FAST at UCLA 21-22 Magazine by fastatucla

VOL 2021-22

Photographer: Michelle Gong Model: Anna Jovin

MAGAZINE CONTRIBUTORS Photographer: Armando Gray Model: Kim Yoonji

EDITOR IN CHIEF

DESIGN

Meghan He, President

Yua Watanabe, Art Director Denali Perera Antonia Sanchez Kelly Ha Laudan Hosseini Miglé Railaite Jihee Choi

JOURNALISM Sandra Ocampo, Co-Editor Madison Bang, Co-Editor Ysabelle Nina Salazar Naomi Abramoniez Mikaella Butalid Julianne Estur Leah Sokol Paige Paulsen Riley Kubaska Madie Juarez Kristi Le Anna Lockhart Sarah Michel Nicole Alexander Lea Chinn Kristi Le Anna Lockhart Sarah Michel

PHOTOGRAPHERS Kayla Campbell, Photography Director Armando Gray Amber Zeng Kevin Salgado Claire Huang Isabel Martinez Michelle Gong Jacob Ursua Ben Johnson Akshita Saxena Cover Image: Photographer: Jacob Ursua Model: Quinn Wynacht C

TABLE OF CONTENTS C Magazine Contributors F Word from Exec H 2021-2022 FAST Committees

1 FALL: DIVERSITY 3

There’s No Such Thing as Ugly Fashion

Breaking Music’s Gener Norms

21 Diversify Your Shopping Cart

One Size Does Not Fit All

25 A Declaration of American Fashion: The Met Gala

11 Is Body Positivity Still the Way 15 Indigenous American Fashion

27 Are You Really An Autumn

17 But is it Original

29 The Fashion World Promised Diversity

19 Business Casual? Black Tie? Cocktail?

31 Fall Sponsorship Article

41 WINTER: ACCESSIBILITY 43 The Rise of Clean Skincare 46 Setting the Scene: Fashion Week 47 Scary, Heavy Boots 49 Feminist Fashion 51 Princess Diana and Fashion: Using Clothing as an Escape 53 In Defense of the Logo 55 Garms of the Metropolis 57 A Short History of Silhouettes 60 Euphoria Season 2: Stunning and Symbolic 63 An Ode to Depop 67 Winter Sponsorship Article

73 SPRING: NEW ERA 75 The Return of Y2K 77 Vivienne Westwood Revolutionized Modern Fashion, Again 79 Jack the Ripper Stalks His Victims: Where Subculture Meets High Fashion 81 Valentino Pink 83 God Save the Prom Queen 85 What Defines American Fashion 87 Back to Indigenous Hoops: A Paradox 89 Bridgerton: South Asian Representation in the New Age Period Drama 93 Technically High Fashion 95 The Grammys 97 Spring Sponsorship Article E

Dear FAST at UCLA Community, As FAST at UCLA turns 21 this year, we are struck by the growth this platform and community has seen. From a creative hub, FAST has grown to engage campus with not only the creative expression of fashion as an art, but also the sociopolitical implications of fashion as an industry. This year, our projects have centered around three themes: diversity, accessibility, and the new era of fashion. The FAST 21-22 Magazine captures these goals through a collaboration of journalism, photography, modeling and graphic design. We hope to continue championing FAST’s beacon of creativity and expression as we navigate into our next chapter of fashion exploration. We also hope to extend our sincerest gratitude to our sponsors who enabled this production, as well as FAST’s past executive boards who built the groundwork of our community. And none of our work would have been possible without the bold leadership and dedication of our graphic design, editorial, modeling, and journalism directors. Yua Watanabe, Kayla Campbell, Chizaram Iwuanyanwu, Queena Chu, Sandra Ocampo, and Madison Bang, you have cultivated cultures of exploration and collaboration amongst your teams that we are more than proud of. It is with great pleasure that we share with you the culminating work of nearly 200 student members. This year marks the return of FAST on campus since the start of the COVID-19 pandemic, and we are proud to present the first FAST magazine edition produced in in-person settings. Please join us in celebrating the diversity of bodies, identities and expression through the stories told in these pages. Fashionably yours, Meghan He and Hector Esparza Jr. FAST at UCLA President and Vice President ‘22

WORD FROM THE EXECUTIVE BOARD F

From Left to Right: Sherry Tang - Marketing Director Chizaram Iwuanyanwu - Modeling Co-Director Isabel Spooner Martinez - Film Director Bisola Amudipe - Design Co-Director Hector Esparza Jr. - Vice President Yua Watanabe - Graphic Design Co-Director Meghan He - President Isabella Mattina - Communications and Operations Director Queena Chu - Modeling Director

Madison Bang - Journalism Co-Director Denali Perera - Graphic Design Co-Director Eliza Aiken - Sponsorship Director Esther Blum - Events Director Not Pictured: Kayla Campbell - Editorial Director Yasmine Talby - Finance Director Sabrina Costa - Design Co-Director Sandra Ocampo - Journalism Co-Director Alexa Cyr - Production Director

MEET THE FAST TEAM

MODELING Bernice Wang Soraya Saghbini Ranen Chang Kaira Edwards Emilie Ouwerx NOT PICTURED: Marcus Vidaurri Ben Cloutier Rishika Voruganti Samantha Low Emily Lu Albert Acosta Micaela Estavillo Nicole Araujo Christabel Odoi

Yoonji Kim Ella Schindler Chizaram Iwuanyanwu* Kelly Ha Ella Schindler George Vetushko Alyssa Grace Santos Colette Shvager Nathan Hwang Natasha Subbaraman Gargi Kawachale Sher Ohlinger Isabella Chavez Rebeka Begashaw Zoe Donnenfield

LEGEND: * Director Names are listed in left-to-right order as photographed

Kristi Le Ayana Woods Queena Chu* Defne Ercelen Mallory Springstead

Mona Qrib Quinn Wynacht Marisol Salazar Robby Wang Emma Kwan

Anna Jovin Bisola Amudipe Kareena Garg Angel Araki Rebeka Begashaw Zoe Donnenfield Gabriela Lunar Megan Xiao Leah Williams Leah Abrahamson

Nikki Dejadrasoof Yuliha Vasquez Lisbeth Rodriguez Tiffany Shriyakera Noela Park Lou Quian Joanna Chun Ravi Ranawaka Elena Moro Noela Park

DESIGN Sabrina Costa* Josephine Qi Miglé Railaité Katie De La Cava Zab Penaloza Ethan Cortez

Becca Bloomer Gabriel Discipulo Shasta Bowens George McKeon Lauryn Ilasco Ashley Chen

Sarah Hernandez Agnes Lin NOT PICTURED: Marina Zernik Ali Hussain AlQatari

Nancy Nan Caroline Hersman Holland Smith Priya Kannenboyina Gersha Jagwani Bisola Amudipe*

Kelly Ha NOT PICTURED:

Laudan Hosseini Jihee Choi Christina Wu

GRAPHIC DESIGN Miglé Railaite Denali Perera*

Yua Watanabe* Antonia Sanchez

EDITORIAL Akshita Saxena Michelle Gong Ben Johnson

Amber Zeng Kayla Campbell* Claire Huang

Armando Gray Jacob Ursua Kevin Salgado

Natalia Trejo Tae Sakulpanich

Isabel Spooner Martinez* James Cobb Evan Holter (not pictured)

FILM Talulla Chow Xiomara Novo

MARKETING Ananya Kodali Ysabelle Nina

Noela park Sherry Tang*

NOT PICTURED: BriannaRose Hewitt

COMMUNICATIONS AND OPERATIONS Kaitlyn Xu Kalyn Lemieux

Isabella Mattina* Darren Puth

NOT PICTURED:

Briannarose Hewitt Tiffany Liang

JOURNALISM Riley Kubaska Sandra Ocampo* Madison Bang*

NOT PICTURED: Ysabelle Nina Salazar Naomi Abramoniez

Mikaella Butalid Julianne Estur Leah Sokol

Madie Juarez Paige Paulsen

PRODUCTION Alexa Cyr* Anna Lockhart Jieun Seo Kaitlyn Xu

Sydney Schwinger Lea Chinn Karen Son

NOT PICTURED: Kristi Le Smera Kalra Sarah Michel

Ali AlQatari Elle Birkenruth Nicole Alexander

EVENTS Vincent Wolfe

Esther Blum*

Anahita Kashyap

Anissa Zaman

Evelyn Bailey Alex Driscoll

Michelle Pan Nari Tung

Emily Park

Alice Yang Isabella Chavez

Clair Tomari-Leak Julianna Rendon

Nina Vukcevic Julia Giannini

FINANCE NOT PICTURED: Yasmine Talby*

SPONSORSHIP NOT PICTURED: Eliza Aiken*

EXECUTIVE BOARD (Reference Page G) M

DIVER 1

SITY

FALL CONCENTRATION

Claire Photographer: Huang Amber Zeng Model: Rebeka Begshaw

Photographer: Amber Zeng Model: Rebeka Begshaw

Is Body Positivity Still the Way? Written By: Julianne Estur

ove your body because it is beautiful.” This is the sentiment at the heart of the modern-day body positivity movement. At first glance, this seems like a mindset that is ultimately good, right? After all, it’s clear that Western beauty standards have historically only included thin white bodies with Eurocentric features. It can be seen as rebellious, even radical, to love one’s body in spite of a society that rejects it. But is self-love the end-all-be-all to taking on deeply-entrenched notions of beauty? To start, one cannot deny the deep political roots of the body positivity movement. In the context of the United States, the Fat Liberation Movement has been around since the 70s, with groups such as the National Association to Aid Fat Americans (NAAFA). A page on the NAAFA’s website offers a glimpse into their history of activism: from national conventions to picketing outside of the White House, it’s obvious that Fat Liberation was not just a movement against mere aesthetic standards, but against oppression. This is even clearer with the NAAFA’s Fat Liberation Manifesto, which states the following: “3. We see our struggles as allied with the struggles of other oppressed groups, against classism, racism, sexism, ageism, capitalism,

imperialism, and the like.” “We demand equal rights for fat people in all aspects of life, as promised in the Constitution of the United States. We demand equal access to goods and services in the public domain, and an end to discrimination against us in areas of employment, education, public facilities, and health services.” “The complete Observations about modern body positivity abolition of beauty make it clear that it standards will only is a watered-down, come with the defanged version upheaval of the of a movement that institutions that was truly pushing for a world where both create and marginalized bodies perpetuate them” were not oppressed. Body positivity is often reduced to candy-colored infographics on Instagram with platitudes like “beautiful no matter what” and unfortunately shallow social media challenges encouraging users to “tag 5 users you think are beautiful.” There is rarely any mention or conversation about upending structures that have harmed and continue to harm those whose bodies violate norms of beauty.

THERE’S NO SUCH TH

ashion is where the intersection of art, history, and culture occurs – a representation of the most prevalent attitudes that exist in our society at any given point in time. In a modern world, where even the most outlandish looks are accepted, is there such a thing as “ugly” anymore? It’s no secret that innovation keeps the fashion industry alive. Haute-couture dates back as early as 1826 when Sir Charles Frederick Worth opened the first fashion house filled with made-to-order ballgowns consisting of heavy garments with layers upon layers of fabric. Such a silhouette became the blueprint of women’s fashion for quite a while, carrying on into the collections of ‘50s Givenchy, Dior, and Balenciaga dresses. As time went on, however, fashion designers began to lean away from conservative looks.

Written by: Ysabelle Nina Salazar

“Kitschy, audacious looks steal the spotlight because “ugly” is what draws attention and stirs controversy.”

They headed towards a more liberal direction around the ‘60s. Chanel introduced silhouettes that catered towards practicality and movement for women, while Yves Saint Laurent gave a new spin on previous iconic silhouettes. Free-spirited looks only became increasingly popular from this point forward. It’s natural for the introduction of something new to be met with scrutiny because people are comfortable with familiarity. Once the shock wears off, the “inappropriate,” “distasteful,” and “ugly” are embraced.

Photographer: Kayla Campbell Models: Yuliha Rouse, Ben Cloutier, Bernice Wang, Albert Acosta

ING AS UGLY FASHION Photographer: Kayla Campbell Models: Yuliha Rouse, Ben Cloutier, Bernice Wang, Albert Acosta

This is no new phenomenon. But what makes our current generation different is how quickly we welcome and create new ideas. The dad sneaker, bell-bottoms, sweater vests, denim on denim, clashing colors – these were previously deemed “ugly” because they were “old.” Now, they are re-envisioned to make Y2K fashion one of the most prevalent trends of today. Kitschy, audacious looks steal the spotlight because “ugly” is what draws attention and stirs controversy. Our generation praises the bold, new looks that challenge current social conventions. Ugly clothing is a parody on fashion that shows how beauty is nothing more than a social norm. In such a dynamic, everevolving art form, what isn’t accepted right gives no bearing on what could be praised later. Critics are simply behind. Our society and generation have cultivated a landscape where we have the freedom to express ourselves to the fullest and to experiment with clothing. Originality is fashionable, and it will never go out of style.

6 XX

Harry Styles Vogue December 2020 Photographed by: Tyler Mitchell

BREAKING MUSIC’S GENDER NORMS Written By: Naomi Abramowicz

“In exploring fluidity through style, [artists] are helping a new generation explore what fashion can mean beyond gender.” 7

n December of 2020, Harry Styles made history as the first man on the cover of Vogue, drawing both fierce praise and harsh criticism. Some deemed the cover “revolutionary,” while others, including conservative author Candace Owens, tweeted to “bring back manly men.”

Young Thug Instagram @calvinklein Photographed by: Tyrone Lebone

What inspired this polarized response? The British singer, 26, donned a ruffled Gucci ball gown for the cover. He has since explained that “putting gender labels on clothes is limiting.” Styles’ refusal to follow gender norms has made him the face of a movement towards gender fluidity in clothing. However, he is not the only artist who has pushed fashion and gender boundaries. Many male hip-hop artists do not receive the same recognition, despite existing in a genre of music that is less welcoming to changing gender norms. Hip-hop has historically been maledominated; young men between the ages of 18 to 24 are the most frequent listeners of the genre. Fans and critics alike have deemed hip-hop a “masculinized space” without room for gender fluidity. Recently, several male artists have been forgoing this gender norm in favor of true self-expression.

Young Thug Hailing from Atlanta, Georgia, Young Thug is a major influence on the modern sounds of hiphop and trap music. He’s also well-known for wearing conventional styles of women’s clothing in public settings, during ad campaigns, and on album covers. Young Thug’s 2016 Calvin Klein campaign featured himself clad entirely in womenswear. In an interview, the rapper spoke out about his perceptions of gendered clothing. He explained that he had been wearing women’s clothing since age 12, and stated that “in my world, you can be

a gangsta with a dress or you can be a gangsta with baggy pants. I feel like there’s no such thing as gender.” The rapper’s exploration of feminine clothing has been met with criticism; Complex writer Soo-Young Kim wrote that “dresses are for people with lady parts.” Young Thug’s defiance of gender norms extends to his music as well. His 2016 album “JEFFERY” featured the rapper in a periwinkle blue Alessandro Trinicone gown. 8

Kid Cudi

Lil Nas X

American rapper and producer Kid Cudi wears feminine clothing both as a tribute to late Nirvana frontman Kurt Cobain and as an expression of his own style. During his April 2021 performance on “Saturday Night Live,” Cudi wore a floral dress, stating that it was a tribute to Cobain, who wore a similar gown on a 1993 cover of fashion magazine The Face. He tweeted: “Virgil [Abloh] designed the dress for me. I told him I wanted to show love to Kurt with a floral print sundress and this man made a masterpiece….” At the CFDA Fashion Awards in New York City, Cudi wore a wedding gown, complete with a long veil and white shoes. The dress was designed by Eli Russell Linnetz, who confirmed that this outfit was also a tribute to Cobain. At New York Fashion Week, Cudi wore a floorlength black skirt underneath a Nirvana sweatshirt. He explained his style choice, writing that “I knew it would piss some people off, but I love that.”

