RuPaul’s Drag Race originally aired in 2009, drag queens have gone from being seen as the butt of a joke to mainstream icons. This newfound fame and fortune has allowed queens to branch out and make the world their own. A result of this has been the increasing amount of Drag Queen owned makeup brands as well as established brands’ collabs with queens. In an increasingly saturated market, this is a breath of fresh air.

Another wildly successful drag queen created makeup brand is KimChi Chic, created by Kim Chi who competed on season eight of RuPaul’s Drag Race. With multiple eyeshadow palettes, liquid eyeshadows in an array of colors, lip glosses, setting powders, sponges, highlighters, faux freckles, concealers and more, KimChi Chic has a massive selection for a beauty company that’s only a year old. This is due in part to the fact that Chi partnered with the founder of NYX, Toni Ko, to get KimChi Chic off the ground. The company’s prices are also extremely affordable. Like, 24 grams of professional level formula setting powder for $18 affordable.

For drag performers, how their face looks is just as important, if not more so, as the clothes and the wigs.

Queens quite literally make themselves look like a different person. Not only does the face they paint on help sell the fantasy, but it also becomes their identity.

Drag makeup is so powerful that many queens are not recognized when their face isn’t painted.

Drag queens decided to do what they do best— push the limits and inspire.

To talk about drag queens in the makeup industry is to talk about Trixie Cosmetics. Started by professional drag queen Trixie Mattel, Trixie Cosmetics is a boundary-pushing brand that puts a fun twist in every product. Mattel is one of the most well known drag queens largely due to her competing in season seven of RuPaul’s Drag Race and winning the third season of RuPaul’s Drag Race: All Stars. Between seasons of Drag Race, Mattel rose to internet stardom through her web serieses, “The Trixie & Katya Show” and “UNHhhh”, both hosted with fellow drag queen Katya Zamolodchikova. But even after competing on reality TV twice, being an online personality, filming a documentary about herself, making multiple albums etc., Trixie Cosmetics might just be Mattel’s most ambitious and successful project yet.

The company is unique in every sense of the word. What started as a singular hot pink lipstick named “Stacy”, has become more shades of lipstick, lip glosses, “sparkles”, “sprinkles” and blush. Those are definitely not the first products most brands would roll out. Sprinkles are chunky, themed glitters, and sparkles are finer, colored glitters. The packaging for every product is very “Claire’s” but in the best way possible. It’s no secret that eye-catching packaging is half the battle when it comes to getting a product to appeal to customers. Trixie Cosmetics’ creative and cutesy packaging is not only visually interesting, but it also feels authentic and not gimmicky. Much of that is because the brand’s formulas are actually fantastic as well. It’s ridiculously difficult to find a brand that has unique packaging and quality formulas at an affordable price point.

So, it comes as no surprise that queens who are creating their own cosmetics brands are typically known for their own signature drag makeup. Mattel’s look is widely accepted as one of the most iconic and unique mugs of all time. Chi’s makeup looks are mind blowing works of art. Miss Fame, who created Miss Fame Beauty, creates stunning avant garde and high fashion makeup looks. Aquaria, who recently launched a huge collaboration with NYX, is known for her polished and innovative makeup skills. Even Alyssa Edwards, who might be known more for her larger than life personality than her makeup, launched a collaboration with beauty industry giant Anastasia Beverly Hills.

Makeup is such an integral aspect of a drag queen’s life, and it’s exciting to see people who are consumers just like the rest of us actually get to create what’s missing from the market. The beauty industry is being flooded with new brands and new products, and it gets repetitive.

When every brand is launching a concealer or a neutral smokey eye palette, making yours different and new becomes the goal. By creating innovative and quality products that are affordable, drag queen entrepreneurs have proved that they are here to stay.

