INDEX SS21

INDEX

MAGAZINE

SPRING / SUMMER 2021 EMERSON FASHION SOCIETY

INDEX MAGAZINE EDITOR-IN-CHIEF Meera Singh

DEPUTY EDITOR Tayla Dixon

MANAGING EDITORS

Jane Moritz

PHOTO & DESIGN DIRECTOR

Francisco Guglielmino

CO - PHOTO DIRECTOR

Langley Custer

STYLING DIRECTORS

Lauren Dillow Sabrina Harris

EDITORIAL DIRECTORS

Riddhima Dave Rory Willard

ART DIRECTORS

Soph Droster Jacob Blumenthal

Mercer Whitfield

EDITORIAL TEAM

Will Percarpio Olivia Cigliano J. Faith Malicdem

STYLING TEAM

Beatriz Cabral Leite Tamilore Odunsi Emily Hughes Brynn Rhodes

MARKETING TEAM

Carina Pray Theodor Holm Michael Isaacs Jimena Alvarez

MARKETING DIRECTOR

Sierra Ashley

ADVISORS

Nadine Grant Jordan Mackenzie

website EFSOCIETY.ORG vimeo INDEX MAGAZINE instagram INDEX.MAG ALL RIGHTS RESERVED

PHOTO TEAM Gloria Cao Callie Kennedy Erina McSweeney Lida Everhart Lily Walsh Jacob Warman Jalissa Evora Fernando Barone Maximilien Collins

ART TEAM

J. Faith Malicdem Christina Casper Riley Jensen

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E M E R S O N F A S H I O N S O C I E T Y

LETTERS FROM THE EDITORS We are only a few months into the year, but it already feels like it has been a decade.

Entering 2021 with a mission to look ahead, leaving behind the past year, is a daunting task. As we were creating the concept for this issue, we asked ourselves what we wanted to think about as we try to move forward. Rebuilding, healing, connection, community, escapism, reflection, the list goes on. 2021 was not a magic end to 2020’s chaos, but we are ready to reflect on what we learned from the hardships of the past year.

Rebuilding and reconnecting takes time, but we will get there.

It is safe to say that this semester has been a rollercoaster. The student body at Emerson collectively began to burn out as we hit the one-year mark of the COVID-19 pandemic.

Attending school during this time is one thing, for which we are lucky to be able to do, but staying motivated while being constantly overwhelmed due to academic and external stressors (without a break) is a whole new beast. INDEX would not be

what it is without the Emerson population, and I want to express my appreciation for every single person who has helped to make this issue possible despite everything that was thrown at them in such a hectic period.

Your hard work does not go unnoticed, and you should be proud of yourselves for going the extra mile. It’s impossible to thank you all enough!

Hopefully you will connect with this issue as much as we have! Our goal is to make sure everyone sees themselves in the fashion world. I want to emphasize that no matter how you look or feel, there is always a place for you in fashion.

Love, INDEX Magazine

MEERA SINGH

Last year when the pandemic hit the world stopped. We didn’t know how the future would look or when the pandemic would end. In order to get through this time I think many of us looked to the past for comfort. I personally watched a lot of old disney tv shows and movies during quarantine like Hannah Montana. Looking to the past allowed us to bring out our innerchilds and have a break from the troubles of the real world. You can see some reverting back in “Play Date”, “Boys”, and in “2000s Disney fashion”. You also see the love and community in “In Tandem”, “Body & Soul”, “Golden Melanin”, and “Write it Down”. 2020 was a year of shadow work; learning about ourselves, and healing from within.

This issue is a result of that shadow.

It’s a manifestation of what we can do when we do it together.

TAYLA DIXON

With the ever-changing circumstances surrounding covid and the college’s plans, this semester has had its own mixture of challenges and opportunities.

There was a lot to be done, and I say with full confidence that this team did not let up when it came to the uniqueness and creativity of their work. It often feels like a strenuous task getting out any piece of work nowadays, but being able to put out a piece of work with a group that never ceases to push themselves to outdo the work they have previously done is so incredibly rewarding.

Working in a space with people who care about the ideas you have and want to see you execute them to their full potential is a kindness like no other. I think that this print of INDEX is one that expresses a collaboration of beauty, ingenuity, and pure artistic elevation. I hope everyone who sees it can appreciate this final product, and everyone who helped put it together can see just how special it is.

MERCER WHITFIELD

As the pandemic continues, it has gotten harder and harder to continue with “real life.” So we at INDEX decided to leave “real life” all together in this issue. Together we ran wild in the places that have been occupying our minds instead of staying in our dismal realty. The entire team was so creative and supportive of each other even when we were all feeling drained with our own problems. I’m so excited for this issue because it gave us something fun to focus on while the world continued to look scary and uncertain. I’m constantly in awe of the talented team, especially new members that have joined the staff during this tumultuous year(s), and I can’t wait for you to see their work.

So, flip the page, come on!

JANE MORITZ

TABLE OF CONTENT INDEX MAGAZINE SPRING / SUMMER 2021

1

CRASH

11

PLAYDATE

23

WRITE IT DOWN

33

IT’S HAPPENING

41

VANITY

49

RAVE-WAVE

57

GOLDEN MELANIN

67

WHOSE SECRET

69

DOUBLE VISION

77

THE BURNING DAISIES

87

STARLETS

91

PERSEPHONE

99

PURGATOIRE

111

BODY & SOUL

123

ETHNIC CLEANSE

127

FASHION PREDICTIONS

129

IN TANDEM

ESCAPISM:

LOVE:

To build something

Using art to cope with daily

The antidote for

again after it has

struggles and mundanities

everything. The reason

been damaged

by depicting fantastical

for living and being.

or destroyed.

realities.

RECONNECT:

DISLOCATION:

To re-establish a bond

Inserting objects into

of communication

unfamiliar situations that

or emotion.

contradict what we usually see them as.

INNER CHILD: A semi-independent subpersonality subordinate to the waking conscious mind.

REFLECT:

UNCONSCIOUS MIND:

SUREALITY:

To think deeply or

Explored by Surrealist

Having the qualities

carefully about.

artists to reveal society’s

of surrealism; bizarre,

oppressive norms

fantastic.

and barriers.

GROWTH:

PROJECTION

SPECIAL THANKS:

Undergo natural

An estimate or forecast of

Thank you Flagship

development by

a future situation or trend

Press, for caring deeply

increasing in size and

based on a study of

about out vision and

changing physically;

present ones.

progress to maturity.

always helping us make it into a reality!

INDEX OF INDEX

REBUILD:

1 INDEX

direction

MEERA SINGH

photo & edits

GLORIA CAO

style

SABRINA HARRIS MEERA SINGH

models

DANTE COKINOS SOPH DROSTER EFS 2

shirt PALOMA WOOL scarf VINTAGE scarf VERLOOP KNITS

shirt DIESEL

EFS 6

cardigan HYSTERIC GLAMOUR pants PALOMA WOOL shoes NIKE necklace DIFFERENT BUGS

7 INDEX

shirt TYLER MCGILLIVARY shorts ROCHAMBEAU shoes EYTYS

EFS 8

9 INDEX

Reconnecting with one’s inner child is a form of healing I had never considered to play such an integral role in my personal growth. It can take form in various ways, whether it’s through letter-writing to one’s younger self, meditating, or buying a bag of sour gummy worms.

Play Date is born out of my haphazard journey with caring for the little girl who hid behind her mom whenever introduced to a new prospective friend at circle time; who would lay awake at nap time bed-ridden with anxiety that she wouldn’t be invited to play dress-up; who couldn’t wait to be a grown up whose high heels click-clacked as she roamed the streets of some ambiguous metropolitan city all alone—so much so that her youth flashed before her eyes.

