INDEX SS19

VOLUME I SPRING/SUMMER 2019

INDEX MANAGING EDITORS

Jane Moritz Maeve Munroe

ASSISTANT

Kaitlin Panay

PHOTO DIRECTOR

Renata Brockmann

ASSISTANT

Paul O’Mara

MARKETING DIRECTOR

Christopher Polito

MARKETING TEAM

Chloe Leung John Lee

ART DIRECTOR

Mariely Torres-Ojeda

ART TEAM

Diego Villaroel Maximilian Semrau

EDITORIAL DIRECTOR

Lillian Cohen

EDITORIAL TEAM

VIDEO DIRECTOR

Logan Wilder

Chloe Chauvin Ronald Kahihikolo Stephanie Wittenbach Oona Baker Jack Billoti

PRODUCTION MANAGERS

Zoe Dalton Morgan Harris

STYLE TEAM

TREASURER

Christopher Henderson-West

Zack Lesmeister Ronald Kahihikolo Sarah Mots Nick Bunzick Eloisa De Farias

COPYEDIT

Elizabeth Ji

SS 2018

Yuhan Cheng Letao Chen

VOLUME I

ASSISTANTS

facebook INDEX MAG

Francisco Guglielmino Kate Gondwe

instagram INDEX.MAG

CREATIVE DIRECTORS

website EFS.CO

Nia Evans Drayton Mayers

EMERSON FASHION SOCIETY

EDITORS IN CHIEF

TABLE OF CONTENTS

1 2 3

INDEXED 5 CAPITALISM 13 DROWNING IN DESIGNER 21 PRODUCT PLACEMENT 27 EXPRESSION BEYOND REPRESSION 33

MAKE BOSTON YOUR BITCH 43 FAITH AND FASHION 51 INDEX INTERNATIONAL 59 GOLD 65 THE NAME ON THE TAG IS YOURS 73

NO LABELS 79 BATTLE OF THE BRANDS 89 FASHION WITH A CAPITAL F 99 DIS-ASSEMBLE 103

L E T T E R F R O M

T H E

DRAYTON MAYERS

NIA EVANS

E D I T O R S Reflecting back on creating this magazine, I can’t help but think of the individuality each of our staff members has, as well as how we, as a team, we were able to combine our different ideas to create a singular product.

With each issue of INDEX, our staff picks a trending theme in the culture that we aim to create the magazine around. Our past issue’s theme was transition, and it was fitting. In a literal sense, we were going through a rebranding period as a magazine, but on a larger scale, we believe the world was (and still is) currently going through its own transition. With that in mind, we began to plan out shoots and editorials for this issue deciding that BRANDING would be the perfect follow-up. While a broad topic, branding allowed us to delve into the literal definition of the word, as well as the ideologies behind it.

As a fashion periodical, we strive to constantly understand the clothing around us, noticing that in recent years literal branding has become a trend picked up from Dior to Prada to Balenciaga. Instead of letting the clothes do the talking, designers from top fashion houses are now putting their respective logos on garments, selling their brand on a hyper-level. However, branding at its core is a deeply personal thing. What we wear, how we wear it, or how we share it creates our personal brand, our identity. How we present ourselves online, in person and through our art is how we want to appear to the world, striving for the approval of those around us. Exploring our personal brands can be scary. We are exposing our innermost passions and inspirations to the world while also striving to remain our true selves.

Balancing the fine line between following trends and remaining ourselves was a standout idea throughout these past few months. Throughout this issue, we cover how religion inherently inspires our personal style, how social media can act as a catalyst for how we share ourselves with the world, and so much more. In the age of Instagram, our generation is becoming an assembly line of cookie-cutter looks and brands; however, individuality is not dead yet. We see personal style everywhere around us, whether it be in a vintage clothing shop in Hamburg or in Boston Public Schools, where art students are creating the masterpieces of the future. There is a generation of people striving for individuality and we want to dedicate this magazine to them.

We hope you enjoy the Spring/Summer Volume I of INDEX Magazine.

L E T T E R F R O M

T H E

D I R E C T O R S FRANCISCO GUGLIELMINO KATE GONDWE

page 33 EXPRESSION BEYOND REPRESSION

page 27 PRODUCT PLACEMENT

page 21 DROWNING IN DESIGNER

CHAPTER I page 13 CAPITALISM

page 5 INDEXED

INDEX OF INDEX

KEYWORDS

EFS VIDEO CONTENT

Branding (noun):

Scan to access Vimeo:

The promotion of a person by means of

Dime Saving Bank

advertising and

Prospect Park

distinctive design.

An economic system in which the means of production and distribution are privately or corporately owned

CONTRIBUTING VIDEOGRAPHERS INDEXED: Kate Gondwe

Commodification (noun): The transformation of goods, services, ideas and people into commodities or objects of trade.

Emerson College Paramount Studio

Capitalism: Kate Graves

Designer:

Drowning in Designer: Chiara Kung

Paramount Studio

PARTNERSHIP

SPECIAL THANKS

Saks Fifth Avenue For trusting and encouraging our college magazine to utilize high end brands from their

Emerson College

Zoe Dalton & Family Boston Public Schools Arts

store’s jaw-dropping selection.

Consumerism (noun): The state of an advanced industrial society in which a lot of goods are bought and sold.

INDEXED:

Drowning in

and the operations are funded by profits.

Capitalism: Williamsburg

particular product or

Capitalism (noun):

LOCATIONS

A special thanks to Ethan Brosnan.

Austin Wilder

1.

INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED INDEXED

photo models

ELOISA PARISI BENJAMIN PEARSON DANIEL R. DURRETT

CHAPTER I

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7

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9

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GOLD

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CHAPTER I

CAPITALISM! CAPITALISM! CAPITALISM! editorial RONALD CRIVELLO KAHIHIKOLO photo DIEGO VILLAROEL style FRANCISCO GUGLIELMINO NIA EVANS NICK BUNZICK ZACK LESMEISTER model GRIPHEN AVIÑA

What the actual f*ck is capitalism and how does the fashion industry play a role in its supremacy? The overarching word is a system in which a very small group of old white bastards owns a large amount of land and money, who constantly try to increase their wealth as much as possible. Our entire economy is put into the hands of these wealthy b*tches. It’s a gigantic game of Monopoly. The best selling board game has taught both our past and present generations how to purchase property, build it up with hotels, and charge fellow players that are “fortunate” enough to land on their property. Capitalism within the fashion industry is no different. Fashion is among capitalism’s favorite children, one of the most prevalent modern examples of the business process existing today. These companies produce goods designed for short term use, generating a substantial amount of profit, while those at the bottom suffer human rights violations.

The world collectively consumes more than 80 billion pieces of clothing each year. We are constantly told by society and advertisements that we don’t have enough things. We need a new pair of Doc Martens, a different colored beanie, an additional shade of eyeshadow. So we accumulate, companies perpetuating the “cheap chic” industry as a way to get quick easy money, clothes worn a few times before being abandoned or thrown out, either out of fashion or ruined by wear.

The entire system of society under capitalism is a giant motherf*cking pyramid, with those in power at the top and those who produce cheap chic goods at the bottom. In the middle layer,

there’s the majority of the population, our society, the people who make these impulsive purchases and give into capitalism.

When we play Monopoly with our friends and family, we take pride in being the most powerful landlord, being the most in control. It’s in this context that fashion comes in.