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Delightful Disarray By: Nyala Yvonne

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Photographer: L’Jai Brown Models: Cairo Kennedy, Amelia Jorn, Emma Pitot Beauty: Brittney Pieper, Alex Buitrago, Victoria De La Torriente Stylists: Sophie Vargas, Catalina Padilla, Brittney Pieper Issue 20 | 49

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CHERRY mith S l e Nak

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By: Axel Lagergren

kateboarding finds freedom in being bold. The lifestyle is plastered everywhere, on our TikToks, movie screens, and even advertisements. The craze around skateboarding won’t fade from the limelight anytime soon.

While skateboarding has trended in pop culture before, think early 00’s with the release of Tony Hawk Pro Skater and Jackass, it’s latest resurgence has been embraced by the fashion industry. The entire skater aesthetic has become a fad for the high-end fashion world to acquire.

The fashion world’s love affair with skateboarding starts with every hypebeasts’ favorite word, Supreme. Supreme’s 2011 collaboration with Thrasher introduced an authentic skateboarding aesthetic to fashionistas for the first time, ushering the iconic flaming Thrasher logo into the wardrobes of many. This inauguration was spurred on by skaters and popular rap group Odd Future, who publicly repped Supreme along with Thrasher, HUF, Vans, and other skate wear. Odd Future fans and copycats took to the looks immediately and the styles proliferated.

The Supreme/Thrasher collaboration was the fashion world’s first date with skateboarding, but it was Supreme’s first full-length skate video Cherry that had the fashion world falling in love. The video, shot by director William Strobeck, was more than a showcase of Supreme’s high caliber skating.

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It captures a story, showing us characters that come together and develop through skating. Strobeck was revealing the very heart of skateboarding to the world. Over the course of Cherry, the viewer invests in the characters.

Rooting on their favorites and hating on others, everyone had an opinion on the stars of Cherry. Na-Kel Smith, Odd Future associate and Supreme skater, was so beloved by viewers that he went to star in the movie Mid90’s, a flick about s ne skating that aimed to capture the nostalgia of 90’s skateboarding that Supreme built itself on. The skateboarding presented by Cherry enchanted w the fashion world. They loved this group of friends who were skating purely for skateboarding’s sake. The high-end fashion world’s first impression of skateboarding was an authentic story of community and freedom. The lasting impact, however, was in the styles worn by the Supreme skaters.

Cherry presented the new polarizing looks of Sean Pablo, Jason Dill, Aidan Mackey, and so many more. The stylistic cues were picked up on by fashionistas, designers, and skaters alike. Pairing Chuck Taylors with high cropped pants became a phenomenon with skaters, revitalizing the Converse brand with a community who used to clown the shoe. Looking at the designs released by various high-end fashion brands you can see stylistic cues evocative of the skaters in Cherry.

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Chuck Taylors are iconic, but skaters forgot about the once popular skate shoe.

With the advent of better technology and dedicated skate brands, Chuck Taylors became a relic of the 70’s and 80’s. The shoes may have never fallen out of fashion, but people were no longer skating them. That is until Cherry dropped. Strobeck had the skill to capture the style and document it in a provocative and inspiring way that sold sneakers. Converse, at the same time, were tweaking the Chuck Taylor and its marketing. This coupled with Strobeck’s story telling made Supreme’s Cherry sell more Converse than Supreme. Sage Elsesser, Cherry star and Converse team rider would go on to collaborate with Converse on the One Star Pros. The design was a return to Converse roots, the old school minimal style that lace up and go. Credit Strobeck, Converse, and the talented skaters in Cherry for bringing Chuck Taylors back into the skater aesthetic.

If Supreme was the fashion world’s gateway drug into the skater look, Cherry is what the people were fiending for. The styles of Dylan Rieder, Sage Elsesser, and Sean Pablo from Cherry are reflected in the designer looks between the years of 2015-2017. Pant silhouettes released at that time by designers like Gosha Rubchinskiy appear reminiscent of the styles donned in Cherry. The years following Cherry bore witness to stars and models draped in Thrasher. Rihanna is pictured sporting an all-white Palace Skateboard’s hoodie and joggers capped with Off White boots designed by Jimmy Choo. High-end fashion brands still look towards many of these skaters for inspiration in the year 2020. These skaters remain at the forefront of popularity in the fashion world, associating with streetwear/skate hybrid brands like Supreme and Fucking Awesome as team riders and models.