Lil Nas X originally rose to fame through his country/hip-hop hit “Old Town Road.” Throughout his beginnings in country music and his more recent additions to the hip-hop industry, Lil Nas X has faced criticism for his flamboyant, feminine style. However, the artist has continued to push style boundaries in country and rap, two genres that heavily favor masculinity, by wearing stereotypically feminine clothes. During his 2021 appearance on Jimmy Fallon, Lil Nas X wore a long kilt by Louis Vuitton, and at the BET Awards, donned a blue-and-white brocade gown. These three influential men in hip-hop prove that gender norms in fashion are changing fast, even in masculine spaces. In exploring fluidity through style, they are helping a new generation explore what fashion can mean beyond gender.

Kid Cudi CFDA Fashion Awards Getty Images Photographed by: Dimitrios Kambouris

Photographer: Michelle Gong Model: Anna Jovin

Photographer: Claire Huang Models: Elena Moro, Defne Ercelen, Stephanie Nicole Anticona Ferrario

RachelHarding.com Photographed by: Melissa Cowan

11 XX

One Size Does Not Fit All

Written By: Mikaella Butalid

and change the regulation of them. he rise of the body positivity movement has led to an increase in acceptance The existence of the plus-size modeling industry of all body types. Body positivity has largely been is hotly debated. For one, people argue that beneficial because it acknowledges the diversi- plus-size models are needed to showcase the ty in bodies and celebrates them in every shape. natural variations in body types. On the other Despite the uplifting message, the rhetoric used hand, the term “plus-size” can be damaging as it to describe the body positivity movement has a assumes that there is only one body type – thin. However, being thin is not attainable for everyone problematic undertone due to the assumption that plus-size models deviate from considering each body is unique. the “norm.” Additionally, it is often physically “By dropping the In 2015, a campaign launched by and mentally unhealthy to strive term ‘plus-size,’ the Australian model Stefania Ferrario for the thinness portrayed on highlighted the dangers of label- fashion industry can runways, fashion campaigns and acknowledge that ing models as “plus-size.” Ferrario’s social media. #DropThePlus campaign calls for plus-size women are The notion that being thin and the destigmatization of larger body tall is the standard not only not uncommon.” types. perpetuates negative stereotypes “Maybe the plus-size label served a purpose about those are contrary to those traits, but it also to begin with, but it’s now time for complete pressures people into embodying those standards. acceptance, for us to all just be called models According to a study from the Harvard T.H. and to stop the industry pigeonholing us. By Chan School of Public Health and Northeastern separating us, they’re segregating us – it’s University, 62% of models were told to lose creating a ‘them and us’ mentality,” Ferrario weight by their modeling agencies. The same said in an interview with Dazed Magazine. study reports that 81% of models have a Body As Ferrario said, plus-size modeling generates Mass Index (BMI) classified as underweight – a an “us vs. them” mentality, pitting women against frightening statistic that points to the unrealistic, each other. Plus-size models are scrutinized unhealthy, and dangerous ideals pushed by the simultaneously by the media and public. They media. are seen as the minority, when in reality 68% of The fashion industry holds a unique position consumers are plus-size, according to a study by of power as a trend-setter of not just clothes but Plunket Research. By dropping the term “plus- also bodies. Instead of othering certain body types size,” the fashion industry can acknowledge that through categorization and the “plus-size” label, plus-size women are not the subcategory. The fashion houses, department stores, and magazines fashion industry has the opportunity to remedy should collectively strive for the normalization of the damage they have done to women’s bodies the natural diversity of sizes.

Not to mention how body positivity has turned into yet another way corporations co-opt social justice movements to gain profit. Similarly to rainbow capitalism, where corporations will release Pride-related products as a way to appeal to the LGBTQ+ community, diversity has become a marketing tactic. Earlier this year, Victoria’s Secret rebranded to be more inclusive, despite decades of only centering thin women. Additionally, the start of women shaving their body hair as an aesthetic choice coincided with an increase of advertisements that deemed female body hair as ugly and unfeminine, as well as Gillette unveiling the first women’s razor in the 40s. Clearly, it was once profitable to make

“(...) come with the upheaval of the institutions that create and perpetuate them.” women insecure enough to buy their products. But once it wasn’t anymore, corporations changed their tune. Now, Gillette Venus’ website is filled with statements like, “my skin, my way” and, “dive into the stories of women who are owning their skin in a world obsessed with perfection.” Furthermore, there must be an understanding that maybe selflove isn’t an attainable goal for many. Often, body positivity can feel pressured onto individuals. Why must I aspire to love my body every single second of every single day? Why must I believe I am beautiful in some way, to believe that I have worth? Recently, body neutrality has arisen as a possible answer to these questions and an alternative to body positivity. Rather than emphasize self-love, body neutrality encourages having a neutral outlook on how your body looks. Instead of needing to feel beautiful, this perspective involves letting yourself just exist, totally independent of beauty. In summary: body neutrality is the idea that your body does not need to be beautiful to have worth, and you don’t need to love yourself every day, or even ever. Purveyors of body neutrality also seek to find value in the little things your body can do: for simply being able walk or wake up in the morning instead of attaching all of the value to aesthetic appearances. This is not to see that body positivity and self-love have no value. Of course, being able to love yourself so that industries and corporations can’t take advantage of you is resistance. And it’s never a bad thing to feel good about yourself. Even body neutrality has its failings, as it doesn’t account for the political goals once held by fat activists of the 60s. However, our desire to combat harmful beauty standards shouldn’t begin and end there, with only changing how we individually view our bodies. The complete abolition of beauty standards will only come with the upheaval of the institutions that both create and perpetuate them. 13

Photographer: Jacob Ursua Model: Chizaram Iwuanyanwu

Thosh Collins Courtesy of Bethany Yellowtail and Vogue

INDIGENOUS AMERICAN FASHION:

ADVOCACY AND STYLE

he clothes we wear tell a story, especially when they represent a culture of rich history. When fashion inspiration is taken from another heritage, the line between appreciation and appropriation should be drawn. Program Assistant Kelsey Holmes of Greenheart International explains the delineation between appreciation and appropriation: “Appreciation is when someone seeks to understand and learn about another culture in an effort to broaden their perspective and connect with others crossculturally. Appropriation on the other hand, is simply taking one aspect of a culture that is not your own and using it for your own personal interest.” In light of Indigenous American Heritage month this November, I urge all readers to explore the deep history and fascinating culture of the many tribes that fall under the umbrella of “Indigenous American.” Given the oppressive history that Indigenous Americans have faced, one cannot stress enough the importance of respecting and expressing sensitivity towards 15

Written By: Leah Sokol

its people and culture. With this in mind, how can we honor the creative and culturally rich components of Indigenous American style, as well as the people that it represents? Firstly, by gaining an understanding of the history and meaning behind articles of clothing, one limits the potential for the deconstruction of its history. Though a consumer may love the aesthetic of certain clothing items, this “the line between does not entitle a appropriation seller or consumer the right to use it for and appreciation personal advantage. Many well-known should be drawn” clothing labels have wrongly taken these measures. Urban Outfitters, for example, sold a collection entitled “Navajo hipster panties” without honoring, endorsing, or promoting education about the Navajo tribe. This is a prime example of the appropriation of a culture through fast fashion. Thankfully, the Indian Arts and Crafts Act of 1990 prohibits the selling of

Native-made or tribally-specific items from those not in a federally or state recognized tribe, causing this case to go to court. Although this regulation protects appropriation from big companies, online shopping has complicated its effectiveness. In order to avoid perpetuating this insensitivity, consumers should consider purchasing items from an authentic source. Searching for authentic items can be a way to directly support a specific culture, while

enhancing your wardrobe. Doing so also supports the livelihood of Indigenous Americans and limits racial offenses. There are numerous brands and vendors available online and in-person. One example is TP Mox, a company founded by members of the Blackfeet tribe. A portion of the company’s proceeds go towards reducing poverty in the Blackfeet Indian Reservation in Northwestern Montana. Each pair of moccasins sold increases necessities

Thosh Collins Courtesy of Bethany Yellowtail and Vogue

for underprivileged children on the reservation and resources for maintaining Native American traditions. TP Mox sells both authentic and customizable moccasin shoes. The company’s website features information on the Blackfeet Tribe, allowing the consumer to further their understanding and appreciation for the culture. In addition to supporting Native American brands, consider finding a market selling authentic items near you. The 9th Street Gallup Flea Market, for example, is located in McKinley County, New Mexico, and sells items such as produce, jewelry and souvenirs. Purchasing from markets like Gallup Flea also supports

small Indigenous businesses. Each individual culture has unique practices and ideas to offer. While using elements from another culture can lead to new creative directions, it is important to pay homage to the history that is being represented. Despite the brutality and injustice that Native Americans have faced on US soil, it is never too late to fight for these communities. As this Indigenous American Heritage Month comes to an end, please consider reflecting on mutually beneficial ways in which you can demonstrate an appreciation for this culture! 16

Written by: Paige Paulsen

BUT IS IT ORIGINAL

ith the rise of fast fashion companies, new styles and designs are emerging online every day. A notable amount of designs are not originally created by the companies that sell them. While taking original designs from smaller creators is a prevalent issue, this issue is definitely not a new development, as history displays the many missteps of stealing designs from BIPOC. Instances such as the “chemise à la reine,” display how BIPOC styles are often taken, rebranded and appropriated in different contexts. The chemise à la reine, characterized by its simple cotton fabric and ruffled neckline, was a popular dress worn by French aristocrats in the late eighteenth century. Though this dress is credited as the creation of Marie Antoinette, it was originally a style worn by Creole people in the French Caribbean colonies. The appropriation of these original garments is reminiscent of the many modern fashion trends pushed by celebrities and fashion conglomerates today. History continues to repeat itself. Fast fashion companies frequently steal creations from BIPOC designers. These instances remind us of the hard labor creators give to design and create a piece of clothing, only for fashion conglomerates to reproduce as theirs.

“The appropriation of these original garments is reminiscent of the many modern fashion trends pushed by celebrities and fashion conglomerates today.”

Marie-Antoinette (1783) Free West Indian Dominicans (1770) National Gallery of Art Metropolitan Museum of Art

With the lines of copying and inspiration wearing thin in the world of fashion, it is important to provide credit and compensation to original designers. Crediting creators for their work inherently counteracts the cycle of fast fashion and pushes for the recognition of creative property – a basic compensation past creators were not provided. Despite fast fashion companies allowing for accessible fashion, this factor does not diminish the importance of crediting and compensating original designers for their work. The rise of fast fashion brands allows for an awakening that forces buyers to think about the implications of what they purchase. A new nuance is created in which the buyer must realize their purchasing power. By creating consumer awareness of creative stealing that comes with fast fashion, we can encourage the market to shift away from unethical corporations and encourage creative property to remain. 18

Photographer: Kevin Salgado Models: Kelly Ha

Business Casual? Black Tie? Cocktail? Your Guide to Dressing for the Occasion Written By: Madison Bang

ave you ever found yourself overwhelmed with the ensuing social anxiety of showing up to an event overdressed or underdressed? While we can all appreciate a moment of eye-catching, unconventional glamour, it doesn’t always fit the occasion. Unfortunately, wedding invitations and company emails do not give the best advice on how to dress appropriately. Well, look no further. Here is a list of six of the most common (and most ambiguous) dress codes and what type of pieces will ensure you look both stylish and properly suited.

BLACK TIE

Black tie dress codes are often applied to evening (after 6pm) events and weddings. While not quite at the level of White Tie attire, this dress code constitutes formal evening attire. For women, full-length gowns that cover the ankles or formal pantsuits are the usual go-to’s, paired with traditional heels and statement jewelry. Men’s tuxedos with all the extra pieces (vests/cummerbund, cufflinks, tie) are a must for black-tie events. However, certain venues may allow you to play with different color schemes and even allow a colored tie. Just because it’s “black tie” doesn’t always mean you always have to wear black!

FORMAL vs. SEMI-FORMAL There are a few indicators, such as weather and the time of day, that may assit you when deciding on what to wear to a formal or semi-formal event. A formal dress code, also known as Black Tie Optional, is a step below Black Tie. While there is not much flexibility and difference in women’s attire from Black Tie, you can get away with a dress that is above the ankles. Fancier cocktail dresses and pantsuits are also appropriate options when adorned with other formal separates. In comparison to the Black Tie’s tuxedo requirement, men can wear dark suits, complete with a white-collared shirt and long tie. In general, the more formal an occasion is, the less creative liberty you may have in constructing your look; this notion is especially applicable to men’s fashion.

“While we can all appreciate a moment of eye-catching, unconventional glamour, it doesn’t always fit the occasion.”

In a semi-formal dress code, the time of day plays a particular role in the colors and fabrics that are available. Evening events constitute darker, more traditional styles of dress; for daytime events, on the other hand, opt for lighter colors and fabrics. With this, men can personalize their looks while maintaining the usual dress shirt and slacks (with a tie being optional). Ladies: this could be the time to bring out that “little black dress”! However, be cautious of how short your dresses and skirts are for semi-formal events. Leaning towards the more conservative side, it’s safe to say a belowthe-knee dress (not full length), blouse and skirt, or pantsuit are your safest bets. Swap out your traditional heels for more comfortable heels, wedges, or flats for these events.

Photographer: Kevin Salgado Models: Kristina Rodriguez

COCKTAIL

BUSINESS CASUAL

CASUAL

The cocktail dress code holds the middle ground between formal and semi-formal attire. This is one of the most popular dress codes for parties and evening functions. Dresses can range from knee length to above the knee. If dresses are not your thing, mixing and matching skirts or pants with fancier tops is both a chic and comfortable alternative. Colors and textures are the real keys to this dress code. Whether that be a bold shoe or an eye-catching clutch, accessories will allow you to elevate your look while staying within code. Depending on the event, this is a great time to play with different colors, textures, and silhouettes. Menswear, at the most basic level, will include a suit and tie. Adding in statement pieces, nevertheless, can really add character to an otherwise restrictive code.

Ah, business casual. One of the most confusing dress codes but also one of the most common. Although you may not be going into the office, remember that your attire should still fit an office setting. Business casual emphasizes a greater level of comfort in dress; for men, casual slacks, khakis, or chinos are all safe options. A button-down shirt is recommended, but this time you may ditch the tie. Women have a variety of options from dresses (watch the length!), work pants, skirts, blouses, and blazers. Through recent fashion trends, women’s fashion has evolved to include (what used to be considered) masculine silhouettes and pieces. Business casual events are the perfect time to rock the vest and jacket you’ve had saved in your closet! The discussion of jeans can be a real struggle for business casual; while it is generally inappropriate to wear jeans, do be aware that there may be exceptions.