Capitalism exploits the lower class, with recent investigative journalism and research shining a light on those in positions of power within the fast fashion industry. It thrives on inequality, as the CEOs and billionaires are praised as heroes throughout society for their success and wealth, while the physical laborers are forgotten and abused.

Textile workers are ones who produce the mass amounts of clothing that cover those who crowd the city’s sidewalks, but rarely reap the benefits. The cost of a T-shirt sewn in India takes about $8 to make and is sold for $15. But sweatshops often pay only a fraction of that; arguably slave labor. But as the wealthgap increases, the influence of Western culture in international

economics expands, wealthy businessmen from around the world using identical strategies of neoliberalism to spread the impact of capitalism and consumerism.

It’s enough to make one question every purchase, worrying about the ethical implications of each credit card swipe, regarding who’s being affected on the other end of the tag, not only within the fashion industry but also the general market. Production value is so low that only 4% of the garment costs go to the workers that make them.

Within the last 10 years, the price of women’s clothing has decreased by 33%, while the market for cheaper clothing is doubling in size.

Fast fashion institutions like Forever 21, Primark, and Target have expanded their market in the clothing industry by mimicking current high-end trends with much cheaper prices. The culture of “cheap chic” has evolved to the point where companies are constantly releasing new styles throughout the year, rather than only at the beginning of certain seasons. Clothes that people wear are being discarded more quickly than ever recorded previously.

But how do we fix this?

Henry Miller, an ex-textile worker from British Home Stores, a retail store popular in the UK, said he used to work 15 to 18 hours a day. He would sometimes even be forced to eat and sleep in the factories. Miller struggled to support both himself and his family, and was even forced to sell his personal belongings in order to keep a roof over his family’s head and to provide meals for his children.

Miller went on to say that he had no other choice. It was his only option, considering the level of unemployment at the time.

“Fashion is great, don’t get me wrong,” he said. “But it’s the ethics behind it that make up a beautiful garment.” After everything, Miller is still able to appreciate the idea of fashion.

Fashion remains under the umbrella of capitalism, imperialism, and neoliberalism. In today’s generation of designers, the market reflects fast fashion by showcasing how long designers have to design new clothing, as well as the amount of time that textile workers spend putting them together. The cycle of fashion is now being driven up by the demand of consumers wanting the hottest new thing and companies trying to increase their sales. As a result, designers aren’t being as creative.

I never really thought about the implications of the international market until now. An iPhone costs over a thousand dollars, but is made for a fraction of the price. Consumers are spending money on items that they don’t need and purchasing solely based on trends.

For most, selecting garments can be a very complex process, involving numerous factors. When people make impulse purchases, they are typically seen as “wants” rather than needs.

There is no limit as to how many clothes someone can purchase and own. The pieces are rarely used to the point where they’re no longer wearable due to constantly changing and conforming social trends and consumers always needing the best label for their brand. Those at the top of the pyramid stay in power, and capitalism wins yet again.

People use clothes to brand themselves and construct a specific perception. As a self-displayed consumer, most of my purchases are made solely to show off to my peers or to keep up with trends.

I contribute to the mess of our world, making people believe that they need “cool” clothes to be seen as relevant. Confusing monetary value with self worth is very common in our day and age.

We destroy each other with labels, while those within higher pay brackets laugh at us, filling their pockets with more Benjamins.

These private owners control what gets designed and, therefore, what fashion choices we make. We are all too happy to be their puppets.

15

CHAPTER I

The answer to the overarching problem is sustainability. If our society doesn’t do anything soon, we will fall for the same stupid tricks. Future generations will have zero control over businessmen that f*ck us all over constantly. Those pulling the ropes behind the scenes of high end fashion brands and “cheap chic” products need to realize the implications of their actions and financial gain.

Capitalization itself must be broken down and eradicated. It’s no longer fashionable to destroy the environment. X Big Business, watch out. XOXO

“Confusing monetary value with self worth is very common in our day and age.”

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CHAPTER I

“Fashion remains under the umbrella of capitalism, imperialism, & neoliberalism.�

DROWNING IN

DESIGNER

photo style

makeup model

RENATA BROCKMANN NIA EVANS FRANCISCO GUGLIELMINO CHRISTOPHER POLITO KATE METTETAL LILY WALSH

CHAPTER I

22

glitter bodysuit BRUNELLO CUCINELLI mirren shiny booties JIMMY CHOO sequin-striped tulle midi skirt BRUNELLO CUCINELLI neon animal print scarf STELLA MCCARTNEY dark feather scarf STELLA MCCARTNEY cropped wool logo sweater BALENCIAGA gathered front silk dress SAINT LAURENT cropped multicolor tweed jacket MILLY vintage cashmere jacquard sweater BURBERRY neon sport underslip ALEXANDER WANG matchstick paillette camisole dress MILLY camoflauge windbreaker jacket OFF-WHITE sequin slip dress TANYA TAYLOR wild print cocktail dress VERSACE

23

CHAPTER I

25

CHAPTER I

CHAPTER I

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PRODUCT

PLACEMENT illustration & design

FRANCISCO GUGLIELMINO

acid wash jeans CALVIN KLEIN la chiquita handbag JACQMEUS le pitchou handbag JACQMEUS multicolor flashtrek sneaker GUCCI leather lock handbag MOSCHINO heels CHRISTIAN LOUIBOUTON

wire gold ring TIFFANY & CO diamond band ring BULGARI archive ‘guilty’ perfume GUCCI gold mirror necklace GUCCI graffiti handbag BALENCIAGA tambour watch LOUIS VUITTON logo sunglasses LOUIS VUITTON logo brooch SAINT LAURENT archive pumps VERSACE medusa clothespin VERSACE medusa logo stud VERSACE peekaboo handbag FENDI metallic baguette FENDI bear eau spray MOSCHINO

31

CHAPTER I

logo brooch VIVIAN WESTWOOD heels CHRISTIAN LOUBOUTIN checquard knit scarf BURBERRY marine pocketsquare HERMES 2.55 lambskin bag CHANEL coiled snake garden ring GUCCI leather horsebit belt GUCCI striped canvas belt GUCCI logo monogram belt GUCCI

EXP RES SIO N BEYOND REP RES SIO N editorial photo

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CHAPTER I

STEPHANIE WITTENBACH BOSTON ARTS ACADEMY

It’s no secret that art successfully impacts students in a way other subjects aren’t always able to. Art defines the very expression students have to connect to. It’s their outlet.

For decades, Boston has represented itself as a nationwide hub for young intellectuals and new innovations, as a stepping stone for higher education. More recently, Boston has taken an initiative to relay that creativity into art, fashion and design. The Boston Public School district explores this initiative in the Art Expansion project, started in 2009. And although Boston may not be known as “best dressed,” the passion to explore these fields remains prevalent.

Boston Public Schools are becoming progressively interested and rewired into conducting programs that center on the arts.

Boston Arts Academy and Madison Park Technical Vocational High School, established in 1998 and 1977 respectively, are two of the leading art schools in Mass., setting an example for others to follow and a path for students to explore themselves.

Madison Park Technical is the only vocational school in the Boston Public School district and the Boston Arts Academy (BAA) is the first and only public high school for visual and performing arts.

Vocational trade schools are more known across Europe. There, students are prepared to enter the workforce of their field. Across countries like Finland, Netherlands and Australia, majority of junior schools are vocational, many in place of colleges. Madison Park and BAA do just that.

While many students go on to higher education, some don’t.