The dichotomy of model and skater is hard to ignore. Models show their skin in stylish outfits for money, skaters lose their skin to the pavement like meat crayons. There’s an obvious conflict of interests. The Cherry skaters don’t let this stop them from being pro skaters and popular models. Sean Pablo, skater, clothing designer, and featured in Cherry is a style standout. Built 6 feet tall and rail-thin like a model, he’s more comfortable skateboarding in the wardrobe of a rockstar than the clothes of a skater. His clothing line is composed of classic skate staples-graphic tees and baggy sweatshirts, but his personal style comes from the bottom of a Goodwill bin. Sean Pablo glamorized thrifted styles, but he’s not the only Cherry skater turned model. Sage Elsesser, also known by his stage name Navy Blue, is a professional skater and go-to lookbook model for Supreme. He skates in baggy sweats and a Gucci scarf, and like Sean Pablo is a fan of skating Converse. Wearing a t-shirt tucked into dickies pants for years before the look appeared on runways, his personal style is in lockstep with how guys want to look. The skaters of Cherry taught many kids how to dress, and now Sean Pablo lookalikes can be spotted in droves across FSU campus.

Hype culture may have been the driving force behind the popularity of the Cherry styles, but its recent decline doesn’t mean the fashion showcased by Strobeck will die. We, the fashion-orientated youth, are moving away from the “skater style” brought to us by Cherry. Instead we opt to incorporate the most timeless parts into our wardrobes. The same way we describe someone as “indie” or “preppy” the word “skater” is becoming a blanket term used to describe outfits suggestive of the Cherry skaters. If you’re going to dress like a skater, just know which video brought you your style.

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Body Neutrality:

The Healthy Inbetween

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y now, most everyone is familiar with the body positivity movement. The idea that everyone should love their body no matter how much they weigh or what size of clothing they wear and that everybody is perfectly beautiful has become highly widespread through every social media app, showcased through the rise of body-positive influencers and models like Ashley Graham. There has been a growing movement for size-inclusivity within fashion, and brands such as Aerie have responded by completely revamping to a model of body positivity emphasis and increased diversity, portraying models of all sizes on its website and developing the #AerieReal movement to encourage body positivity on Instagram.

Body positivity has long been viewed as the cure to body confidence issues. But over the past few years body positivity has strayed from its core of loving and accepting all bodies. The “curvy” model has simply become the new standard of beauty for many plus size women, rather than encouraging them to love their own unique shape, and has created an idea of the “right” way to be plus-size. While this isn’t as negative as outright body-shaming, it can still be a toxic mindset.

With the shift in the body positivity movement, a new movement has emerged and begun to take over -- the body neutrality movement.

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By: Anya Byrne

body “beautiful” because of or despite how it looks - it rejects the expectation that we have to love the way we look.

Body neutrality is about appreciating your body for what it does and how it serves you rather than its appearance. It is about being mindful that your body exists for more purposes than being beautiful, and that you are under no obligation to feel beautiful. This movement has been liberating Stephanie Yeboah to many people who feel that they don’t conform to standards or regular or plus -size beauty, who don’t feel thin or “thick” enough to fit into what society is willing to accept as a worthy body. Body neutrality emphasizes that the worth of a

person and the worth of their body is not based on appearance, and that beauty is not the quality that makes a person wor thy of taking pride in themselves.

The Body Neutrality movement appeals to those with low body-image in a multitude of ways, one way being that it is less demanding than the body positivity movement, which asks people to jump from hating their bodies to loving them in one step. In an article from The Cut, Anne Poirier explains that in trying to make this jump, “Some people are just going to land in body neutrality, which is the term we utilize here for somewhere in the middle.” It is a happy medium where people are not forced to change their bodies and their emotions towards their bodies at the same time.