Now it’s finally time to get creative! Depending on your audience for a casual event, tank tops and shorts may not be accepted but feel free to pull out your favorite pair of jeans. This dress code opens the door to exploring different styles of fashion; make the most of it and come in what will make you feel more confident! Both men and women have a wide range of choices from comfortable t-shirts or more dressy tops. There is also a wide range of appropriate footwear, from boots to sneakers to dressy sandals. Since there is more leeway in what you can wear, take note of the weather, setting, and purpose of the event when making your final decisions. A great way to spruce up your look is to accessorize with jackets, hats, bags, and jewelry! The sky’s the limit when it comes to casual dress codes.

DIVERSIFY YOUR SHOPPING CART Written By: Nicole Alexander, Lea Chinn, Kristi Le, Anna Lockhart, and Sarah Michel

any shoppers today are aware confident in their activewear. Their sizes range of the need for diversity in the from XXS through 6XL, allowing every body size fashion industry but don’t know and shape to enjoy their product. They even have a what companies to turn to in order to support Maternity line! this movement. For so long, the industry has conformed to a narrow view of diversity. Different In addition, the models representing the brand races, genders, and body types found it difficult to vary in age, ethnicity, and body type. The be able to visualize themselves being a customer Girlfriend Collective recognizes the importance of the brand due to this lack of diversity within of feeling confident in your activewear, and they the company’s values. Whether you are a fashion want every age, body type, and ethnicity to be able enthusiast or just trying to shop to possess this confidence. Their “At FAST, we for a new year’s wardrobe, it can activewear encourages customers be challenging to know where to to celebrate their individuality and believe that as place your loyalty when shopping. feel confident in their skin. As an lovers of fashion, added bonus, by supporting The we must push our At FAST, we believe that as lovers Girlfriend Collective, you will also of fashion, we must push our industry to be more be supporting sustainability in the industry to be more diverse: from fashion industry; some of their lines diverse.” the workers stocking the shelves are made from discarded plastic to the models wearing the designs to the sizes that would otherwise be polluting our oceans. provided for customers. Every race, size, body type, age, and gender should be able to visualize At FAST, we believe it is necessary to hold themselves wearing a brand and feel celebrated the fashion industry to the morals and stanby it. In the spirit of FAST’s diversity theme dards that we value in our everyday lives for the winter quarter, we have curated a list and know that The Girlfriend Collective is a of five fashion brands that do so. By directing brand you won’t feel guilty shopping from. traffic towards brands that support these values, we can push the fashion industry to become For Love & Lemons is a female-founded and a place that makes everyone feel welcome. women-led clothing brand based in Los Angeles that produces ready-to-wear, lingerie, knitwear, Starting off, The Girlfriend Collective is a great swimwear, and leisurewear. For Love & Lemons brand to turn to if you want to find some new is dedicated to trendsetting while upholding their brands that support diversity. Based out of Seattle, principles of inclusion and diverLemons practices this activewear brand has established its unique diversity and inclusion in their clothing options place in the activewear industry. Distinguishing and the workplace. For Love & Lemons offers a itself from athletic wear companies like size range of XS to 3XL, and their collaboration LuLuLemon and Aloe, The Girlfriend Collective with Victoria’s Secret includes plus-size bras. Their invites all ethnicities and body types to feel site and social media feature a diverse modeling

cohort mirrored by their internal team. The ethnic background breakdown of their 29-person team is 45% White, 24% Hispanic, 24% Asian, 3% Pacific Islander, and 3% African Caribbean. For Love & Lemons is committed to diversifying their team by proactively recruiting and hiring more people of color. Furthermore, the brand’s collaborations with other companies and freelance creators, such as hair and makeup stylists, videographers, and photographers, reflect the diverse community For Love & Lemons wants to uplift. In 2020, For Love & Lemons also incorporated sustainability into their company goals. As part of their mission to promote sustainability, For Love & Lemons opts for digital printing over screen printing, organic linen over cotton, uses recycled polyester, and has partnered with Cloverly to purchase renewable energy offsets to counteract the carbon emissions produced by online orders. In Spring 2021, For Love & Lemons also

launched a new collection, Sustainability is Beautiful, which showcases pieces that are designed with up to 100% recyclable materials. Savage X Fenty is a lingerie brand founded in 2018 by singer Rihanna. From the beginning, Savage X Fenty has aimed to break barriers within the lingerie industry. Savage X Fenty tackles diversity by promoting inclusivity in size, age, and gender on their website and runway shows. Savage X Fenty sells bras in sizes ranging from 30A to 46DDD and underwear from XS to 3X. This size inclusivity has been transformative in the lingerie industry because other brands have failed in the past to offer such a wide range of sizes. These inclusivity efforts are not just lip service. The brand’s fashion shows feature plus-sized, older, and disabled models of all genders. Savage X Fenty believes that anyone and everyone can rock lingerie and deserves to feel confident in their body. In the runway shows, Savage X Fenty lingerie has featured models in their 20s and 50s. Rihanna believes a person of any age can wear lingerie; it is up to the consumer to decide whether or not they want to wear lingerie, not the company! Rihanna includes male models (of all sizes) in her runway shows to market the men’s underwear that Savage X Fenty sells and show that every type of man can wear it. In recent years, female body inclusivity has become more talked about and normalized, but male body standards still seem outdated. This needs to change and will continue to change with efforts made like that of Savage X Fenty. Savage X Fenty believes that feeling 23

confident and comfortable in your skin is something that every person deserves to feel; size, age, or gender should not take this away from you! In three years, Savage X Fenty has transformed the lingerie world and will only continue to do so. Rare Beauty was launched in summer 2020 as a cosmetic company by actress and singer Selena Gomez. The name “Rare Beauty” references Gomez’s album “Rare,” in which she expresses her struggles with depression, anxiety, and undergoing a kidney transplant. As a result, Rare Beauty celebrates selflove and empowerment for all. The brand aims to support well-being across all ages, gender identities, sexual orientations, races, cultural backgrounds, physical and mental abilities, and perspectives. The makeup line encourages women to embrace their individuality through 48 shades of foundation and concealer. Rare uses real-life people in the campaigns to help promote this message. Gomez hopes that Rare can make anyone “feel beautiful exactly how they are.” In addition, Rare donates 1% of annual sales to the Rare Impact Fund, which supports mental well-being and several other philanthropic partners, focusing on underserved communities. In November 2020, Rare partnered with Black Girl Ventures to host a pitch competition for Black and Brown women-identifying founders the opportunity to gain capital and distribution at Ulta Beauty. Rare has helped many through philanthropy and helped countless find comfort in their own skin. After all, “we are each rare in our own way.”

ThirdLove is a champion in diversity and inclusivity in the Lingerie space. Founder Heidi Zak was inspired to found ThirdLove in 2014 because of her struggles in finding comfortable and beautiful bras. She didn’t want women to have to choose between comfort and beauty. They started unconventionally by asking 100 women on craigslist to take photos in a tight tank top and bra. They used this data to create product prototypes and develop an app where

women could calculate their bra size. They are best known for their half-cup sizes because their research showed that some women don’t fit into the already available sizes. Currently, ThirdLove has eighty bra sizes available on their website. ThirdLove is well known for their open letter to Victoria’s Secret, printed in the New York Times. Their letter responded to the then CEO of Victoria’s Secret’s comment

that trans people would never be included in their annual fashion show. In the letter, they called themselves the antithesis of Victoria’s Secret and wrote, “We’re done with pretending certain sizes don’t exist or aren’t important enough to serve. And please stop insisting that inclusivity is a trend.” In the days leading up to the Victoria’s Secret show, ThirdLove gave a free bra to anyone who posted their petition to boycott the event.

ThirdLove also claims to be the largest donor of undergarments in the US. So far, they have donated over 40 million dollars worth of products and upcycle those that cannot be donated. ThirdLove is committed to making products that make every woman feel good, confident, and comfortable. They do more than making lingerie; they fight for what they believe in and empower people in the process. 24

AMERICAN

MET Gala 2021

fter the pandemic halted the annual MET GALA, “fashion’s biggest night” was held on Sept 13. as a closing call to New York fashion week. The exclusive event hosted an homage to American fashion with political and patriotic themes weaved through the designs for the red carpet. As the talk of the town, the MET was taking center stage before the red carpet rolled out. Hosted by A-list millennials, Amanda Gorman, Billie Eillish, Naomi Osaka, and Timothee Chalamet, this year’s MET mixed established fashion powerhouses with new design creatives. The theme of this year’s MET– American Independence – left slivers of ambiguity to interpret American fashion. Although centered around American couture, European fashion houses also created their interpretations of classic American fashion. The theme also honored the new exhibition, In America: A Lexicon of Fashion. The star-studded event personified the declaration of American fashion with designs alluding to history, identity and Americana motifs. Prevalent themes included heritage and patriotism with stars such as Lili Reinhart wearing flowers from all fifty states scattered through her dress, designed by Christian Siriano. Philipina-American rapper Saweetie donned a body hugging dress featuring the colors of the flags of her two nationalities by Christian Cowan. While Ciara wore a lime-green sequined dress with the number three in the middle. The dress was inspired by the prevalent American football culture and her husband Russel Wilson’s jersey. Old Hollywood was a motif used to evoke the presence of past icons in fashion. Kendall Jenner wore an Audrey Hepburn inspired gown, by Givenchy, that required 2,500 hours of labor and over 30 beaders to complete. Billie Eillish slipped away from her casual grunge look by channeling Marylin Monroe in an Oscar de la Renta nude 25

ball gown. Tackling body image allowed Billie to express herself in a new found way at

“The use of identity outshone the typical red carpet looks by personalizing gowns to the stars of the night.” the MET. The use of identity outshone the typical red carpet looks by personalizing gowns to the stars of the night. Beauty guru, Nikki de Jager, wore an aqua tulle gown covered in blooming flowers inspired by Black Trans activist Marsha P Johnson. The beauty blogger, who came out as a trans woman, used Johnson’s famous phrase, “Pay it no mind,” at the base of her dress. The show stopper, Lil Nas X debuted three looks for his first MET. The ensemble incorporated a decorative regal robe, followed by golden armor and a bedazzled bodysuit as his closing act. The shedding of each layer was a symbolic message to the deconstruction of barriers he faced and the acceptance of his identity. You can’t have American fashion without an honorable mention of good ole American politics. Congresswomen, Alexandra Ocasio-

INDEPENDENCE

MET Gala 2021 Getty Images Cortez did just that. Her dress, by Aurora James, was designed as a simple elegant white gown, however the back portion featured red bold print stating, “Tax the Rich.” AOC wanted to take an institution, such as the MET, and extend a table to the public by opening up critical conversations and sending a bold message.AOC wanted to take an institution, such as the MET, and extend a table to the public by opening up critical conversations and sending a bold message. The gala produced lucid interpretations of the theme by focusing on isolated pieces of American fashion. With such a broad theme, a sense

of direction was lost in an abyss of ambiguity thus the fashion ensembles were not as unified. Perhaps this individualism is the very nature of American Independence. The second installment of the MET Gala is scheduled for its annual date in May 2022. The event is anticipated to ramp up to its full glamor through the theme, In America: An Anthology of Fashion.

Written by: Sandra Ocampo 26

Photographer: Claire Huang Models: Rishika Voruganti, Leah Williams

ARE YOU REALLY AN AUTUMN? Written By: Maddie Juarez 27

Photographer: Claire Huang Models: Rishika Voruganti, Robby Wong

“No one should feel limited to certain colors and palettes when expressing their personal style nor should they believe certain colors are off-limits because of their complexion.”

ou probably have been labeled as a “summer” or a “spring” in your life, told that certain colors or outfits do not “match” your complexion. The notion that some colors look better alongside certain hair colors or skin tones is justified as an artistic technique, as a physiological phenomenon rather than just a subjective opinion. How much of that is true artistry? How much of it is pop-psychology to keep people in a proverbial box when it comes to their fashion choices? Color analysis has been an important practice in the art world for hundreds of years. The application of color theory to fashion is a more contemporary discipline and does not always benefit everyone being subjected to it. Modern seasonal color theory is a combination of color psychology created by psychologist Johann Wolfgang von Goethe, and seasonal color relation was created by artist Johannes Itten. This idea was suspended in the fine art world until it became unilaterally accessible in the mid 1980’s. Carole Jackson, known as the au-

thor of modern color theory, wrote Color Me Beautiful in 1980, beginning a movement of ‘color theory’ marketed to the average American women. It changed the commercial marketing factor for women. Jackson’s color physiology constructs 12 different types, indicated by the four seasons with three variations of each. Each color season creates a cohesive wardrobe based on what would be the most enhancing to one’s natural beauty, according to Jackson. She projected, “why look good when you can look great?” to convince her readers that their physical appearance could be enhanced if they abide by her techniques. Understandably, this idea branched into a multitude of directions, with many sources seeing it as an opportunity to gain credibility or make a profit. The idea of seasonal color theory became the new personality test, such as the enneagram or Meyers-Briggs. This theory becomes problematic when its core is rooted in the unchangeable characteristics of a person. To decide what colors look best on certain skin tones has no

inherent harm, but the projection of these ideas onto the fashion industry limits people of all colors to certain realms or styles that ‘go well’ with their pigment. The underlying complexity of color theory can construct the impression that an individual cannot look great outside of their seasonal range. This idea doesn’t even come directly from the seasonal color analysis outlined in Color Me Beautiful but rather from its rippling effect on the subconscious of current fashion-enjoyers. One could create a judgment of another person’s style simply because of color compatibility with their skin tone. This may breed exclusivity, which can further inhibit already-marginalized groups in the fashion industry. Psychological theories, such as seasonal color theory, highlight the need for understanding personal bias towards what looks best from one person to another. No one should feel limited to certain colors and palettes when expressing their personal style nor should they believe certain colors are off-limits because of their complexion. 28

s the pandemic trudges on, one can’t help but reflect on all that has happened these past few years. One of the most notable occurrences has been the Black Lives Matter movement, spurring everyone — from the individual to industrial levels — to reflect on their attitudes and beliefs. A specific industry that faced a sort of reckoning was the fashion industry, where every designer, brand, and publication was called on to commit to diversity and inclusivity. Despite these promises, however, one must ask: did they deliver? The New York Times published a piece in 2021 that analyzed the Black composition of the teams at 64 of the most influential fashion brands, 15 major department stores, and 4 magazines. Of the fashion brands contacted, only one had a black chief executive: Virgil Abloh of Off-White who has tragically passed since the article’s publication. As for the number of creative directors, only three are black: Olivier Rousteing of Balmain, Rushemy Botter of Nina Ricci, and Rihanna for her Fenty fashion house. Further, magazines like Vogue, Elle, and

Harper’s Bazaar along with retail establishments like Bloomingdales are all also lacking in representation among leadership. In the recent flood of Diversity and Inclusion statement releases from leaders in fashion, these numbers point to the token efforts of these public announcements. The so-called “norms” of the fashion industry are counterintuitive to the ideal of creative independence that fashion is meant to champion and embody. There have, however, been some glimmers of change- one of which is the #ChangeFashion initiative. Founded by Joan Smalls, the Black in Fashion Council, Color of Change and IMG, #ChangeFashion calls on organizations to divest from the police, invest in Black representation and talent, promote anti-racist trainings in the workplace, and partner with Black-owned businesses to engage the community. The Council of Fashion The Council of Fashion Designers in America (CFDA) has also sought to create opportunities for underrepresented communities through their initiative IMPACT. Aiming to connect Black and Brown creatives, IMPACT’s tal-

THE FASHION WORLD PROMISED DIVERSITY: Did They Deliver? Written By: Riley Kubaska

Photographer: Jacob Ursuea Models: Ella Schindler

ent directory features anything from job opportunities to industry programming, to community building. Many retailers have also committed to the 15 Percent Pledge, which calls upon businesses to dedicate 15% of their shelf space to Black-owned brands as Black people make up 15% of the US population. Despite these positive changes, there is still a long way to go. Although we’re seeing more Black models on the runway and on magazine covers, we must continue to put pressure on the industry by asking the right questions. What does the behind the scenes team look like? Who is shooting the cover? Who is styling the models? Much of the fashion industry exists behind rather than in front of the camera, and this is where the battle for representation and equity is immediately called for. America has experienced and is continuing to undergo an awakening with its history. Although it can feel like a snail’s pace, positive change is occurring in the fashion industry among others. Up until now, however, the task of holding fashion brands accountable has sadly fallen to the very same individuals who have had to fight their way to the top. While things will not turn around overnight, by continuing to support the myriad of initiatives that are seeking change- we can continue to insight progress and inspire structural change.