Madison Park offers radio and television broadcasting, programming and web development, design and visual communications, music, culinary arts, cosmetology and more.

Located in Roxbury, Mass. and formerly referred to as “fashion high,” the school serves a diverse pool of students interested in the arts.

Boston Arts Academy is tucked behind Fenway Park and has 456 students. All had to audition, no matter what field they wanted to go into. GPA is not taken into consideration. The school is highly selective, only bringing in students who are career driven and passionate about the arts. Out of the 200 that apply annually, only roughly 100 are selected for the new freshmen class.

“There wasn’t a lot of pressure to fit in. As an artist, you know you

have what it takes within. We are true artists,” BAA alumna Amber Torres said, adding that the process is intense, but worth it.

Students who apply must bring a portfolio and pick an activity to demonstrate. Students from all over Boston Public Schools and sometimes even private institutions apply to Boston Arts Academy, Student Body Vice President Nalany Guerrier said. “A lot of kids in Boston love art, but sometimes don’t know how to express it or have the resources to do so, so we feel truly blessed here.”

The school offers something they call a STEAM Lab. Yup. Not STEM, but STEAM. Standing for Science, Technology, Engineering, Art and Mathematics, it explores the connections between the arts and sciences, allowing the developments of new creative technologies.

Students have access to 3D modeling and design, electronics, digital media and fabrication.

For 20 years now, 40 percent of BAA’s funding has come from Boston Public Schools while the other 60 percent has come from fundraising and private donors. Without that, none of it would be possible.

What creates the unique similarity between BAA and Madison High is that they offer vocational programming.

While some U.S. educators continue to go to Scandinavian countries to study their education systems, WBUR reported that a team from the Netherlands came to the “School of Opportunity” right here in Boston, to BAA. Professional Arts Consortium, also known as ProArts Consortium, supports BAA and is an association in Boston, Mass., that involves six colleges: Berklee College of Music, Emerson College, Boston Architectural College, Boston Conservatory, Massachusetts College of Art and Design and the School of the Museum of Fine Art at Tufts University. Students enrolled at any of these colleges are able to share resources and cross register for courses. They even offer housing. On any given day students can also use their libraries and technologies. These are the definitive schools that fall under the visual, applied, and performing arts.

Elisabetta Polito, program director of Fashion Technology at BAA, said that through their academic structure, “Our graduates will have obtained the necessary skill set for placement in the fashion industry. We do, however, encourage higher educations as students can not only further develop their skills within their vocation, but also maximize their overall learning potential.” Polito believes they CHAPTER I

34

are creating entrepreneurs and makers. BAA wants its students to be problem solvers and think about what their impact would be in an evolving industry.

BAA is known for awards from the Grammy Foundation, the John F. Kennedy Center for the Performing Arts and more, according to WBUR. Their notable alumni include actress Diane Guerrero, known for her role on “Orange Is the New Black” and the The CW series “Jane the Virgin,” dancer and choreographer Kirven DouthitBoyd and “The Voice” contestant Brittany Butler. Madison Park’s notable alumni include Grammy Award Winning music producer Richy Pena, celebrity chef Christian Green, known for being a contestant on Fox’s “Masterchef,” and international soccer player Anselmo “Jair” Ribeiro. What a lot of people don’t know about Madison High is their proactive intense sports program, an area 35

CHAPTER I

many Boston Public Schools are also lacking. Madison Park has one of the most successful boys’ basketball programs in the state.

In 2009, Boston Public Schools created the Boston Public Schools Arts Expansion, in an attempt to ensure that all Boston Public School students, regardless of what school they attend, have the means of a high-quality arts education. In 2009, students in Boston were receiving roughly 26 percent of art focused education in schools, but in 2018 that number jumped to 63 percent, getting closer to the MassCore general arts requirement. The power of focus, community engagement, and funding will allow for more projects and expansion to fuel the growing want and need of arts in Boston education. Boston Public Schools are able to supply the demands of hungry artistic students and explore arts relative to benefits on its students by providing public and private funding

These schools are thriving. More than 94 percent of their students are accepted into college, many being the first generation in their families. Arts combined with academic curriculum is giving them an opportunity to become more inventive and expressive in a fun and creative environment.

“There’s a very real need for students to have the opportunity to pursue an arts education in high school,” President M. Lee Pelton of Emerson College and board chair of the Boston Arts Academy foundation said in an article published by the Mayor’s office.

As Boston continues to be at the forefront of academic trendsetters, this may very well be the starting point for other cities and states to follow. X

“The power of focus, community engagement, and funding will allow for more projects and expansion to fuel the growing want and need of arts in Boston education.”

CHAPTER I

36

photo style makeup model

inspo

LETAO CHEN NICK BUNZICK NIA EVANS ZACK LESMEISTER NOAH CHIET ALEXANDRA REY HIROOKA REINA GARCIA TATIANA MELENDEZ VERSACE 1994

page 73 THE NAME ON THE TAG IS YOURS

page 65 GOLD

page 59 INDEX INTERNATIONAL

CHAPTER II page 51 FAITH AND FASHION

page 43 LMAKE YOUR BITCH

INDEX OF INDEX

KEY WORDS

SPECIAL THANKS

LOCATIONS

Ersatz (adjective):

Union Church and Islamic Society of Boston

Make Boston

For welcoming us into your

Boston’s

space with so much

North End

Being a usually artificial and inferior substitute or imitation.

Hijab (noun): “Hijab is a symbol of modesty. We wear a piece

kindness and comfort.

Stephanie Nguyen For taking the time to be interviewed and providing us with insight.

Index

CONTRIBUTING VIDEOGRAPHERS

Hong Kong

of cloth on our heads to establish that our inner beauty should be seen at

Your Bitch:

International: Milan Hamburg

Gold:

the forefront, rather than

Make Boston Your Bitch:

our outer beauty.”

Jakob Bauwens

Paramount Studio

Identity (noun):

Faith and Fashion:

Faith and

the distinguishing

Kate Gondwe

Fashion:

character or personality of an individual; the fact

CONTRIBUTING STYLE

of being who or what a

Make Boston Your Bitch:

person or thing is.

Rayah Naji

Narcissism (noun):

Faith and Fashion:

Marked by or

Lytton Chea

characteristic of excessive

Hanna El-Mohandess

admiration of or

Gold:

infatuation with oneself.

Nia Evans Christopher Polito

Emerson College

Union Church & Islam Society of Boston

2.

INDEX MAGAZINE EMERSON

FASHION

SOCIETY

photo

YOANNA ZARKIN

models

DIEGO VILLAROEL

style

NIA EVANS

FRANCISCO GUGLIELMINO

FRANCISCO GUGLIELMINO

KAITLIN PANAY

makeup

KAITLIN PANAY

DRAYTON MAYERS

inspo

DONNA KARAN NY 1992

NIA EVANS

photo style

makeup model

MATT MALONEY NICK BUNZICK DRAYTON MAYERS NIA EVANS QUINCY ELLIOT RAYAH NAJI

CHAPTER II

44

45

CHAPTER II

wide-leg stretch wool pants PROENZA SCHOULER long sleeve button shirt DRIES VAN NOTEN long print jacket DRIES VAN NOTEN patent leather pumps BALENCIAGA

pleated blouse VETEMENTS summer floral maxi dress VETEMENTS leida leopard & plaid trench coat TANYA TAYLOR aleali may x air jordan 1 court lux multi color NIKE patent leather combat boots ALEXANDER MCQUEEN

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CHAPTER II

FAITH AND

FASHION

editorial photo models

KATE GONDWE PRISCILLA TSAGLI LYTTON CHEA HANNA EL-MOHANDESS

“We are the ambassadors of our religion.”