The following photos, doodles, and written introspective accounts from those close to me and those close to the practice all play integral roles in the understanding of inner-child healing and reconnection. I unleashed my inner-child’s creative vision while piecing together this project. I hope you are able to unleash yours as you witness it unravel, too.

direction

J. FAITH MALICDEM

photo & light

CALLIE KENNEDY

editorial

J. FAITH MALICDEM

style

LAUREN DILLOW J. FAITH MALICDEM

makeup

JACOB BLUMENTHAL SOPH DROSTER

scenic

MILA RAE MANCUSO

models

MITHSUCA BERRY CHARLOTTE DRUMMOND

EFS 12

CLINICAL PSYCHOTHERAPIST AND HYPNOTHERAPIST WITH SPECIAL PRACTICE IN INNER-CHILD HEALING

What is inner - child healing?

“As adults, how we feel things, and how we deal with it, is determined by our core beliefs which are formed, believe it or not, usually, by the time we're four years old...But how we deal with our life challenges, our relationships, how we communicate, is determined by these early experiences in childhood… Inner child healing work is going back to childhood to identify those high impact moments in those conditions that set those core beliefs that in turn set patterns of how we think, how we feel, and how we act. And so if, as adults, we're not thinking, feeling, and acting in ways that are healthy and helpful to us, it is very helpful to go back to childhood to reconstruct — to heal those wounds in the past. You've heard the saying, ‘You can't go back to the past and change it.’ Well, I beg to differ. You can. You can go back to your childhood, and you can heal those hurtful, high impact moments and those conditions. That's inner child healing.”

Who can benefit from inner - child healing?

“Inner child healing would be beneficial to everybody because we were all children. And we all had trauma of some sort of childhood.

Childhood is difficult. Life is difficult by nature. And if you think about it for a moment, we were just so young, and so small, and so vulnerable, and impressionable, and if we’re not getting enough attention, for example, or someone raises their voice or is critical, or mom and dad are fighting, or there’s some disharmony going on, a child is traumatized by this. It doesn’t take much [to experience trauma]... Every one of us to some degree or another, has taken on self-defeating patterns of how we think, feel, and act…

So everybody has been a child, and everybody to some degree, has been wounded in childhood. That is life. Life is difficult. So it’s not a matter of who can help. It’s a matter of who is ready.”

cherry picnic handbag ASOS patchwork sweater VINTAGE

13 INDEX

14 INDEX

21, DEAR FRIEND FROM HOME

“The most important thing is to be aware. Ask yourself why patterns occur in your life. Why might you find yourself withholding information to people?

Why are you skeptical? Why might you wear the clothes you wear? And is it for protection? Why can’t you look people in the eye? Because truly, not being healed on an inner-child level brings about those trauma responses. It takes mostly contemplation, I think. A lot of thinking, a lot of sitting with uncomfortable emotions… Probably the most important practice is just looking the ugly in the eye… I find that a lot of people seek asylum in other things, and that’s fine, but you are just postponing the pain for another time— another time you’ll numb your mind with something.. falling into that cycle and never being able to heal. It is easier said than done, but I truly think that coming face-to-face with it will help.

Self awareness [is something that has come of this practice]. Sometimes I’ll notice things about myself and sit and think about why my response is the way it is. It has also invoked conversations with family, I often will ask why they do the things they do. Listen to their stories, and that’ll give me a bigger perspective on their own individual inner child. Truly, everyone has a duty to nurture that inner child the best way they can. Perhaps even realizing that we never really stop being kids, but we gain knowledge, perspective, experience, and definitely grow. To nurture and heal your inner child is the same thing as healing your adult self with that logic. So.. I am constantly healing.”

looney tunes overalls VINTAGE orange knit bucket hat MOONMADE STITCHES

EFS 16

patchwork jacket VINTAGE green blazer ANDREW MARC floral blazer TODD OLDHAM linen dress SAKS FIFTH AVENUE

17 INDEX

SENIOR JOURNALISM STUDENT, ADULT CHILD “Rehashing the past is difficult on its own, and coming to terms with the fact that I can say I am Soleil Easton and I am an Adult Child of Alcoholics is powerful in itself… And so one thing I learned during inner child work is that I really need to take a step back and realize what would the little Soleil want for you?

I feel like [little Soleil’s] impression [of me] would be that, she’s a go getter. She can get through really difficult times. She has gone through one heartbreak so she can go through another heartbreak in terms of the breakup... And that she’s worthy of love and acceptance.”

EFS 18

82, MY LOL A (GRANDMA)

“When I was a teenager, that’s the time that I started growing to

work

up. for

Because not

only

at

an

myself,

early but

age, for

I

needed

[my

family].

[Before reuniting with my family after being raised by my Lola for 18 years] I lived alone, and I experienced that for a month. Because I rented a small apartment just for myself, just to know who I am.

And that gave me a little bit of freedom. During my childhood though, I had so many dreams, but because I am the eldest of nine siblings, I could not [pursue] them... But maybe now if [I were to go back to] my childhood, I would act on those dreams.

What keeps me young are my hobbies. I sing… I don’t feel like the neighborhood can really hear me singing, I don’t care provided I’m happy singing… 20 minutes of singing is good for me. By keeping busy, I am able to possess a youthful energy, and I think that is how I am healing myself.”

velvet overcoats chunky heels

19 INDEX

RALPH LAUREN TIMOTHY HITSMAN

EFS

20

Write it Down

i sit here / a gift within a gift for you / wine inside a kombucha bottle

direction & editorial photo illustration style scenic assist model

MERCER WHITFIELD ERINA MCSWEENEY J. FAITH MALICDEM MERCER WHITFIELD MERCER WHITFIELD KWEZI SHONGWE LEA NEUMANN FRANCISCO GUGLIELMINO KWEZI SHONGWE

EFS

24

25 INDEX

everyday / i wake up with dirt / underneath my fingernails / like i’ve scratched mascara out / from between my eyelashes / i haven’t worn makeup in weeks

i just need some harmony

i’ve become increasingly aware / that i find comfort for sleeping / in the faces of those who have / wronged me / or, those who have simply never / been mine i hate hate hate / the feeling of being stuck / because even when i know i'm / right / i may still be given a hard time

EFS 26

i think you should leave a receipt at the door. i'll refund it. i’ll be stuck, in your throat, like cinnamon.

you stare at me how i stare at someone beautiful patiently waiting for them to notice

memories are weird sometimes i can’t tell which ones i made up or not

i hope one day i will not do the things i love for recognition

EFS

28

water droplets kneading into my neck pearling on my spine my cocoa skin holding each molecule my dark brown curls strangling my fingers that comb through them my eyes shut breathe deeply mouth open what is the depth of a voice that only demands to be heard when no one is listening ? am i talking about me ? love strongly smile silently stand under the running water for an hour

29 INDEX

escapism reflection the duality between the two holding both ends of the spectrum one in each hand

31 INDEX

direction photo art assist style model

EMILY HUGHES LIDA EVERHART FRANCISCO GUGLIELMINO MEERA SINGH EMILY HUGHES FRANCISCO GUGLIELMINO JOSIE ARTHUR

IT’S HAPPENING 33 INDEX

EFS 34

35 INDEX

black dress MM6 trenchcoat LONDON FOG

EFS 36

woven cap ANNA SUI

leather vest BANANA REPUBLIC black shoes LOUBOUTIN

EFS 40

41 INDEX

direction

BRYNN RHODES

editorial

CHLOE SHAAR

photo & light

LILY WALSH

assist

FRANCISCO GUGLIELMINO

style

LAUREN DILLOW BRYNN RHODES

models

CLAIRE ASHBY SUHA CHO

“ THERE ARE TWO WAYS YOU CAN FUCK YOURSELF: NEGATIVELY AND POSITIVELY.”

VANITY EFS

42

mini dress JUMP APPAREL shoes VINCE CAMUTO coat UNREAL FUR black shoes YVES SAINT LAURENT silver shoes FREE PEOPLE EFS

44

red shirt ZARA sunglasses GUCCI earrings THRIFTED

We are beginning to have a relationship with ourselves that needs to be nurtured.