“To explore whether these promises have been fulfilled, it is imperative for consumers to ask the right questions and to be cognizant of the numbers.” 30

CONFIDENCE KOCOSTAR

KOCOSTAR is a brand pioneer in the world of “K-Beauty.” Standing for “Korean Cosmetics Star,” and based in South Korea, KOKOSTAR sells skincare masks that specialize in various targeted areas. Among these products include lip masks, eye masks, hair masks, facemasks, and even hand and foot masks! They also feature a variety of scents such as rose, peach, tropical, and more. KOKOSTAR’s mission seeks to “present a moment of comfort and happiness” for anyone having a hard day. In fact, KOKOSTAR has a line of face masks entitled the “Happy Mask Series.” These masks endorse the brand’s uplifting mission, allowing individuals to take a brief hiatus from stressors of life and relax. These masks are infused with natural oils and vitamins that moisturize and strengthen the skin. For anyone who is looking to combine skin care and self care, look no further than KOCOSTAR

Kocostar Photographer: Claire Huang

Woosh Beauty

Created by women seeking to simplify beauty routines, Woosh Beauty is an affordable makeup line created for hardworking individuals. Woosh recognizes that while beauty is important and empowering, it is not everything! The creators emphasize that although today’s society holds appearance in high regard, there is life to be lived outside the beauty world. Thus, this makeup line refers to themselves as “the makeup underachievers and the beauty enthusiasts.” Not only does Woosh create products that assist makeup application, but their website also has a blog answering any makeup questions one could have. One of their products includes the Corner Brush Eye Stamper, which can help consumers achieve that impossibly perfect eyeliner wing. Woosh also creates makeup bundles, containing essential beauty items in an adorably condensed neon pink carrying case. Evidently, their focus on portability and efficiency allows consumers to feel glamorous without sacrificing time and space. Woosh beauty is ideal for the people that do it all, but also look fabulous while doing it.

Woosh Beauty

Pleaser

Pleaser is a shoe brand that specializes in footwear for those who desire empowerment with their choice of shoes. Loved and admonished amongst a variety of sexy-shoe lovers, this brand has become the leader in shoes of its kind. Part of a larger parent company that creates all types of footwear for alternative subcultures, these shoes have been worn by celebrities, included in Hollywood productions, and made an appearance in editorials in a variety of fashion magazines. Used by ammeters and professionals alike, the shoes have become popular amongst anyone looking to express their sensuality. The brand holds a place as the industry standard and encourages its users to use their self-expression through well-crafted and innovatively designed footwear. The brand, founded in 1993 has such a long-lasting 31

Pleaser on Lady Gaga 2019 MET Gala Getty Images

FOR ALL

Written by: Leah Sokol, Maddie Juarez, and Yining Lu

connection with dancers that the “pleaser” heel is the most iconic shoe in the industry- the clear base, platform, and ankle strap make for a shoe that balances comfort and sexiness perfectly.

Goorin Bros

Goorin Bros is a generational hat brand that creates a highly customizable and personal experience with their customers. Created by Cassel Goorin in Pittsburgh in 1895, this brand has thrived through time by keeping quality and style at the forefront of their hat designs. The brand has stores in California, Georgia, New York, and more, but the personal connection does not stop when shopping online. The ‘find your fit’ portion of their website is dedicated to helping the customer find their perfect fit, a rare find in the world of hats. On their website, you also have the option to meet with a style expert in a personal one-on-one style appointment. The brand sticks to a classic brimmed hat, but also has a portion of their site dedicated to The Farm, a subsection that carries trucker hats, beanies, t-shirts, and more. Their blog pays homage to their over a century of business, called The 1895 Journal in honor of their year of foundation. Their wide variety of hat styles keeps a classic flare while also staying with the times, providing an option for everyone!

Scotch Bonnet

Based in California, Scotch Bonnet provides modern and stylish outerwear for children and teens of all ages. It features coats, puffers and bomber jackets with simple yet elegant designs. Coats come in a variety of colors, patterns and fits, satisfying a wide range of personal stylistic needs. Scotch Bonnet also provides outerwear for babies, featuring a neat, refined tailoring. Through its pieces, Scotch Bonnet encourages the expression of beauty of all seasons and spurs the expression of creativity at a young age.

LâMO

LâMO is a Californian-based brand that has provided authentic sheepskin footwear since 1995, best known for its cozy, comfy boots, slippers, and moccasins. Recently, LâMO has expanded into an active lifestyle brand, providing casual and house shoes. Taking hands-on approaches within its factories, LâMO has actively worked towards building a greener mode of manufacturing and reaching its goal of sustainability. Some of its non-sheepskin products feature 100-percent sustainable merino wool uppers as well as sustainable canvas. LâMO holds an active role in philanthropic activities. During the COVID-19 global pandemic, LâMO donated 1,100 pairs of shoes to nurses via HOLLIBLU. The brand has also worked with the Ronald McDonald House of Orange County in fighting against children’s illnesses. 32

Photographer: Michelle Gong Model: Bernice Wang, Defne Ercelen

Photographer: Michelle Gong Model: Bernice Wang

Photographer: Michelle Gong Model: Ranen Chang

Photographer: Michelle Gong Model: Rebeka Begashaw

Photographer: Michelle Gong Model: Jessica Jackson

Photographer: Michelle Gong Model: George Vetushko

Photographed by: Model: 38

Photographer: Amber Zeng Model: Yatzil Linares

ACCESS WINTER CONCENTRATION

IBILITY

Photographer: Armando Gray Models: Meghan He, Kelly Ha

Photographer: Claire Huang Model: Soraya Saghbini

The Rise of Clean Skincare

Written By: Madison Bang

ocial media’s influence on the product market and how a targeted audience receives information plays a huge role in the beauty and skincare market. In this new era, consumers are looking for skincare products that are sustainable, natural, and ethical, all general characteristics under the umbrella term “clean”. While this buzzword has circulated mainstream media for years, it is still unclear as to what words like “natural” and “organic” truly entail. Since the FDA does not approve cosmetic products buts rather regulates them, their general definition of cleanliness involves products made using food-grade ingredients (not that you should be eating your makeup). Before we get into some brands that are making great strides in environmental consciousness, let’s hone in on the “skinfluencers” that are taking the internet world by storm. If you haven’t watched a YouTube video from Hyram Yarbro (a.k.a Skincare

by Hyram on TikTok) by now, you may have missed one of the rising names in the influencer community. Amassing millions of followers and views, Yarbro makes learning about skin health more accessible and less intimidating. Whether it be in a longer Youtube series or in 15-second TikTok videos, Yarbro (among many others) are tearing down the formidability of corporate giants and opting for transparency. What is so gratifying about this phenomenon is how both skin care fanatics and trained professionals alike are providing intel and alleviating the confusion around long-winded ingredient labels and why certain chemicals help (or hurt) the skin. Recently, many skincare and beauty brands are renovating their image to establish their dedication to cleaner production. FAST has curated a list of brands that are revolutionizing an industry that is notorious for its consumption.

Photographer: Claire Huang Model: Soraya Saghbini

Youth to the People If you look at the website of Youth to the People, you can find an array of statements made to protect the environment, from both its formulas to the packaging of their products. Ethically sourced, vegan, and cruelty free, these ingredients are sure to abide by their goal to “do better than yesterday, do better for tomorrow”. Credo Credo is an online marketplace dedicated to spotlighting more than 100+ beauty brands that are free of ingredients on “The Dirty List”, Credo’s blacklist of over 2700 ingredients known the be toxic for the body and the environment. This brand is the one-stop-shop for all your beauty needs. cocokind We all know skincare can get pricey; luckily for us, cocokind is a budget-friendly brand that categories their products based on your skin type. Certified natural and organic ingredients, gluten-free and peanut-free products, and a partnership for One Tree Planted makes this brand inclusive and accessible to all. ILIA For all the makeup aficionados, ILIA has got you covered. Seeing skincare and makeup as one, ILIA makes no compromise in creating ethical, effective, and skinsafe products. ILIA if most notable for their multi-use sticks and serum-like foundations, perfect for a compact makeup collect and ease of mind.

“Social media’s influence on the product market and how a targeted audience receives information plays a huge role in the beauty and skincare market.” 45 XX

Juice Beauty This brand has put in the work to get all their certifications and clinical validations in order. This FDA certified organic company is transparent about the entire process of production, from its use of sustainable energy sources for manufacturing to its photo gallery from the farm where ingredients are grown. With this company, you’re getting power-packed skincare without the harmful additives. In this push for more environmentally-safe ingredients, users have found that not only are many frequentlyused ingredients harmful to the planet, they are also detrimental to skin health. We find that this new wave for clean skincare stems from the community becoming better informed about what goes into its daily products.

A SHORT HISTORY OF

SILHOUETTES Written by: Paige Paulsen

Photographer: Kevin Salgado Models: Bernice Wang, Anna Jovin

hough many people do not consider its importance, a silhouette is always a great way to reference past fashion trends through subtle nods. The outline of one’s outfit can contribute more to an aesthetic than one may think. Many current fashionable silhouettes are eerily similar to past ones, displaying how the fashion cycle is constantly changing, yet, somehow sticking to its same tendencies. The 1930s are primarily known for its slender silhouettes, though there was a short and prominent trend of puffed sleeves, especially for evening dresses in glamorous Hollywood movies. These puffed sleeves can be imitated by currently popular cottagecore trends. Though the 1950s contains iconic silhouettes that are extremely different from today’s fashion trends, this era is imitated more commonly that one may think, primarily through the sun dress. The midi (mid calf/knee) length remains popular and can be adhered to many current fashion trends, along with being super easy to imitate for a stylish look. Fashionable loose jeans and colorful shirts bring to mind the boho trends popularized during the 1970s.

1970s silhouettes are particularly simple to recreate, as they are truly having a renaissance through various different forms, such as in current music and hair trends. The 1990s are perhaps the most common silhouette to currently convey, with popularized bucket hats, mini skirts, and crop tops. The 1990s silhouette contains harsh, yet short lines that display current street style at its best. 46

SETTING THE SCENE FASHION WEEK

“Fashion Week: a week-long spectacle of dazzling artistry, larger-than-life sets, and the biggest names in fashion all in one place.”

ashion Week: a week-long spectacle of dazzling artistry, larger-than-life sets, and the biggest names in fashion all in one place. This biannual event is one of the most important projects for the industry. Creators and viewers alike have the chance to witness jaw-dropping performance and innovative design come together. With the anticipation of Fall-Winter 2022, it’s time to brush up on our knowledge of this monumental event. Whether we watch via livestream or have the opportunity to witness it live, Fashion Week is the culmination of unforeseen talent, the veneration of historical treasures, and the crescendo of fashion-forward hysteria.

Written by: Madison Bang

February 22nd-28th, and finishes in Paris from February 28th to March 8th. The four major weeks are located in fashion capitals of the world. Aside from these four weeks, different series of shows are sprinkled before and after this month-long event in other locations around the world. This gives designers the opportunity to choose a location close to their studios and headquarters. Not only are their locations chosen out of practicality, designers often select a location to which they are native to; this gesture is symbolic in that it supports their local economy, retailers, and other creators in the neighborhood. Aside from choosing the city, designers have the freedom to host their shows at planned spots or at their own venue of choosing. For example, the infamous “tents” are organized within the Lincoln Center (why the official name is Mercedes-Benz Fashion Week) in preparation for NYFW. These outdoor venues are a homing beacon for all guests to convene and watch the shows in close proximity. However, due to price, scheduling, or preference, some designers decide to go offsite.

What is Fashion Week and why does it matter? Fashion Week offers both designers and consumers a specific period of time dedicated to spotlight upcoming fashions. Designers are able to present their latest collections and the overarching themes, palettes, and silhouettes notable in their next collection. Fashion fanatics are immersed into the newest face of design; not only are they able to draw inspiration from these shows, they may also put in orders for specific looks. For magazine editors, Fashion Week is What happens at a show? incredibly busy; these individuals are working to Before the show, you can expect an average brainstorm their future editorials and curate a list half an hour of waiting (now that’s what I call of possible features. “fashionably late”) before the actual show starts. This is the perfect window of time for paparazzi London, Paris, New York? Why so many locations? and magazine coverage to snap photos and See, when we say Fashion Week, we actually conduct interviews with attending celebrities, mean Fashion Month. Fashion Week starts in fashion fanatics, and other important figures New York from February 11th-16th, then moves within the industry. to London from February 18th-22nd, Milan from The full presentation takes around 20 minutes, 47

Photographer: Amber Zeng Model: Mallory Springstead

which includes around 40 looks all sported by models. While these designs are extremely impressive to begin with, some designers may reveal their most prized work at the very end. A final victory lap commences where all the models along with the designer claim their applause. After the show, some designers choose to have a viewing session where models strike a pose and allow viewers to discuss their favorite pieces. This gives the audience an even more immersive experience.

On The Runway vs. In-Store Unfortunately (but maybe not so unfortunate for our bank accounts), the looks shown on the catwalk do not actually find themselves in store. While many individuals may place special orders with the business, us regular-retail folk won’t be seeing any of the designs on a store rack. This is because the looks produced for fashion shows are really a peek at the designer’s brain-child. The designer is able to make a bold statement while offering us a taste of the upcoming collection’s blueprint. 48

Photographer: Amber Zeng Model: Hector Esparza Jr.