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CHAPTER II

54

“WE FOUND PEACE WITH WHO WE ARE IN THE CLOTHES WE WEAR.”

For a few years, my family went to a Black Methodist church called Saint Mark. The church was a beautiful, white chapel with stained glass windows. The organ played every service so loud you could feel the vibrations. The pastor provoked desire and aspiration. Saint Mark was one of several Black churches in Kansas. I recall church always standing out to me because of the clothing others would wear. No jeans, T-shirts, leggings or casual wear. Going to church was an event. Hats were on and your Sunday-best shoes too.

It is not surprising how much religion influences an individual’s fashion choice. Not only in but also outside of their place of worship. I often found myself feeling unable to express my true identity because of the strict dress code, and I was dying to see if I was the only one.

I had the privilege of interviewing Lytton Chea and Hanna ElMohandess. Lytton is a freshman at UMASS Boston and Hanna is a sophomore here at Emerson College.

As a openly gay Black man, Lytton has a very complicated relationship with the church. Having his photoshoot at Union Boston Church was a must. Not only is it a Methodist church, but also one of the few that accepts the LGBT community. The pastor himself is an openly Black gay man. Never in my life would I have thought to be in a church that accepts my social morals, like this one. It’s an experience that motivated me and gave me hope for the Christian faith. Lytton and I began to discuss his own personal relationship with the church.

Lytton grew up going to church every Sunday until he got older.

He expressed how getting older in a religious environment can be difficult. His sexuality became more apart of his identity and being a gay male in the church, he was seen as a sin. Religion is often a turn-off for so many youth because of the surrounding stigma.

Lytton and I then discussed how we both got lost for a bit and used different outlets to find peace and happiness. Lytton expressed how finding his own personal style helped him with his identity.

He used color to express his moods. During darker moments in life, he wore cooler tones. Now free from conformity, Lytton and his relationship with faith is far more stronger.

Hanna grew up in several different countries and states due to her father’s employment. Her experience with transitioning from locations such as Egypt and Dubai to Orlando, Florida, showed her that Islam is not only a religion, but also a culture.

It’s a community that she’s been a part of since birth. As a Muslim woman, Hanna expressed how Muslim women are much more identifiable because of the Hijab. They wear their religion out for others to see. “We are the ambassadors of our religion,” Hanna emphasized. But how do we find individuality?

“It is not surprising how much religion influences an individual’s fashion choice.”

Hanna struggled with her personal style. She always tried to be someone she wasn’t to fit in with American culture. For instance/ example, she wanted to wear shorts, but couldn’t, so she wore leggings and wore shorts over them. She also tried to wear more loose and baggy clothing. As Hanna got older, she found a middle ground: one that respected her identity and religion.

Despite the conflict Hanna and Lytton both found individuality.

They struggled on figuring out how to express themselves, while staying true to their religion. Lytton stated it was more like, “How do I accept a religion that does not accept me?” But after they both came to terms with their own, they were free. X CHAPTER II

58

INDEX INTERNATIONAL

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CHAPTER II

QUEER COMMUNITIES IN EUROPE editorial & photos

JACK BILLOTI

MILAN, ITALY Part of what makes being queer so unique is the strength and solidarity that comes with banding together with other like-minded individuals who share experiences and express themselves in ways that nobody else can fully relate to. Growing up a short 15-minute drive outside Manhattan, I had the privilege to see queer art, fashion and lifestyles from a very young age. Since then, I have visited numerous centers of queer life throughout the United States and Europe, taking their experiences and culture with me.

When presented with the opportunity to spend a semester in Europe at Kasteel Well, I was beyond excited to expand my understanding of the queer experience. Europe is home to 51 different countries, each with their own unique culture and set of values. A queer person living in The Netherlands can exist within an entirely different experience than someone just 10 miles away in Germany.

Throughout my travels this semester, I visited cities like Lisbon, Milan, and Amsterdam, each of these cities with its own unique and vibrant queer community.

The cultures of both Portugal and Italy are deeply rooted in religious life. Eighty one percent of the Portuguese population identify as Catholic and a whopping 87.8 percent of Italians identify similarly. Catholicism has proven to be incredibly hostile towards the queer community over the past several millennium, and in many ways led to a stifling of expression. In a 2018 report conducted by the European sector of the International Lesbian, Gay, Bisexual, Trans and Intersex Association (ILGA-Europe), Italy placed 32 out of 49 European countries when it comes to LGBT rights. Furthermore, members of the religious far-right Lega Nord party often make disparaging comments towards LGBT Italians as a flashpoint political issue.

The constant exposure to hateful rhetoric has caused the Italian queer community to develop on the margins of society. Up until the formation of LGBT rights organizations like Arcigay in the 1980s, there were very few resources for queer Italians. But since then, many queer bars and disco clubs have emerged in the country’s major cities.

“Milan might be an exception, but being gay or being transgendered [sic] in Italy isn’t easy,” said Maria, a transgender woman from Milan. “Milan is the world’s greatest hub for fashion, so I feel safer here but I never could have come out [elsewhere].”

The fashion industry has historically been one of the only professions where queer people have consistently been taken seriously, many becoming leaders and innovators within the industry “Fashion is what brought me to Milano,” Maria continued. “You will not find more successful gays [anywhere in Italy] than those in Milano.”

Despite Portugal’s similar connection to Catholicism, the country is known to be relatively progressive when it comes to LGBT rights.

Same-sex marriage was legalized in 2010 and Portugal’s Law of Gender Identity ratified in 2011, simplifying the process for transgender people to legally change their name and gender. Because of this attitude, the Bairro Alto and Príncipe Real neighborhoods of Lisbon have developed into queer safe spaces where colorful fashion blends seamlessly with the vibrancy of the city.

Amsterdam is known by many as a city where anything goes. From tolerating marijuana to legalizing sex work, it should come as no surprise that The Netherlands was the first country to legalize same-sex marriage. Amsterdam has been a center for queer life for decades and continues to fulfil this role. In 1987, the “Homomonument” was erected in the center of the city. The first of its kind, the memorial remembers gay men and women who were persecuted for their sexuality, specifically during World War II. The Dutch, as a people, are incredibly pragmatic in the way they conduct themselves, down to the way they dress. Historically, Dutch society has been far more egalitarian than the rest of Europe.

During my time in Amsterdam, people of all different identities expressed themselves pretty similarly. There was not one predominant queer neighborhood in the city, but rather members of the community seem to be relatively well integrated throughout.

Excluding the temperance of the Dutch, it seems to me as though countries with policy in place to defend the rights of their queer citizens have a more open and expressive queer community. This may seem like an obvious observation; however, the difference in even the way people dress is stark. The trendy designer labels and well-tailored outfits of Lisbon’s hottest gay club BAR CRU would never be worn in Rome.

Only spending a weekend at a time in each country, I am by no means an expert or local to any of these cities. But, through my Eurocentric “outsider” observations and interviews with real people in these very real queer communities, I feel I have better-rounded my knowledge of what it’s like to live with the label of the LGBT community in Europe. X CHAPTER II

60

THE

VINTAGE SCENE IN

editorial LILLIAN COHEN photos LILLIAN COHEN RACHELLE ALFINA HAMBURG, GERMANY Hot Dogs is the hottest place to shop for vintage finds in the city; and no, they don’t get the joke.