45 INDEX

Whether you’re the friend that only wears mascara, has a full beauty

be doing it — and he will doing it the most. At times he’ll add a pastel

routine, or wears sweatpants daily, there are little things everyone

makeup look to feel sexy, but sometimes dancing in the mirror and daily

does to express their identity. Everyone’s style and beauty choices are

affirmations are all he needs.

unique, but they stem from some form of vanity; it’s ultimately how you’re choosing to present yourself to the world. Beauty standards and

“I feel like the most beautiful people aren’t the ones with a $1000 skincare

traditions have changed throughout 2020. We place a lot of value on

routine, or people that don’t have jobs but go out and get their nails and

how we look and how other people view us — so when we could only

skin done. The most beautiful thing you can do is take care of yourself

see others via social media, a lot of people edited their daily routines

spiritually, emotionally, [and] physically; work out, eat right, and just do

and what they did to feel beautiful.

things that are cute and adorable.”

2020 has been about independence and needing to be in control of

Gabriella Pérez notes that her style is multifaceted, and hard to pinpoint

your self-image while the rest of the world remains uncertain. During

at times and describes it as “versatile, fiery, and angelic.” She usually

quarantine, we had to find new ways to dress up, even if it just meant

keeps Monday through Thursday organized and uses her three-day

wearing a pair of heels while making a grilled cheese. This created a new

weekend to relax. She wakes up around six or seven, works out, and

sense of independence because everyone truly dressed and got made up

gets her homework done. Music is extremely important to Pérez’s daily

for themselves. Students at Emerson College reflect upon their daily

routine: it reaffirms her sense of beauty, especially her “waking up with

routines as they think about how the pandemic altered their self-images.

the hot girls” playlist— which always starts out with “Beautiful Girls” by Sean Kingston. Pérez feels the most powerful when she uses her brown

Jacob Blumenthal’s style in three words would have to be “punk, dreamy,

Maybelline eyeliner pencil, as it “gives off a very ‘Boston Amy Winehouse’

and spiritual.” The pandemic allowed the twenty-year-old college student

vibe.” Positive affirmations like “I am the Divine Feminine in the flesh,”

to explore his spirituality through the Jewish faith, and in turn, helped

make her feel beautiful and increase her self-confidence. The pandemic

him recognize his love for colors and scents which he inevitably wove

made Pérez realize the importance of self-care. She created a new and

into his daily routine in any way possible. A typical day for Blumenthal

improved hair and skin routine that allowed her to feel comfortable and

entails waking up around 5 AM and opening a note on his notes app titled,

confident in whatever space she was in, especially when dealing with

“daily routine.”. From there he observes a morning prayer, drinks a glass

issues like disordered eating.

of mineral water, waters his plants, and heads straight to the gym After returning he cools down with a fifteen-minute yoga session followed by

“You know that Mitski lyric ‘Nobody fucks me like I do’? It’s so true because

a three-minute ice-cold shower to mimic a DIY kriya therapy that resets

there are two ways you can fuck yourself: negatively and positively. If you’re

his nervous system. He then moves on to skincare while playing his hype

constantly telling yourself you’re dumb and whatever it has an effect on

playlist. Swiping over his face with cleansing water, he applies seven layers

your body and how you see yourself. I tried to fuck myself positively and I

of toner using the Korean technique. During his skincare routine, he is

saw huge growth,” said Pérez.

naked from the hips up: his products are applied at the top of his forehead and go down to his nipples.

Vanity is equated to being overly in love with oneself, — but in 2020, all most of us have been able to do is stare at the person in the mirror (or

“I’m not one of those people where I think about what my skin needs, I

camera lens). We are beginning to have a relationship with ourselves that

don’t have time to think about what my skin needs. I want to minimize my

needs to be nurtured. It’s crucial that we remember to check our needs

thinking throughout the day, I have so many different things to focus on,

and make ourselves feel beautiful and loved — however that may look. X

I can’t add one more thing,” said Blumenthal ironically. The COVID-19 pandemic added an element of spirituality to his extensive skincare routine. Blumenthal laments that if there is a new trend in sight, he will EFS

46

tights GUCCI shoes MICHAEL KORS jewelry THRIFTED

47 INDEX

EFS

48

RAVE WAVE

FASHION, NIGHTLIFE, FREEDOM: WHAT WERE THE CLUB KIDS? direction

editorial photo & light style models

49 INDEX

LAUREN DILLOW WILL PERCARPIO WILL PERCARPIO FRANCISCO GUGLIELMINO LAUREN DILLOW JACOB BLUMENTHAL ELOISA DE FARIAS JACOB BLUMENTHAL

graphic dress MOSCHINO crochet shrug ISSEY MIYAKE fur cardigan ONE STEP UP

WITH IRONCLAD H A R N E S S E S AND WHIPS AS ATHESE C C EGATEKEEPERS SSORIES, BECAME NYC ROYALTY OVERNIGHT.

direction

MEERA SINGH

photo & edits

GLORIA CAO

style

SABRINA HARRIS MEERA SINGH

models

DANTE COKINOS SOPH DROSTER

EFS

50

NEW YORK IS AN ARENA FOR FASHION, CULTURE, AND ABOVE ALL ELSE, PARTYING. The city that never sleeps; where cars blaze down the streets at 4AM, taxis swerving in and out of traffic to pick up their next customer. Deep into the party scene are a different breed of young new yorkers. Sometimes they come with a painted face, fitted head to toe in what seems like a Halloween costume, their clothes not giving away any idea of who they are. Deemed the Club Kids, this cult of fashion and queer liberation became the missing subculture New York needed. Nights where people would stumble from one club to the next, alcohol pouring off them and bags of ecstasy falling out of pockets — all the ingredients needed to escape from reality. But not everyone could keep up with the outrageous party scene; the Club Kids dominated, reigning supreme on the streets of Manhattan.

With ironclad harnesses and whips as accessories, these gatekeepers became NYC royalty overnight. Their kingdom was a wasteland of drugs, dancing, and fashion: the three staples in Club Kid culture. This subculture took off after an era where clubs had faltered due to the AIDS epidemic. Where was there to go from here, with burgeoning starlets trying to make a name for themselves, performing like RuPaul or even Amanda Lepore? Rather, Club Kids was about the clubs themselves, and how they dominated appearance. Club culture influenced gender expression and gave rise to the queer community long forgotten after the Stonewall Riots and criticized for the spread of AIDS. However niche, the Club Kids of the 90s found a home in pop culture and inspired fashion beyond its time.

In a time where the world relentlessly policed queer identities, how was the queer community supposed to express itself? Against all odds, this group of people with similar backgrounds and ideologies found a home within themselves and the club scene. Each member of this cultish group needed to find fame— to find people like them. When looking back on interviews with the Club Kids, it was disturbingly common for sweater OFF-WHITE

interviewers to ask queerphobic questions. The Club Kids always reacted

the same way: “because we’re happy. Happy to be ourselves,” answered

glossy and polished conservative cog, with money and conformity at the

numerous members, including Mykal Tron, James St. James, and even

center. Suits danced through cities—not fishnets, exaggerated outfits, and

Michael Alig. They were outrageous, and many people came to love it.

custom-made headpieces that remind you of ancient Egyptian lore.

They loved the idea that a group of people could express themselves so freely. Others looked at them as a traveling circus, with New York as the

In 1993, The Joan Rivers Show aired an episode where fashion was

stage. The Club Kids were the embodiment of queer acceptance. People

supreme. Capping off the show with a runway, the Club Kids flaunted

talked about them: a group that seemed so liberated from the rest of the

their best looks. This time, their appearance on TV was highlighted by

world.

their nod at the fashion summit, which focused on experimental fashion.

Clothes that never hit the runway, a counterculture for fashion. The

The Club Kids craved the idea of freedom. One that resented the

show focused on clothes by famous Club Kids, such as Kita, a New York

proverbial ordinary world and its ways of life, replete with conformist

custom designer who never wore the same outfit twice: he wore a tunic

views. They possessed a non-conforming ideology: they portrayed a

style gown with gold trim, balloon style sleeves, a massive gold chest

fantasy, externalizing pent-up self-expression.