Written By: Maddie Juarez

Scary, Heavy Boots 49

r. Marten’s have become a style staple of just about every young person in America and beyond in the last 20 years. Self-proclaimed as “... one of the most culturally relevant brands of the modern era,” Dr. Martens is a brand with awareness of its significance to fashion culture. While the brand is extremely well known, much of the brand’s origin and complicated history is censored for their modern consumer. Understanding history is important in holding brands accountable for being better and promoting betterment to their consumers The Dr. Martens brand existed long before it held that name, as boots for the local working class. Made originally in Wollaston, Northamptonshire, the brand was a family business. Beginning in 1901 their business thrived on the local, but did not stretch beyond workwear, and did not stretch beyond their local population. All of that changed in 1945 with the introduction of Dr. Klaus Maertens and his infamous “air-cushioned sole” that became such an iconic component to the Dr. Martens brand. Dr. Klaus Martens was 25 in 1945 and had been recently discharged from the German military as a war doctor. This is something often discounted in historical statements from the company, as his side during the war is a regrettable origin story. He actually created the soles because he thought the military sanctioned boots were uncomfortable, and many of the prototypes of his shoes were actually made from rubber using rubber from Luftwaffe airfields to help them with the job, as outlined in Dr. Martens: The Story of an Icon, by Martin Roach. From a modern perspective, at least to me, this seems like an outlandish idea for someone to go into a business deal with. But the family in England were looking to spread their wings, and Maertens had the ability to help them do so. As the brand grew, it was adopted by counterculture. The company never intended this, they thought the shoes would be worn by old women, but then the skinheads of the UK had a different idea. They saw the ability to look very different from the popular put-together mods of the 60s. These skinheads eventually developed into the

punks, and both countercultures used their place as poor, working-class white people to be racist and homophobic. Not all skinheads were racist, and not all punks were either, but when it is an idea that many of the loudest in those groups believed, it became what they were known for. All the while, they had Dr. Martens on their feet. Eventually, beyond those initial adoptions, the shoes were used for just about every movement outside of the mainstream. Often closely tied to music, they began to represent more than just the angry white working-class but represented those who were “Reclaiming revolutionaries in general. There were countercultural counter-movenarratives of the ments within the punk and skinhead working class in recent years has helped scenes like SHARPs or Skinheads these boots maintain Against Racial Prejtheir status as a udice. These developed as early as the cultural symbol, in the ’80s and have only mainstream, and in the become more sigareas it isn’t” nificant majorities since. Many punks dawn anti-nazi propaganda to prove to the average person that they hold being anti-racist as a very important aspect of their personal identities. The average 2022 consumer of the boots does not have to worry about people assuming they have any white supremacist ties while wearing the shoes. That is one great part about the brand having a very wide impact as a fashion staple of just about every style now. Regardless, there are some things to be conscious of, like ladder lace culture. If you see someone with white or red ladder laces, they are white supremacists. The company is so aware of this that they don’t sell any red or white laces for their shoes. If you see purple, the wearer is in the LGBTQ community. If you see yellow, the wearer is anti-racist. Reclaiming countercultural narratives of the working class in recent years has helped these boots maintain their status as a cultural symbol, in the mainstream, and in the areas it isn’t.

FEMINIST Photographer: Jacob Ursua Model: Kareena Garg

eminism today takes on a variety of forms; female empowerment has never been more vocalized in social, political, and economic fronts than in this past decade. While this new wave of feminism brings upon a wide range of reforms and demands, women all throughout history have been able to make their statement through fashion. To celebrate the successes and struggles of women making history, we have compiled a timeline of bold fashion trends that took the world by storm. Many claim that the suffragettes brought about the first wave of feminism. This coalition of women, while proclaiming the inherent rights of women as agents of their body, continued to abide by the conventional feminine ideal. This strategic move was reasoned as a way to garner attention for their movement without causing great alarm to the traditional sphere. While their mode of dress remained the same, women used color to symbolize the tenets of their cause. Purple was symbolic of loyalty and dignity, green signified hope, and white represents purity. The 1920’s, also known as the Roaring Twenties, was a decade of boldness–most notably defined by the Flappers. Hemlines began to rise, and the straighter silhouettes that emerged from the 1900’s became mainstream and widely popular. In a daring refusal of social custom, women opted for bobbed hairstyles and ditched the corset for a more freeing fit. The development of World War II opened up opportunities for women to join the workforce and began a new era of female participation outside the domestic sphere. Rosie the Riveter, a cultural icon during the WWII-era, representing the women who had replaced men in defense industries.

FASHION Her message to women across nature resulted in the adoption of a utilitarian style: durable boots, slacks, and head scarves grew to fame. Given the universal shortages of material that came with the war, denim, cotton, gingham, and calico became the staples in fashion (mostly because it was widely available and durable). The 60’s ushered in the second wave of feminism along with a variety of other social movements. Higher divorce rates, birth control prescriptions, and the miniskirts were symbolic to the “metropolitan girl” look (sound familiar?). Gender fluidity took its shape in fashion, as revolutionaries and common folk alike interchanged hair lengths, accepted new boyish figures, and preferred bright colors. (Getty Images) Power suits were the go-to outfits for working women of the 70s and 80s. These suits posed the question of how and why professional attire was constructed as inherently masculine; was it “feminist” to wear masuline forms of business attire to be considered professional? Despite varied answers, the matching skirt and jacket (don’t forget about the shoulder pads) signified the female push into male-dominant fields. Aside from the workforce, all aspects of society were feeling the effects of redefined gender lines. While we all oogle at the sight of Y2K looks coming from Britney Spears and Devon Aoki, let us take a moment to celebrate how far feminist fashion has come. Not only did changing styles and trends coincide with new ideals of feminism, they increasingly allowed all women to build their own forms of expression. Whether that be in the form of body positivity or gender fluidity, fashion has echoed the way we have transformed perceptions of self and the world around us.

Written by: Madison Bang

Photographer: Armando Gray Model: Bisola Amudipe

Getty Images

Princess Diana and Fashion: Using Clothing as an Escape

etween Peter Morgan’s Season 4 of The Crown (2020) and the release of Pablo Larraín’s new movie, Spencer, Princess Diana’s legacy is far from gone, especially when it comes to her sense of fashion. Although Princess Diana led a rule-bound life, she exercised freedom through her wardrobe. It was made clear from the start of her public presence that she had a unique connection with fashion – whether it was to feel relevant with modern trends or to forge new ones herself, such as wearing a black dress to her first royal engagement. Her persistence in these clothing choices displays how Diana was confident in never ceasing to be herself in the face of criticism. Her fashion sense displayed how even the most subtle of clothing choices could spread an important message, such as declining to wear gloves or hats while interacting with children and other individuals she volunteered with. Wearing no gloves helped destigmatize the issues Diana highlighted through her volunteer work. Most notably, Princess Diana would reclaim, 53

Written By: Paige Paulsen using fashion, the myriad of stories told to the press through her own eyes. One of the most well-known instances of this is through a bold, sexy black dress she wore to a Vanity Fair fundraising gala in June of 1994 – the day that Prince Charles formally confessed to committing adultery during his marriage to her. Becoming so popular as to be dubbed the “revenge dress,” Diana’s choice of wardrobe spoke silent words of confidence and strength in the face of one of the greatest public scandals. After leaving life as a royal family member, Diana continued to make it clear that she foremostly desired to highlight humanitarian issues through her public image. Through the outlet of clothing, Diana auctioned off 79 of her past worn dresses for the profit of AIDS and cancer causes. While Princess Diana did not entirely dress herself, she played a major part in choosing the outfits suggested to her, and by the late 1990s, Diana was well aware of her influence in fashion and pop culture in general. It is apparent that she never planned to stop spreading messages through her clothing.

Tom Wargacki/WireImage

“Her persistence in these clothing choices displays how Diana was confident in never ceasing to be herself in the face of criticism” Chris Jackson / Getty Images

Photographer: Amber Zeng Model: Nicole Anticona Araujo

AN ODE TO DEPOP “With the rise of e-commerce and online social engagement, it has never been easier for members of any community to amplify their voices and evoke long-lasting change through their Depop businesses.”

rowsing through Jamie’s Depop shop, you will notice the collection of vintage 90s and 2000s pieces of all different styles. From grunge to cottage core, @ garbagegirl’s dedication to sustainable, affordable fashion has allowed her to amass 43k followers that have fallen in love with her curated shop. In 2017, top seller @garbagegal opened up her Depop account with an eye for secondhand fashion. She recounts her side-hustle starting at the age 15 as a means to make money off pre-loved and thrifted clothes on top of her minimum wage restaurant job. Jamie stresses that resellers “keep clothes in a cycle of life” and most are low income individuals trying to get by. She encourages all to support sellers who put in time and effort to find quality pieces rather than contributing to “greenwashing, ‘sustainable’ brands with millionaire CEOs.” 2020 saw the rise of the COVID-19 pandemic, most notable by the fashion industry as a low point

Written By: Madison Bang

for retail. With supply chains cut off, traditional retail shops closed, and disposable incomes severely diminished by unemployment and wage cuts, many well-established retail companies declared bankruptcy. However, Depop amassed hundreds of millions of dollars in this same time period. Along with these resale apps, retail brands began their own upcycling journeys, creating programs to make their products more affordable and contribute to the current tide of accessible, eco-friendly fashion. While we cannot simply attribute all of Depop’s success to the pandemic, the inevitability of increased screen time as a result of lockdown has grown its demand. While Depop resides alongside a plethora of other resale platforms (such as TheRealReal and Poshmark), this company is uniquely special to one specific age group. The Gen-Z community is especially fond of this online marketplace, as around 90% of the Depop community is under the age of 26. Bain & Company teamed up with

Depop to report on user analytics and the behavior of Gen-Z on its platform. Their insights underline the fact that this generation has strayed from the traditional model of what fashion and “new” should look like. Jamie states that “overconsumption is one the biggest issues we face and fast fashion encourages it” and explains that “it’s better to invest in higher quality clothes that could last a lifetime.” On Depop, 75% of users say they are motivated to reduce clothing consumption and more than half look to find “one of a kind” pieces, reflecting the idea that shopping secondhand is not only sustainable but also preferred. Depop has proven to be an effective sidehustle; a combination of Depop and social media apps grow businesses and foster interpersonal relationships with consumers. Although making a bit of extra cash is always useful, Gen-Z creators are using this app to express their fluidity and creativity. This generation is noted by the Depop team for dismantling any sort of categorization of identity. Chief brand officer Peter Simple explains that “as people are given access to so many different

types of inspiration, whether it’s peer-to-peer or the mix of influence you can get from each type of influential figure, each individual is fluid in their style, their self-expression.” For those who surpass a certain quota of sales, average positive ratings, and properly manage their business, team Depop adorns them with “Top Seller” status and uplifts these businesses with customer support, exposure benefits, and exclusive access to private forums with other top sellers. While retaining the verified blue tick is difficult, more than 30 million people are still making use of the clothes that would otherwise remain in the back of their closets. Depop is quintessential to the growing resale community because it reinforces a sense of experience and community in shopping. Sellers like @garbagegal represent the hard work, dedication, and creativity in revolutionizing how we view accessibility and sustainability in fashion. With the rise of e-commerce and online social engagement, it has never been easier for members of any community to amplify their voices and evoke longlasting change through their Depop businesses.

Photographer: Armando Gray Models: Meghan He, Kelly Ha

In Defense of the Logo

Written By: Mikaella Butalid

ogos are everywhere, literally. From shoes to bags to clothing, logos permeate every aspect of our lives whether we are aware of it or not. After all, having a logo is an excellent way for a brand to establish its own unique identity in a world full of ideas. For example, Chanel’s two interlocking C’s not only represent the fashion house’s founder Coco Chanel’s name, but they are also an emblem of luxury and elegance to the world. Chanel is luxury, and the logo has reinforced this notion since the fashion house’s inception in 1910. Iconic brands have iconic logos. Just look at Supreme and Louis Vuitton: these brands have managed to maintain their notoriety over the years thanks to their logos. Without logos, one can argue that brands like Supreme and Louis Vuitton wouldn’t have the same influence over the consumer as they do now. This is because part of the appeal lies in the logo. If marketed correctly, the logo is the ultimate status symbol. Once you create a logo that stands out amidst the homogeneity, people begin to recognize and identify, which subsequently creates a culture of yearning. Supreme has achieved this successfully. The brand’s logo—a simple red box with white lettering—is known throughout the world. In fact, it is so known that people have sought after counterfeits, usually an indication that a brand has become ingrained into society’s subconscious. Through its logo, Supreme reached “cult” status, a feat few brands are able to accomplish. So what exactly makes the logo controversial? Although they are an encapsulation of what

a brand stands for, logos have a tendency to alienate. Especially in the case of high fashion, the logo plays a significant role in the marketing and selling of products. The culture of desire surrounding the logo creates an atmosphere in which only a certain socioeconomic class can purchase a prestigious brand’s products. For instance, a Chanel bag exponentially costs more than a similar but logo-less leather bag. This phenomena among high fashion brands affirms the power of logos. Nevertheless, logos are essential cultural markers. They usually indicate what is happening in society. To take a case in point, Louis Vuitton, under the helm of then creative director Marc Jacobs, collaborated with Japanese artist Takashi Murakami during the 2000s in an effort to keep up with the cultural and generational shift that was occurring. The brown leather bag was replaced with a multicolored monogram print, which introduced playfulness to an already established fashion house. This appealed to both younger and older consumers, who were intrigued by the colorful reiteration of the monogram. The collaboration proved fruitful as what once was a limited-edition collection transformed into a long-term partnership between the fashion house and Murakami, ending when Jacobs left the house in 2014. Now, the logo is being used to reference the past. Particularly, the Dior Saddle Bag we so often see on the streets and the runway today was actually popularized by John Galiano in 1999 during his iconic tenure at the fashion house. Dior’s current creative directors Kim Jones and Maria Grazia Churi have made countless iterations of the saddle

““Logos are important within the cyclical nature of fashion as they provide stability where there is none”

Photographer: Armando Gray Model: Yuliha Vasquez

bag, yet the most popular one is embellished with the Dior logo. Thus, the logo is paradoxical in the way that it nods to both the past and the future, to both nostalgia and possibility. Logos are important within the cyclical nature of fashion as they provide stability where there

is none. Simply put, logos are the hallmark of fashion. They define a brand and can make or break one. However, to what extent are they really needed? That’s an answer brands are still grappling with.