In the Karolinen district of Hamburg, the vintage scene isn’t underground; it’s flourishing in the great outdoors. Vintage boutiques and hole-in-the-wall recycled art shops dot every street of the city.

One shop sells old metal barrels used for gasoline painted and repurposed as classy cabinets for minibars and cassette tape radios.

Vinyl records and trendy bookstores spread throughout. The only stores with new clothes use recycled or organic materials. The majority are top-notch vintage apparel, with the price tag to match.

Concrete and plaster-finished, with cast iron balconies sprouting foliage, line the stone walkways of the city. Rainbow graffiti covers the gray exterior of both new and old architecture. Posters layer over lamp posts from top to bottom and the smell of cigarettes encompasses the city.

There, people walking around actually wear the ultra-trendy hipster stuff the local shops sell. This was perhaps the biggest difference I saw in Hamburg, compared to the rest of Europe. Men with man buns, beards, leather jackets, and cuffed jeans strolled hand in hand with equally spunky partners. Vintage color blocked windbreakers are all the rage, marking everyone who isn’t already dressed in denim or leather. Sound familiar? It’s as if Emerson students set up shop in the middle of most liberal town they could find.

Right in the center of it all is a shop called Hot Dogs, with mannequins dressed in jeans, old Nike sneakers, and Fila jackets from various decades and styles previous.

The owners explained upon entrance the system to their madness.

Racks were male-dominated in origin, but gender fluid, organized according to their material and decade both made and sold to their store. All prices, high but reasonable considering their merchandise, were negotiable. They just wanted the clothes to be used and appreciated.

They wore T-shirts with rolled up sleeves, high waisted rolled up jeans, and tube socks with Adidas and vintage Nikes I’ve never seen before. One had on a green, purple, and blue color blocked jacket he said was from the ‘80s.

When I asked why their shop was named “Hot Dogs,” they did not quite understand what I meant. “If you want to be a Hot Dog [this is the place to be],” they said, rustling through the tops of their blonde-styled hair with their fingertips and a smile.

They did not understand the duality in that their high-end streetwear store, reminding me of an off-brand OFF-WHITE with vintage detailing, was named Hot Dog in a city named Hamburg.

They had some handmade or upcycled clothes, but most of it was name brand, despite being thrift finds. The brand label was definitely an aspect of the price and selective merchandise they sold.

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Everything was perfectly crafted and curated by them for the ideal shopping experience and consumer.

The issue with vintage shopping is that it’s all about the style of the clothes and the status that comes with. Though older, it’s now trendy to be. The clothes hold an additional label to the one on that tag, saying not only “look what I can afford,” but also that the one on the tag is someone cool enough to have expensive vintage clothes.

They’re exclusive.

So, is thrifting really the better alternative to brand-new buying if the purchase is still for the sake of elitism? Is it worse?

In this area of Hamburg, vintage is a lifestyle. Sustainable materials are their entire surroundings, art encompassing life. And yet, the influence of vintage pieces on modern styles and clothing brands is currently universal. Champions, OFF-WHITE, and Celine currently all have past-influenced pieces in their newer collections.

But, is the sustainability here to stay and is it really even about that?

Do designers even care about the environmental and humanitarian implications of their shift throughout the fashion industry, or is it another marketing ploy to sell more original product? We may have to wait not only for our clothes to go out and in to style, but also to see the outcome of that. X

HAMBURG

IS LABELED

BY DECADE.

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garb sightings. An elderly woman working at a six-dumplings-for70-cents USD restaurant could be seen dripping in bee-accentuated Gucci loafers and the infamous 2003 Supreme black box logo tee.

Was she working the 2 a.m. shift as a favor to her grandson, or did she take a trip to Mong Kok’s very own Ladies Market?

I decided to put this question to the test and found my way amongst the rows of busy booths. What surprised me most was the blatant fakeness of the brands being sold there. Even the seemingly basic logo for Balenciaga was fraudulated, having transformed here into the Cantonese mispronunciations: Baienciaga, Balancaga and Bolanciaga. I left empty-handed and with little hope, until a few days later when I saw a man unloading boxes of Yoplait wearing Virgil Abloh’s Nike Air Jordan 1s. Was my heart skipping a beat for the clean glow of a beautiful 2018 sneaker collab, or did this 7/11 worker have knowledge inaccessible to me?

The answer came to me in a whisper from an international student at a disco party. “Insist on seeing the “‘real version,’” she said to a boy with eyes as wide as mine. I lawnmower danced myself into their conversation and disco fingered my way out, tingling with the knowledge that counterfeit designer booths do not have their best supply on display. I took her direction to put up a fight for the real deal and found the autocorrected Balenciaga bag of my dreams.

ERSATZ-

CHIC editorial & photos

OONA BAKER

HONG KONG, CHINA The reputation of Hong Kong’s Ladies Market and Temple Street Night Market are known on a global scale for their expensive-looking brand remakes.

When I first touched down in the territory, my luggage carried a sizable chunk of open space to house my curiosity for the fake goods industry. While unarguably illegal in the eyes of Hong Kong authorities, my confusion grew at the high number of Supreme

Before coming to Hong Kong, I never would have thought to sport a knock-off. Apart from an obviously fake thrifted Louis Vuitton bucket hat, the concept of going imitation-gold felt both disrespectful to the brand and humiliating within the culture of fashion. But why is it that there is more negative stigma surrounding wearing knockoffs than, say, dropping half a grand on Yeezy’s, the brand of Trump supporter Kanye West? High-end designer purchases have always been an indicator of class. The culture of Hypebeast has become more popular in its own right. If a middle class New Yorker were to non-ironically wear a fake Rolex from Canal Street, the act would not be well received. Slightly more open minded, British Grime in the UK has dipped its toe into imitation goods with the Camden Market. But those who indulge are more often than not wearing the cheap pieces for the humor of it. Throughout my travels around Asia, counterfeit goods can be seen from a beach town in the Philippines to South Korea’s busiest night markets. They’re common territory in Southeast Asia and, apart from upturned noses by the upper class, I have seen little judgment for it in Hong Kong.

Most of the la-di-da brands are having their clothes made in Asian factories, leaving room for people to obtain the product blueprints and necessary materials for the designer clothing they produce.

The knock-off industry may be the result of stealing, but the people orchestrating it are the ones being exploited by these big name brands, choosing to use cheap labor. Unless a company is openly marketing themselves as “Sweatshop Free,” chances are that your most treasured birthday present came from morally questionable beginnings. At what point does intellectual copyright surpass basic human rights? As someone who has now owned both real and fake Cartier, unable to tell the difference between the two, I favor the latter.

So the next time you drop two weeks of your paycheck on that breathtaking new Comme Des Garçon’s collab, maybe look into flights to Hong Kong instead. Just make sure to negotiate your way to the “real imitations.” X CHAPTER II 64

GOLD

photo

style makeup

models

CHASSIDY DAVID

SHANNON KAY ANGELA PIAZZA KATE GONDWE MARIELY TORRES ELOISA DEFARIAS NIA EVANS JANE MORITZ MAXIMILIAN SEMRAU NICOLE MCGURGAN NOUR SAYEH ANGELA PIAZZA JADA OSGOOD CHAPTER II

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‘subculture’ eyeshadow palette ANASTASIA BEVERLY HILLS ‘norvina’ eyeshadow palette ANASTASIA BEVERLY HILLS highlighter in ‘trophy wife’ FENTY BEAUTY lip gloss GLOSSIER

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eyeshadow powder in ‘d’or’ CHANEL ‘bronze goals artistry’ palette MORPHE ‘norvina’ palette ANASTASIA BEVERLY HILLS ‘subculture’ palette ANASTASIA BEVERLY HILLS

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THE NAME ON THE TAG IS YOURS.