The Club Kids made

piece that curved at the shoulders— reminiscent of Greco-Roman soldier

two appearances at The Geraldo Show, a daytime talk show hosted

attire — gold headpiece that matched the shoulder/chest plate, and to top

by Geraldo Rivera from 1987 to1998. One was in 1990 and the other in

it off, a gold staff. Next, Amanda Lepore, one of the only trans women

1992, at the height of their popularity. There they defended themselves

to belong in the Club Kids upper tier. She wore a simple black bodysuit

from conservative audience members and the titular talk show host. His

with fishnets, her neck encrusted with jewels, shimmery bangles adorning

comments fueled what could have been a TV nightmare, poking fun at

each wrist, and a hairstyle that seemed to emulate a Dr. Seuss “Whoville”

the idea of living the way these Club Kids do — why they aren’t following

character. Her head was topped with jewel-like beads lacing the outside

the idyllic American dream, asking about their life and how they can have

of her hair, each strand in a circular pattern. The final legend to hit the

a career. He even points to some of the Club Kids’ family members in the

Joan Rivers runway was Waltpaper, otherwise known as Walt Cassidy,

crowd, interrogating them about why they support their child’s lifestyle.

a top-notch drag performer at the time. Dressed in a white latex trench

These TV show brawls didn’t end with The Geraldo Show, with Club

coat vest, with flared-out sleeves, coupled with white latex pants and hair

Kid members, such as Michael Alig and Amanda Lepore also appearing

bigger than a mountain, his face coated white in makeup. They enjoyed

on the Joan Rivers Show or the Phil Donahue Show. They dominated the

their fantasies; fashion was their outlet to be someone else or the person

screen. Their painted faces are plastered on your TV, kids trying to defend

buried deep inside.

their choices and freedoms. Joan Rivers herself questioned them on her show:“what is a Club Kid?” said Rivers. Richie Rich responded by saying,

This freedom from the binaries of fashion was what made the Club Kids a

“A Club Kid is all about being free with yourself and expressing yourself.

monument in pop culture and the world of fashion. We must acknowledge

The clubs are an outlet.”

the people who started the trends we know and love today; the pioneers who used drag performance art to express themselves and find a career.

“Who lets you go out dressed that way?” This question was parroted by

Those who molded clothes to fit their genderfluid lifestyle. This band

every talk show host, and yet the repetitiveness never ended the hurt.

of misfits in the dredges of society who crafted art through clothing and

Fashion was the reason for the Club Kids stardom, and one of the

otherworldly personalities. Night in and night out, Club Kids would be

main talking points during each TV appearance. Rolling on stockings,

on the front of newspapers, faces covered in makeup and figures clad in

pushing your stomach in so the red latex pants fit, or sliding on yellow

their black mesh tops and black fur coats, paired with black latex shorts

silk dresses, feathers garnishing the garment’s bottom and the sleeves

and fishnets that led down to chunky shoes. There was an artistry to

like Leigh Bowery, he finished that look off with his face painted white,

looking different, finding who you were that night.

black blocked eyebrows and belt tied around his head, lightbulbs nestled through loops made from the belt on the side of his face. He created a

I would be remiss not to point out the pitfalls of the Club Kids. This

character. They all did. To become a persona where someone couldn’t

hedonistic group led by Michael Alig promoted this venture to fame at

hurt you. Yet the media did; society did; the world wasn’t ready. They still

any cost. Hiring Amanda Lepore in 1992 to work at a club, the young

aren’t. America looked at the Club Kids with disbelief and fascination.

starlet found a home: a family of people who could barely recognize each

They were embracing the unusual antics of a world that didn’t fit into the

other through their drug hazed eyes. Through these fantasies, drugs could EFS

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Fashion, liberation, and queer idealism embodied a Club Kid.

tube top MY MUM MADE IT sunglasses YVES SAINT LAURENT tank top MARC JACOBS silver pants I.AM.GIA black boots DEMONIA

have influenced fashion, a place where they found versions or characters of themselves that they wanted to externalize. Although it was never said, what else could be the reason for the blue skin trend among the members of this scene? This party scene wasn’t eternal; external forces dragged these self-liberated artists back down from their highs to a reality colder than snowy New York night. Maybe that was the downfall to a defining sect: the jump from ecstasy to heroin. Hard drugs became the new high, and Michael Alig led the charge. Of course, everyone followed suit. Eventually, Club Kids began to dissolve, starting with growing tensions between Alig and his roommate Angel Melendez, an up-and-coming performer in the club scene. Soon enough, Melendez was murdered in 1996 by Alig: the once great ring leader to one of the most infamous cultures in America — turned convicted felon. We still feel the impact of the Club Kids’ demise. This community fell like all great empires do; this queer-drenched liberation movement collapsed under the pressure of stardom. Of having to outdo themselves every night.

Queer: a term that defines more than what we thought the Club Kids to be — strange people roaming the streets in clothes made for a counterculture runway, or men and women defying gender lines. In response to Joan Rivers, Richie Rich said that “It’s all a blur, and we don’t care.” So why should anyone else? Fashion, liberation, and queer idealism embodied a Club Kid. But it was much, much more. A lasting impact that spanned generations, the Club Kids’ reign wasn’t just a drug-soaked party scene with murder capping of this era-defining moment. It was queer; a movement that protested a world that said they shouldn’t exist.

Today, countless queer people struggle to have any parental support, are forced to flee their abusive homes, and develop mental health issues from their trauma. It’s imperative that queer people have a solid foundation of support. Maybe that’s what the Club Kids gave us — the inspiration to be trailblazers in a battle for freedom. Harry Styles himself has offered a famous nod to Club Kid fashion: even if he’s not clad in a self-made latex garment or bold makeup looks, his genderless fashion statements continue to wow, but what about those that came before him, like James St. James or even Kita. Club Kids gave us a show, and we left the theater at intermission, canceling the performance in the 90s. The only remnants were memories of a time when fantasy was alive, and dreams of stardom were the straw everyone held onto.. Maybe they were messy, but the Club Kids had happiness. They had their dream. They had everybody talking.

We’re still talking. X

GOLDEN MELANIN

direction

TAYLA DIXON

photo & light

JACOB WARMAN

models

SELMA SAMBA SERGE GANTHEIR

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I am dripping melanin and honey.

I am black without apology.

- Upile Chisala

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WHOSE SECRET? The new wave of lingerie brands now exist as an answer to everything Victoria’s Secret was not: inclusive, affordable, and universally empowering.

Victoria’s reign is long over, and her secrets are no longer tempting. She’s now a fallen angel, watching her heaven be inhabited by new ones (named Kim and Riri). She once ruled with the promise to provide glamour and the ever-enticing validation of the male gaze; but it no longer inspires the new generation of customers who would rather be their own fantasy.

Victoria’s Secret was founded as an answer to a hole in the market in 1977 by Roy Raymond in Palo Alto, California. Raymond aimed to make lingerie as accessible as functional underwear brands like Fruit of the Loom, Hanes and Jockey, since lacy thongs and quality bras were only available at specialty stores. Using Queen Victoria’s period as a branding theme, the company boasted tasteful sexiness combined with the snob appeal of European luxury. They even went as far as using a fake London address on their catalogs (their real headquarters was in Ohio), and their retail stores mimicked 19th century aesthetics, replicating an English boudoir. By 1986, Victoria’s Secret was the only national lingerie chain. Soon enough, when the company expanded into shopping malls across the country, it saw sales of $1 billion by the beginning of the 1990s, becoming the largest lingerie retailer in America.

The next decade introduced garments that would become iconic to the brand such as the miracle bra in 1994, which would evolve into the famous Fantasy Bra; and in 2002, the loungewear line PINK launched as an appeal to teenagers. By 2006, one out of three bra and underwear purchases came from VS. In 2008, the brand’s retail locations went international, cementing it as the source for women’s unmentionables.

editorial

OLIVIA CIGLIANO

The secret was the goodies they had on underneath — and everyone wanted to be a part of it.