Put simply, body positivity is a lot to ask of a person in a culture where bodies are policed around the clock on social media, on television, in clothing brands, and even by ourselves in the mirror.

Another important aspect of Body Neutrality is its focus on removing focus from the body. Body Neutrality encourages not thinking about your body, which can be extremely helpful in improving a negative body image. Thinking about your body all day takes a lot of energy -- energy that could be of better use in other areas of your life. Body neutrality is about examining where we want to put our energy and relocating it away from our bodies.

Suzanne Manser, a licensed psychologist, suggests that for some people, “the gain they might get from loving their body is not worth the cost of that energy and foKellie Brown cus.” So this

energy can be diverted to something more worthwhile, like dedicating oneself to a fulfilling career, working hard to be a better friend to those around you, or pursuing a new hobby. Finding things to take pride in other than your outward appearance helps to take the focus off your body and builds up your self-confidence from the inside out, rather than trying to love yourself from the outside.

The popularization of body neutrality has brought a new face to the forefront of the body positivity movement with Instagram influencers such as Stephanie Yeboah (@stephanieyeboah) and Kellie Brown (@itsmekellieb). Yeboah’s Instagram captions speak on being “a larger, fat black woman,” and fight against the exclusion of certain bodies that exist even within the body positivity movement, which she says “has become a place that excludes bodies that don’t have an hourglass shape (or smaller), and it’s so important that you do not let that define your worth as a woman (especially as a black woman, where the notorious hourglass shape is seen as supreme).” Yeboah inspires women of all sizes, especially black women, to exist proudly and understand their worth beyond their body. Kellie Brown is the creator of the #FatatFashionWeek hashtag, which she says she created to “show receipts that there are many bigger women working in the industry, influencing the industry and consumers alike, and looking great while doing it”. She uses the hashtag in posts of her attending New York Fashion Week in the hopes of opening opportunities for others in the fashion industry, showing that you do not have to fit the industry’s stereotype of a perfect body to work and succeed in it.

Body neutrality, while it is not an effortless mindset, is a pathway to acceptance that, for many people, body positivity has not been able to provide, or has made unnecessarily difficult. Body neutrality is not about loving or hating yourself, it’s about appreciating just existing as who you are and being at peace with imperfection.

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Running Fence Photographer: Taylor Mair Models: Evan Goldenbaum, Lorry Lang, Nick Clark Styling: Delaney Williams Beauty: Taylor Mair

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By: Taylor Mair & Delaney Williams

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Intimate, serene, innermost. This concept reaches down to our childhood roots where we moved as one, completely comfortable with ourselves and each other.

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Fashion Resale & Gentrification S

ay goodbye to fast fashion and hello to thrifting for vintage. In case you haven’t noticed, second hand fashion has become an increasingly popular hobby for people to express their style in an affordable and environmentally friendly way. It’s clear that second hand fashion has exploded substantially over the last few years and is becoming a first choice for consumers opposed to supporting fast fashion retailers.

What was once looked down upon - often perceived as a sign of poverty- is now a new form of fun for a lot of young people. In the age of information, consumers are becoming more aware of the impact the fashion industry has and are choosing to shop more conscientiously. However, is second-hand fashion, purchasing “vintage” from resellers, and donating your old garments actually the way to go when you’re trying to shop ethically?

First, let’s discuss gentrification.

The issue of gentrification normally revolves around changing neighborhoods, especially in large cities with evident income inequalities.

Economically advantaged individuals begin to move into a neighborhood, which in turn, causes DWF Magazine | 80

By: Kylee Seaver

rent prices to skyrocket, leaving the long term, underprivileged residents forced to move out or pay higher rent they can’t afford. The same thing is happening within the fashion world, commonly referred to as fashion gentrification. Basically, fashion gentrification occurs when economically advantaged consumers shop at second hand stores as more of a hobby than a necessity. These actions lead to the serious issue of second hand stores increasing their prices. There are fewer affordable options for those who rely on second hand shopping as their main source of clothing.