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editorial illustrations

CHLOE CHAUVIN ELINOR BONIFANT

Take a look around. How many black and white “social media can seriously harm your mental health” stickers have you seen?

Entire rows of people have that note glued on their phone cases sometimes. Yet, the observation only came to my attention when they simultaneously held up those devices a few mere inches away from their faces, scrolling through their Instagram feeds. Why talk to the person sitting next to you when you can simply swipe your thumb on a blinding screen to mechanically refresh your notifications? Brittaney should have liked your newest goldenhour selfie by now.

We are obsessed with social media. When not skimming through posts from friends and celebrities, we’re fixating on the online persona that we’ve crafted for ourselves.

Most people would argue that they post to share moments of their lives with friends and family, to keep them updated and stay in contact. After all, social media is a convenient supplement when you can’t give loved ones IRL attention. However, if we genuinely cared about maintaining contact with friends that we haven’t seen in a while, shouldn’t we call them or plan a visit instead of dropping a comment below their latest sunset shot? How much of our activity is an honest reach out? How much is a cry for validation, an attempt to brand ourselves as perfect? Could it be that we’re posting the highlights from Saturday night’s party or our legs poolside on vacation not to let Auntie Josie know how we’re doing, but to feel noticed and important?

When I scroll through my Instagram discovery page, I find it hard to avoid generic travel photos scattered among selfies of instamodels with airbrushed skin. I have no doubt that a lot of people genuinely travel for the experience. They spend most of their time off-screen to soak in the local culture and then end the trip with some stunning shots featuring themselves on a frame to eternalize the moment and create souvenirs which, years later, they could show their grandchildren by a holographic fireplace. However, there are also many “Insta-tourists” who seem to be there just for the perfect shot. Every alley they step on, every photo they take and every dish they order ultimately reflect a choice dictated by the ‘gram. When visiting Peru, these modern tourists would rather spend their whole day capturing the perfect photo under a cliché neon sign than to sit down with locals and bond over potatoes in spicy cheese sauce. The latter is not necessarily an “aesthetic” dish that would get you thousands of likes, but it is a gateway to access the history and culture of a foreign land. It’s a way to travel with substance. Unfortunately, modern travelers forget to immerse themselves in the unfamiliar world they step inside. Instead, we are caught in taking pictures without depth that only look good on the surface. We no longer worship century-old Inca shrines, but digital shrines.

Of course, I could be completely wrong; perhaps Lady Gaga is not the only one to hike in Louboutin and body-hugging maxi skirts.

Perhaps people really do explore Machu Picchu in an evening dress and stilettos.

Being caught up with aesthetic photos is not the only worrying issue about social media. Even more alarming is the lack of authenticity behind each post. Stephanie Nguyen, an Instagrambased style blogger and fashion influencer, noted that many of her colleagues in the business often only share a staged reality, a specially branded version of themselves. “I feel like today people have two different facets—their internet persona and their reallife personality. I’ve met many people over the internet, and then meeting them in real life was so interesting. They would be so different—sometimes even in the way they looked,” Nguyen admitted. A lot of the difference has to do with marketability, branding, and views. “People tend to think that if you project yourself differently [than in real life], you would be more likable, more interesting, or you would grow a bigger fanbase. However, although the persona that you’re crafting on the internet might be the person that you want to be, it’s not who you really are.”

That said, the problem with social media is not our wish to share our accomplishments, passions, and little fragments of our lives with people that we love. The problem is not even narcissism.

Social media might amplify narcissism, but there’s room on that platform for content that combats the pitfalls and expands our perspectives as well. Rising issues involve the fact that, more than ever, we’re only sharing a simple chronicle—one that with the right filter and a snappy status update can project an illusory image of a life way better than the one we authentically experience.

Our society has become used to—if not resigned to—photoshopped portrayals of the human body. What’s alarming is that this unrealistic aesthetic has rooted in our personal expectations and self-presentation. So while we may be reconnecting with an old friend online or following our idol, without awareness, we are often not engaging with that person, but rather the online mask they put forward. When projecting ourselves as someone else becomes addictive, our lives grow hollow. We are no longer thinking naturally or genuinely living in the moment when our life and experiences are spent planning our thoughts and ideas out for a future Snapchat story. We try to come up with captions that make people laugh, move them and make them think. We post one photo carefully chosen from a hundred others, all while making sure it seems effortless and genuine. We inhibit the free chain of thoughts that used to come to us effortlessly.

The branding of ourselves is just that. We project ourselves as brands, labels for mass consumption. Our actions become marketing tools to spark envy and desire in those around us.

But in an era where Instagramming is a full-time job, how do we distinguish between authentic and fake? People aren’t purses. You can’t just look at the stitching. X CHAPTER II

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page 103 DIS-ASSEMBLE

page 99 FASHION WITH A CAPITAL F

CHAPTER III page 89 BATTLE OF THE BRANDS

page 79 NO LABELS

INDEX OF INDEX

KEYWORDS Nonconformity (noun):

EXTRAS / MODELS

LOCATIONS

Battle of the Brands:

Battle of the Brands:

Failure or refusal to

Laura Philips

conform, as with

Hanna Marchesseault

established customs,

Gabriella Gonzalez

attitudes, or ideas.

Julian Lemus

Labels (noun): Something attached, physically or abstractly, to people, activities and things to describe their characteristics.

Jada Osgood

The belief and practice that every person is unique and self-reliant or the idea that each person should think and act independently.

Spectrum (noun): A continuum that accounts for every variation of human

Government Center 2B Common Room

Cronin Wilkes

Dis-Assemble:

Letao Chen Rory Willard

Allston Warehouse

Zachary Lesmeister

No Labels:

Jane Moritz

Emerson College Paramount Studio

SPECIAL THANKS

ADVISOR

UFC Studio

Nadine Grant

For generously allocating enough time for us to hold a photoshoot in your gym.

PARTNERSHIP Kendall Press Thank you endlessly

sexuality and identity

for helping us get our

without labeling all

vision to paper.

of them.

UFC Gym

Mariama CondĂŠ

Laura Philips Individualism (noun):

Chanel Store

For her continual support and guidance. Her knowledge and time and were key to our journey.

3.

photo

CALLIE KENNEDY

design

PAUL O’MARA

style

NICK BUNZICK

makeup

PK EVANS

model

ALEJANDRA DUQUE

inspo

CHANEL 1998

*except on the clothing

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photo FRANCISCO GUGLIELMINO YUHAN CHENG style ZACK LESMEISTER MAXIMILIAN SEMRAU NIA EVANS makeup RORY WILARD MAXIMILIAN SEMRAU models SELANE DEHAUX DARLING MYKHAILO BONDARENKO KEBRA-SEYOUN CHARLES VICTORIA ECHEVERRIA SABAH SHAMS

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spotted lace ruffle wrap dress MARC JACOBS unisex holographic combat boots DR. MARTENS

signature back-pleat plaid jacket AKRIS franca plaid side-zip ankle pants AKRIS

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lightweight terry layered crop top ALEXANDER WANG denim & satin bomber jacket UNRAVEL PROJECT layered-look denim skirt ALEXANDER WANG

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color block satin blazer EACH X OTHER color block satin trousers EACH X OTHER

golden swirl baily dress STINE GOYA arrow suede running sneakers OFF-WHITE

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photo & design

LOGAN WILDER

editorial illustration

LILLIAN COHEN NICOLAS SUGRUE

FAS WITH As a society, labels run our lives; who we are, what we wear, what milk we buy at the store. It’s how we represent ourselves to the world. We brand ourselves to be who we want people to see, crafting every stitch and emblem into our routine.