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Women exclusively purchased from Victoria’s Secret for years — there

Rihanna told Vogue, “I want people to wear Savage X Fenty and think, I’m

was no one like them. They were the first to make everyday underwear

a bad bitch. I want women to own their beauty.”

fun, designing bras in vivid colors and prints and allowing women to accessorize their sexuality casually. A shopping trip at VS felt like a treat,

In the Fall of 2018, Kim Kardashian-West launched Skims, an underwear

which was of course reflected in the price tag as well. The store empowered

brand focused on shapewear, or as she terms it, “Solutionwear.” The

its customers by calling them to be just as sexy as the impossibly skinny,

brand initially found itself in international controversy for trademarking

Eurocentric Angels that modeled the lingerie; to take a part in the fantasy

its original name “Kimino.” This prompted a response from the mayor

they inspired. The company’s rise to popularity in the ‘90s also reflected

of Kyoto himself, Kadokawa Daisaku, calling Kardashian-West out for

a cultural shift of sexual awakening among women who were not only

cultural appropriation (a consistent basis of her family’s brands at this

career-focused and economically empowered, but also cared to feel sexy

point). She promptly changed the name to SKIMS, replacing millions

underneath their pantsuits. And with the Victoria’s Secret Fashion Show

of tags off inventory that was set to launch, apologized, and tweeted, “I

debuting in ‘95 — a spectacle for women to compare themselves to and

love the idea that the pieces will be the closest thing to someone’s skin,

men to indulge in alike — along with the celebrity power of top models in

skimming with amazingly soft and supportive fabrics which accentuate

million dollar Fantasy Bras, the lingerie company became a phenomenon

the best parts of our bodies.”

and staple of popular culture.

Skims’ first campaign featured a diverse cast sporting the Sculpting It’s no secret, however, that the company perpetuated exclusion and elitism

Bodysuit, including sixty-something-year-old and formerly incarcerated

throughout its run. This attitude ended up being the nail in their coffin in

Alice Marie Johnson, along with 26 other women of all ages, races, and

2018 when Chief Marketing Officer Ed Razek, in interview with Vogue,

shapes, gushing about how confident they feel in their own bodies. Her

decided transgender and plus-sized women couldn’t convey a fantasy for

inventory sold out in minutes, raking in $2 million in profits and snatching

women accross the world. But what Razek and Victoria’s Secret failed

the market by the waist with her control-top thongs, bike shorts, sculpting

to realize is— by the late 2010s, another cultural shift was taking place.

bralettes, and sheer slips.

This time women wanted to celebrate themselves for who they were regardless of someone else’s standards, cared to shop ethically, and came

While Rihanna leans into the sexy potential of supportive and comfortable

to understand that Victoria’s Secret was not, in fact, in the business of

undergarments, Kardashian-West puts function first, rethinking the role

empowering women. Less than a year later, fresh off the launch of Savage

of Spanx to be chic and even wearable in an outfit by itself. When she first

X Fenty, Rihanna opened up to the same publication about her weight

started Skims, she spoke of dyeing her own shapewear with tea in the

fluctuation, declaring “I’m not built like a Victoria’s Secret girl, and I still

past because she couldn’t find a nude shade that matched her own. Ergo

feel very beautiful and confident in my lingerie.”

providing a range of fabric shades was a priority for the brand. This is why these brands are surpassing Victoria’s Secret’s legacy. They are focused on

The new wave of lingerie brands now exist as an answer to everything

their consumers: real women who know what good product is, and when

Victoria’s Secret was not: inclusive, affordable, and universally

it’s specifically made to be accessible for their fluctuating bodies and styling

empowering. Rihanna launched Savage X Fenty in May of 2018 and

needs. Besides, who’s more versed in the topic than the most prominent sex

was vocal about holding space for all shapes, sizes, races, or genders in

symbols and fashion icons of our generation? It just makes sense. X

her brand. Her execution of these promises was seamless. She featured pregnant models in lace garters, small, medium, and large bodies, and top models alongside normal girls, effectively demonstrating that her product is for everyone. “Women should be wearing lingerie for their damn selves,” EFS

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DOUBLE VISION

NOISIV ELBUOD

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direction & photo

SIERRA ASHLEY

style

SIERRA ASHLEY

layout

SIERRA ASHLEY

model

MAKIAH BRUMBAUGH

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jean jacket URBAN OUTFITTERS light wash jeans PAIGE flower headscarf MADEWELL

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white satin button up ZARA flowy blue culottes ZARA pearl headband ASTR accessories EVRY JEWELS

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patterned dress FLYING TOMATO clay slouch boots 1 STATE tassel earrings MADEWELL gold rings EVRY JEWELS

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LY EK P! W E S SI GO

VOLUME X ISSUE I: B

OYBANDZ

AN INDEX MAGAZINE G EXCLUSIVE E N H I INTERVIEW WITH TBURNIES

S I A D

pg12

S WHO’ WHO?

ou? be y

ri desc

s word l king ful ree o h o t ught Hard Wor c o t h , a T y h Q: W azy, sex sh, and ether, g i l r A: C ofy, Imp , Put To e, chil v t o i n B: G depende ompetit c n C: I tgoing, u O D:

direction photo style model

TAYLA DIXON JALISSA EVORA MAGENTA THOMAS SERGE GANTHIER DEVIN SAWYER JONATHAN LOPEZ BEK FURKHATI

FIND OUT WHICH MEMBER IS YOUR SOULMATE!

see wh at the burning d isies do wha ile tour! pog1n2

S I R E B M E WHICH M R SOUL-MATE? U O Y

what do you do in your spare time?

ur dream where is yo ? vacation

A. Write music, hang with friends, work out B. Skate, Swim, Excercise, Read, Jiu Jitsu

A. Hawaii in Senegal B. Sunsets C. Europe rrier Reef D. Great Ba

C. Shopping D. Video games, play ball, work out

what genre of music do you listen to?

A. R&B, alternative, pop, hip-hop B. Neo Soul C. Indie, Pop, Rap, R&B D. Rap and R&B

what’s the best song from 2020?

favorite food?

A. Hit different / good days - SZA B. She Think- Buddy & Kent Jamz

A. My mom's cooking B. Seafood, by far

C. Too Hard To Answer

C. Pepperoni Pizza D. Barbecue chicken wings

D. Lion King on Ice

by J. Cole

you uld pet? o w a al anim ave as t a h h w to like ey monk oon A c .

A rac B. A puppy h a C. A cheet D. A

how wo ul descri d your frien be you ds ?

A. A h elpin a stro g hand, ng sup port, good l o ver B. Ins tigat listen ing, a good er friend , the 'Dad' , ver C. Har d Head y social ed, Funny D. Con , Loyal fident and ou tgoing

favorite fast food restaurant?

A. Shake Shack B. Sonic (for the slushies by far C. Chick-fil-A D. It’s gotta be popeyes

s! now add up all your letter A’s - your match If you responded with more B’s - your match e mor h wit ded pon If you res C’s - your match If you responded with more D’s - your match e mor If you responded with

is Serge! is Devin! is Jonathan! is Bek!

sing, un, ri s r u o s y what i n? on sig o m and er , Canc rn Sun sing o c i r p i R A. Ca Gemini ies r Moon, A , n u ni S i m Moon e G o g B. Vir , g arius n i s Ri Sagitt , n u S es oon C. Ari g, Libra M us r u Risin a T un, S n s e i es moo D. Ar , Pisc rising 78 INDEX

!

K E B

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!

E G SER

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DEVIN!

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!

N A H T A JON

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STARLETS!

STARLET

By Rory Willard

editorial

RORY WILLARD

art

JACOB BLUMENTHAL

THE BOOM OF NEO-Y2K FASHION HAS RE-IGNITED A That same question stuck with me for years beyond my childhood. In retrosp however, it’s evident nobody was doing that in real life. These TV shows crea SLEW OFthatFASHION DISCOURSE field of impossibility and fantasy that extends beyond the narrative level, manifesti IN COUNTLESS CIRCLES, odd and arguably damaging ways. One would think that the immediate goal of ki TREND RECYCLING, TVBRINGING is to present stories and situations that audiences could relate to, emphasizing universality of whichever themes theAND respective show explores. In a way, this disso FORECASTING, CRITICISM fashion violates that objective — especially for the girls and young women in those THE FOREFRONT OFreal-life POP So, TO if Disney and Nick weren’t trying to emulate inspired trends à la Limi Too/Wet Seal/Delia’s/etc., what wasMORE. the ethos behind their costuming? And con CULTURE ONCE did these bizarre fashions become the status quo among network tween TV prog Thanks to social media, the discussion of these new trends has gained

relevanceboth in much larger, more — albeit The costume styles among networks areunexpected virtuallyaudiences the same, butmostly ultimately it critics and trolls. Such opposition is to be expected, considering that the who set the precedent. Essentially, since the initial establishment of Disney in the majority of the 2000s-era’s experimental fashion fads became subject to century, their core motive has been endorse values. harsh scrutiny sinceto their extinction.family There are memes,Nickelodeon tweets, YouTube leans sl towards catering to the children (i.e. “being a kid in antheadult world”) butofstill follow videos, and so on critiquing and/or mocking hallmark components neo-Y2K: velour garments, chain belts, animal print, Barbie/Bratz dollstriving for the approval of parents.