This fun hobby is leaving those who truly need these clothes with nowhere to go with affordable prices.

Online thrifting sites such as Poshmark, Depop, ThreadUp, and Etsy have grown in popularity due to an increase of thrift shopping.

They’re convenient places for people to thrift online while offering resellers a platform to sell their used clothes for a profit. Seems like the perfect app right? Well, unfortunately that answer isn’t so straightforward. While these are great resources for people who want to participate in thrifting without taking a trip to their

local second hand stores, there are problems caused by some of the resellers. It’s pretty common for a reseller on the app to go to their local second hand store, buy a lot of clothing at affordable prices with no intentions of wearing the pieces. Instead, they upload these clothes to their profile with an increased price tag and advertise them as “vintage” to be more appealing to consumers. This action is detrimental to the accessibility of second hand clothing for those who need it the most. Buying all of the inventory in these second hand stores is problematic because instead of only purchasing a few quality pieces, they take whatever they think they can sell, disregarding the fact that this eats up the affordable clothing available. These resellers see the opportunity to buy a ton of inventory at super cheap prices, but don’t consider the consequences. Second hand shops are discovering this tactic and as a result raising their prices to combat these actions, which in the end leaves those less fortunate with higher price tags they can’t afford.

It is also a very wide-spread myth that there is limited inventory available in secondhand stores and donating all of your old clothing is always a good idea. This myth is very believable for consumers, I mean who doesn’t love the idea that when we donate our old clothes they’re actually going into the hands of those who need them the most. Unfortunately, the reality of where most of our donations and “recycled” clothing goes is not as picture perfect as we think. Around 85% of unwanted clothing ends up going directly into landfills, which is probably the last place we want our donated clothes to be. Not to mention a lot of these landfills where our clothing ends up are actually located in underdeveloped countries. Basically, our unwanted clothes (which we gave away for free) are sold to a middleman who then sells them for profit to vendors overseas. If people in these developing countries don’t purchase our old clothing from vendors then they are dumped. This is detrimental to these countries because they are dumping clothing they paid for and then adding a large amount of textile waste to their landfills. Our secondhand clothing also ends up destroying their own textile markets.

Fast fashion retailers are also hopping on the trend and are trying to appear more sustainable by offering recycling bins for customers to drop off any type of old clothing in them. They advertise that the clothing in these bins will be turned into brand new garments, which sounds amazing. Sadly, the technology for this process just isn’t up to speed yet and only about 1% of clothing is actually completely recycled as they are advertising. If you are purchasing new clothing there are more sustainable fabrics to look for. Be on the lookout for natural fibers such as Organic Cotton, Hemp and Organic Linen. All of these materials require minimal water & pesticides, and are biodegradable so if they do end up in a landfill they can break down unlike blended fibers.

Valuing recycling and reusing clothing is crucial, but we have to keep these issues in mind when we purchase from thrift stores or donate our old clothing. If you don’t want your old clothing to end up in landfills you can try a few different ways to get rid of clothes. Clothing swaps are a great way for you to refresh your closet while knowing your old clothes will actually be used. Do your research and donate to a reputable charity or take really good quality pieces to a consignment store. Truthfully, the best way for us to stop contributing to textile waste buildup is to simply consume less.

As consumers it’s our responsibility to change the fashion industry and limit the harm it causes both environmentally and ethically. We should continue making the necessary steps in the right direction by remaining aware of every purchase we make and every donation bin we add our clothing to.

Depop:

“Buy, sell, discover unique fashion”

Poshmark:

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By Kiara Gajo You know the status. You know the bag.