Calvin Klein arguably created the individual branding and identity of an entire generation. The waistband of their underwear is universally iconic. The simple clean lines of their trademark sexualized minimalism are classic and marketable. It’s a quintessential symbol of ready-to-wear pieces and celebrity.

A huge aspect of their brand is shameless promotion, everyone from Mark Wahlberg and Kate Moss to the Kardashians participating in their marketing campaigns.

That’s where problems arose for Raf Simons.

Pulling a Gwyneth Paltrow, the company announced in December that they were “amicably parting ways” with the popular Belgian designer, having conflicting ideas of where to take the brand. It was semiexpected after Chief Executive Emanuel Chirico of their parent company PVH Corp criticized the brand for its “high-fashion” skew while not matching financially.

HION A CAPITAL As creator of his own menswear label, former-Creative Director at Jil Sander, collaborator with Adidas and former-Artistic Director at Dior, Calvin Klein made a big show of hiring Simons as Chief Creative Director. No one had the same absolute responsibility since Klein himself. The brand, though based in underwear and branded t-shirts, was a huge hit for this runway show during Simons’ two-year stint. But, trouble with his execution methods of the brand’s bread and butter classics started from the beginning.

Celine is going through a similar situation with Hedi Slimane.

Coming to the fashion house last year after stints as Creative Director for Dior Homme and Yves Saint Laurent, a lot of criticism has been pushed his way surrounding how he’s been transitioning Celine. They allege that the fashion house is no longer branded according to their niche designs, but Slimane himself, “grafting ‘Brand Slimane’” according to The Guardian.

The French ready-to-wear and leather brand recently added a menswear collection, something Slimane is specifically known for.

He seems to be cultivating a similar look for Celine to what he’s done previously.

Virgil Abloh joined Louis Vuitton as Artistic Director of menswear in a huge change of brand last March, but his own OFF-WHITE has been taking a shift as well. Though on brand for the fashion house to cover themselves in labels, a noticeable trademark of the upscale streetwear company, this fall the names on display weren’t their own. Models wore styles made from sewn together classic Nike tube socks, the swoosh on each front and center.

Alexandra Hackett from Mini Swoosh made a splash before the collection released with similar ideas, though the tube sock sweaters might have also originated from Maison Margiela in 1991.

Abloh has been working a lot with Nike throughout his career in fashion, bringing classic silhouettes to grungy athletic infrastructure. OFF-WHITE’s collaboration with IKEA attracted a lot of similar eyes last year, expanding the relevance and originality associated with the brand.

Jeremy Scott, Creative Director for Moschino and his own namesake brand, debuted his own rendition of black and white text for his Jeremy Scott Fall 2019 show. Printed in big white block

F

letters, “Psycho,” “Danger!” “The New York Post” and “Scandal” were physically branded on pieces in a purposefully hazardous collage. Working with Aleksandra Mir, Scott touched upon the relay of information, the concept of “fake news,” the way that people perceive us and the way that we are.

The source of brand culture runs deep in today’s fashion scene, on the red carpet and on the streets. Clout culture has robbed people of their eyes and replaced style with an incessant need for labels. They buy for the status of the brand, not the quality of the individual pieces. People looking to impress other people with their money, focused on relaying an image of wealth, buy them. They don’t buy the latest from Christian Dior’s 2019 Resort Collection, but Supreme sweatshirts and Gucci slides.

Fashion houses know this. They make the sale either way. That’s why Fila puts their name on the heel of their white dad sneakers.

That’s why Balenciaga tags themselves on the side of their stretch knit high top Speed Runners. It’s why Louis Vuitton, Coach, and Michael Kors all print their initials on the fabric of their purses.

They understand the clout they bring. They brand themselves with their own labels so that consumers will do the same. Every person who wears their product is a moving marketing tool.

But, considering it’s the image that creates their closet, some don’t even care if it’s authentic designer or not. Many resort to fastfashion brands such as Forever 21 or Fashion Nova to get similar styles and silhouettes without the price tag.

Diet Prada, popular Instagram-based tattler for fashion copies throughout the industry, recently caught a huge wiff from Fashion Nova and Kim Kardashian, alleging that they’re in cahoots.

Several designer ensembles from the makeup guru and influencer have appeared available for purchase on fast-fashion sites within minutes of photos being taken of the star. The vintage black strappy Mugler dress she wore to this year’s Hollywood Beauty Awards had a look-alike shot by Fashion Nova labeled “Kim Dress” four days before. A similar incident occurred with her sheer striped ensemble from Jean Paul Gaultier’s Spring 1996 “Cyberbaba” collection. Gaultier even did a similar rendition in their Spring CHAPTER III

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2019 show to reclaim their stance on the look.

Chanel and the same with Lily Collins in Givenchy.

Copycats run rampant throughout the fashion industry, though it’s rare that celebrities assist in the act. Because of the clout associated with the celebrities, their fashion, and the brands they wear, the genuine nature of clothes themselves lose importance.

But not all designer is good. Runways run rampant with issues involving body inclusivity, diversity, and racism.

But, celebrities themselves are also changing the way they think about labels.

A long-standing tradition of a fashion house working with a celebrity or influencer to create one-of-a-kind pieces is also losing its nuance, though still prominent in the culture of Hollywood.

Recently, many celebrities have been wearing garments fresh off the runway.

Cardi B shook the internet at the Grammys in vintage 1995 Mugler, the shiny new rapper coming out from the depths of her dress like The Birth of Venus. Kylie Jenner had a similar buzz when she walked the red carpet in Balmain. Her pink pant suit seemed very off-brand for the newly titled “Youngest Self-Made Billionaire,” a couture piece with perfectly wide pleated sleeves and just a few peeks of skin.

Janelle Monae wore a sharp-shouldered Jean Paul Gaultier mini dress. Margot Robbie donned fresh-off-the-runway couture from

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Gucci stirred up more drama on the racist front by coming out with turtlenecks that appear to create blackface. The black turtlenecks featured a pullover for the mouth with cut outs and red lipstick. Burberry had noses instead of strings in their sweatshirts on models during London Fashion Week 2019. The internet was outraged, and rightfully so.

Legendary designer, Dapper Dan, got involved in the issue. “I am a black man before I am a brand. Another fashion house has gotten it outrageously wrong,” he announced on Instagram, referencing the incident. The fashion icon has worked with Gucci in the past on collections, but said, “There is no excuse nor apology that can erase this kind of insult.”

Dan said that Gucci CEO Marco Bizzarri had promised to come to Harlem to talk with “members of the community and other industry leaders” about the implications of their company’s designs.

Dolce & Gabbana was forced to cancel their Shanghai runway show by the Chinese government after racist advertisements were publicized. The video showed a Chinese women failing to pick up a cannoli with chopsticks. It was taken down within 24 hours, according to The Business of Fashion, but that didn’t stop it from circulating.