Taking into consideration the promiscuity of 2 type getups, gaudy patterns, low-rise denim, and so on. Tacky as they may mainstream fashion, Disney made it a priority to take an opposite, more modest a be, this sudden saturation of trends undeniably stems from our desperate interpreting fashion trends.

Back in the day, LA Times actually conducted an ana need for nostalgia in an increasingly perilous world.

Miley Cyrus as a young fashion icon that still rings true today. The starlet was an This theory is nothing new.

It’s fair to sayand that decidedly most neo-Y2Kdemure” enthusiasts (Ryder 2 representative of Disney’s “Clean-cut, wholesome are aware of this motivator. This widespread desire for comfort leads presentation of characters who were girls. “Look at the ultra-Disneyfied costumes trend followers deeper into the Y2K “rabbit hole,” salvaging even the month’s “Hannah Montana” movie and you’ll latest of the acceler most reviled novelties of the earlysee 21st the century.

The reflection infamous influencer Olivia Jade,tween for instance, recently (Ryder posted a picture on Instagram sporting toward more parent-friendly fashions” 2009).

Along with a dress co a 2000s-esque “waist necklace.”Not a practical choice, but it catches banned too-tight materials, showing skin, spaghetti straps, and so on, Disney Cha attention almost instantly. costume designers invented their own form of eye-catching fashion through layeri upcycling clothing with bold colors & patterns. While still honoring the family-fri rule, the eclectic nature of these kids/tweens TV styles still kept them away from t drab image of “modesty.” Disney aimed to encourage young fashionistas to pursue modes of self-expression in clothing, proposing it as a means to discover their inne — and for tweens specifically, potentially combat any burgeoning body-image issu

There is another side to Y2K that has yet to be reclaimed. A realm beyond

potentially conquer any burgeoning body-image issues.

Britney, Paris, Beyoncé, and so on; a realm of fashion that was hardly accessible even in its heyday. As these fashion archaeologists continue

The cast of Wizards of Waverly Place did a special “Behind-the-Seams”

bringing life to increasingly bizarre looks, it’s only a matter of time until

promotion shortly after the show first aired, giving a glimpse into the

they breach the most anomalous, elite domain of Y2K fashion: Disney

massive wardrobe on set as well as a mini-interview with costume

Channel and Nickelodeon wardrobe styles. There’s nothing quite like the

designer Julie Rhine. Separate racks were packed with vividly colored

tween TV fashion of the 2000s, what with its unconventional methods

and carefully curated garments and sectioned off according to character.

of layering and accessorizing to a rather copious degree. I remember

Rhine designated a multitude of peace signs for protagonist Alex Russo,

sitting at my TV and flipping back and forth between Disney and Nick on

crediting them as a symbol of her laid back, go-with-the-flow identity.

weekend afternoons, mesmerized by Miley Stewart/Hannah Montana’s

Crew members and fans alike actually picked up on this, informally

flamboyant ensembles on Hannah Montana; by Carly Shay’s luxurious

creating their own “Where’s Waldo” game with the peace signs. We see

closet on iCarly; by London Tipton’s flashy, high-end looks on The Suite

a similar theme appear in Nickelodeon’s iCarly with Sam Puckett, who

Life of Zack and Cody, among countless other icons. I both revered and

despite being less high-fashion than her Disney counterparts, is costumed

envied these characters. Why can’t I dress like that?

in ways that make her lifestyle and personality clear to audiences. Kris Dangl, the costume designer behind all Dan Schneider productions,

I was stuck with this question for years. In retrospect, it’s clear that no one

revealed in a 2010 press release her intentions to convey Sam’s on-the-go

dressed like that. These TV shows created a force field of impossibility

M.O: practical clothing — namely, her trademark cargo pants. Dangl

and fantasy that extended beyond the narrative plane, manifesting in rather

borrows from elements of Disney’s hyper-feminine standards for Sam,

odd and arguably damaging ways. One would think that the immediate

but doesn’t shy away from androgyny.

goal of tween TV is to present stories and situations that audiences could relate to, emphasizing the universality of whichever themes the

Another Disney “Behind-the-Seams” special featured the wardrobe of

respective show explores. In a way, this dissonance of fashion violates that

Shake it Up, a slightly less Y2K-oriented but equally fashion-centric

objective — especially for the girls and young women in those audiences.

Disney show. Costume designer Jessica Replansky elaborated more

So, if Disney and Nick weren’t trying to emulate real-life inspired trends

on the practice of upcycling on Disney shows, explaining it as a means

à la Limited Too/Wet Seal/Delia’s/etc., what was the ethos behind their

to “heighten” the notion of character self-expression and individuality.

costuming? And conversely, how did these bizarre fashions become the

Playing these up through prolific layering and accessorizing has proved to

status quo among network tween TV programs?

be a captivating trademark for both Disney and Nickelodeon TV shows.

At the same time, the trope seems to ignore an underlying moral gray-area.

The costume styles among both networks are virtually the same, but it was

What are the drawbacks of cultivating something so far-out?

Disney who set the precedent. Essentially, since the initial establishment of Disney in the 20th century, their core motive has been to endorse family

As with most Disney and Nick shows, fashion itself is a character. It’s an

values. Nickelodeon leans slightly more towards catering to the children

integral part of the viewing experience, not to mention a monument of

(i.e. “being a kid in an adult world”) but still follows Disney in striving

the Y2K aesthetic. But with such specific layering methods, individual

for the approval of parents. Taking into consideration the promiscuity

pieces, character color palettes, and whatnot, there are few ways to

of 2000s mainstream fashion, Disney made it a priority to take an

truly pay tribute to the spirit of tweens’ network TV circa 2000. Disney

oppositional, more modest response to fashion trends. Back in the day,

has gained profit off of this dilemma on multiple occasions, releasing

LA Times actually conducted an analysis of Miley Cyrus as a young

show-specific clothing such as Hannah Montana costumes and frilly

fashion icon that still rings true today. The starlet represented Disney’s

CeCe/Rocky-inspired outfits from Shake it Up; but no amount of

“Clean-cut, wholesome and decidedly demure” (Ryder 2009) image for

merchandise can capture the shows’ true essences. Thus, the issue at

girls. “Look at the ultra-Disneyfied costumes in this month’s “Hannah

hand persists — it remains unclear as to whether or not early Disney/

Montana” movie and you’ll see the latest reflection of the accelerating

Nick fashion will become a part of our own reality. We’re getting closer

shift toward more parent-friendly tween fashions” (Ryder 2009). Along

and closer to the unique TV gaudiness as each bizarre Y2K artifact

with forbidding too-tight materials, showing skin, spaghetti straps, and

translates from social media trends into real life, but it feels as though

the likes, Disney Channel’s costume designers invented their own form of

the respective networks have an unspoken proprietorship of their

eye-catching fashion through layering and/or upcycling clothing with bold

fashion. On top of that, these beloved characters’ styles are among the

colors & patterns. While still honoring the family-friendliness rule, the

tackiest out there. And yet, a deep part of me yearns to revive this lost

eclectic nature of these tween TV styles kept them away from the typically

part of my childhood, achieving the (somewhat arbitrary) goal I never

drab image of “modesty.” Disney aimed to encourage young fashionistas

could: being a real-life tween TV fashion icon. X

to pursue alternative modes of self-expression in clothing, proposing it as a means to discover their inner creativity — and for tweens specifically,

90 INDEX

PERSEPHONE

director

BEATRIZ LEITE

photo

FERNANDO BARONE

style

BEATRIZ LEITE

layout

SOPH DROSTER

models

GUIILHERMINA SAMPAIO RACHEL ASENCIO BEATRIZ LEITE

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When Persephone left the earth, the flowers withered and the grain died, but when she returned, life blossomed anew.