That’s right -- all you crocodile print, premium leather lovers; word on the street is none other than the iconic Hermes Birkin Bag, but this time with an educational twist. In a recent jaw dropping, mind blowing revelation by well known online marketplace, Baghunter, the Hermes Birkin Bag value has now become a better investment than gold. Yeah, you read that right. Actual solid gold. According to a research study on the popular forms of investments, they claim that the annual return on a Birkin was 14.2%, compared to the S&P 500 (Standard & Poor’s stock market index) average of 8.7% a year and gold’s -1.5%. Also, in the same time frame, Hermes Birkin handbags have increased in value year on year, offering an average annual increase in value of 14.2%. So over the past 35 years, the value of a Birkin has increased about 500% with no recorded downward fluctuation while both the S&P 500 and gold markets are subject to both positive and negative fluctuations.

Wait -- All this for a purse? If you’re not familiar with the overpriced portemonnaie, you might be thinking that you must be reading a prank article because there’s no way a bag could be worth more of an investment than a solid gold brick. Well look away now my friends, because we are about to blow your minds as we delve into the world of why Birkins have become the most wanted party guest of the upper elite side.

In 1984, Paris-based British actress Jane Birkin and former Hermès chief executive Jean-Louis Dumas, were on an Air France flight from Paris to London in the early ‘80s. They both complained about not being able to find a good leather weekend bag. A few more ideas, a handful of cash, and a whole bunch of creativity later, The Hermes Birkin Bag company was born. Ranging from $12,000 to more than $200,000 (and regularly selling on the secondary market for WAY more than their original sales price) Birkins have become more than just an accessory or even a luxury item. They have become a symbol of status: A voice of their own in the midst of global competition and an opportunity for a permanent feeling of grandeur.

Simplified in a quote from Baghunter website themselves, “The main factor affecting the secondary market for Birkins is desire. As a status symbol for the elite and ultra-rich, all signs point to that desire remaining as strong throughout 2016 as it has been since the bag was released in 1985, with media outlets fawning over celebrities such as Kim Kardashian and Victoria Beckham who regularly sport their Birkin bags

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in paparazzi pictures.” Think of it all.

The glitz. The glamour. The luxury. The desire. The bag. Don’t you want to take a walk on the side of the exclusive?

Well, it’s not that easy.

First of all, all Birkin bags are handcrafted by a single company artisan in one of the brand’s big and luxurious workshops.

To create only 1 bag, it takes about 48 hours from the quality hand stitching to the side measurements to the polishing finish. Hermes once stated that “the lengthy process required to produce the bags, made of premium animal skins that take time to harvest before being hand-sewn by rigorously trained artisans in France, prevents it from meeting demand.”

By keeping their materials only top-knotch quality with such scarcity and prestige, he believes that the brand will retain it’s exclusive and valuable characteristics. The fact that they’re not available and you can’t just buy one at your local fashion square mall keeps the investment value from plummeting.

Secondly, apart from each bag costing a minimum of at least 5

` HERMES

figures, Hermes also limits the number you can buy per year.

So, even those multimillionaires in the bourgeoisie are capped at the number of bags they are allowed to purchase due to the rare quality, scarcity, and sacredness each bag at Hermes possesses. Because of such recent high demand for each bag, Hermes have really enforced their policy that Birkin Bags are only sold to special clients. This hyper-limited supply and pent-up demand have created a robust resale market, however, re-sale isn’t often as cheap as it sounds and is often two times the price it goes for once that last stitch gets sewn. Because of all these technicalities when actually creating the bag, the waiting list for new Birkins is roughly six years and they are “infamously sold out” almost constantly.

The reason why Birkins make such great investments is because there is so much less supply than demand which fuels the price growth. The results from the study that showed how Birkin was a better investment than gold or stocks really reflects the stability of the ultra-luxury market. Unlike the stock market and the typical tier luxury market like Burberry, Chanel, Gucci, and more, who market relatively accessible goods, Birkin stocks rarely fluctuate, even in times of econom-

ic hardships due to the fact that their price range is so much wider than the average designer handbag. So what does this mean for us?