Photographer: Claire Huang Model: Lisbeth Rodriguez

Photographer: Armando Gray Model: Jessica Jackson

Garms of the

Metropolis Written By: Maddie Juarez

rban spaces have often been coined as hubs of innovation, and trends are not an exception to this rule. As globalization continues, the move to urban centers becomes even greater. And yet, each major city maintains its unique flare. The cultures of major cities in the US control many aspects of their feel, from food, to housing, to the popular styles their residents enjoy. Within each city there are unique environmental aspects that can lead to an ‘iconic city look.’ Whether the cause is weather conditions, social norms or comfortability, the typical street look changes in each major city. Focusing on Los Angeles and New York gives a great scope of what fashion looks like in different parts of the country. New York maintains a uniquely strict dichotomy in their representation of street style, and this is not a new idea. Money plays a large role in what people end up wearing as ‘street wear’ as well as even specific locations within New York City. There may be someone wearing a casual outfit in Soho with more designer pieces than someone in another part of New York has

ever seen. Some online blogs and youtube channels focus around examining this diverse street style, and dissecting looks in their aspects of high end and low end branding. The most telling of the diversity of price point come from first person accounts of street fashion “Within each city through series like ‘What there are unique Everyone Is Wearing In New environmental York’ on karenbritchick’s Youtube channel and insta- aspects that can gram accounts like watch- lead to an ‘iconic ingnewyork. These personal city look.’ ” blogs narrate fashion in New York in a completely organic way, the personal eye of the individual creators are what draws what is seen as stylish, and people listen. With each creator having upwards of 300k and 600k people respectively watching their curation at all times, there are bound to be examples of street style from every walk of life. Though there is natural diversity in thought, the brands and looks that people wear in 2020 and 2021 60

tend to fall into two categories, high end or home- seen, but the culture of New York provides a great made. In the past few years vintage and second hand breeding ground for continual fashion innovation. pieces have become important in making both of street style from every walk of life. the previous categories possible as well. The strange Though there is natural diversity in thought, thing, is regardless of if each person is wearing high the brands and looks that people wear in 2020 and end or low end pieces, they follow similar trends. 2021 tend to fall into two categories, high end or In fall and winter of 2021, this means layering, vin- homemade. In the past few years vintage and sectage patterns, and an emphasis on texture. Whether ond hand pieces have become important in making those trends are orchestrated by Rick Owens and both of the previous categories possible as well. The Prada or a personal sewing machine is where the strange thing, is regardless of if each person is weartrue gap can be seen, in Manhattan at least. What ing high end or low end pieces, they follow similar is great about New York street style, is this gap’s lack trends. of immediate visibility, which also might have to do In fall and winter of 2021, this means layerwith high end goods following paths of workwear, as ing, vintage patterns, and an emphasis on texture. they tend to do. Whether those trends are orchestrated by Rick OwWhere that gap is much more visible is in Los An- ens and Prada or a personal sewing machine is where geles. Not just trends in fashion, but wealth brackets the true gap can be seen, in Manhattan at least. What are much more geographically distant in LA, mostly is great about New York street style, is this gap’s lack due to its lack of general walkabiliof immediate visibility, which also might “Urban spaces ty. There then becomes a very visible have to do with high end goods following have often been paths of workwear, as they tend to do.in Los chasm in what people wear, between the wealthy and those who are not. coined as hubs of Angeles, often residing as an alternative to The DIY culture of New York City is the regular fashion rather than a part of it innovation, and very prevalent in Los Angeles, often the way it is in New York. Styles are less trends are not an residing as an alternative to the reguimmersed in one another and more on a exception to this basis of individual interest, which means lar fashion rather than a part of it the way it is in New York. Styles are less more focused subcultures. rule.” immersed in one another and more Many believe that trends start in New on a basis of individual interest, which means more York and trickle to LA over time, and that LA can focused subcultures. never truly be a fashion ‘hub’ because its ideas are Many believe that trends start in New York and adopted from thought out New York designs. This is trickle to LA over time, and that LA can never tru- where the trickle of high fashion to wearable fashion ly be a fashion ‘hub’ because its ideas are adopted is seen with heavy clarity, because this is due directly from thought out New York designs. This is where to where most designers show their clothes. The inthe trickle of high fashion to wearable fashion is creasing number of LA designers and the increasing seen with heavy clarity, because this is due directly popularity of LA Fashion Week is working to make to where most designers show their clothes. The in- high fashion bicoastal rather than singular in origin. creasing number of LA designers and the increasing What will stop LAFW innovation is exactly what popularity of LA Fashion Week is working to make keeps NYFW intact, the community it is being prehigh fashion bicoastal rather than singular in origin. sented to. What will stop LAFW innovation is exactly what California is stagnant. The weather is simikeeps NYFW intact, the community it is being pre- lar year round, and people don’t interact face to face sented to. unless they have intention to. New York’s interaction California is stagnant. The weather is similar year of all types of ideas and people creates consistently round, and people don’t interact face to face un- changing trends and constant restructuring of what less they have intention to. New York’s interaction it means to have artistic expression. Whether LA will of all types of ideas and people creates consistently be able to keep up with that freshness is yet to be changing trends and constant restructuring of what seen, but the culture of New York provides a great it means to have artistic expression. Whether LA will breeding ground for continual fashion innovation. be able to keep up with that freshness is yet to be 61

Photographer: Amber Zeng Model: Leah Williams

Photographer: Michelle Gong Model: George Vetushko

Euphoria Season 2: Stunning & Symbolic Written By: Riley Kubaska

“Euphoria has returned to our TVs in its second season, seemingly even more melancholic and dramatic than the first.”

uphoria has returned to our TVs in its second season, seemingly even more melancholic and dramatic than the first. Filled with mesmerizing performances and stunning visuals, Euphoria could be described as a show of extremes- be it the relationships, drug use, or the myriad of difficulties young people face. Euphoria captures the sense that in adolescence, everything- even the littlest things- can feel like the end of the world. What it’s like to be a teenager yearning to be loved, and constantly grappling with the internal struggle of what it means to be a “good” or “bad” person. A pivotal part of the coming-of-age drama’s popularity, however, is specifically the symbolism laced into the costuming and makeup design. Lead makeup artist Doniella Davy revealed that the looks this season are much more refined and subtle than in the previous, referencing Euphoria’s changing tones as the series progresses. Chunky glitter and neon liner are replaced with fine shimmer and intricate designs to represent a more “grown up” Euphoria as the characters develop. Among the many interesting looks Davy has turned out this season, a stand out has been the contrast created between Maddy and Cassie in the opening episode. While Maddy sports a stark and powerful liner, Cassie’s pinky-peach eyelids don small, twinkling rhinestones. In a recent Instagram post Davy writes, “A Maddy wing is always the sharpest wing. Sharp like a knife to cut through whatever stands in her way: Ex boyfriends, bathroom doors, etc.” In direct contrast to this, the rhinestones that frame Cassie’s features create a sheen of innocence around her anxiety-ridden eyes, making audiences wonder if she really meant to do what she did. Along with the makeup, symbolism is entrenched in the show’s costuming- an instance of which is seen in Cassie’s wearing of solely pink and blue. Cassie possesses a very traditional view of femininity and thus tends to lean on tropes which she considers to be “beautiful”. Reflecting some themes of the show, Cassie’s style is about wanting to be loved; more than any of the other character’s her clothes are a costume- a facade. Cassie doesn’t really know who she is as a person, and thus looks to those around

her to define herself and her style. In opposition, Rue- the series’ narrator- does not look at what others wear but rather dresses how she wants. However, notably for Rue’s wardrobe this season, audiences may have noticed that she no longer wears her father’s maroon hoodie that was previously her signature. Costume designer Heidi Bivens revealed to Vogue that this change partly arose from the fact that if Rue wore the jacket at all times- her character would likely lose it. Rue is established as an unreliable narrator and as she drives deeper into her addiction the story, told through her eyes, becomes more outlandish due to her caring less about those who do not enable her addiction. Arguably a favorite of this season, Lexi is beginning her self-actualization journey and, with that, comes notable looks for her character. Lexi’s style is noticeably more conservative than that of her peers as she is drawn to intellectual and feminine brands. Thus, for Euphoria’s sophomore season, Lexi is sporting an arsenal of Miu Miu. Use of this brand seems unrealistic for Lexi; however, Bivens revealed to Interview Magazine that in season one she “tried to be really consistent with what kids can actually afford. This season that all went out the window because [she] just wanted to have fun.” Increased use of designer brands further contributes to the idea of fantasy that underlies this season more so than the previous. Another fan-favorite aspect of this season is the relationship between Lexi and Fezco which is made even more endearing through the juxtaposition of their aesthetics. Euphoria is littered with countless more hidden meanings and interpretations just like those outlined above. With only a few episodes released thus far, there is so much more to come as audiences watch the characters navigate the tribulations ahead. A defining part of the voice and personality of each character is woven into their style, whether it be their makeup or clothing or hair. As we anticipate the release of future episodes, be sure to look closely into the physical fronts that the characters present- you might just find a deeper understanding of who they are and where their journeys could go.

Photographer: Michelle Gong Model: George Vetushko 65

Photographer: Michelle Gong Model: Yoonji Kim

SUSTAINABLE

AST’s theme for Winter is accessibility. Accessibility can be applied to many areas of daily life and can be used to promote and maintain the growth of sustainability. Sustainability is essential to creating an environment that will help our earth, ecosystems, and humanity flourish. Being sustainable does not have to be difficult and any effort can make a drastic impact on the earth.

AMBORELLA ORGANICS

One path to sustainability is promoting the growth of more plants and greenery. Amborella Organics seamlessly exemplifies the power of fostering both sustainability and human connection. Their seed-bearing organic lollipops have edible herbs and flowers. Once the lollipop is finished, the stick can be planted to grow new herbs or flowers. Through this, they make being sustainable as easy as “eat, plant, love.” The more plants that are planted, the better earth’s ecosystems can flourish and continue to prevail.

Amborella Organics Photographer: Armando Gray Model: Kelly Ha

EO ESSENTIAL OILS

Sustainability can also take form through choosing everyday products that do not harm the earth. It can be difficult to decipher which products are of a quality that is good for both oneself and the planet. EO Essential Oils makes being sustainable in everyday life very accessible. The brand promotes self-care through the use of organic, plant-based products for bath, body, hair, and hands. Each product originates in a family-owned zero-waste factory and is natural. EO Essential Oils delivers kindness to the community through their transparency and sustainable manufacturing. Thanks to their sustainable nature, taking care of oneself does not have to come at the expense of the planet. 67

EO Essential Oils Photographer: Armando Gray Model: Kelly Ha

BEAUTY

Written By: Mikaella Butalid and Victoria de la Mora

SZADE COLLECTIVE

Szade Collective Photographer: Ben Johson Model: Angel Araki

Continuing the theme of sustainability, Szade Collective, a sunglasses brand, advocates for environmental consciousness and transparency in its mission. Szade Collective differentiates itself from other “sustainable” brands by rejecting the greenwashing that happens often in the fashion industry. Instead of using sustainability as a form of marketing, Szade Collective is committed to minimizing its impact on the environment. For instance, Szade recycles most of its waste and reuses materials as much as possible. Their sunglasses cases are designed to last, and the brand encourages consumers to reuse their cases for other purposes. Similarly, Emme Parsons implements its theme of sustainability and accessibility in its design process. The footwear brand constructs its shoes to allow for “nearly 90% biodegradable, natural components.” The designs stray from the trend cycle in order to promote longevity and avoid overconsumption, which is a pertinent problem in the fashion industry.

HUNKEMOLLER

Hunkemoller Photographer: Michelle Gong Model: Soraya Saghbini

European lingerie brand Hunkemoller also leads the way in sustainability by espousing the message of sustainability and accessibility in its current and future practices. The brand has started to produce its lingerie using “sustainable cotton” as well as becoming more aware of labor in its Code of Conduct. The company plans to improve wages in its supply chain, which shows how corporations are assuming more responsibility and acknowledging their role in harming the environment. 68

Sunglasses: Szade Collective Photographer: Michelle Gong Model: Angel Araki

Sunglasses: Szade Collective Photographer: Michelle Gong Models: Colette Shvager

Design: Hunkemoller Photographer: Michelle Gong Models: Soraya Saghbini

Photographer: Armando Gray Model: Kelly Ha

Photographer: Armando Gray Model: Bernice Wang

Photographer: Ben Johnson Models: Defne Ercelen, Marcus Vidaurri

Photographer: Jacob Ursua Model: Quinn Wynacht

Photographer: Jacob Ursua Model: Kareena Garg and Quinn Wynacht

Photographer: Armando Gray Model: Yoonji Kim

NEW

ERA

SPRING CONCENTRATION

Photographer:Michelle Gong Model: Kaira Edwards

THE RETURN OF

Y2K

Written By: Leah Sokol

s any good trend makes its debut in the fashion scene, it is only a matter of time until it infiltrates everyday style years later. It comes as no surprise that the simultaneously retro and futuristic Y2K style of the early 2000s has returned. Yet, as any good fashion historian does, I urge everyone to approach this return with the distanced perspective of what to take and leave from the early 2000s fashion era. 75

TAKE: Baby Tees Baby Tees are a flattering and fun addition to your wardrobe, easily incorporated into any outfit. Whether you want a high or low-waisted moment, baby tees are innocently flirty and cute.

LEAVE: Capri Jeans Somewhere there was a mix between jeggings, capris, and jeans, and I honestly don’t get it. While playing with proportions is important in the balance of an outfit, capri jeans are one clothing item that hardly leaves a convincing impression.

Photographer: Michelle Gong Model: Kaira Edwards

TAKE: Baguette Bags Have you ever played dress-up in your mom’s closet and carried around a big, fancy purse, until you later realized that no one actually wants to carry all that stuff? Enter the baguette bag. It’s small and cute, has a funky shape, and rests comfortably on your shoulder, avoiding unwieldy obligations. What more could you want in a bag?

LEAVE: Random Fringe While a cowgirl moment is something I can totally get behind, what was with the random fringe on the bottom of every article of clothing in the early 2000s?! Let’s leave the fringe on Western-style clothing, please.

“As any good trend departs the fashion scene, it is only a matter of time until it infiltrates everyday style years later.”

TAKE: Flare Pants Arguably the most flattering element of Y2K fashion has re-entered the fashion scene. The curved silhouette of these pants is flattering on any figure. Plus, they can be easily dressed up or down.

LEAVE: Clothes Smothered with Brand Names Don’t get me wrong, a designer moment is great, but not so much so when an entire outfit is centered around the name of an overpriced brand. With a recent surge in minimalist fashion, consider keeping the iconic Y2K silhouettes without the tacky brand names.

TAKE: Velour Tracksuit

A comfortable monochromatic head-totoe look that is considered fashionable. Need I say more?

Icons of the early 2000s have since come forward about the toxicity masked by trends (such as fatphobia, lack of diversity, etc.) once glamourized at the time. However, the past couple of decades have led society into a more inclusive environment, especially in the fashion world. Therefore, not only stylistically, but also thematically, remember to apply your knowledge of the Y2K era as it re-enters the fashion world.

Vivienne Westwood Revolutionized Modern Fashion, Again Written By: Madison Bang

ivienne Westwood’s new collection rejects the principle of “out with the old, in with the new” as she pays homage to her own 1998 Summer collection “Tied to the Mast”. Her latest campaign “Save Our Souls’’ not only draws inspiration from the nautical spirit but also centers on her continuum of advocacy work. Westwood applies her campaigns for gun legislation and climate change into the conceptualization of “Save Our Souls”; most notably, this new collection places emphasis on sustainability by creating the entire line with environmentally conscious and recycled material. In fact, 98% of material used in the collection is low impact and cruelty free, consisting of wool from regenerative farming, organic cotton and silk, recycled cotton and polyester, and ethically sourced viscose. Truly, Westwood makes a statement to the fashion world that environmental consciousness and sustainability can be adapted to any industry. Commenting on her new collection, Westwood

viviennewestwood.com Courtesy of Vivienne Westwood

sets the scene; “I was tied to the mast and the clothes underwent a sea change. On a sailing ship when the tempest arose, everything had to be tied down or be washed away; the women and children were brought on deck and tied to the mast for safety of their lives as the sea engulfed them.” This collection represents the changing tide, a cleansing of the individual and the desire for extraneous belongings. A variety of dresses, shirts, and blouses showcase neutral colors and drape-like texture, reminiscent of sunken sails and the oceanic experience. Although seemingly minimalistic compared to previous Westwood creations, “Save Our Souls’’ also modernizes the Elizabethian classic with patterned corsets and tailored suits. While she refrains from her infamous layering style, Westwood goes bold for accessories: platformed pumps, minibags, pearls, and necklaces spelling out “SEX” are all hallmarks of Vivienne Westwood collections we know and love. Aside from the campaign photoshoot, the Spring-

Summer 2022 campaign video transports us to the coastal regions of Naples, Italy. Here, models in breathtaking outfits traverse the 16th century architecture and vibrant city life. Westwood brings life into her story-like narratives with cheeky pans, action shots, and the sounds of vendors and mopeds. Not only do we witness models immersed into the bustling city-life, we also get to marvel at the designer herself as she models some of her own looks– just one characteristic of Vivienne Westwood that makes her a fashion icon.