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purgatoire!

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direction

JANE MORITZ

photo

MAXIMILIEN COLLINS

manage

FRANCISCO GUGLIELMINO

scenic

RILEY JENSEN

style

JANE MORITZ BRYNN RHODES RILEY JENSEN ISABELLA KULUKUNDIS

models

J. FAITH MALICDEM DANI JEAN-BAPTISTE BREAKFAST THE CAT

black dress FREE PEOPLE white blazer VINTAGE suit pants ROSEMILK

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leather jacket VINTAGE lemon necklace PURA UTZ white dress UNIK black boots SHOP-PÊCHE pointed black boots VINTAGE

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BODY &

direction & photo

FRANCISCO GUGLIELMINO

light

DAVIN ROBERTS

style

FRANCISCO GUGLIELMINO SABRINA HARRIS

layout

FRANCISCO GUGLIELMINO

model

ANNA CAPPELLO EFS 112

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top NATHY tights CARL MARX x MAISON SOKSI

leather jacket MAISON KIMHEKIM scarf VERSACE

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ETHNIC CLEANSE WHILE WE TALK ABOUT INDIA AND THE WEST, WE NEED TO LOOK AT HOW INDIA PARTAKES IN THE WESTERN FASHION INDUSTRY. editorial

RIDDHIMA DAVE

art

JACOB BLUMENTHAL

Indian fashion is a complicated topic to explore, considering the textile industry has been around since the ancient ages.

Growing up in Mumbai, I always had two distinct ideas of what fashion was: Indian and Western. India, unlike many post-colonial societies, retained essential parts of our culture— even as we remained under British rule for 200 years. A large part of this culture is textile. We still looked at everything Western as something more modern and urban and traditional clothing to me was synonymous with ethnic clothing. I’ve come a long way since, identifying the power of Indian fashion and the culture it echoes.

The growing contemporary fashion industry in India may not be as internationally important as Milan, Paris, New York, London, and Tokyo, but Indian fashion culture is a rapidly emerging phenomenon.

Indian fashion is a complicated topic to explore, considering the textile industry has been around since the ancient ages. Much of the early periods focused on cloth, with cotton being the kingpin of all fabrics. Unstitched clothing was the norm with saris and dhotis draping women and men respectively; gold and silver jewelry was also adorned fondly worn by all.

The first evidence of stitched clothing can be seen within the Mauryan Empire in North India. It gained popularity during the Gupta period, where stitched garments were a symbol of class and royalty. Antariasa shortskirt like piece popped up in the clothing for women, and men were featured wearing stitched tunics. Additionally, North India was subject to Islamic rulers and Middle-Eastern influences which led to the introduction of pieces like the now popular salwar-kameez. The Mughals translated Persian influences and popularized the Anarkali dress, named after a fictional Mughal courtesan from the 1500s. They also featured styles like ghararas, churidars, and farshis.

India’s fashion culture was almost entirely associated with Bollywood from the 1950s to the 1970s. A standalone fashion industry started taking shape in the 1980s with designers like Satya Paul, famous for eye-catching saris.

The movement eventually became fully cemented when Rohit Khosla, often regarded as the pioneer of the contemporary Indian Fashion Industry, started Ensemble in 1987. The popular label featured designers like Tarun Tahliani and duo Abu Jaani- Sandeep Khosla, whose individuals labels remain successful to this day. The Ministry of Textiles also opened the first National Institute of Fashion Technology in Delhi in 1986; since then, the continuously expanding industry has started capturing global attention.

Designer Manish Arora, for instance, has been showing at Paris Fashion Week since 2007, while also developing over 60 collaborations with highprofile international houses like Swarovski and MAC. Arora is popular among fashion aficionados for his combination styles that feature ethnic roots that have a global appeal. His palette is very much Indian — colorful, bright, and dramatic. The silhouettes lean towards western fashion, but not always: many of his Fall 2016 designs looked like mini-ghagras.

Another big Indian name in the global fashion industry is Sabyasachi Mukherjee. His brand, Sabyasachi, is one of the most celebrated Indian labels today. From his collaborations with Bergdorf Goodman and Christian Louboutin to his critically acclaimed shows in New York, Mukherjee has brought Indian fashion to an international scale but in a way, Arora didn’t. While deeply rooted in Indian culture, Arora’s clothes have a global element. Sabyasachi produces indo-western and western clothing, but his Indian designs are expressly dominant. A look at his Instagram page proves this as you see an abundance of beautiful Indian clothing displayed in breathtaking locations. His elegant statement jewelry pieces are also resplendent with a distinct Indianness. Even in his Western designs, Sabyasachi maintains the desi touch. The Calcutta-born designer has worked hard at bringing an Eastern-Western fusion with his high-profile collaborations with Louboutin and H&M and holds his Bengali culture and traditions steadfast in his work.

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The West’s relationship with India and fashion is complex. It is important to see India as a fashion hub; to appreciate and honor the work of the many artists who contribute to pieces here and to view Indian fashion in its beauty and glory, as an art form that has evolved over thousands of years.

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Boston-based entrepreneur Komal Parakh started Adalia with similar ideas.

She built a clothing brand using textile waste from Indian manufacturers.

Parakh’s parent company, Upcycling Corps was her foray in the sustainable fashion movement. With Adalia, however, she could display her Indian culture while promoting eco-consciousness. By reworking discarded textiles, she is directly looking at the textile waste problem. Her sustainable clothes promise to have a multipurpose aspect: they can be worn in various ways. Finally, Parakh seeks to bring India’s rich artistry to Boston through her clothes.

“There are a lot of Indian designers and Indian names in the international market but to start out as a small brand making its first steps in the international market is different. I’ve been trying to [use] this as a platform to inform audiences about Indian culture and what it truly is,” said Parakh.

Indian fashion is about much more than finished garments. There is a rich history in each aspect of the pieces: the textiles, embroidery, patterns, jewelry design, and more. Indian influences in the West have been around for a long time and seem to pop up everywhere. The riding jodhpurs and cummerbands, for instance, that you may think came from Britain are in fact from India. Indigo prints, which had their moment in the sun in the late 2000s, were also taken from traditional Indian tie-dye patterns. Not to mention, virtually every embroidered pattern used by any designer likely shares direct ties to Indian artisans.

An important example of our influence was demonstrated by the 2012 Chanel Paris Bombay Collection. The show headed by Karl Lagerfeld, who had never been to India, intended to pay tribute to India — but his designs were trapped within a Western framework, creating an exoticized display of Indian culture.

“The Paris to Bombay collection—it is like cultural appropriation. They take those lavish embellishments that are a stereotypical view of India and put them in their show,” said Yamini Jayaswal, a fashion design student at the National Institute of Fashion Technology in Mumbai.

Similar themes were displayed in the 2010 Louis Vuitton Diwali Collection, 2014 Vera Wang Out of India Collection, and Dior’s Resort 2008, to name a few. While it is nice to see our culture reaching globally, their projects lacked the necessary cultural context. I like Eastern-Western designs, but they only work when designers amalgamate cultures and infuse creativity in them — this is what Manish Arora does. Western designers continually exoticize the culture, violating their empty promises to pay homage to it. Indian designers who represent India in their designs are inspired by a genuine desire to portray their home. I am not against Westerners taking inspiration from my homeland; intermixing cultural elements has the potential to make beautiful art. I’m against cultural gatekeeping that disallows foreigners to participate in our culture, but it becomes problematic when Indian fashion is reduced to an “inspiration” and erased of its unique and meaningful standalone identity. “Indian-inspired” fashion cannot be our only representation in the global fashion industry.

Parakh incorporates Western silhouettes in her clothing brand, but the garments are deeply rooted in Indian culture. The clothes seek to display the beautiful textiles from her homeland as well as the work of local artisans.