Coming from an average consumer who still online shops on Instagram boutiques, there is not much we can do physically to keep the Birkin business up and running. In fact, there is not much average consumers have done in the past to keep the Birkin brand alive except for simply existing. Having us as the basic market who can’t afford a Birkin bag every other month, we drive up the demand for scarcity and desire. We spend all of our time and energy worshipping designers like YSL, Dior, Givenchy, and so many more that we create the social concept of wealth and luxury in products we only dream about affording. This transfers over to the large companies and to the wealthy elite who buy and support these designers to keep up with that image of grandiosity that only they are able to afford.

Plus, investing in a Birkin, no matter how low the down payment, will still bring you financial prosperity in the long run according to the new data from Baghunter. So props to you ordinary shoppers! Together we will keep the fashion industry alive by chasing after the life (and the look) everyone wants.

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Pigment

Imagination of my

By: Maddy Bogan & Morgan Nystrom

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Nonetheless, Fashion Perseveres

A

s the months wane on and our country continues struggling to contain the COVID-19 virus, we have had to make unprecedented changes to safely resume our lives. Although there is still a while before we fully recover from these events, our economy, and in particular the fashion industry, has begun compensating for losses.

It has been a surprise to see that even though the pandemic has financially impacted most, we somehow continue to shop and style. However, why and how we shop and what we’re buying is entirely dependent on the course of these tumultuous times. Nonetheless, fashion perseveres

By: Sophie Vargas against the odds, remaining relevant to us even amidst a historic recession. Some may say this behavior is a result of habit, or perhaps it can be explained as a form of collective retail therapy.

Whatever the ultimate reason may be, we must assess current trends to better anticipate what the future holds. We are on the brink of real change in the industry, and now is the chance to take charge of where it’s headed. Amidst heightened concern for the environment, it is right we reevaluate our consumer habits to see how we can lead fashion towards a more ethical future.

Long gone are the days of occupying fitting rooms and handling items at leisure as we shopped, but things are not as bleak as they seem. Retailers across the country have quickly adjusted to accommodate for the next best alternative: online shopping! Remarkably, both mass merchants and athletic specialty stores have doubled online sales compared to last year’s figures.

This surge is likely the result of the recent availability of services like BOPUS (buy online pick up

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Rick Owens Spring 21

in-store) and the consumer’s newly piqued interest for primarily comfortable and functional clothing. We are buying and spending more through e-commerce than ever before, and despite physical stores reopening, this is likely to remain our primary method of shopping for months to come. Given the prevalence of online shopping, it is wise to be aware of your choice of retailer’s return policies. For instance, third-party sellers like eBay and Etsy now implement a buyers-keepers policy, so be mindful before you click “checkout.”

The pandemic’s emerging aesthetic can humorously be defined as “Slob-Chic” (The New Yorker). This style results from the joining our predominantly homebound lifestyles with the obligation of presentability for Zoom calls. Unsurprisingly, people are mainly buying pajamas, loungewear, and of course, sweatpants.

At the start of the pandemic, clothing sales in the U.S. were down by a whopping 79% - sweatpants sales, on the other hand, increased by 80%. So what if icon Karl Lagerfeld referred to these baggy bottoms as a “sign of defeat”? They’re comforting! But if you are concerned about this critique, pair them with your favorite high-top sneakers and a crop top, or boots and a matching hoodie to elevate your look.

Likewise, it appears that any kind of formal attire is irrelevant for the time being. We have generally stopped buying clothes that feel needlessly constrained and excessive. Still, we’ve managed to glam up our slouchy quarantine

looks. Influence from the popular video-sharing app, TikTok, has done its part in keeping us (and our wardrobes) up to date. One trend that emerged from the platform was DIY bleaching and tie-dye, which kept us creating and crafting during the long summer months. Similarly, the app further popularized women’s Air Force 1’s and men’s Jordan’s. Besides this, we have also gotten creative with our face coverings. Many have turned to Etsy shops for their personalized mask needs. Likewise, resale platforms like TheRealReal

pencils, and other bold eye products we use to express ourselves.