“Truly, Westwood makes a statement to the fashion world that environmental consciousness and sustainability can be adapted to any industry.” The artistry of Vivienne Westwood’s new Spring-Summer 2022 collection is, quite frankly, unmatched. She puts her own spin on renaissance and does so with the same punk-era gusto that she had in the first rendition of 1998. Westwood embraces the origins and inspirations for her work, calling for revolution in both fashion and social spheres. With so much experience and influence in the industry, it’s hard not to awe at how this designer continues to put out new collections that shock, surprise, and excite fashion lovers all around the world.

viviennewestwood.com Courtesy of Vivienne Westwood

opular trends are thought to trickle down from high fashion, where runway designers are the trendsetters. However, Alexander McQueen’s 1992 show titled Jack the Ripper Stalks His Victims, contradicts this notion. His Saint Martins graduation collection, a collection that illustrated themes of the infamous serial killer Jack the Ripper through garments was historically reminiscent of the victorian era with a murderous twist. This being a foundational show for the designer, it was exemplary of McQueen’s body of work as a whole. McQeen saw every part of a collection as part of a story and this collection was no exception. Each piece told a dichotomous story; one of put-together elegant Victorian dress, and one depicting brutality and death. In every aspect, McQeen told a story, and also spoke of himself. In McQueen’s own words: “The inspiration behind the hair came from Victorian times when prostitutes would sell theirs for kits of hair locks, which were bought by people to give to their lovers. I used it as my signature label with locks of hair in Perspex. In the early collections, it was my own hair.”

This collection had elements of artistic darkness that had been used for about ten years prior by the trad-goth movement. The collection’s mix between victorian dress and themes of death is what the goth movement was built on, with their inspiration coming from the ‘80s new romantic and punk culture before them. For so many, McQueen’s collection felt like goth culture, making it mainstream. The ripple effects of this collection are obvious through the rest of the ‘90s. Dark makeup became widely popular, and dark colors with a mix of hard and self elements of fashion were also polarized. Goth was simplified, and clothing pieces like midi skirts and platforms were widely loved in ways they never had been before. It is important to remind ourselves that oftentimes when something in the fashion world has a fresh ring to it, it is probably a spin on something that has already been created. If that makes it any less valuable though, is up for debate.

“Popular trends are thought to trickle down from high fashion, meaning runway designers are the ones to start trends.”

JACK THE RIPPER STALKS HIS VICTIMS:

WHERE SUBCULTURE MEETS HIGH FASHION Written By: Maddie Juarez 79

Photographer: Michelle Gong Model: George Vetushko

THE VALENTINO PINK: Taking on the Classic Fashion Challenge Written By: Yining Lu

alentino is not new for its bold In addition, many of the looks feature embodiments of exaggerated statements. Valentino’s iconic metallic Rockstuds. In an allThe Fall/Winter 2023 Collection brought pink context, the Rockstuds are also colored pink. new dinner table topics with an all-pink feast. They are brought out of the punk aesthetic they’re Valentino’s creative director, Pierpaolo Piccioli, typically associated with, and are appreciated for “does more with less, maximizing expressive their geometric beauty. In this way, Valentino has possibilities in the apparent lack of possibilities.” proven the versatility and undefined potential of The show was, without doubt, a breakthrough. the Rockstuds. It demonstrates that pink is not a “girl’s color” Behind the runway, Piccioli also implied new and truly puts it up for an aesthetic-based mindsets of wearing pink as an everyday color examination. Pink has proven to while preventing the whole look be one of the most emotionally “An individual’s decision from being “tacky” or “overly evocative colors, but the to wear pink also means feminine”. association between gender and Play with texture. We could taking on an all-time wearing pink only started in the see that Piccioli engaged a fashion challenge, 1940s. However, it continues to be variety of textures in his pieces. socialized in present-day media He also studied the chemistry which is to break the (as evidenced by the classic line of combining different textures social and cultural “on Wednesdays we wear pink” into one coherent look. Different stigma of pink clothes.” from Mean Girls). With that said, textures could bring out different an individual’s decision to wear feelings from the same color pink, pink also means taking on an all-time fashion either as solid or light-weighted, bold or delicate. challenge, which is to break the social and cultural Layering within a monotone. By restricting the stigma of pink clothes. use of colors, Piccioli is actually experimenting With the revolutionary show, Piccioli has with the broadness of expression and alternative proven that pink can do more than sending the channels to introduce diversity into looks. Bright mere metamessage of femininity: it celebrates a pink pieces are always thought of as good Lego unique sense of boldness in fashion expression. pieces in color-matching. But instead of forcing This boldness also means the brave disregard of yourself to play that color-coordination game, you society’s interpretation and the candid expression could choose to focus on other aspects and seek of individuality. The ground-breaking show new ways of expression, such as the presentation also demonstrates Valentino’s own aesthetic of silhouettes, layering, building proportions, potential. Pink has long been part of Valentino’s or putting thoughts into the details. Worry less fashion narrative, as evidenced by its increasing about the color itself and more about other things. appearance in the brand’s Loco handbags, crochet sneakers, and even in couture.

Photographer: Michelle Gong Model: Anna Jovin

God Save the Prom Queen: The Enduring Legacy of Carrie White’s Pink Prom Dress Written By: Julianne Estur

espite being a rather polarizing genre, horror is more universal than one might think, since fear is a shared human emotion. We are connected by the experience of growing up and living through the pains of changing bodies, whirlwind emotions and trying to come into your own being in a world that may not only have space. Combine these two things, and you get Stephen King’s Carrie. The 1974 novel follows teenager Carrie White, who is ostracized and ridiculed by her peers at school and abused by a repressive religious fanatic mother who demonizes femininity. After getting her first period in the locker room shower, Carrie awakens to her psychic powers which

culminates in the iconic climax of the story. Carrie is crowned prom queen and subsequently doused in pig’s blood, triggering her to massacre the entirety of the student body. This image of her in a dainty pink gown, drenched from head-to-toe in bright red blood, is ever-enduring in the landscape of pop culture: from being referenced by musicians, Hole and Olivia Rodrigo, to TV shows such as Glee and Daria. The dousing of blood extends to regular teenage girls who sacrifice a pink dress to recreate the look on Halloween night. United Artists

This dress has cemented its place in our cultural memory. United Artists

But Why? Before answering this question, it’s important to note that the iteration of the dress found in the novel differs from the now-iconic pink version from the 1974 film by director Brian de Palma. King’s original vision of the dress imagined it as

red, being described as a “crushed-velvet prom gown with its princess waistline, juliet sleeves and simple straight skirt.” This is a far cry from the low cut pink satin and empire waistline that has become synonymous with the character.

One reason for why the movie version of Carrie’s dress stuck was due to its striking nature. The book’s take on the prom scene evokes the image of red blood on a red dress. Much of the power in the climax lies in the dichotomy of the before and after – happiness versus humiliation. The red-on-red simply does not not drive home this contrast. Seeing the pastel, more feminine pink fabric completely stained by bright scarlet drives home the change that has occurred. Carrie covered in head-to-toe; not an inch of pink is visible any longer. This image is the ultimate portrayal of the climax. Geffen Records

As the bucket of blood dropped her illusion shattered. Everyone worries about whether or not they fit in with the norm and this anxiousness is usually at its peak during adolescence. Identity is often unstable here, and there are shared feelings of alienation among teens: being non-cisgender and/ or heterosexual, being part of a racial minority, or something as simple as being too shy or having niche hobbies and interests. It’s a scary thing to be the “other”. It can create intense feelings of loneliness and isolation. Most teenagers simply wish to belong somewhere. Without a sense of community and belonging, one can feel completely

It is in how Carrie’s pink dress functions in the larger narrative that really gives the garment its power. On one hand, the dress is a symbol of her rebellion against her mother, an attempt to liberate herself from her repressive upbringing. Rather than being purchased, it is actually hand-sewn by Carrie giving it a personal aspect. It is a physical representation of her own abilities to enact change in her life. Though her mother is adamantly against her attending prom, especially due to finding the dress indecent, Carrie defies her by wearing the dress and going to prom without her approval.

In the gown, she also achieves a sense of normality. Always an outsider, Carrie is seen during most of the movie in frumpy clothes that cover up much of her body. By attending prom, she fits into the normal high school social order, both by simply being in attendance and blending in wardrobe-wise. Furthermore, she achieves peak assimilation when she wins prom queen, a title often relegated to popular girls. Though the vote is rigged, in the moment, she has reached the ideal fantasy teenage girl. No longer othered, she finally feels like she belongs.

United Artists

hopeless and out of place. Despite its supernatural backbone, the heart of Carrie lies in the rather mundane tale of puberty and growing up. In a way, the prom dress itself encapsulates it all, as prom is often seen as the pinnacle of one’s high school experience. To see it ruined in such a way, plays on the universal fear of being othered. Carrie spent a large portion of her time being on the outside, and the audience sees her fighting to rise above that. Yet in the same moment she finally triumphs, that victory is also taken away from her. It isn’t hard to see why Carrie’s prom dress has become such an iconic image of teen angst and

alienation that appeals to several audiences. Olivia Rodrigo recently paid homage to Carrie during her Sour prom photoshoot while donning a bejeweled bright pink gown, a neck full of jewels, and mascara running down her face. Hole member, Courtney Love, accused Rodrigo of copying the cover to their album Live Through This, however the cover itself was a tribute to Carrie. The recency of this example demonstrates that the pink prom dress has not lost its power; in fact, its universality means that it has the ability to both stand the test of time and be reinterpreted for the current time period.

WHAT DEFINES AMERICAN FASHION? Written By: Mikaella Butalid

Photographer: Ben Johnson Models: George Vetushko and Christabel Odoi

“To be an American designer, and in a broader context, to be American means to resist categorization and to constantly push boundaries.”

merica is often described as a multicultural society: a conflation of different cultures, races, and ethnicities. However, American society is notorious for stifling the voices of minority groups, and its troubled history is a reflection of this silencing. In recent years, the public has been more inclusive of diverse identities. Though there is still much progress to be made, the American fashion industry has started to bring diversity to the forefront, whether it be through showcasing different body types in fashion campaigns or underrepresented designers at New York Fashion Week. Following suit, the Costume Institute at the Metropolitan Museum of Art’s current exhibition is aptly titled, “In America: A Lexicon of Fashion,” in an effort to define American fashion. But what exactly distinguishes American fashion from its global counterparts? After all, designers such as Ralph Lauren and Tommy Hilfiger have used the American flag and American memorabilia to sell their products. These brands became popular as they provided an aspirational model of what an American was supposed to look like and dress like. The problem is that these brands provided an exclusive model for what defined American fashion—sporty, preppy, and simple— which is conventionally associated with Eurocentrism. The rise of various social movements has forced the public to examine what it means to be American. The American fashion industry is wrestling with its identity in the same way America is redefining its own identity. These struggles become apparent as New York Fashion Week loses its relevance in comparison to other fashion weeks, and American fashion houses are financially struggling. On Tommy Hilfiger’s troubling economic performance in recent years, Yahoo Finance states, “Evidently, comps for the

brand’s North American business tumbled 7%, attributable to persistent softness in traffic and consumer spending trends at its U.S. stores in international tourist locations.” Tommy Hilfiger’s lackluster performance shows consumer discontent with traditional American brands and the brand’s loss of relatability. It also signals a future less dominated by white male designers. According to the Costume Institute’s definition, the exhibit establishes “a modern vocabulary of American fashion based on its expressive qualities.” This is evident in the work of American designers like Telfar Clemens of Telfar, Kerby Jean-Raymond of Pyer Moss, and the late Virgil Abloh of Louis Vuitton and Off-White who are pioneers within the fashion industry. These designers challenge preconceived notions about what it means to be American and what Americans are wearing. To be an American designer–or an American in a broader context–means to resist categorization and to constantly push boundaries. Virgil Abloh, for instance, became the first Black man to lead Louis Vuitton’s menswear line when he was appointed artistic director in 2018. Similarly, Jean-Raymond became the first African American designer to show at Paris Haute Couture Week. In an interview with the New York Times, Andrew Bolton of the MET Costume Institute said, “The show is trying to problematize that tradition of always considering it through a lens of sportswear and reflect the way American designers have been at the forefront of wrestling with contemporary issues, be it ethical, sustainable or social, which are much more emotive.” To put it simply, American fashion is simultaneously an examination of the problems that affect society today and a celebration of inclusivity.

old, silver, large, small, tassels, and decorations: hoop earrings come in a variety of unique representations and colorful motifs. Rooted in inigenous culture, hoops represent the minority groups that wear these accessories to signify and represent their solidarity to their cultural identity. Previously viewed as low-class and distasteful, hoop earrings have recently surfaced as a popular trend among celebrities and high fashion. Where the fashion elite have cultivated hoops as edgy, stylish and trendy, minorities have been patronized for their cultural relics. From the likes of Hailey Bieber to Taylor Swift, celebrities that partake in wearing hoops are labeled as “trendsetters.” This notion disenfranchises the women of color who have donned hoops. The blatant uneven parallels begs the question – why are minority groups scrutinized for their hoops in contrast to caucasian women.

Written By: Sandra Ocampo

BACK TO INDIGENOUS HOOPS: A PARADOX

Céline Spring 2016 Photo: Monica Feudi Indigitalimages.com

The history of the hoop earrings dates to 1500 BC Egypt followed by the age of piracy where pirates adorned themselves with hoops, said an article by Refinery 29. Recently, hoop earrings have gained association with Latinx “chola” subculture. The “chola” subculture was born from the working-class, Mexican neighborhoods in Southern California where they incorporated hoops as an identity; it was also an essential part of other working-

class groups, such as those of Latinx and Black communities. Over time, hoop earrings have engraved their significance throughout underrepresented groups, cementing their presence in history by demonstrating that they have been around long before they were a “trend.” Sandra Garcia tells a similar story in a New York Times article. Garcia recounts how she felt empowered with hoop earrings, “Gold hoops — thick, wide, bamboo-style, small or thin — were an extension of our sass, our style and us.” In a unique twist, Garcia would often lose a hoop, building a collection of sole hoop earrings she would wear mismatched. Although, as she grew older she ceased to wear hoops all together. The decision stemmed from a fear that hoops painted Garcia as, “too loud, too visible, too ghetto, too black.” The dichotomy between Garcia empowerment versus selfconsciousness demonstrates how society casts a negative light on cultural identities and relics. Latinx writer, Ruby mentions Vogue magazine declaring cultural hairstyles and hoops as the ‘ultimate summer pairing,’ while mostly crediting white models. Pivet says, “White girls did not start the ‘trend’ of oversized hoop earrings and yet they’re the ones being praised for donning the ‘edgy’ style.” In contrast, women of color face apprehension and racial stereotypes for portraying their identities in the form of hoops.

In 2015, the Givenchy spring collection consisted of models adorned in facial piercings, hoops, and baby hairs. In a review by Vogue magazine, the fashion show was referred to as a “Chola Victorian” inspiration. Yet, none of the models identified as Latinx, and most of them were white women. The show lacked representation from the socalled inspiration they based their show around.