Ironically titled “The Great Show,” the demonstration was supposed to feature over 300 looks, 140 performers, and 1400 audience members, according to Vogue. Major Asian influencers backed out of the campaigns associated with the show, including Victoria Secret model Ellen Chen, writing on Instagram, “You don’t love China. You love money.”

The region is responsible for 30 percent of all global luxury sales.

Online stores such as Tmall, JD.com, NetEase, and VIPshop all removed Dolce & Gabbana products from their catalogs.

Chinese Sephora has removed their beauty products from shelves. The world was up in arms.

Dolce & Gabbana has previously been associated with racism, discrimination, and homophobia through numerous controversial comments by both designers, many stylists refusing to pull from the company for events. They don’t want their clients associated with the toxic undertones of the fashion house’s brand.

industry icon also had a history of fat-phobic, anti-#MeToo, and islamophobic comments.

His final show, premiering after his death, received a standing ovation and many teary eyes from models and viewers.

Lagerfeld both built the fur industry into what it is and dismantled it, by making Chanel the first major fashion house to rebel against animal fluff last year. London Fashion Week followed suit with a ban across their runways entirely. And yet, hours after his death, animal rights group PETA said in a press release, “Sorry, not sorry you’re gone.”

The argument continued on, but begs the question: How is it that we label Dolce & Gabbana and Gucci, but not Chanel? Not Fendi? Not even the man himself? Are some brands built too thick to crack?

Lagerfeld crafted his image as a couture creator perfectly. His individual brand was perfection, not allowing his inconsistency in quotes to guide readers away from the assignment of “icon.”

Maybe this is the most important lesson from his work; that the clothes don’t always make the person. Sometimes the brand that’s crafted is really just a label, a name stitched into a piece of fabric. X

The growing push for social competence and brand responsibility has also drawn a riff between some of our former favorites, when it comes to designers. With the death of Karl Lagerfeld, this hits hard. Known for his work with both Chanel and Fendi, as well as his namesake fashion house, the

“Clout culture has robbed people of their eyes and replaced style with an incessant need for labels.”

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DRAYTON MAYERS

editorial photo

MIKE ZAHAR

style

ZACK LESMEISTER

makeup

RORY WILARD

model

YANINA JOHNSON

STANDING OUT IN THE AGE OF TRENDS AND FAST FASHION.

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Humans have an inherent need to have any trend of the moment at their fingertips. It is in all of our natures to want to remain up to date on what we wear, balancing that fine line between remaining similar while also standing out. The trends, whether that is what is popular on runways from New York to Milan, or what your favorite celebrity is wearing, dominate our minds.

We follow these trends because, whether we want to admit it or not, we all want to please those around us, to gain their approval. Everything we wear is a conscious decision. If you are trying to make a statement you wear something with bolder patterns, say Versace or Maison Margiela. For myself, I usually attempt to stick to a uniform, sticking with darker tones and tailored slacks, rarely wearing anything brighter than navy. Even wearing all black signifies something, contradicting its purpose as to not signify much of anything. We all consider ourselves to be a part of a particular group, believing in a set of opinions and choices. Humans are all trend-followers to some extent.

Not all of us follow the same thing, but we all follow specific trends. Take, for example, the Balenciaga Triple S. Anyone who follows sneakers or fashion will tell you that the Triple S was the shoe of 2018. Whether you loved or loathed it, you couldn’t help but talk about it. Daily, for what seemed like months, I could see the chunky silhouette everywhere. Inevitably, it did not take long for other brands’ iterations start to pop up. Versace hired Salehe Bembury, a rising star in the sneaker world, to create the Chain Reaction, the Italian brand’s version of the bulky frame.

Fast Fashion brands like Primark and ASOS also followed suit, releasing marked-down copies of the popular shoe. However, all of these are just an attempt to mimic iconic frames such as the Nike Air Monarch, the New Balance 990, or basically the shoes your dad would wear to a barbecue.

We are all influenced by things in our everyday lives, including the media we consume. We are drawn to the new things that provide a feeling of change, perhaps even progress. When faced with conflict, our brains are wired to “re-educate” themselves if its’ views are not exactly in line with the packs. The process could explain why we consider being too different as one of the most fundamental social mistakes. We use social networks like Instagram, or Facebook to follow those leading the trend-pack, taking bits and pieces of their style for our own use.

It should be made clear that there is nothing wrong with wanting to be part of a group or following trends. After all, it feels good to be accepted, to feel like you belong. Accordingly to the trends you follow, you are classifying yourself as something. No matter where that is, you belong somewhere. People, myself included, want to appear to be in the know rather than behind the times.

Humans, largely, are acutely social animals, and trend-following appears most radically in our youth and early adulthood, when we are most self-aware about our social standing.

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conversation. In fact, they are the two factors that virtually dictate the entire fashion industry. Color, cut and cost, are the pillars of fashion at any economic level. They determine what materials we buy, where we buy them, and why we buy them.

If you can’t afford the cashmere Yves Saint Laurent sweater, you can find nearly the same quality at Everlane for a price for more attainable.

The current pricing scheme within the fashion industry is largely ambiguous. Young consumers who look to find the best combination of brand, style, quality and price now have an overwhelming number of places to make their purchases. As a result, the simple decision of “what shirt to buy” leans more and more on a quantitative, noise-cancelling comparison: which price is the lowest.

However, while the aesthetics of a piece can be readily analyzed by just about anyone, price is dramatically more nuanced.

It is much harder to determine the worthiness of a price-tag than it is to determine the value of the garment’s allure. This information asymmetry can lead to some nasty side effects— not just for our wallets, but for our shared environment. Since 2000, global clothing production has more than doubled. In fact, in 2014, the annual number of garments produced each year exceeded 100 billion for the first time, with no signs of slowing down. That’s double-digits of new clothing for everyone on Earth, made each year.

In the 1860s, English economist William Stanley Jevons observed that technological improvements that increased efficiencies in using coal to power steam engines actually led to an increase in coal consumption rather than an expected decrease. Jevons concluded that given the lowered relative cost of coal, demand and thus consumption for coal increased. Intuitively, greater improvements in technology should lead to large benefits; what Jevons’ paradox shows is that new developments may come at an even greater cost.

The application of Jevons’ paradox is most evident in the fashion industry’s growth over the past decade and a half. The apparent success of the industry in keeping prices lower relative to all other goods has enabled consumers to, in fact, consume much more than they used to, rather than consume the same and save more. Even further, they have been able to do so while allocating less of their money to clothing.

Although it may seem that such apparent successes in the industry benefit consumers, the costs of forgoing ethical production and creating more waste are grave consequences of such changes in the industry. If brands can work to communicate their transparency more clearly, setting institutionalized standards throughout, and consumers keep their spending habits but merely alter their consumption ones, the industry then has greater potential for not just financial growth, but mature, sustainable growth. X CHAPTER III

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“We are drawn to the new things that provide a feeling of change, perhaps even progress. ”

one button blazer AKRIS dax plaid cropped pants MAX MARA leather d’orsay heels PRADA zoya faux fur coat CINQ A SEPT kylie satin blazer CINQ A SEPT marta silk satin midi skirt CINQ A SEPT patent calfskin j’adior pump DIOR

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CHAPTER III

CHAPTER III

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EMERSON FASHION SOCIETY