She agrees, however, that Indian clothes as they are should also be featured in Western markets.

“We always tend to have Indo-Western styles to appeal to western audiences but it is important to present our heritage as it. I feel that appreciation is

there among people if you only present it to them,” said Parakh.

Things have started to shift in terms of cultural representation. Among US-based designers, Prabal Gurung is a powerhouse. The Nepali native is taking his South Asian heritage to amazing heights. Bibhu Mohapatra is also a prominent Indian name in the US and often infuses his Bengali heritage in collections. He frequently has sold-out shows in New York Fashion Week, as well as a store on Fifth Avenue in New York. There is also growing international patronage for Sabyasachi, Manish Malhotra, and Tarun Tahliani.

Western designers are changing their ways too. Speaking about a recent Dior collection that featured a native print known as Ikat, Jayaswal said, “It is not being exotic but showing different traditional aspects of what we have. The stereotypical image is changing a little.”

Jayaswal had a study abroad experience at the Fashion Institute of Technology in New York, where she noticed that professors and colleagues frequently expressed a genuine interest in Indian motifs and patterns.

While we talk about India and the West, we need to look at how India partakes in the Western fashion industry. India is one of the largest exporters of cotton, is responsible for employing artisans like embroiders, and also staffs much of the lowest tier of today’s fast fashion industry. Cotton is one of the most sprayed plants and creates excessive water pollution and depletion.

The World Counts, a data initiative that accounts climate challenges, estimates that the amount of water required to make one cotton T-shirt is equivalent to 3 years of drinking water. In a country where a part of the population lacks access to clean drinking water, this is unacceptable. The country is also experiencing drought and drying water bodies due to cotton production.

There are social costs too where Indian farmers work in terrible conditions.

Don’t Trade Lives, an Australian Humanitarian initiative ascertains, that cotton farms rely upon bonded, forced laborers — sometimes children — who are met with meager wages.

The fast fashion industry employs many workers from India, often women who are sometimes paid as little as 5 cents an hour. While embroidered arts are almost exclusively made in India, the artisans are hardly acknowledged.

While in New York, Jayaswal walked into an Alice & Olivia store and noticed a piece that had zardozi work. She saw the same pattern on a field trip to Dharavi, a Mumbai slum. The Alice & Olivia piece was tagged at $3,000, whereas average wages for Indian tailors are about $2/hr or less.

There is a clear absence of acknowledgment towards Indian artisans who produce pieces for Western brands.

The West’s relationship with India and fashion is complex. It is important to see India as a fashion hub; to appreciate and honor the work of the many artists who contribute to pieces here and to view Indian fashion in its beauty and glory, as an art form that has evolved over thousands of years. The heritage is rich and the industry is booming. Positive changes are underway, but they need to keep growing. The Indian fashion industry is in an exciting stage, and the West needs to allow more artisans and artists to have a spotlight in the global industry.

“We need more voices from people in India. We need that representation internationally for people to know and see our culture the way it is,” said Parakh. X EFS

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FASHION PREDICTIONS editorial

RIDDHIMA DAVE

art

CHRISTINA CASPER

Ever wonder what’s the one thing that defines fashion post-2010? To put

SWEATER VESTS

it simply, it’s nothing. Earlier eras have set distinct trends that defined

The runway was full of knit sweater vests in solid colors this season.

the period which was reflected in its fashion. When you think of fashion

Knit clothing has been gaining momentum over the past 2 years and

trends throughout the past century, from the 1920s up to 2000s fashion,

sweater vests are the latest feature of the larger and trend. Cricket-style

you have a specific image in mind. But this distinct nature of era-based

sweater vests in white with colorful borders were featured in a variety of

fashion disappeared in 2010— and it doesn’t seem to be reviving. Since the

shows and are now in stores. The runway has embraced the style with

surge of social media and fast fashion, trends have become seasonal fads

powerful brands like Chanel, Prada, and Dior showcasing it in their

as opposed to decade-long staples. Remember those stringy club dresses

FW20 collection. FW20 kickstarted this trend and it is snowballing since.

from 2019? People are already throwing those out of their closets to buy

Currently, Instagram seems to be popping up with sweater vests over the

the next hot thing. The past 3 years have been defined by street fashion —

transition Spring weather. Looking at patterns of usage on social media

but this subculture is uniquely dynamic as it is constantly shifting. There

and the runway, fall 2021 will see an increase in this sweater vest trend.

were those Fila Dinostomper platform sneakers, then the Comme de Garcons X Converse shoes everyone seemed to be sporting. Adidas also

CUT - OUTS

had a big moment somewhere in between.

Cut-out clothing trends are difficult to predict and usually short-lived because they are highly experimental styles. They had a major stint

For those who love trends, this era is hard to keep up with. Numerous

between 2003 and 2005 and have had sporadic albeit short moments since.

fashion watchdogs have appeared over the past ten years, each trying to

Waist cut-outs have had steadily increasing popularity on runways over the

catch trends as they approach. The runway is the first place to look for

past 2 years seen in the Burberry AW20, Versace SS20 and SS21, Kenzo

to predict the trends that would dictate the year but this can change

SS21, and Gabriela Hearst SS21. Cut-outs are strong right now with an

with a single TikTok video or Instagram post. With trends becoming

increasing number of designers adding the trend to their collections. Cut-

so nebulous, it is difficult to know what to expect in the coming months.

outs are also featuring mid-riff flossing with criss-cross patterns across the

Even so, not all hope is lost and trends can be predicted and gracefully

waist.

carried out. Social changes drive fashion- the pandemic inspired several dramatic looks, trying to break from the shackles of year-long social

LOOSE PANTS

distancing measures. Looking at the most prominent features on runways

Sorry skinny pants, but the ever-growing trend of baggy pants is going

and the Instagram pages of those at fashion’s forefront, we bring to you five

strong. As featured in the SS21 collections of Chanel, Fendi, Tom Ford,

trends that you can expect to see over the year.

and Balenciaga, loose-fitting pants reminiscent of the 80s remain popular.

The loose-fitting pant trend started in 2015 with the loose flare leading up to the mom and subsequently, dad jeans. Baggy pants this season come

MINI - SKIRTS The signature belt-sized skirts of the 2000s so many loved to hate are

in versatile forms- from jeans to business trousers. Loose trousers were the highlight of this season. Lighter fabrics and solid colors paired with statement belts work best for this trend.

making a comeback. Miniskirts were most notably featured in this year’s Miu Miu collection. Salvatore Ferragamo and Giambattista Valli have also

LEATHER COATS

featured mini skirts over the past year. Characters on the trendsetting TV

The fitted leather coat of the 90s has been in the market for the past

show Euphoria can be seen wearing this trend frequently. H&M and Zara

two years. This trend can owe its presence to Instagram and paparazzi

are great places to look for trends even if you don’t shop there because they

as it was popularized by the likes of Bella Hadid, Lily Rose-Depp, and

follow and study exactly what is going to be in style— one of the demands

Zendaya and fashion’s growing affinity for nostalgia. This street fashion

of being a fast-fashion store. With warmer weather popping in, mini skirts

has had numerous mentions in big fashion houses like Fendi, Hermes,

are showing up in their stores everywhere. The 2000s were more focused

Versace, Balmain, and many more. The SS21 collection featured the classic

on denim skirts but 2021 is looking at flare-down skirts, pleated skirts, and

black but Gucci has been producing several colorful leather jackets lately.

micro-sized pencil skirts.

Colorful leather might be a trend to watch out for in the coming months.

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IN

129 INDEX

TANDEM

direction

MEERA SINGH

photo

LANGLEY CUSTER

assist

RACHEL PERKINS CARINA PRAY

style

BRYNN RHODES

models

TAYLA DIXON MILA MANCUSO CALEB PECK SARAPHYM WRIGHT

orange cardigan UNIF skirt VINTAGE cowboy boots VINTAGE

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132

sneakers NIKE

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134

orange shirt PRETTYLITTLETHING yellow pants BDG

yellow jacket VINTAGE red pants DICKIES sneakers NIKE

137 INDEX

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EMERSON FASHION SOCIETY

INDEX SS21