This misconception was defied by Alexandria Ocasio-Cortez, a Puerto Rican Democrat from the Bronx, as she was sworn into congress. Ocasio-Cortez wore bright red lipstick, a white pantsuit, and her hoops – this act reverted the stigma behind hoops by owning her heritage and conveying the message that hoop earrings are powerful.

Getty Images Photography by: Saul Loeb / AFP

As mentioned by SolàSasntiago, Ocasio-Cortez defying the status quo, demonstrates that Latinx women “shouldn’t sacrifice their identity for the sake of professional success.” Congresswoman OcasioCortez represents the ideal that Latinx women can have positions of power without The same ideology can be sacrificing their culture applied to hoop earrings regardless of diverging from in the sense that hoops on what is conventionally seen women of color are seen as professional. as “ghetto,” while on white women they are “in style.” Hoop earrings may appear insignificant, but they The Latinx fashion culture, represent more than a simple strongly misunderstood by trend. The culture behind privileged dominant groups, them comes from a history has been dissected to root of oppression and exclusion out the original sources of for women of color. Hoops the fashion items. Francis stand for resistance against Solá-Santiago expressed in appropriation that converts her Glamour article that cultural expression into she previously saw hoop fashion. earrings as a rite of passage and as relics handed down Regardless, the mainstream by generations. However, fashion culture will move it became apparent that in on to the next item to order to appear “polished” appropriate, but it is up to or taken seriously she would the women that wear hoops have to dress down her to reclaim the culture that accessories. shapes their identities. In reference to baby hairs used by the fashion show, Philip Picardi mentions that, “the message this sends, even though it is hopefully inadvertent, is that baby hairs can look ‘chic’ on white girls, but are still ‘hood’ on Latina and Black girls.”

Image from Bridgerton / Netflix

BRIDGERTON: South Asian Representation in the New Age Period Drama Written By: Riley Kubaska

etflix sensation Bridgerton is back for its sophomore season, and this time the Sharma sisters are entering the regency society. Simone Ashley and Charithra Chandran play the respective roles of Kate and Edwina Sharma, who journey from Mumbai to Grovener’s Square with their mother Mary, previously ostracized for marrying below her rank, in hopes of securing an advantageous match for Edwina. Two Tamil women being cast in the lead roles of a breakout series is essential to the changing and widening discourse of inclusivity in television today. Executive producer of Bridgerton, Shonda Rhimes, known for shows like Grey’s Anatomy, Scandal, and How to Get Away with Murder, is no stranger to representation.

Image from Bridgerton / Netflix

Not only carving out a space for ethnic minorities in television but also forever altering the “norms” of a Regency-era drama, Rhimes’ creative liberty plays with the often fraught idea of representation and delivers a fantasy that dabbles in feminism, classism, and antiracism. In bringing more color to its female characters, Bridgerton is miles ahead of Bollywood. The Hindi film industry has long promoted castings of lighter skinned actors, spurring on India’s age-old colorist

culture. Casteism and history with colonialism propel these ideals, driving the mega stars of the film-making machine – Bollywood – to go so far as to promote skin lightening products. Now more than ever, realities of this colorism are being closely dissected by audiences all over the world as Bridgerton’s success further opens the door to recognition and action against these problematic practices. Bridgerton, however, did not simply cast South Asian actresses and throw in the towel, but rather laced Indian culture throughout the 90

character’s identities, traditions, attire, and complex relationships. It is first important to acknowledge that India itself has twenty two languages and many different cultures; a fact which many have noted in viewing Bridgerton’s merging of several of these to create a fantasy-like history for the Sharma family. While “Sharma” is considered an upper-caste, North Indian family name, Kate and Edwina refer to their father as “Appa”- a Tamil, South Indian name. Speaking Marathi and “Hindustani”, Kate and Edwina reflect their Mumbai upbringing; however, Kate implements the Bengali

word “bon” -meaning sister- when addressing Edwina. Contradictions like these could have been easily rectified with one Google search, leading audiences like myself to conclude that this pan-Indian concoction was a choice. The Bridgerton universe requires suspended imagination to begin with as a regency-era piece set to 21st century pop songs; the creation of a romantic, idealistic world that does not force authenticity offers viewers a much needed escape. Wonderful and delightfully nonsensical, Bridgerton continues to pay tribute to Indian culture in subtle yet impactful ways.

Image from Bridgerton / Netflix

“Nothing that served as representation was overemphasized for the sake of being overemphasized.” 91

The exchange of Kate and Edwina oiling each others hair, for example, embodies a sweetness that transcends cultural boundaries; whether you are a desi woman or not, you can feel the love and intimacy between the two sisters. In another touching instance, Kate and Mary help Edwina prepare for her upcoming nuptials with a Haldi ceremony set to, possibly Bollywood’s biggest tune, “Kabhi Khushi Kabhie Gham.” Seeing this tradition paired with such a staple of Hindi film in Western media is a thrilling and emotional moment as viewers see three South Asian women taking pride and joy in their culture.

Image from Bridgerton / Netflix

Kate’s disdain for English tea and opting instead for a version of chai, further demonstrated the appreciation for Indian traditions. Along with the Sharma families’ traditions, Indian culture is woven throughout their wardrobe as Bridgerton stylist, Sophie Canale, uses jewel tones, Indian fabrics, as well as intricate embroidery to celebrate their heritage. The teal dipped paisley prints, jhumka earrings, pearl embellished gold jewelry, and traditional silk dupattas draped over regency-era, empire waist gowns all contribute to the subtle appreciation of Indian culture. Astute nods to South Asian traditions continue within the central relationships of this season… Viscount Anthony Bridgerton’s relationship with Kate is the ‘stuff ’ of Bollywood legend. Audiences everywhere can acknowledge that this season contains far less physical intimacy than the previous; however, the steamy, slow burning romance between Kate and Anthony can be considered the dramatic lovechild of Jane Austin and Karan Johar. Anthony’s love and attraction towards Kate

was not portrayed as surprising through the context of Kate being a dark-skinned South Asian woman. Their relationship, portrayed without any level of question or reference to Kate’s race, was a natural occurrence that has been lacking in representation today. Displaying how a South Asian lead could be seen as objectively attractive without trivializing, sensationalizing, or minimizing their culture, the Sharama sisters were not tokenized for their identity as brown women. Bridgerton’s second season delivered on many fronts from stunning romance, intricate clothing, and lovable characters; however, the most impactful was the introduction of the Sharma family. Nothing that served as representation was overemphasized for the sake of being overemphasized. The Sharmas were merely portrayed as normal people accompanied by subtle yet important indicators of their rich cultural heritage, allowing South Asian audiences the rare occurrence of seeing themselves in characters of Western media.

Written By: Maddie Juarez

TECHNICALLY HIGH FASHION

Model: Ethan Cortez Photographer: Jacob Ursua

igh fashion has taken continual nods from existing culture, especially in the last 20 years. Consequently, movements of fashion have been commodified in a way that their original wearers might not desire. The most recent victim of this high-fashion commodity is the outdoors community. Gorpcore, an acronym for “Good Ol’ Raisins and Peanuts” is the use of popular outdoor, hiking, climbing, and other exercise clothing worn as a fashion statement. As a reference to trail mix, this term alludes to the type of garments worn on trails. The movement spans across the community, with popular name brands like Patagonia, the North Face, Arc’teryx, and even Hoka running shoes at the forefront.

Often seen as an extension of athleisure, gorpcore has been taken up a notch with its notable expense. The products are not exactly accessible, with Arc’teryx, the most quintessential gorpcore brand, starting its prices around $150 for a jacket and reaching up into the thousands.

Vogue October 2018 Photography by: Josh Olins

Other brands are more affordable, but none of them fall under “regular” fast-fashion prices. That has a lot to do with the fact that many of these brands do have more sustainable practices. Patagonia is one of the most ethical, widely available brands on the market, and Arc’teryx was founded with sustainability as one of its core principles. Ethical practices and sustainability go hand in hand, and many of the movement’s brands, like North Face, are more ethical than the average, though their practices could be more transparent. Much of a brand’s ethics have to do with its goals of marketing to the outdoors community, which declares sustainability as one of its key principles. This exacerbates the expense of its items oftentimes, a necessary evil amongst the community they are made for, as they understand the heavy cost of contributing to environmental protection. This cost also leads to much better quality products.

This quality became somewhat of a trend, specifically with the brand Arc’teryx, when people showed off waterproof technology to the song Arc’teryx by YT on TikTok. Within the movement, the song exemplifies elitism. One of the lines sings, “Arc’teryx on me no we don’t rock no Patagonia.” A playful line, it nods to the movement’s focus on status and expense. Gorpcore could easily be seen as a derivation of hype-beast culture, but in a way that does not stand out as much as it would if someone were wearing full branded designer print. This seems to be purposeful action, an elite recognition of wealth. If someone is wearing a $1,000 black Arc’teryx jacket, to the average onlooker it will seem simply like a utility jacket and may be seen as a statement of function rather than fashion. Only those who share in the love for such expensive outdoor wear would recognize and appreciate the expense that went into the items. This secret elitism

has been popular in traditional art movements as well. Across the art world in the 20th century, as art became more widely accessible, the intentions of art were put up for debate more than they had in the past. Many people who had studied art or were artists themselves thought that if something was too widely accessible or its meaning left to the consumer, it lost its artistic value. Fashion elitism follows a similar path. The more accessible the clothing style gets, the less bragging rights a consumer has. The hypebeast genre of clothing now has affordable alternatives; resale and secondhand items allow style to be readily accessible to many more people, which has decreased its popularity amongst the rich. Its obvious outward flex is no longer desirable to them. Art elitism continues in the gentle-nod-towealth that is gorpcore.

THE GRAMMYS: THEN & NOW Written By: Victoria de la Mora

he Grammys first took place in 1959 and have since celebrated the talent of musicians, singers, and songwriters annually. The Grammys were created to celebrate music, but the looks that guests come adorned in have become a second focal point of the show. As the Grammys are one of the most viewed award shows, what artists wear to the show becomes widely talked about, and a single look can even garner more interest than the awards themselves. The award show has just reached its 64th anniversary, and the looks that artists show up in have never failed to impress the public. There are countless looks that deserve recognition, and the following show how fashion can change over time or remain so strong that the same kinds of designs are just as alluring decades later. The first look that deserves recognition is Michael Jackson’s look at the 1984 Grammys. He sported a stunning sequin jacket paired with his signature single glove. Years later, the same structure of jacket was worn in two looks by Lil Nas X, showing that the iconic fashion of Michael Jackson will continue to influence future artists and fashion designers for years to come. One of the most iconic Grammys looks was Jennifer Lopez’ look in 2000. She wore a jaw-dropping low-cut Versace dress that was so popular it created the need for the Google image search. The green look was so simple, yet dramatic at the same time. J.Lo still attends the Grammys awards today, and one of her more popular looks was one by Ralph & Russo in 2019. The simple ensemble of a white dress was brought to life by the embellishment and main accessory of a wide-

brimmed hat. While it didn’t create a new function for Google, the wide brim hat in this look was the talk of many throughout the night and made the style a must-have for the summer. J. Lo’s Grammys looks show how being sleek will always be in style. The evolution of Lady Gaga’s style is represented by the timeline of looks she has worn to the Grammys. In 2010, Lady Gaga made her Grammys debut and wore two different looks that exemplified her creativity and boldness. The first Armani Privé design “The Grammys were created to celebrate embodies a sort of whimsical, galactic aura; music, but the looks in a second look, Lady that guests come Gaga’s simple minidress adorned in have allows all eyes to be directed at an ornate become a second focal headpiece. Since 2010, point of the show.” Lady Gaga has matured in her expression of fashion, and her looks support the idea that sometimes less can be more. Armani Privé continues to style Lady Gaga, and this year she was adorned in a beautiful black and white gown with accessories much more simple than the ones she wore in 2010. Lady Gaga’s different looks at the Grammys show how fashion can evolve over time. While fashion is ever-changing, there will always be styles that are timeless, whether it be to emulate a past artist or just to keep things simple and maintain a high degree of elegance. Award shows like the Grammys will continue to be outlets for artists and their designers to test the boundaries of creativity and regard for fashion.

Michael Jackson Official Site

Getty / John Shearer

Tom + Lorenzo

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Brushean Photographer: Amber Zeng

NEW ERA BEAUTY & FASHION Written By: Julianna Estur

Aria Beauty Aria Beauty is working towards a future for heated hair styling tools without longterm damage. Their products use a different heating device that utilizes infrared heat, a very mild kind of heat that works with ceramic plates to create negative ions. These negative ions draw oil to the surface of the hair, and then the oil traps water from the air, locking in moisture and reducing frizz. Because of the gentleness of the heat, Aria Beauty’s tools are suitable for even processed or chemically treated hair. The inclusivity doesn’t stop there, as their products can be used on all hair types and textures too. Lise Charmel Lise Charmel is dedicated to offering women both elegance and high-quality innovative craftsmanship. Originally started as a luxury lingerie brand in France, it has now expanded to encompass five different brands, including one’s dedicated to swimwear and larger sizes. Lise Charmel has always been at the forefront of transforming lingerie; in the 70s, it was one of the first to work with embroidered lace. Currently, its R&D laboratory is heavily involved in creating new materials and a advanced technology to keep the brand one step ahead. 97

Assael Assael has been creating high–quality pearl jewelry for over 70 years. The pinnacle of the Assael business is undoubtedly their supply of South Sea pearls, yet Assael also carries a variety of pearl types, leading to staggering diversity. With their custom necklaces, the customer has the power to pick everything from the length to the size of the pearls. The brand has also added responsiblysourced coral to its repertoire. The question of how to blend luxury and sustainability is one that is pressing for the future era of fashion, and Assael is one of the brands that is approaching this question with the utmost care and quality.

Brushean Photographer: Amber Zeng Models: Gargi Kawachale, Chizaram Iwuanyanwu

Brushean Those who are regular wearers of makeup have to contend with dirty brushes. Brushean, a makeup brush sanitizer, offers a solution through the use of UV-C LED and ozone sterilization technology. UV-C is a type of short-wavelength ultraviolet light that is able to kill or deactivate microorganisms that may be on the surface of the brush, while ozone is another powerful disinfectant that is able to work between the brush bristles. The combination of the two maximizes the effectiveness of the product, leading to a much more thorough cleaning than simply rinsing your brushes.

Photographer: Armando Gray Model: Yoonji Kim

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Photographer: Armando Gray Model: Bernice Wang

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Photographer: Armando Gray Model: Bernice Wang

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Photographers: Spooner Martinez, Natalia Trejo, and Xiomara Novo Model: Meghan He Designer: Suchita Kumar

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CORAL REEF PRESERVATION A Fashion Film

Photographer: Isabel Spooner Martinez Model: Kristi Le Designer: Suchita Kumar

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Photographer: Ben Johson Photographer: Model: Meghan BenHe Johnson Model: Design: Meghan SuchitaHeKumar Designer: Suchita Kumar

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THANK YOU TO OUR

Special thanks to Chelsey Sobel from UCLA Recreation, Markell Johnson from UCLA SOLE, and Paul Kimball & Barry Bishop from UCLA Online Teaching and Learning 107

2021-22 SPONSORS

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