Yet while overall makeup sales have been on a decline, skincare products have been flying off the shelves! I assume everyone has had enough time to themselves (and their pores) to realize we may as well revitalize our complexions while waiting to return to normalcy. As a result, face moisturizers, cleansers, serums, and treatment masks have become more popular than usual. It seems we all have to work double-time to ward off any dreaded “maskne.”

Looking forward, we are likely to keep being surprised by the fashion industry’s performances and trends.

The world will not be going back to what it was before the pandemic, which goes the same for fashion. A prediction by Marshal Cohen, a retail analyst for NPD, states, “the biggest upcomingchange is going to be the propensity toward value… As we come off the stimulus check, the consumer is not going to feel so rich anymore, which means a lot fewer impulse purchases.” This inclination will undoubtedly combine with the sustainability movement, further augmenting the desire not only to buy less but to buy better.

Now is as good a time as any to branch out from usual shopping habits and seek alternatives that have both aesthetic appeal and longevity. As we move forward, I encourage everyone not only to remain inspired but intentional. We have the opportunity to demand better for the world, ourselves, and our closets, and we should

We are in the unique position of creating a new normal and gaining new perspectives on our current rate of consumerism. have reported a 30% spike of purchases for chic mask alternatives like bandanas and silk scarves.

Hey, as long as we’re safe, who says we can’t be stylish? Beyond apparel trends, there have been significant changes happening in the beauty industry as well. We are buying much less face/lips/cheek makeup. After all, no one wants smudgy lipstick stains inside their masks. Instead, we’ve opted for showcasing the only remaining exposed feature: the smize! Currently, there is an increased demand for false lashes, mascara, eyebrow

take it.

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See You In My Dreams By: Gabrielle Wallace

Photographer: Taylor Mair Models: Sophie Vargas, Karmentia thomas, autumn Styling: gabrielle wallace, maddy bogan Beauty: KEndall cooper, victoria brumer

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Credits https://www.alltheprettybirds.com/pretty-birds-kelliebrown/ https://www.vogue.com/slideshow/kellie-brown-texture-diary-self-love-community-beauty-routine https://www.bustle.com/life/stephanie-yeobah-fattily-ever-after-interview-feeling-seen https://laurendudleyphotography.com/stephanie-yeboah-nerd-about-town-client-london https://www.cbc.ca/life/style/how-to-make-money-selling-your-unwanted-clothes-online-this-summer-1.5164027 https://www.wsj.com/articles/got-a-birkin-bag-to-sellthats-a-problem-for-hermes-11582885805 https://www.businessinsider.com/most-expensive-handbag-in-the-world-hermes-birkin-soldfor-292994-2017-6 https://simpstyle.com/the-real-wg/sandrine-charlesthe-working-girl https://www.kepplerspeakers.com/college-theater-events/category/women-influence-u

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https://www.complex.com/style/saweetie-birkin-bag-expert-interview https://www.crunchbase.com/organization/poshmark https://www.redbubble.com/i/sticker/depop-logo-by-jamestothet/36909092.EJUG5 https://thefemin.com/2020/10/st-john-2020-aw-collection-by-zoe-turner/ https://squaremile.com/style/bosscreate-your-look-tottenham-hotspur/ https://fabrikbrands.com/wp-content/uploads/Sustainable-fashion-brands-1.jpg https://mcgillbusinessreview.com/articles/fashion-forward-the-rise-of-sustainable-clothing https://webstockreview.net/pict/ getfirst https://pngimg.com/uploads/green_leaves/ green_leaves_PNG3645.png https://www.vecteezy.com/vector-art/236945-handdrawn-sun-doodles-on-lined-paper http://www.pngpix.com/download/blossom-flower-png-transparent-image https://www.listal.com/viewimage/16071508h - Trixie Mattel

use fashion as an entrance, let your clothes be your superhero cape. allowing you to be the best you that you can be. activate the clothes through your joy and commitment to the world you want to see. it doesnt matter if you wear black tie or a black lives matter t-shirt, but suit up and show up, be’ cause our action creates our destiny, our joy creates space for our freedom.

Tracee Ellis Ross

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